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The Incredulity of St Thomas
c. 1601–02 · Öl auf Leinwand (oil on canvas) · Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg — Bildergalerie von Sanssouci, Potsdam
For the Second Sunday of Easter
Sizes
image 24×17.8 in on a 24×18 in sheet
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Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
Christ has Thomas by the wrist and guides the finger into His side. Four heads bend to one wound in the dark: no halo, no sky. The Stiftung Preußische Schlösser und Gärten captions it plainly, Christ leads the apostle's hand. Marcus Hurttig traces that deep touch to northern types, brought south against an Italian taste for the moment before contact. The Web Gallery of Art finds Christ's head kept most in shadow, as the least knowable. Caravaggio painted it for Vincenzo Giustiniani, whose 1638 inventory hangs it over a door. Glenn Most argues that John 20:27 records the invitation, never the touch. Here the finger is already in.
Sources: Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Bildergalerie von Sanssouci, Potsdam · Marcus Andrew Hurttig, Caravaggios Ungläubiger Thomas. Eine ikonographische Untersuchung, Saecvla Spiritalia 48 (Baden-Baden: Koerner, 2014) · Inventario Giustiniani, 1638: 'un quadro sopraporta di mezze figure con l'Historia di San Tomasso che tocca il Costato di Christo col dito … di mano di Michelangelo da Caravaggio' · Glenn W. Most, Doubting Thomas (Cambridge, MA: Harvard University Press, 2005) · Christ's head kept largely in shadow, 'as He is the person who is the least knowable'; the four heads united in one plane
Then he said to Thomas: Put in thy finger hither and see my hands. And bring hither the hand and put it into my side. And be not faithless, but believing.
John 20:27 · Douay-Rheims (Challoner)