670:
584:
517:
569:
538:
655:
40:
100:
553:
629:
613:
292:, including Byzantine icons. Where there was room all the apostles were often shown, and sometimes Thomas's acceptance of the Resurrection is shown, with Thomas kneeling and Jesus blessing him. This iconography leaves it unclear whether the moment shown follows an examination or not, but probably suggests that it does not, especially in Protestant art. From the late Middle Ages onwards a number of variations of the poses of the two figures occur (see gallery). The typical "touching" representation formed one of a number of scenes sometimes placed around a central
248:
347:
491:
285:, the subject, normally depicted at the moment Thomas puts his fingers into Jesus's side, was used to emphasize the importance of physical experiences and evidences for the believer, as described above. The Ravenna mosaic introduces the motif of Jesus raising his hand high to reveal the wound in his side; his pose often, but not always, is such that the wounds on his hands can also be seen, and often those on his feet as well.
727:, aware of Thomas's sceptical nature, appeared to him individually and dropped the girdle (cloth belt) she was wearing down onto him, to give him a physical proof of what he had seen. In other versions he is present at the actual Assumption, and the Virgin dropped her girdle down to him as she was taken up to heaven. The supposed girdle itself (
212:(first published in 1818) treated Thomas's incredulity, which he extended somewhat to the other apostles, approvingly, as evidence both of the veracity of the gospels, as a "forger" would be unlikely to have invented it, and of their proper suspicion of the seemingly impossible, demonstrating their reliability as witnesses. In the early church,
184:, the Catholic interpretation was that, although Jesus asserts the superiority of those who have faith without physical evidence, he was nonetheless willing to show Thomas his wound, and let him feel it. This was used by theologians as biblical encouragement for the use of physical experiences such as
430:
as an assertion of
Catholic doctrine against Protestant rejection of the Catholic practices which the episode was held to support, and Protestant belief in "faith alone". In the Catholic interpretation, although Jesus asserts the superiority of those who have faith without physical evidence, he was
583:
783:
on his own body, repeating the wounds of Jesus, which he kept until his death. According to the many who saw them, the wounds on his hands and feet were as if the nails still remained in place, and the nail-like projections could be moved. An early biographer of
Francis, Saint
139:
25 The other disciples therefore said unto him, We have seen the Lord. But he said unto them, Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not
358:), was taken from images with Thomas and turned into a pose adopted by Jesus alone, who often places his own fingers into the wound in his side. This form became a common feature of single iconic figures of Jesus and subjects such as the
766:
in Milan, shows an intermediate version, with Thomas hurrying towards the other apostles, and the Virgin taking off her girdle. In other works Thomas is catching the falling girdle, or has received the girdle and holds it.
568:
669:
552:
654:
411:
church also housed commercial tribunals, and the presentation of physical evidence gave the subject a particular relevance to courts and justice, and it appeared on many other buildings in
628:
223:
The theological interpretation of the episode has concentrated on it as a demonstration of the reality of the resurrection, but as early as the writings of the 4th- and 5th-century saints
788:(1221–1274), reported that a soldier called Jerome was sceptical and moved the "nails" about. Jerome is thought to be shown examining Francis' feet in the frescos of the Bardi Chapel of
516:
177:
the usual belief, reflected in artistic depictions, was that he had done so, which most
Catholic writers continued to believe, while Protestant writers often thought that he had not.
2424:
2671:
537:
612:
2727:
441:(c. 1601–1602) is now the most famous depiction (unusually showing Thomas to the viewer's right of Jesus), but there are many others, especially by the
2666:
490:
354:
In the later Middle Ages Jesus with one side of his robe pulled back, displaying the wound in his side and his other four wounds (called the
1345:
1132:
693:, probably dating from some time between 1463 and 1477, which takes 195 six-line stanzas to tell it. Other shorter cycles omit it, and the
433:
44:
723:, where the other apostles were present, Thomas once again missed the occasion (being on his way back from his mission to India), so the
420:
91:) has been frequently depicted since at least the 15th century, with its depiction reflecting a range of theological interpretations.
1230:
Gurewich, Vladimir (1957). "Observations on the
Iconography of the Wound in Christ's Side, with Special Reference to Its Position".
1651:
594:
466:
343:, comparing both the two Biblical Testaments and the support for the faith from both textual "sacred writ" and physical evidences.
640:
1223:, Vol. 30, No. 2 (1991), pp. 91–99, The University of Chicago Press on behalf of the International Center of Medieval Art,
2409:
450:
2686:
1583:
van Eck, Xander (1993). "From Doubt to
Conviction: Clandestine Catholic Churches as Patrons of Dutch Caravaggesque Painting".
1919:
1542:
1376:
17:
270:
2402:
1914:
1398:
809:
523:
473:
391:
2691:
1201:
Butterfield, Andrew (April 1992). "Verrocchio's Christ and St Thomas: Chronology, Iconography and
Political Context".
832:
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77:
39:
99:
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31:
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27 Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust
2717:
2712:
2477:
2469:
1815:
1334:
986:, p. 358 but the same detail is seen in the early 5th-century ivory box with scenes of the passion in the
324:
2149:
173:
Commentators have noted that John avoids saying whether Thomas actually did "thrust" his hand in. Before the
2676:
1644:
2732:
2540:
2453:
2063:
2650:
1219:
Cassidy, Brendan, "A Relic, Some
Pictures and the Mothers of Florence in the Late Fourteenth Century",
2448:
2419:
2005:
1995:
299:
180:
Regardless of the question of whether Thomas had felt as well as "seen" the physical evidence of the
2051:
575:
419:, heavily involved in the commission, also had a particular association with St Thomas, though the
216:
authors were very insistent that Thomas did not actually examine Jesus, and elaborated on this in
2722:
2325:
1894:
1637:
1452:
1203:
427:
294:
1429:
Pickard, John (August 1916). "The
Doubting Thomas: The Bronze Group by Andrea del Verrocchio'".
1136:
2353:
2057:
1924:
1857:
705:
The biblical episode generated two late medieval legends or stories, which also appear in art.
645:
174:
1366:
1324:
1313:
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in 1350–51, the girdle begins to feature in
Florentine art and to be shown worn by figures of
2119:
2045:
1974:
1939:
1899:
1532:
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694:
543:
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205:
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Protestant theologians emphasized Jesus's statement of the superiority of "faith alone" (see
181:
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2320:
2000:
1979:
1959:
598:(1613–1615), showing the hands, with an "almost invisible" wound on the "wrong" side; with
442:
8:
2390:
2380:
2109:
1119:
315:
228:
386:, and was used to emphasize Christ's suffering as well as the fact of his Resurrection.
160:
29 Jesus saith unto him, Thomas, because thou hast seen me, thou hast believed: blessed
2414:
2330:
2295:
2174:
2159:
2124:
2079:
1954:
1934:
1929:
1608:
1571:
1552:
Soper, Alexander Coburn (June 1938). "The Italo-Gallic School of Early
Christian Art".
1505:
1497:
1473:
1461:
1438:
1417:
1300:
1292:
1259:
1251:
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720:
690:
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is the best known representation; the subject is rare in free-standing sculpture. This
129:
69:
220:
accounts, perhaps tending to push their non-Gnostic opponents in the other direction.
108:
1600:
1538:
1509:
1394:
1372:
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1304:
1263:
1239:
776:
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559:
370:
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247:
1624:, Byzantine Collection Publications, Dumbarton Oaks: Trustees for Harvard University
1122:, Edited by Clifford Davidson, Originally Published in The York Corpus Christi Plays
137:
24 But Thomas, one of the twelve, called Didymus, was not with them when Jesus came.
2385:
2104:
1944:
1867:
1592:
1567:
1563:
1554:
1517:
1489:
1284:
1243:
1053:, pp. 230–232 on justice and Medici patronage of Thomas; for justice also see
739:, and its veneration was regarded as especially helpful for pregnant women. After
714:
661:
125:
2461:
1271:
Gurewich, Vladimir (1963). "Rubens and the Wound in Christ's Side. A Postscript".
346:
239:
of the sacrament of the Eucharist, what remained a recurring theme in commentary.
2441:
2260:
2144:
2038:
2027:
1964:
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1521:
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224:
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telling the story of the life of Jesus. It takes the whole of "Play 41" of the
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2139:
2114:
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987:
686:
500:
458:
376:
360:
303:
278:
265:, has been common since at least the early 6th century, when it appears in the
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26 And after eight days again his disciples were within, and Thomas with them:
121:
65:
64:
who refuses to believe without direct personal experience – a reference to the
2706:
2340:
2280:
2094:
1758:
1696:
1673:
1604:
1386:
763:
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446:
416:
319:
1450:
Rylands, Philip (April 1977). "Palma Vecchio's 'Assumption of the Virgin'".
2270:
400:
382:
329:
289:
251:
1493:
1315:
An Introduction to the Critical Study and Knowledge of the Holy Scriptures
146:
came Jesus, the doors being shut, and stood in the midst, and said, Peace
2645:
2640:
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2620:
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1949:
785:
724:
574:
Kneeling and showing, early 16th-century Swedish carved wood altarpiece,
232:
81:
1501:
1442:
1421:
445:, painting in a Protestant environment, such as the Flemish Caravaggist
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1969:
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797:
438:
210:
Introduction to the Critical Study and Knowledge of the Holy Scriptures
185:
49:
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2016:
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nonetheless willing to show Thomas his wound, and let him feel it.
2311:
2089:
2022:
1823:
1326:
The Spinelli of Florence: Fortunes of a Renaissance Merchant Family
1288:
1247:
924:
780:
740:
685:
The dramatic nature of the episode meant that it often featured in
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1629:
779:(1181/1182 – 1226) had a vision in 1224, after which he acquired
412:
333:
282:
274:
255:
213:
117:
61:
2225:
1408:
O'Rahilly, Alfred (June 1938). "The Stigmata of Saint Francis".
1016:
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1736:
1731:
1726:
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1706:
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675:"The incredulity of Thomas" from an English manuscript, c. 1504
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28 And Thomas answered and said unto him, My Lord and my God.
73:
72:, who, in John's account, refused to believe the resurrected
1166:
1049:, pp. 228–229 on Medici involvement in the commission,
992:
660:
From an Armenian Gospels manuscript dated 1609, held by the
2245:
936:
1060:
1523:
Iconography of Christian Art: the Passion of Jesus Christ
1156:
1154:
1534:
Saints and the Audience in Middle English Biblical Drama
1416:(106). Irish Province of the Society of Jesus: 177–198.
878:
876:
751:, iconic figures showing the Virgin Mary when pregnant.
1072:
1004:
888:
562:
and workshop, panel from a late 15th-century altarpiece
1585:
Simiolus: Netherlands Quarterly for the History of Art
1151:
1028:
861:
849:
957:, p. 188 listing several other early occurrences
873:
912:
837:
423:seems to reflect anti-Medici feeling in the 1540s.
1488:(1). Catholic University of America Press: 95–96.
1207:. Vol. 134, no. 1069. pp. 225–233.
900:
302:, and the subject of a large relief in the famous
156:into my side: and be not faithless, but believing.
1110:, Ch. 2 is entirely about the treatment of Thomas
2704:
1273:Journal of the Warburg and Courtauld Institutes
1232:Journal of the Warburg and Courtauld Institutes
449:, whose two versions of the subject are now in
426:The subject enjoyed a revival in popularity in
389:In the Renaissance the famous sculpted pair of
298:, and is one of the scenes shown on the Irish
288:The scene was used in a number of contexts in
1645:
1407:
1172:
754:The first version of the story is called the
192:and ritual in reinforcing Christian beliefs.
1322:
1184:
1054:
942:
796:and his workshop, and appears in some other
1323:Jacks, Philip J.; Caferro, William (2001).
1200:
1050:
1046:
930:
2728:Resurrection of Jesus in the New Testament
1652:
1638:
1365:Milburn, Robert Leslie Pollington (1988).
1472:
855:
87:In art, the episode (formally called the
1530:
1516:
1270:
1229:
1107:
1095:
1091:
1090:An eccentricity of Rubens, discussed in
1078:
1022:
1010:
998:
983:
867:
770:
345:
281:. In those depictions, as later in the
246:
98:
38:
1582:
1449:
1428:
1364:
1160:
1066:
1034:
971:
14:
2705:
1526:. Vol. 2. London: Lund Humphries.
1920:Jesus and the woman taken in adultery
1633:
1619:
1551:
1343:
1311:
967:
954:
894:
882:
368:has an early example of about 1235),
261:In art this subject, formally termed
1385:
1368:Early Christian Art and Architecture
918:
906:
843:
201:), although the evangelical-leaning
80:until he could see and feel Jesus's
1354:Syria. Archéologie, Art et histoire
708:
24:
1659:
1410:Studies: An Irish Quarterly Review
1371:. University of California Press.
810:Life of Jesus in the New Testament
700:
474:Royal Museum of Fine Arts, Antwerp
78:appeared to the ten other apostles
25:
2749:
1531:Scoville, Chester Norman (2004).
1094:, p. 362, and more fully in
680:
271:Basilica of Sant'Apollinare Nuovo
94:
966:Monza no. 9, Bobbio no. 10, see
668:
653:
627:
611:
582:
567:
551:
536:
515:
489:
32:Doubting Thomas (disambiguation)
2425:Pillar New Testament Commentary
1537:. University of Toronto Press.
1312:Horne, Thomas Hartwell (1836).
1125:
1113:
1101:
1084:
1040:
977:
960:
948:
508:Abbey of Santo Domingo de Silos
434:The Incredulity of Saint Thomas
312:Abbey of Santo Domingo de Silos
263:The Incredulity of Saint Thomas
45:The Incredulity of Saint Thomas
27:Episode from the Gospel of John
1568:10.1080/00043079.1938.11408677
1482:The Catholic Historical Review
826:
415:with judicial functions. The
325:Jacob Wrestling with the Angel
13:
1:
815:
314:. In works showing pairs of
164:they that have not seen, and
1431:The American Magazine of Art
1393:. Harvard University Press.
1348:Les Ampoules de Terre Sainte
820:
7:
2064:The truth will set you free
1476:(January 2006). "review of
803:
697:take 70 lines to cover it.
622:"non-touching" composition
235:interpretation, seen as an
10:
2754:
2651:Ohrid Glagolitic fragments
1193:
758:in art. An altarpiece by
712:
479:
116:The episode is related in
29:
2687:American Standard Version
2659:
2488:
2433:
2420:Second Apocalypse of John
2368:
2309:
2218:
2072:
2006:Disciple whom Jesus loved
1988:
1880:
1814:
1682:
1667:
638:in an especially complex
2052:That they all may be one
1622:Byzantine pilgrimage art
1346:"Review of André Grabar
1185:Jacks & Caferro 2001
1120:Play 41, Doubting Thomas
1055:Jacks & Caferro 2001
1025:, pp. 188–189, 202.
943:Jacks & Caferro 2001
933:, p. 232 and notes.
328:, but in a 10th-century
322:it could be paired with
318:scenes from the Old and
1895:Bread of Life Discourse
1453:The Burlington Magazine
1204:The Burlington Magazine
558:Kneeling and touching,
428:Counter-Reformation art
124:, but not in the three
2354:Via et veritas et vita
2145:Mary, sister of Martha
2058:Via et veritas et vita
719:In this story, at the
646:Geertgen tot Sint Jans
618:A 19th-century Danish
351:
300:Muiredach's High Cross
258:
242:
175:Protestant Reformation
171:
113:
53:
2718:Christian terminology
2713:Life of Christ in art
2692:World English Version
2046:Quod scripsi, scripsi
1975:Resurrection of Jesus
1494:10.1353/cat.2006.0113
1344:Leroy, Jules (1959).
1281:The Warburg Institute
790:Santa Croce, Florence
771:Incredulity of Jerome
756:Madonna of the Girdle
695:Chester Mystery Plays
544:Hendrick ter Brugghen
529:Andrea del Verrocchio
524:Christ and St. Thomas
397:Andrea del Verrocchio
392:Christ and St. Thomas
349:
316:typologically related
250:
208:, in his widely read
206:Thomas Hartwell Horne
182:Resurrection of Jesus
134:
102:
89:Incredulity of Thomas
42:
18:Incredulity of Thomas
2398:Johannine literature
2321:I am (biblical term)
1980:Restoration of Peter
1620:Vikan, Gary (1982),
1329:. Penn State Press.
1001:, pp. 102, 116.
443:Utrecht Caravaggisti
421:painting by Salviati
399:(1467–1483) for the
380:and Christ with the
295:Crucifixion of Jesus
231:it had been given a
68:'s depiction of the
30:For other uses, see
2445:(J. S. Bach, 1724)
2391:John the Evangelist
2381:Johannine community
2347:Resurrectio et Vita
2110:Joseph of Arimathea
2023:Feast of Dedication
1910:Healing a paralytic
1905:Healing a blind man
1474:Salisbury, Joyce E.
1187:, pp. 157–158.
1139:on 23 February 2015
1069:, pp. 224–228.
970:, p. 322 and
897:, pp. 111–112.
636:ostentatio vulnerum
576:Strängnäs Cathedral
476:) also painted it.
467:centrepiece of the
453:and Bergamo. Both
356:ostentatio vulnerum
350:Ostentatio vulnerum
229:Cyril of Alexandria
106:, a panel from his
2733:Thomas the Apostle
2682:King James Version
2478:The Gospel of John
2470:The Gospel of John
2415:Apocryphon of John
2336:Gate for the Sheep
2331:Light of the World
2028:"Love one another"
1955:Farewell Discourse
1930:Raising of Lazarus
1915:Healing a sick son
1480:by Glen W. Most".
1133:"Chester, Play 20"
1057:, pp. 160–161
721:Assumption of Mary
691:York Mystery Cycle
604:Nicolaas II Rockox
352:
336:it is paired with
259:
130:King James Version
128:. The text of the
114:
82:crucifixion wounds
54:
2700:
2699:
1876:
1875:
1544:978-0-8020-8944-1
1518:Schiller, Gertrud
1378:978-0-520-06326-6
1240:Warburg Institute
885:, pp. 24–25.
846:, pp. 79–80.
777:Francis of Assisi
749:Madonna del Parto
595:Rockox Altarpiece
560:Martin Schongauer
371:Christ in Majesty
366:Bamberg Cathedral
341:receiving the Law
16:(Redirected from
2745:
2677:Wycliffe Version
2410:Textual variants
2386:John the Apostle
2105:John the Baptist
1996:In the beginning
1945:Passion of Jesus
1925:Walking on water
1900:Feeding the 5000
1680:
1679:
1654:
1647:
1640:
1631:
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1625:
1616:
1579:
1555:The Art Bulletin
1548:
1527:
1513:
1469:
1460:(889): 244–250.
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1216:
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1158:
1149:
1148:
1146:
1144:
1135:. Archived from
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1111:
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1099:
1088:
1082:
1076:
1070:
1064:
1058:
1051:Butterfield 1992
1047:Butterfield 1992
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1008:
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931:Butterfield 1992
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859:
853:
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835:
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743:took control of
715:Girdle of Thomas
709:Girdle of Thomas
672:
662:Bodleian Library
657:
631:
615:
586:
571:
555:
540:
519:
493:
188:, veneration of
126:synoptic Gospels
21:
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2703:
2702:
2701:
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2442:St John Passion
2429:
2364:
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2296:Solomon's Porch
2214:
2120:Mother of Jesus
2068:
2039:Noli me tangere
2011:Doubting Thomas
1984:
1890:Wedding at Cana
1883:(chronological)
1882:
1872:
1810:
1671:
1663:
1658:
1628:
1597:10.2307/3780813
1545:
1478:Doubting Thomas
1437:(10): 410–414.
1401:
1391:Doubting Thomas
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831:
827:
823:
818:
806:
773:
737:Prato Cathedral
717:
711:
703:
701:Related legends
683:
676:
673:
664:
658:
649:
632:
623:
616:
607:
600:donor portraits
587:
578:
572:
563:
556:
547:
541:
532:
520:
511:
494:
484:
482:
469:Rockox Triptych
245:
225:John Chrysostom
170:
168:have believed.
159:
157:
151:
141:
138:
132:is as follows:
97:
58:doubting Thomas
35:
28:
23:
22:
15:
12:
11:
5:
2751:
2741:
2740:
2735:
2730:
2725:
2723:Gospel of John
2720:
2715:
2698:
2697:
2695:
2694:
2689:
2684:
2679:
2674:
2669:
2663:
2661:
2657:
2656:
2654:
2653:
2648:
2643:
2638:
2633:
2628:
2623:
2618:
2613:
2608:
2603:
2598:
2593:
2588:
2583:
2578:
2573:
2568:
2563:
2558:
2553:
2548:
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2508:
2503:
2498:
2492:
2490:
2486:
2485:
2483:
2482:
2474:
2466:
2458:
2457:
2456:
2451:
2437:
2435:
2431:
2430:
2428:
2427:
2422:
2417:
2412:
2407:
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2395:
2394:
2393:
2388:
2383:
2372:
2370:
2366:
2365:
2363:
2362:
2357:
2350:
2343:
2338:
2333:
2328:
2323:
2317:
2315:
2307:
2306:
2304:
2303:
2298:
2293:
2291:Sea of Galilee
2288:
2283:
2278:
2273:
2268:
2263:
2258:
2253:
2248:
2243:
2238:
2233:
2228:
2222:
2220:
2216:
2215:
2213:
2212:
2207:
2202:
2197:
2192:
2187:
2183:
2182:
2177:
2172:
2167:
2165:Pontius Pilate
2162:
2157:
2152:
2147:
2142:
2140:Mary Magdalene
2137:
2132:
2127:
2122:
2117:
2115:Judas Iscariot
2112:
2107:
2102:
2097:
2092:
2087:
2082:
2076:
2074:
2070:
2069:
2067:
2066:
2061:
2054:
2049:
2042:
2035:
2030:
2025:
2020:
2013:
2008:
2003:
1998:
1992:
1990:
1986:
1985:
1983:
1982:
1977:
1972:
1967:
1962:
1957:
1952:
1947:
1942:
1937:
1932:
1927:
1922:
1917:
1912:
1907:
1902:
1897:
1892:
1886:
1884:
1878:
1877:
1874:
1873:
1871:
1870:
1865:
1860:
1855:
1850:
1820:
1818:
1812:
1811:
1809:
1808:
1803:
1802:
1801:
1796:
1791:
1786:
1781:
1776:
1771:
1766:
1756:
1755:
1754:
1749:
1744:
1739:
1734:
1729:
1724:
1719:
1714:
1709:
1704:
1694:
1688:
1686:
1677:
1665:
1664:
1661:Gospel of John
1657:
1656:
1649:
1642:
1634:
1627:
1626:
1617:
1591:(4): 217–234.
1580:
1562:(2): 145–192.
1549:
1543:
1528:
1514:
1470:
1447:
1426:
1405:
1400:978-0674041257
1399:
1387:Most, Glenn W.
1383:
1377:
1362:
1341:
1335:
1320:
1309:
1289:10.2307/750501
1268:
1248:10.2307/750787
1227:
1217:
1197:
1195:
1192:
1190:
1189:
1177:
1175:, p. 191.
1173:O'Rahilly 1938
1165:
1163:, p. 249.
1150:
1124:
1112:
1100:
1083:
1081:, p. 362.
1071:
1059:
1039:
1037:, p. 413.
1027:
1015:
1013:, p. 130.
1003:
991:
988:British Museum
976:
959:
947:
945:, p. 159.
935:
923:
911:
909:, p. 121.
899:
887:
872:
870:, p. 188.
860:
856:Salisbury 2006
848:
836:
824:
822:
819:
817:
814:
813:
812:
805:
802:
772:
769:
713:Main article:
710:
707:
702:
699:
687:medieval drama
682:
681:Medieval drama
679:
678:
677:
674:
667:
665:
659:
652:
650:
648:(c. 1485–1495)
641:Man of Sorrows
633:
626:
624:
617:
610:
608:
588:
581:
579:
573:
566:
564:
557:
550:
548:
542:
535:
533:
521:
514:
512:
495:
488:
481:
478:
459:Pushkin Museum
377:Man of Sorrows
361:Last Judgement
320:New Testaments
279:Monza ampullae
244:
241:
135:
122:Gospel of John
96:
95:Gospel account
93:
70:Apostle Thomas
66:Gospel of John
26:
9:
6:
4:
3:
2:
2750:
2739:
2736:
2734:
2731:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2710:
2708:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2672:Latin Vulgate
2670:
2668:
2665:
2664:
2662:
2658:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2497:
2494:
2493:
2491:
2487:
2480:
2479:
2475:
2472:
2471:
2467:
2464:
2463:
2459:
2455:
2452:
2450:
2447:
2446:
2444:
2443:
2439:
2438:
2436:
2432:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2408:
2404:
2401:
2400:
2399:
2396:
2392:
2389:
2387:
2384:
2382:
2379:
2378:
2377:
2374:
2373:
2371:
2367:
2361:
2358:
2356:
2355:
2351:
2349:
2348:
2344:
2342:
2341:Good Shepherd
2339:
2337:
2334:
2332:
2329:
2327:
2326:Bread of Life
2324:
2322:
2319:
2318:
2316:
2313:
2308:
2302:
2299:
2297:
2294:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2254:
2252:
2249:
2247:
2244:
2242:
2239:
2237:
2234:
2232:
2229:
2227:
2224:
2223:
2221:
2217:
2211:
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2191:
2188:
2185:
2184:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2126:
2123:
2121:
2118:
2116:
2113:
2111:
2108:
2106:
2103:
2101:
2098:
2096:
2095:Herod Antipas
2093:
2091:
2088:
2086:
2083:
2081:
2078:
2077:
2075:
2071:
2065:
2062:
2060:
2059:
2055:
2053:
2050:
2048:
2047:
2043:
2041:
2040:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2018:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
1994:
1993:
1991:
1987:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1961:
1958:
1956:
1953:
1951:
1948:
1946:
1943:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1913:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1891:
1888:
1887:
1885:
1879:
1869:
1866:
1864:
1861:
1859:
1856:
1854:
1851:
1849:
1845:
1841:
1837:
1833:
1829:
1825:
1822:
1821:
1819:
1817:
1813:
1807:
1804:
1800:
1797:
1795:
1792:
1790:
1787:
1785:
1782:
1780:
1777:
1775:
1772:
1770:
1767:
1765:
1762:
1761:
1760:
1759:Book of Glory
1757:
1753:
1750:
1748:
1745:
1743:
1740:
1738:
1735:
1733:
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1699:
1698:
1697:Book of Signs
1695:
1693:
1690:
1689:
1687:
1685:
1681:
1678:
1675:
1674:New Testament
1670:
1666:
1662:
1655:
1650:
1648:
1643:
1641:
1636:
1635:
1632:
1623:
1618:
1614:
1610:
1606:
1602:
1598:
1594:
1590:
1586:
1581:
1577:
1573:
1569:
1565:
1561:
1557:
1556:
1550:
1546:
1540:
1536:
1535:
1529:
1525:
1524:
1519:
1515:
1511:
1507:
1503:
1499:
1495:
1491:
1487:
1483:
1479:
1475:
1471:
1467:
1463:
1459:
1455:
1454:
1448:
1444:
1440:
1436:
1432:
1427:
1423:
1419:
1415:
1411:
1406:
1402:
1396:
1392:
1388:
1384:
1380:
1374:
1370:
1369:
1363:
1359:
1356:(in French).
1355:
1351:
1349:
1342:
1338:
1332:
1328:
1327:
1321:
1317:
1316:
1310:
1306:
1302:
1298:
1294:
1290:
1286:
1282:
1278:
1274:
1269:
1265:
1261:
1257:
1253:
1249:
1245:
1241:
1237:
1233:
1228:
1226:
1222:
1218:
1214:
1210:
1206:
1205:
1199:
1198:
1186:
1181:
1174:
1169:
1162:
1157:
1155:
1138:
1134:
1128:
1121:
1116:
1109:
1108:Scoville 2004
1104:
1098:, p. 358
1097:
1096:Gurewich 1963
1093:
1092:Gurewich 1957
1087:
1080:
1079:Gurewich 1957
1075:
1068:
1063:
1056:
1052:
1048:
1043:
1036:
1031:
1024:
1023:Schiller 1972
1019:
1012:
1011:Schiller 1972
1007:
1000:
999:Schiller 1972
995:
989:
985:
984:Gurewich 1957
980:
974:, p. 264
973:
969:
963:
956:
951:
944:
939:
932:
927:
920:
915:
908:
903:
896:
891:
884:
879:
877:
869:
868:Schiller 1972
864:
858:, p. 95.
857:
852:
845:
840:
834:
833:John 20:24–29
829:
825:
811:
808:
807:
801:
799:
795:
791:
787:
782:
778:
768:
765:
764:Brera Gallery
762:, now in the
761:
760:Palma Vecchio
757:
752:
750:
746:
742:
738:
734:
730:
729:Sacra Cintola
726:
722:
716:
706:
698:
696:
692:
688:
671:
666:
663:
656:
651:
647:
643:
642:
637:
630:
625:
621:
614:
609:
605:
601:
597:
596:
591:
585:
580:
577:
570:
565:
561:
554:
549:
545:
539:
534:
530:
526:
525:
518:
513:
509:
505:
502:
498:
492:
487:
486:
485:
477:
475:
471:
470:
464:
460:
456:
452:
448:
447:Matthias Stom
444:
440:
436:
435:
429:
424:
422:
418:
417:Medici family
414:
410:
406:
402:
398:
394:
393:
387:
385:
384:
379:
378:
373:
372:
367:
363:
362:
357:
348:
344:
342:
340:
335:
331:
327:
326:
321:
317:
313:
309:
305:
301:
297:
296:
291:
286:
284:
280:
277:, and on the
276:
272:
268:
264:
257:
253:
249:
240:
238:
234:
230:
226:
221:
219:
215:
211:
207:
204:
200:
199:
193:
191:
187:
183:
178:
176:
169:
167:
163:
155:
149:
145:
133:
131:
127:
123:
119:
111:
110:
105:
101:
92:
90:
85:
83:
79:
75:
71:
67:
63:
59:
51:
47:
46:
41:
37:
33:
19:
2476:
2468:
2465:(Pärt, 1982)
2460:
2440:
2352:
2345:
2271:Jordan River
2261:Jacob's Well
2100:Jesus Christ
2056:
2044:
2037:
2015:
2010:
1940:Foot washing
1806:Epilogue: 21
1621:
1588:
1584:
1559:
1553:
1533:
1522:
1485:
1481:
1477:
1457:
1451:
1434:
1430:
1413:
1409:
1390:
1367:
1357:
1353:
1347:
1325:
1318:. R. Carter.
1314:
1276:
1272:
1235:
1231:
1220:
1202:
1180:
1168:
1161:Rylands 1977
1141:. Retrieved
1137:the original
1127:
1115:
1103:
1086:
1074:
1067:van Eck 1993
1062:
1042:
1035:Pickard 1916
1030:
1018:
1006:
994:
979:
972:Milburn 1988
962:
950:
938:
926:
914:
902:
890:
863:
851:
839:
828:
774:
755:
753:
728:
718:
704:
684:
639:
635:
593:
522:
483:
468:
432:
425:
401:Orsanmichele
390:
388:
383:Arma Christi
381:
375:
369:
359:
355:
353:
337:
323:
293:
290:medieval art
287:
262:
260:
222:
209:
196:
194:
179:
172:
165:
161:
153:
147:
143:
136:
115:
107:
88:
86:
57:
55:
43:
36:
2489:Manuscripts
2481:(2014 film)
2473:(2003 film)
2454:Discography
2434:Adaptations
2403:Holy Spirit
2170:Simon Peter
1960:Crucifixion
1950:Last Supper
1242:: 358–362.
786:Bonaventure
725:Virgin Mary
531:(1467–1483)
233:eucharistic
186:pilgrimages
112:(1308–1311)
2707:Categories
2667:Greek Text
2376:Authorship
2205:Samaritans
2033:Jesus wept
1970:Empty tomb
1336:0271019247
968:Leroy 1959
955:Soper 1938
895:Horne 1836
883:Vikan 1982
816:References
798:Franciscan
501:Romanesque
439:Caravaggio
304:Romanesque
218:apocryphal
118:chapter 20
50:Caravaggio
2496:Papyrus 2
2449:Structure
2360:True Vine
2314:" sayings
2266:Jerusalem
2251:Capernaum
2241:Bethsaida
2231:Bethabara
2210:Sanhedrin
2200:Sadducees
2195:Pharisees
2155:Nicodemus
2150:Nathanael
2017:Ecce homo
1935:Anointing
1605:0037-5411
1510:161105370
1305:194963813
1264:192284546
919:Most 2009
907:Most 2009
844:Most 2009
821:Citations
546:, c. 1622
510:, c. 1150
455:Rembrandt
306:sculpted
198:sola fide
150:unto you.
52:, c. 1602
2090:Caiaphas
1824:John 1:1
1684:Chapters
1520:(1972).
1502:25027014
1443:20559503
1422:30097539
1389:(2009).
1143:30 March
921:, Ch. 2.
804:See also
781:stigmata
741:Florence
620:Lutheran
504:cloister
405:Florence
330:Ottonian
308:cloister
252:Ottonian
237:allegory
203:Anglican
140:believe.
2660:Sources
2369:Related
2286:Samaria
2256:Galilee
2236:Bethany
2180:Zebedee
2130:Malchus
2125:Lazarus
1989:Phrases
1868:20:1–31
1613:3780813
1576:3046576
1283:: 358.
1279:(3/4).
1238:(3/4).
1194:Sources
800:works.
731:) is a
506:at the
499:in the
480:Gallery
413:Tuscany
364:(where
334:diptych
310:at the
283:Baroque
275:Ravenna
267:mosaics
256:diptych
214:Gnostic
120:of the
62:skeptic
2462:Passio
2301:Sychar
2281:Kidron
2219:Places
2190:Angels
2186:Groups
2175:Thomas
2160:Philip
2135:Martha
2080:Andrew
2073:People
1965:Burial
1881:Events
1816:Verses
1692:John 1
1611:
1603:
1574:
1541:
1508:
1500:
1466:878802
1464:
1441:
1420:
1397:
1375:
1333:
1303:
1297:750501
1295:
1262:
1254:
1213:885119
1211:
794:Giotto
775:Saint
592:, the
590:Rubens
497:Relief
463:Rubens
461:) and
451:Madrid
374:, the
332:ivory
254:ivory
190:relics
109:Maestà
104:Duccio
2738:Doubt
2276:Judea
2085:Annas
2001:Logos
1863:18:38
1669:Bible
1609:JSTOR
1572:JSTOR
1506:S2CID
1498:JSTOR
1462:JSTOR
1439:JSTOR
1418:JSTOR
1301:S2CID
1293:JSTOR
1260:S2CID
1256:50787
1252:JSTOR
1225:JSTOR
1221:Gesta
1209:JSTOR
745:Prato
733:relic
409:guild
339:Moses
74:Jesus
60:is a
2312:I AM
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