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Sunday, May 1, 2011

Iconography of the Resurrection – The Incredulity of St. Thomas (Doubting Thomas)

Luca Signorelli, Doubting Thomas
Italian, c. 1477-1482
Loreto, Basilica of the Santa Casa




“Thomas, called Didymus, one of the Twelve, was not with them when Jesus came.So the other disciples said to him, “We have seen the Lord.”
But he said to them, “Unless I see the mark of the nails in his hands and put my finger into the nailmarks and put my hand into his side, I will not believe.”

Now a week later his disciples were again inside and Thomas was with them.  Jesus came, although the doors were locked, and stood in their midst and said, “Peace be with you.”

Then he said to Thomas, “Put your finger here and see my hands, and bring your hand and put it into my side, and do not be unbelieving, but believe.”  
Thomas answered and said to him, “My Lord and my God!”
Jesus said to him, “Have you come to believe because you have seen me?  Blessed are those who have not seen and have believed.”

(John 20:24-29)




When I was a child I always waited with some excitement for the Sunday after Easter when this quotation from John is read as part of the Gospel of the day. For a child, or even for an adult, there is a certain “yuck factor” about the scene. And we know how kids (or adults) are drawn to that “yuck factor”. The idea of putting your hand into someone’s side is, well, yucky.



The Incredulity of Saint Thomas
From Le Mirouer de la redemption de l'umain lignage
French (Paris), c. 1493-1494
Paris, Bibliotheque nationale de France
MS VELINS-906, fol. 125r




But, of course, this episode was not included in John’s Gospel to give us the creeps. In the first place it underscores the bodily reality of the Resurrection. One of the things about ghosts is that you cannot touch them. As the ghost of Monseur de Sainte-Colombe’s wife tells him in a touching scene in the film Tous les matins du monde (1991) “You would only touch air.”   So, the Risen Jesus’ invitation to Thomas underscores the reality of the Resurrection.  He can be touched, His wounds can be probed with a finger or a hand. He is real, flesh and blood, NOT a ghost or an apparition resulting from passionate longing, like Madame de Sainte-Colombe.

Secondly, the Gospel underlines the future of the church, already known by the time John wrote his Gospel at the end of the first century. It would be a church filled with those “who have not seen and have believed” (John 20:29). And, that’s all of us during these nearly two thousand years.

During the last one thousand of those years numerous artists have imagined this moment. The images they have produced tend to fall into three separate iconographic types: (1) the moment of touch, (2) Thomas’ confession of belief, and (3) the insistence of Jesus.  Though somewhat distinct types they interweave through time and every picture of the encounter between the Risen Jesus and Doubting Thomas has much in common.


The Moment of Touch

In what might be characterized as the "Moment of Touch" type, Thomas stands more or less on the same level of Jesus.  The body of Jesus is posed in such a way that it presents a virtual invitation to Doubting Thomas to touch His wounds.


The Incredulity of Saint Thomas
From the Sacramentary of Drogo 
French (Metz), Middle of the 9th Century
Paris, Bibliotheque nationale de France
MS Latin 9428, fol. 66r



Doubting Thomas
From a Gradual
German (Pruem), c. 986-1001
Paris, Bibliotheque nationale de France
MS Latin 9448, fol. 43v





The Risen Christ Appears to the Disciples and the Incredulity of Saint Thomas
From the Gospel Book of Otto III
German (Reichenau), c. 1000
Munich, Bayerisches Staatsbibliothek
MS Clm 4453, fol. 251r



The Incredulity of Saint Thomas
From the Book of Pericopes of Saint Erintrud
Austrian (Salzburg), 11th-12th Century
Munich, Bayerisches Staatsbibliothek
MS Clm 15903, fol. 49v





Christ Appearing to the Disciples and Doubting Thomas
from a New Testament
French (North), 11th Century
Paris, Bibliotheque nationale de France
MS Arsenal 592, fol. 105




Doubting Thomas
From a Lectionary
Austrian (Salzburg), c. 1070-1090
New York, Pierpont Morgan Library
MS M 780, fol. 39v





Doubting Thomas
From the Psalter of Christina of Markyate
English (St. Alban's), c. 1124-1145
Hildesheim, Dombibliothek





Ham of Fecamp, Doubting Thomas
From a Psalter
French (Normandy), c. 1180
The Hague, Koninklijk Bibliotheek
MS KB 76 F 13, fol. 25r





Doubting Thomas
From a Picture Bible
French (Saint-Omer), c. 1190-1200
The Hague, Koninklijk Bibliotheek
MS KB 76 F 5, fol. 22v





The Incredulity of Saint Thomas
From the Munich Golden Psalter
English (Oxford), c. 1200-1225
Munich, Bayerisches Staatsbibliothek
MS Clm 835, fol. 28r





The Incredulity of Thomas
From a Life of Barlaam and Joasaph
Byzantine (Greek), c. 14th Century
Paris, Bibliotheque nationale de France
MS Grec 1128, fol. 38v





Anonymous, Doubting Thomas
French, c. 1300-1350
Paris, Musédu Louvre





Duccio. The Incredulity of Thomas
Italian, c. 1308-1311
Siena, Museo dell'Opera del Duomo



Tino di Camaino, Saint Thomas Probes Jesus' Wounds
Italian, c. 1314-1317
Siena, Cathedral





Giovanni Battista Bertucci the Elder, Doubting Thomas with a Donor Presented by Saint Anthony of Padua
Italian, c. 1500-1515
London, National Gallery



The Confession of Faith

In the second "type", which I am calling Thomas' "Confession of Faith", Saint Thomas is shown not only placing his finger into the wounds of Christ, but doing so while kneeling or at least shown with a knee bent, presumably on the way to fully kneeling.  This is the visual rendering of the moment when Thomas says "My Lord and my God!" (John 20:28).





Ivory Plaque, Doubting Thomas
German, c. 1140-1160
New  York, Metropolitan Museum of Art






Doubting Thomas
From a Vita Christi
English (East Anglia), c. 1190
Los Angeles, J. Paul Getty Museum
MS 101, fol. 89





Master Henri, Doubting Thomas
From the Images du Christ et de la Vierge
Belgian (Hainaut), c. 1285-1290
Paris, Bibliotheque nationale de France
MS NAF 16251, fol. 47v



Doubting Thomas
From Sermons by Maurice de Sully
Italian (Milan or Genoa), c. 1320-1330
Paris, Bibliotheque nationale de France
MS Francais 187, fol. 13v




Jean Pucelle and Workshop, Doubting Thomas
From a Gospel of John
French (Paris), c. 1323-1326
Paris, Bibliotheque nationale de France
MS Latin 10483, fol. 385r



Doubting Thomas
From a Vies de la Vierge et du Christ
Italian (Naples), c. 1350
Paris, Bibliotheque nationale de France
MS Francais 9561, fol. 187v






Jean le Noir and Workshop
From a Breviary
French (Paris), c. 1364-1370
Paris, Bibliotheque nationale de France
MS Latin 1052, fol. 300v





Giovanni da Milano, Doubting Thomas
Italian, c. 1365
Newark (DE), Alana Collection



Jean Bondol and Others, Doubting Thomas
From a Bible historiale by Guiard des Moulins
French (Paris), c. 1372-1373
The Hague, Meermano Museum
MS MMW 10 B 23, fol. 524v




Giovanni di Benedetto and Workshop, The Incredulity of Saint Thomas
From a Missal
Italian (Milan), c. 1385-1390
Paris, Bibliotheque nationale de France
MS Latin 757, fol. 364v



Alabaster Relief
English, Late 14th Century
London, Victoria and Albert Museum





The Incredulity of Saint Thomas
From the Pelerinage de Jesus-Christ by Guillaume de Digulleville
French (Rennes), c. 1425-1450
Paris, Bibliotheque nationale de France
MS Francais 376, fol. 226v






The Incredulity of Saint Thomas
From a Book of Hours
Italian (Naples), c. 1460
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 12, fol. 307v







Berthold Furtmeyr, Incredulity of Saint Thomas
From the Salzburger Missal
German (Regensburg), c. 1478-1489
Munich, Bayerisches Staatsbibliothek
MS Clm 15709, fol. 166v





Verrocchio. Doubting Thomas
Italian, c. 1476-1483
Florence, Orsanmichele





Master of the A H. Monogram, Doubting Thomas
French, c. 1505-1510
Lyon, Musée des Beaux-Arts





Andrea Briosco, Incredulity of Saint Thomas
Italian, c. 1520-1525
Vienna, Kunsthistorisches Museum, Kunstkammer




The Insistent Jesus

From about the beginning of the thirteenth century some pictures began to appear in which Christ no longer simply offers His wounded side for Thomas' touch, but grasps his hand to guide it into the wound.


 
Doubting Thomas
From the Psalter of St. Louis and Blanche of Castille
French (Paris), c. 1225
Paris, Bibliotheque nationale de France
MS 1186 reserve, fol. 26r (detail)





Jean le Tavernier and Follower, The Incredulity of Saint Thomas
From a Book of Hours
Flemish (Oudenaarde), c. 1450-1460
The Hague, Koninklijk Bibliotheek
MS KB 76 F 2, fol. 254r





Claes Brouwer, The Incredulity of Saint Thomas
From a History Bible
Dutch (Utrecht), c. 1430
The Hague, Koninklijk Bibliotheek
MS KB 78 D 38 II, fol. 198v





Master of the Flemish Boethius, The Incredulity of Saint Thomas
From a Bible
Flemish (Ghent), c. 1480
Paris, Bibliotheque nationale de France
MS Francais 181, fol. 161v





Jean Colombe, Doubting Thomas
From a Vita Jesu Christi by Ludolphe de Saxe
French (Bourges), c. 1475-1500
Paris, Bibliotheque nationale de France
MS Francais 179, fol. 186v




The Renaissance and Beyond

In the Renaissance period and after artists have continued to imagine this events using all of these themes and adding reactions other than awe to the other disciples.


Sometimes the same artist used different "types" for different paintings, as did, for example, Cima da Conegliano.



Giovanni Battista Cima da Conegliano, Doubting Thomas
Italian, c. 1502-1504
London, National Gallery




Giovanni Battista Cima da Conegliano, Doubting Thomas with Bishop Magno Looking On
Italian, c. 1503-1505
Venice, Gallerie dell'Accademia






Francesco Salviati, Doubting Thomas
Italian, c. 1543-1547
Paris, Musée du Louvre





Simon de Chalons, Doubting Thomas
French, c. 1550
Paris, Musée du Louvre




Maerten de Vos, Doubting Thomas
Flemish, 1574
Antwerp, Koninklijk Museum voor Schone Kunsten





Leandro Bassano, Doubting Thomas
Italian, c. 1592-1594
St. Petersburg, State Hermitage Museum





Caravaggio Changes the Artistic Conversation

Probably the most famous image, as well as the most powerful, is the painting by Caravaggio. True to his aesthetic of edgy, unrefined chiaroscuro realism the scene is presented without any softening idealism. Caravaggio's Jesus rather matter-of-factly guides Thomas’ finger into the wound in his side with his left hand, on which we can see the nail hole. Thomas, meanwhile, demonstrates intense concentration, from his wrinkled brow to the straining muscles in this neck. And, his expression is mirrored in the faces of two other disciples who are leaning in to watch.


Caravaggio, Doubting Thomas
Italian, c. 1601-1602
Potsdam, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, Sansouci Gemäldegalerie




This image had an immediate impact on how this subject was presented and in the century after Caravaggio most painters took this image as the formative one for the subject, although most have not presented it with anything like this “in your face” intensity.  Some presented it as an intense encounter between Jesus and Thomas, with perhaps a few onlookers, while others presented it as taking place in the midst of a room full of people.





Hendrick Terbrugghen, Doubting Thomas
Dutch, c. 1604
Amsterdam, Rijksmuseum




Eugenio Cajes, The Incredulity of Saint Thomas
Spanish, c. First Third of the 17th Century
Madrid, Museo Nacional del Prado





Rubens, Doubting Thomas
Flemish, c. 1613-1615
Antwerp, Koninklijk Museum voor Schone Kunsten






Guercino, The Incredulity of Saint Thomas
Italian, 1621
London, National Gallery





Wouter Pietersz. II Crabeth, Doubting Thomas
Dutch, c. 1626-1630
Amsterdam, Riijksmuseum






Rembrandt, Doubting Thomas
Dutch, 1634
Moscow, The Pushkin Museum






Simon Vouet, Doubting Thomas
French, 1636
Lyon, Musée des Beaux-Arts





Matthias Stom (or Stomer), Doubting Thomas
Dutch, c. 1644-1649
Madrid, Museo Nacional del Prado





Leendert van der Cooghen, Doubting Thomas
Dutch, 1654
The Hague, Mauritshuis Museum





Some artists did experiment with alternate ways of presenting the story while retaining the Caravaggesque chiaroscuro style.



Anthony Van Dyck, Incredulity of Saint Thomas
Flemish, c. 1625-1626
St. Petersburg, State Hermitage Museum





Mattia Preti, Doubting Thomas
Italian, c. 1656-1660
Vienna, Kunsthistorisches Museum





By the eighteenth century the influence of Caravaggio's great painting had diminished and artists began to draw back from this intense focus on the central action to present a more generalized image.  They also revert back to the "Confession of Faith" type, rarely used during the seventeenth century, in which Thomas kneels or begins to kneel.





Carlo Carlone, Doubting Thomas
Italian, c. 1750
Vienna, Belvedere Museum






Franz Georg Hermann the Younger, The Incredulity of Saint Thomas
German, 1762
Ettal, Abbey Church of the Assumption






Franz Anton Maulbertsch, Doubting Thomas
Austrian, c.1764
Vienna, Belvedere Museum




The nineteenth century saw a return to clarity and simplicity in the same mode as the Medieval and early Renaissance images.  They also seem to have favored the Confession of Faith type of composition, where Thomas is shown kneeling.  




Paul Baudry, Doubting Thomas
French, 1850
La Roche-sur-Yon, Musée municipal







Max Ritter von Widnmann, The Incredulity of Saint Thomas
German, 1863
Munich, Cathedral of Our Lady





James Tissot, Doubting Thomas
French, c. 1886-1894
New York, Brooklyn Museum
Tissot has added a new element to this work.  In all the previous images the wounds of Jesus appear naturalisticly, as open wounds.  Here Tissot has shown them as glowing star-like marks on the feet, hands and side.





© M. Duffy, 2011, amended 2017, edited with new visual material 2024.


Excerpts from the Lectionary for Mass for Use in the Dioceses of the United States of America, second typical edition © 2001, 1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with permission. All rights reserved. No portion of this text may be reproduced by any means without permission in writing from the copyright owner.