Caravaggio’s The Incredulity of Saint Thomas, painted between 1601 and 1602 is one of Caravaggio’s most gripping, disturbing, and redemptive works. A figurative reproduction of a tale from St John's Gospel, the artist portrays the moment in which the Apostle Thomas, unaware of Christ’s resurrection from the dead, insisted on probing the wound made by a Roman spear while Jesus was on the cross. If he did not inspect the incision with his hands, he declared that he would not believe. Soon after, Christ revealed himself to Thomas, declaring: 'Blessed are those who have not seen and yet have believed.' A popular theme during the Renaissance and for many artists following the heady years of intellectual optimism, if one places any other reproduction of the scene next to Caravaggio’s, the other appears muted, distant, and congenial in comparison. Caravaggio’s The Incredulity of Saint Thomas manages to express with flinching precision the inquisitive hands fingering their way into the mortal flesh of Christ.

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