Art Doubting Thomas

ottonian ivory diptych

in art subject, formally termed incredulity of saint thomas, has been common since @ least 6th century, when appears in mosaics @ basilica of sant apollinare nuovo in ravenna, , on monza ampullae. in depictions, later in baroque, subject, depicted @ moment thomas puts fingers jesus side, used emphasize importance of physical experiences , evidences believer, described above. ravenna mosaic introduces motif of jesus raising hand high reveal wound in side; pose often, not always, such wounds on hands can seen, , on feet well.

the scene used in number of contexts in medieval art, including byzantine icons. there room apostles shown, , thomas acceptance of resurrection shown, thomas kneeling , jesus blessing him. iconography leaves unclear whether moment shown follows examination or not, suggests not, in protestant art. late middle ages onwards number of variations of poses of 2 figures occur (see gallery). typical touching representation formed 1 of number of scenes placed around central crucifixion of jesus, , 1 of scenes shown on irish muiredach s high cross, , subject of large relief in famous romanesque sculpted cloister @ abbey of santo domingo de silos. in works showing pairs of typologically related scenes old , new testaments paired jacob wrestling angel, in 10th-century ottonian ivory diptych paired moses receiving law, comparing both 2 biblical testaments , support faith both textual sacred writ , physical evidences.

ostentatio vulnerum

in later middle ages jesus 1 side of robe pulled back, displaying wound in side , other 4 wounds (called ostentatio vulnerum), taken images thomas , turned pose adopted jesus alone, places own fingers wound in side. form became common feature of single iconic figures of jesus , subjects such last judgement (where bamberg cathedral has example of 1235), christ in majesty, man of sorrows , christ arma christi, , used emphasize christ s suffering fact of resurrection.

in renaissance famous sculpted pair of christ , st. thomas andrea del verrocchio (1467–1483) orsanmichele in florence best known representation; subject rare in free-standing sculpture. guild church housed commercial tribunals, , presentation of physical evidence gave subject particular relevance courts , justice, , appeared on many other buildings in tuscany judicial functions. medici family, heavily involved in commission, had particular association st thomas, though painting salviati seems reflect anti-medici feeling in 1540s.

the subject enjoyed revival in popularity in counter-reformation art assertion of catholic doctrine against protestant rejection of catholic practices episode held support, , protestant belief in faith alone . in catholic interpretation, although jesus asserts superiority of have faith without physical evidence, nonetheless willing show thomas wound, , let him feel it. incredulity of saint thomas caravaggio (c. 1601–1602) famous depiction (unusually showing thomas viewer s right of jesus), there many others, utrecht caravaggisti, painting in protestant environment. both rembrandt (pushkin museum) , rubens (centrepiece of rockox triptych, royal museum of fine arts, antwerp) painted it.