Doubting Thomas?

Although it is not always popular or understood in evangelical circles, I am quite a fan of religious art. In this area I very much like the work of Caravaggio who painted in Italy around 1600. I especially like his calling of Mathew.

Another of his more famous works is Doubting Thomas:

Though it is a great work of art, I haven't liked it as a religious work of art until recently.

The bible narrative (John 20:24-29) tells how Thomas, not being present at the risen Jesus' appearance to the other disciples, demands proof before he will believe. He will not accept the account of the (soon to be) apostles, he wants nothing less than to see the nail marks in his hands. But even this is not enough, he wants to put his finger where the nails were, and put his hand into his side. Only then will he believe.

From what follows, I think John wants us to see that this is not what Thomas needs in order to believe. In verse 26-28 we read:

A week later his disciples were in the house again, and Thomas was with them. Though the doors were locked, Jesus came and stood among them and said, "Peace be with you!" Then he said to Thomas, "Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe."

Thomas said to him, "My Lord and my God!"

Thomas doesn't need to put his hand into Jesus wounds, and despite of verse 29, I don't think Thomas even needs to see the wounds with his eyes.

The evidence alone might make Thomas say "Jesus is Risen". But for him say to Jesus is "My Lord and my God" takes something more.

What Thomas actually needs is Jesus' command to "stop doubting and believe". It is Jesus who commands Thomas' confession of faith, not the evidence that commands it.

That is why I don't find Caravaggio's painting helpful as an artistic exposition of scripture.

Caravaggio's' Thomas is examining the scared Christ, something that isn't recorded in scripture. Thomas' finger, probing for truth, guided by the hand of Christ, is the focus of the work. Peter and Matthew(?) watch on. But their expressions are not ones that say "See Thomas, it is true, Jesus has risen". There faces watch with anticipation as the finger approaches to wound. They too are desiring the assurance that Thomas' investigative experience promises to give.

By painting it in this way, we too are being invited to put our hand in to the side of Christ and receive assurance, the assurance that all three men are wanting for.

But no matter how much you reach out in Caravaggio's world, all you will touch is oil and canvas.

Recently, instead of thinking of Caravaggio's work as a picture of "Doubting Thomas", I have come to think of it as a picture of the much more contemporary character: Mr. "Not so open minded" Sceptic.

I was started on this train of thought when I saw John Granville Gregory's brilliant reworking of Caravaggio's master piece entitled "Still Doubting"

The Thomas of Gregory's painting dose not look like an honest enquirer. He looks like a man, who having investigated will now stand up and say to his companions: "Well, that was very interesting. Of course, I don't believe a word of this Jesus stuff".

Gregory's work makes me think of the person on the Christianity explored table who, after being confronted with the best evidence still continues to happily ignore what appears plain to see.

There is after all, no such thing as an open minded sceptic. Until God works in the heart of a sinner, that heart is hard and closed to Christ and it will not be evidence but the holy spirit ministering the word that will bring about change.