The figure who complicates this straightforward idea of a change is, of course, Doubting Thomas, who will not believe in the resurrection until he is invited to stick his finger into the wound in Christ’s side and feel it for himself. What’s fascinating about the figure of Doubting Thomas is that the desire that he expresses is both horrifying and understandable: there’s a sense of direct, unmediated, fleshly access to this divinity that it’s almost right to want, but, at the same time, this feeling that he’s doing something very transgressive. The greatest depiction of this figure that captures these two sides so wonderfully is the famous Caravaggio painting, which shows Thomas thrusting his finger into Christ’s side. The way in which Thomas’s body is depicted is amazing.


