A few weeks ago I was in Rome. In the church of Santa Croce in Gerusalemme, my travel companion and I saw an altarpiece with the apostle Thomas, about to touch the wound in Christ’s side. Thomas simply could not believe that someone — Christ, that is — had risen from the dead. Thomas had to see and feel that the person in front of him was real and alive, that this truly was Christ risen! Thomas was doubting.
Rome, Basilica di Santa Croce in Gerusalemme: Saint Thomas the Apostle puts his finger into Christ’s body. Painted by Giuseppe Passeri (1654 – 1714)
We discussed the whole story and wondered what the message was to viewers across the centuries. And then my friend, who has a more Buddhist background, said: “It’s human to doubt!” And yes, that is exactly what it is. Doubting is allowed, and even healthy when such an unbelievable event as a resurrection is happening right in front of you.
The Basilica of Santa Croce in Gerusalemme contains a chapel dedicated to Saint Thomas the Apostle, the first chapel on the left when entering, with the altarpiece painted by Giuseppe Passeri (1654 – 1714) depicting Thomas inserting his finger into Christ’s side. What makes this chapel even more remarkable is its connection to the nearby Chapel of Relics, which houses a bone of an index finger, believed to be the very finger of Saint Thomas that he placed into Christ’s side. The church literally preserves the finger that doubted.
Let’s dive a bit deeper into the story of the Doubting Thomas and his Incredulity. It is a story held together by a single wound — made by a lance, displayed at the Resurrection, and touched by Thomas’ finger. We will follow this thread through four chapters:
Let’s start with the wound in Christ’s side; how did it get there? It happened during the Crucifixion of Christ, on the hill Golgotha, just outside Jerusalem. When the soldiers inspected the three crucified ones, it seemed that Jesus was already dead. To make absolutely certain, one of the soldiers pierced his side with a lance. That soldier was Longinus.
Anthony van Dyck’s monumental Le Coup de Lance (The Lance Thrust) from the KMSKA in Antwerp (1620) and Jan Provoost’s dramatic Crucifixion from the Groeningemuseum in Bruges (c.1503) show the moment of the lance thrust itself, Longinus driving his spear into Christ’s side in the presence of the crowd at Golgotha.
There is a wonderful detail in Van Dyck’s painting that cannot go unnoticed. At the foot of the cross, a woman — Mary Magdalene — is pleading with Longinus not to pierce the body of Christ. “Stop, please don’t do that!” she seems to say, her hands raised in desperate appeal. She knows Christ is already dead, and that this Coup de Lance will be an unnecessary mutilation of his body.
The name Longinus does not appear in the Bible itself. John’s Gospel (19:34) simply speaks of “one of the soldiers.” His name comes from later tradition, most likely derived from the Greek word λόγχη (longche) meaning lance or spear. The story is then richly elaborated in the Golden Legend (Legenda Aurea) by Jacobus de Voragine (c.1260), the great medieval encyclopedia of saints’ lives that was probably the most widely read book in Europe after the Bible itself, and that was the primary source for painters and illuminators for centuries.
According to the Golden Legend, Longinus suffered from a serious eye disease and had very poor sight. As he drove the lance into Christ’s side, blood ran down the shaft and onto his hands. When he raised his hands to his eyes, the blood touched them — and his sight was miraculously restored. At that very moment, Longinus saw clearly, in every sense of the word. He saw the man he had just pierced. He saw who that man truly was. And he believed.
Longinus is the first person to experience what we might call empirical faith; faith arrived at through direct, physical, sensory contact with Christ’s wound. His story is an extraordinary “seeing is believing” story in the most literal sense imaginable: he was blind, and then he saw. And in seeing, he believed.
Many scholars and theologians have suggested that Longinus is one and the same as the soldier described in the Gospels of Matthew (27:54) and Mark (15:39), who, standing at the foot of the cross, declared: “Truly this man was the Son of God.” Whether or not this identification is correct, Matthew and Mark share the same moment of conversion: a Roman soldier, a representative of the imperial power that crucified Christ, suddenly and irrevocably transformed into a believer.
The eye-healing miracle is vividly depicted in two works in this section. The illumination above from the manuscript Tratados Varios (1432) in the Biblioteca Nacional de España in Madrid shows the blood splashing directly into Longinus’ eye in a startlingly literal way. Medieval illuminators had no hesitation in depicting the miraculous with absolute clarity. Simone Martini’s exquisite small panel Le Coup de Lance (c.1325), part of the Orsini Polyptych and now also in the KMSKA in Antwerp, shows the same moment, see hereunder.
A detail that is almost impossible to notice at first glance — I only discovered it when visiting the KMSKA in Antwerp and studying this tiny panel up close. The figure with the red-sleeved arm, standing directly behind Longinus, is guiding Longinus’ hand as he strikes Christ’s side. As if Simone Martini wants to make it absolutely clear: Longinus has such poor eyesight that he cannot even aim the lance without help. This detail, combined with the blood that subsequently runs down the shaft of the lance and splashes into Longinus’ eyes — restoring his sight in that very moment — makes the miracle of seeing again even more dramatic and moving. So much story packed into such a tiny panel.
Longinus left the army, was baptised, and according to tradition became a monk in Cappadocia in present-day Turkey, where he was eventually martyred. He is venerated as a saint in both the Catholic and Orthodox churches, his feast day celebrated on March 15th.
We close this section with Gian Lorenzo Bernini’s colossal marble statue of Saint Longinus (c.1630), standing nearly four and a half metres tall in the crossing of St. Peter’s Basilica in the Vatican.
Bernini shows Longinus at the very moment of his conversion — arms flung wide, head thrown back and looking up, his whole body an expression of overwhelming revelation. In his hand the lance. He no longer needs it. He has already seen.
The Resurrection
Let us pause for a moment and consider what actually happened here, or what the Gospel tells us happened. A man was crucified, died on the cross, was taken down and laid in a sealed tomb. Three days later, that same man walked out of the tomb, alive. This is not a minor miracle. This is an extraordinary and frankly (almost) unbelievable event. A resurrection from the dead; life conquering death. It defies everything we know about the human body and the natural world. And yet, this is precisely what the disciples were asked to believe. But Thomas had his doubts.
But before we get to Thomas, let us look at the man who walked out of that tomb. Because if we trust the painters, Christ did not stumble out pale and exhausted. He emerged triumphant — looking, frankly, magnificent. Strong, athletic, radiant. More sport-star than returning corpse.
Piero della Francesca’s Resurrection (1463) in Sansepolcro is perhaps the most powerful image of the risen Christ ever made. One foot planted on the tomb, banner of victory in hand, his gaze direct and unflinching. And there at his feet, the Roman soldiers posted to guard the tomb are fast asleep. The power of Rome, the same imperial power that crucified Christ and sent Longinus with his lance, is dozing at the feet of the risen Lord. Death has failed. Life has won.
Look carefully at Piero’s Christ and you will see the wound in his side — the same wound that Longinus made with his lance, the same wound that will shortly become the centre of Thomas’ doubt and faith. It is still there, on the body of the risen Christ. He carries it with him out of the tomb. The wound is not erased by the Resurrection; it remains, visible and real, as if to say: yes, this happened. This body suffered. And yet here I stand.
The Incredulity of Thomas
Before we get to Thomas himself, let us look at what happened just before his famous moment of doubt. After the Resurrection, Christ appeared to his disciples, saying “Peace be with you” (John 20:19). He showed them his hands with the holes caused by the nails from the Crucifixion. They saw. They believed. They were overjoyed. But Thomas was absent. He missed it. And when the others told him what they had seen, Thomas refused to believe them. Thomas, being Thomas, was not prepared simply to take their word for it.
Rubens captures this earlier moment beautifully in the central panel of the Rockox Triptych (c.1614), now in the KMSKA or Royal Museum of Fine Arts in Antwerp. Christ appears before three astonished disciples — most likely Peter, John and James, Christ’s three closest followers, who witnessed several of his miracles as well as his Resurrection. They see. They believe. No further evidence required.
Notice what Rubens has deliberately left out: the wound in Christ’s side is not shown. There is no finger in the wound, no moment of physical verification. These three disciples need none of that. They are the easy believers; one look at the risen Christ is enough. Faith comes naturally and immediately to them.
Thomas is a very different kind of person from Peter, John and James. Where they believe instinctively, Thomas needs evidence. He is not weak or faithless, he is rational. He is, in a sense, the first sceptic and enlightened thinker, a man who refuses to accept an almost impossible miracle on someone else’s word alone. He wants to see for himself. He wants to touch. He needs empirical proof.
Thomas’ conditions are mentioned in the Gospel of John (20:25) with remarkable precision: “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.” You could say that Thomas, standing there among his fellow disciples two thousand years ago, was doing something that we today would recognise as entirely reasonable. He was asking for evidence. He was thinking like a scientist.
And then there is Caravaggio. The Incredulity of Thomas (c.1601), now in the Sanssouci Gemäldegalerie in Potsdam, is one of the most shockingly physical paintings in the history of Western art. There is nothing spiritual here, nothing that softens the raw reality of what is happening. Thomas’ finger is inside the wound. Not near it, not touching it — it’s inside it, pressed into the flesh, the skin folding around it. Christ himself guides Thomas’s hand, almost insistently. Two other disciples crane forward to see, their faces creased with astonished concentration. Everyone in this painting needs to see. Everyone needs to know.
Caravaggio strips the scene of all its theological comfort and confronts us with the human fact of Thomas’ doubt. This is not a failure of faith — it is an act of courage. Thomas does what the others could not bring themselves to do. He reaches out. He touches. He needs to know, and he is not ashamed of that need. And in that moment — finger in the wound, flesh meeting flesh — doubt transforms into the most absolute declaration of faith when Thomas said to Him: “My Lord and my God” (John 20:28).
It is worth noting what Christ says to Thomas immediately afterwards: “Because you have seen me, you have believed; blessed are those who have not seen and yet have believed” (John 20:29). These words are sometimes read as a gentle reproach — as if Thomas’s need for evidence was somehow less admirable than the blind faith of the others. But they can equally be read as simply a statement of fact, even a compassionate one. Christ does not refuse Thomas his evidence. He offers his wound willingly, openly, without condition.
Doubting is human. And even Christ, it seems, understands that.
The Holy Lance
And so we arrive at the object itself — or at least, at the object that for centuries has been believed to be the object itself. The lance. The spear. The weapon that made the wound that started this whole story.
We have followed that wound from Golgotha through the Resurrection to Thomas’ outstretched finger. And here it is — or here it claims to be — a 51 centimetre piece of iron and gold in a glass case in the Imperial Treasury, the Kaiserliche Schatzkammer, in Vienna.
But here is the thing: Vienna is not the only city with a Holy Lance. There is one in Rome, kept in St. Peter’s Basilica — the very church where Bernini’s Longinus stands with his lance, arms flung wide. There is one in Kraków, in the treasury of Wawel Cathedral. The Cathedral of Etchmiadzin in Armenia also claims to possess the Holy Lance, claimed to be among the oldest. They cannot all be the original. They may none of them be the original.
And yet. Does it matter? Does the lance in Vienna or the one in Armenia need to be the actual spear that Longinus drove into Christ’s side in order to be meaningful? Perhaps not. Perhaps what matters is not the object itself but what it represents — the wound, the moment of conversion, the chain of seeing and believing that runs from Golgotha through the Resurrection to Thomas’ outstretched finger. For the pilgrims who knelt before it, for the medieval faithful who believed that merely being in its presence conferred protection and courage — the lance worked. It gave strength. It gave hope. It gave meaning in difficult times.
Thomas would have had serious doubts about every single one of them. Thomas would have wanted to touch it, of course. To run his finger along the blade. To feel the metal, the age, the weight of all those centuries of belief and doubt. He would have examined it carefully, raised an eyebrow, and quite possibly remained unconvinced.
Doubt keeps us sharp; as sharp, perhaps, as the tip of a lance. “Blessed are those who have not seen and yet have believed”, but blessed too, we might add, are those who keep asking questions.
In religious contexts, the term “apostles” typically refers to the twelve individuals chosen by Jesus Christ to be his closest followers and to spread his teachings. They are also known as the Twelve Apostles or the Apostles of Jesus. The apostles played a significant role in the development and early spread of Christianity. They witnessed Jesus’ teachings, miracles, crucifixion, and resurrection. After Jesus’ ascension into heaven, the apostles became central figures in the formation of the early Christian community. They preached the gospel, performed miracles, and established churches in different regions. The word “apostle” comes from the Greek word “apostolos,” meaning “one who is sent out.” The twelve apostles are traditionally identified as:
Peter: fisherman, leader of the apostles and first pope according to Catholic tradition.
Andrew: brother of Peter, also a fisherman.
John: “The Beloved One”, known as the author of the Gospel of John.
James: the pilgrim, also referred to as James the Greater.
Matthew: former tax collector, maybe the author of the Gospel of Matthew.
Thomas: known for his initial doubt about Jesus’ resurrection.
Bartholomew: preaching as far as in India and Armenia, skinned alive.
Philip: baptised an Ethiopian courtier.
Simon: martyred by being sawn in half.
James: also known as James the Less.
Judas Thaddeus: not to be confused with Judas Iscariot.
Judas Iscariot: infamously known for betraying Jesus.
After Judas Iscariot’s betrayal and subsequent death, Matthias was chosen to replace him. The apostle Paul (originally known as Saul) is also considered an apostle, although he was not part of the original twelve. Paul played a significant role in spreading Christianity throughout the Mediterranean and authored several spiritual letters (epistles).
It’s worth noting that in some religious traditions, the term “apostle” may be used more broadly to refer to other individuals who were not part of the original twelve but were influential in the early Christian movement. For example, the apostle Paul is often considered an apostle due to his significant contributions to the spread of Christianity through his missionary journeys and his epistles included in the New Testament.
Peter
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Peter with his attributes the keys, from the series The Twelve Apostles (c.1611), 107x82cm, Museo del Prado, Madrid.
Petrus (“Petrus”) was a fisherman named Simon. Jesus called him and his brother Andrew to be Jesus’ followers. He received the name “Cephas” from Jesus, which means “rock” in the local Aramaic language; hence “Peter” (Πέτρος, Petros), which means “rock” in Greek, the language of the first bible books. Peter is recognised as the leader of the 12 apostles and as the first Pope and Bishop of Rome. He was crucified in Rome under Emperor Nero around AD 65. Peter’s attributes are a set of keys, one gold and one silver, which are The Keys of Heaven. He is buried in the St Peter Basilica in Rome.
A story from the life of Peter is as follows. When Jesus was arrested, Peter had followed at a distance. On the painting hereunder we can see what happened next. A servant girl apparently recognised Peter and said to him, “You also were with the Nazarene, Jesus. “ Peter denied it. But then she said it to some bystanders. Again Peter denied it. Finally, the bystanders said it to him as well and, for the third time, he denied knowing Jesus. This time he swore, “I do not know this man of whom you speak”. Then the cock crowed for the second time and Peter remembered the words of Jesus, “Before the cock crows twice you will deny me three times.” Then Peter broke down and wept (New Testament, Mark 14:72).
Gerard Seghers (Flemish, 1591 – 1651), The Denial of St. Peter with Peter on the left side (c.1622), 173x227cm, North Carolina Museum of Art, Raleigh, NC.
Andrew
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Andrew with the x-formed cross, from the series The Twelve Apostles (c.1611), 108x84cm, Museo del Prado, Madrid.
Andrew, in Latin “Andreas”, is the brother of Petrus. Both Andrew and Peter were fishermen by trade, hence the tradition that Jesus called them by saying that he will make them “fishers of men” These narratives record that Jesus was walking along the shore of the Sea of Galilee and initially used a boat, described as being Peter’s, as a platform for preaching to the multitudes on the shore and then as a means to achieving a huge trawl of fish on a night which had hitherto proved fruitless.
Andrew is said to have been martyred by crucifixion in the year 60, bound – not nailed – to a Latin cross of the kind on which Jesus is said to have been crucified. Yet a tradition developed that Andrew had been crucified on a cross of the form called crux decussata (X-shaped cross, or “saltire”), now commonly known as a “Saint Andrew’s Cross”, supposedly at his own request, as he deemed himself unworthy to be crucified on the same type of cross as Jesus had been. The “Saint Andrew’s Cross” is now also the national flag of Scotland. Several legends state that the relics of Andrew were brought by divine guidance from Constantinople to the place where the modern Scottish town of St Andrews stands today. Andrew preached along the Black Sea and the Dnieper River as far as Kiev, and from there he travelled to Novgorod. Hence, he became a patron saint of Ukraine, Romania, and Russia.
Andrew is traditionally portrayed with a long beard and a saltire cross. How to remember: the flag of Scotland and The Saint Andrews Golf Club, one of the oldest and most posh golf clubs worldwide
In the painting hereunder we find Jesus calling his first disciples. He approaches two fishermen at work on the Sea of Galilee: Simon, called Peter, and his brother Andrew. Their net is full when Jesus says to them: “Follow me, and I will make you fishers of men” (New Testament, Matthew 4:18).
Duccio di Buoninsegna (Italian, c.1250 – c.1319), The Calling of the Apostles Peter and Andrew (panel from the Maestá, Siena, c.1309), Tempera on Panel, 43×46cm, National Gallery of Art, Washington.
John
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle John with the chalice, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle John, also known as Saint John the Evangelist and not to be confused with John the Baptist, holds a significant place in Christian tradition and the New Testament of the Bible. John had a brother named James (often referred to as James the Greater). John, James and Peter, formed the inner circle of disciples closest to Jesus. They were present at all the important events in Jesus’ life and ministery. John is often referred to as “The Beloved One”, the disciple whom Jesus loved. He is portrayed as having a close and intimate relationship with Jesus. According to tradition, John is also credited as the author of the Gospel of John and the Book of Revelation. According to legend, John the Evangelist was given a cup of poisoned wine that he drank without harm. As emblems of the tale, John’s chalice symbolizes the Christian faith prevailing over death. In the painting above, Rubens depicted John with the chalice.
John (or Johannes) has an important presence at the crucifixion, as depicted in the painting hereunder. Immediately after Christ’s death, his followers lifted Jesus Christ down from the cross and lamented over his body. At the heart of the composition, the weeping Virgin kneels beside her dead son, supported by John. From the cross, Jesus had entrusted the care of his mother to his most beloved disciple. Joseph of Arimathea supports the dead body, Nicodemus holds up one end of the shroud. According to the Bible, these two men would anoint and bury the body. On the left, three women let their tears flow freely. One of them is Mary Magdalene (identified by her ointment jar), who dries her eyes with her cloak. On the right, by Christ’s feet, kneels a bishop, undoubtedly the man who commissioned the work. He is accompanied by Peter (with the keys of heaven) and Paul (with the sword used to behead him). The skull in the foreground is an allusion to Calvary, the site of the Crucifixion. The skull belongs to Adam, who was supposedly buried there. Van der Weyden rendered the bishop’s episcopal robes in breathtaking detail. The fact that the twelve apostles are depicted on the embroidered borders of the cope is significant. The bishop, after all, had followed in the footsteps of the apostles who spread the gospel after the Crucifixion. The presence of Peter and Paul behind the bishop can be explained in that light. As the first Bishop of Rome, Peter also had a special significance: he was the most eminent predecessor of the man who commissioned this painting.
Rogier van der Weyden (Flemish, c.1399 – 1464), The Lamentation of Christ with John in red robe supporting Mary in blue robe (c.1462), 81x130cm, Mauritshuis. The Hague.
James the Greater
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle James the Greater with pilgrim staff and hat, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
James the Greater, in Latin “Jacobus Maior”, preached the message and teachings of Jesus in Spain and became the patron saint of Spain and, according to tradition, his remains are held in Santiago de Compostela. This name Santiago is the local evolution of his name “Sancti Iacobi”. The traditional pilgrimage to the grave of the saint, known as the “Way of St. James”, has been the most popular pilgrimage in Western Europe from the Early Middle Ages onwards. James is styled “the Greater” to distinguish him from the Apostle James “the Less”, with “greater” meaning older or taller, rather than more important. James the Greater was the brother of John. James, along with his brother John and Peter, formed an informal triumvirate among the Twelve Apostles. He is mostly depicted clothed as a pilgrim, with a scallop shell (Coquille St Jacques) on his shoulder, and his staff and pilgrim’s hat beside him. Pilgrims to his shrine often wore the scallop shell as symbol on their hats or clothes.
How to remember? Think: Coquille St Jacques and Pilgrimage to Santiago de Compostela.
Georges de la Tour (French, 1593 – 1652) , The Apostle James the Greater as pilgrim with the coquille St. Jacques (c.1620) from the Albi Apostles, 66x54cm, private collection, latest at Sotheby’s Masterpieces from the Fisch Davidson Collection, January 2023, New York, Lot 9.
Matthew
Anthony van Dyck (1599–1641), The Apostle Matthew (c.1619), 84x73cm, Rubenshuis (King Baudouin Foundation), Antwerp, Belgium.
Before becoming an apostle, Matthew (“Matheus” in Latin) worked as a tax collector in Capernaum. Tax collectors were often despised by their fellow Jews because they were seen as collaborators with the Roman authorities and were associated with greed and corruption. However, Jesus called Matthew to be one of his disciples, demonstrating his inclusive message of grace and forgiveness. As an apostle, Matthew witnessed Jesus’ teachings, miracles, and ministry firsthand. He was chosen by Jesus to be part of the inner circle of disciples and was present at significant events such as the Transfiguration and the Last Supper. After Jesus’ death and resurrection, Matthew, along with the other apostles, was entrusted with spreading the message of salvation and establishing the early Christian community.
Matthew is traditionally regarded as the author of the Gospel of Matthew, which is the first book of the New Testament. This gospel focuses on presenting Jesus as the Messiah, the fulfillment of Old Testament prophecies, and the teacher of the new law. According to tradition, after his time with Jesus, Matthew traveled and preached the Gospel, possibly in regions such as Ethiopia or Persia. However, the historical records regarding his later life and martyrdom are limited and not universally agreed upon.
The painting hereunder depicts the story from the Gospel of Matthew (New Testament, Matthew 9:9): “Jesus saw a man named Matthew at his seat in the tax collector’s office, and said to him, “Follow me”, and Matthew rose and followed Him.” Ter Brugghen depicts Matthew as the tax collector sitting at a table with few companions who seem to be more interested in the money and earthly tax collecting business. Jewish tax collectors in the time of Christ worked for the occupying Roman government, so they were especially hated in Israel. If that were not enough, tax collectors commonly took more than was required by the Romans in order to pay themselves. This meant tax collectors were frequently much wealthier than most Jewish citizens, who were just barely getting by day by day. The typical stereotype of a tax collector, in that time, was that of a greedy, sinful, traitorous sinner. On this painting Jesus Christ has entered the room, and is pointing at Matthew. Matthew is surprised and seems to say: “Who, me?”. This is a depiction of a moment of spiritual awakening and conversion, the moment when Matthew abandons everything and joins the circle and life of Jesus Christ.
Hendrick ter Brugghen (Netherlandish, 1588 – 1629), The Calling of Matthew when being a tax collector (1621), 102x137cm, Centraal Museum, Utrecht, The Netherlands.
Thomas
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Thomas with the spear as his martyrdom attribute, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle Thomas, also known as “Doubting Thomas”, is particularly known for his initial skepticism regarding Jesus’ resurrection. After Jesus’ crucifixion, the other disciples told Thomas that they had seen the risen Jesus. However, Thomas expressed doubt and insisted that he needed to see and touch Jesus’ wounds to believe. Later, when Jesus appeared to the disciples, he specifically addressed Thomas and invited him to touch his wounds. Thomas, upon seeing and touching Jesus, declared, “My Lord and my God!” This incident reflects Thomas’ transformation from doubt to faith. Thomas’ subsequent activities and ministry are not extensively documented in the biblical texts. However, early Christian tradition suggests that he may have traveled and preached the Gospel in regions such as Parthia (part of modern-day Iran) and India and maybe even into China.
The subject of this painting herunder is taken from the Gospels (New Testament, John 20:24–28). The scene depicts the moment when Thomas, seeking proof of the Resurrection, places his fingers in the wound in Christ’s right side. Thomas not only rejected all the evidence of the Resurrection, but he also demands the most absolute, personal proof possible. He wants more than visual proof. He insists on disbelieving until he can physically touch the wounds in Jesus’ resurrected body. Which Christ allows him to do so. Here he gained his nickname: “Doubting Thomas.” This is the theme of human weakness in believing and the tendency to disbelieving.
Matthias Stom (Netherlandish, 1600 – 1650), The Incredulity of Thomas (c.1645), 125x99cm, Museo del Prado, Madrid.
Bartholomew
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Bartholomew holding the knife as reference to his martyrdom being skinned alive, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. Bartholomew holds the knife in his hand, used for his martyr death.
The Apostle Bartholomew, in Latin “Bartholomaeus”, is listed among the apostles but is not as prominently featured as some of the others. He is mainly mentioned in the context of being one of the twelve and participating in the ministry of Jesus. According to early Christian traditions, Bartholomew is believed to have traveled extensively as a missionary, spreading the teachings of Jesus. Some traditions suggest that he traveled to India and Armenia, where he preached the Gospel and established Christian communities. The accounts of his martyrdom vary, but many sources indicate that he was martyred for his faith, with some accounts suggesting that he was flayed or crucified upside down.
One famous painting that features the apostle Bartholomew is “The Last Judgment” by Michelangelo. It is a monumental fresco located on the altar wall of the Sistine Chapel in Vatican City. In this painting, Bartholomew is depicted holding his own flayed skin, as he was said to have been martyred by being skinned alive. In Michelangelo’s depiction, Bartholomew holds his skin in one hand, while his other hand holds a knife, symbolizing the instrument of his martyrdom.
Bartholomew is the patron saint of tanners, tailors, leatherworkers, bookbinders, and butchers.
Michelangelo (Italian, 1475 – 1564) Saint Bartholemew holding his skin in one hand and his knife in the other, detail from The Last Judgement (1536 – 1541) Sistine Chapel, Vatican City.
Philip
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Philip with the cross on which he was crucified, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. The attribute is the cross on which Philip was crucified. It’s a different form of cross compared to Saint Andrew’s cross.
According to the Bible, Philip was from the town of Bethsaida in Galilee, like Andrew and Peter. He is first mentioned in the Gospel of John, where he is called by Jesus to become his disciple. Philip played a role in several significant events in the New Testament. For example, he was present when Jesus fed the multitude of thousands with five loaves of bread and two fish. After Jesus’ crucifixion and resurrection, Philip continued to spread the teachings of Jesus and played a role in the early Christian community. Philip is particularly known for his encounter with an Ethiopian courtier or eunuch. He explained the Scriptures to the eunuch and baptized him, leading to the spread of Christianity in Ethiopia. A note: this could also have been Philip the Evangelist; it’s unclear if these two are one and the same Philip or both different ones. Philip the Apostle’s later life and his ultimate fate are not extensively recorded in the Bible. However, according to tradition, he continued to preach the gospel and performed miracles in various regions, including Syria and Greece. It is believed that Philip died as a martyr, having been crucified upside down. He is therefor often depicted with a cross.
Rembrandt painted the scene related to the baptism of an Ethiopian eunuch. In his painting, Rembrandt depicts the biblical episode found in the Book of Acts (New Testament, Acts 8:26-40), where the apostle Philip encounters an Ethiopian eunuch on the road to Gaza. The eunuch is reading a passage from the Book of Isaiah but does not fully understand its meaning. Philip explains the Scripture to him, and upon their arrival at a body of water, the eunuch requests to be baptized. Rembrandt captures this pivotal moment as Philip performs the baptism.
Rembrandt (Dutch, 1606 – 1669),The apostel Philip Baptising of the Eunuch, the courtier from Ethiopia (1626), 64x48cm, Museum Catharijneconvent, Utrecht, The Netherlands.
Simon
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Simon with his martyrdom attribute, the same on the right (c.1618), 64×48cm, Getty Center, Los Angeles.
The apostle Simon, also known as Simon the Zealot, was also one of the twelve apostles chosen by Jesus Christ. Not much is known about Simon’s background or his activities outside of being an apostle. The name “Simon the Zealot” suggests that he may have been a member of the Jewish political group called the Zealots, known for their fervent patriotism and opposition to Roman rule. As an apostle, Simon was entrusted with spreading the message of Jesus after his death and resurrection. Tradition holds that Simon continued to spread the Gospel after Jesus’ ascension, possibly traveling to Persia or further regions. Historical records regarding his later life and martyrdom are sparse and not widely agreed upon.
There are several paintings that depict the apostles, including Simon. However, there are no definitive or widely accepted artistic representations of Simon the Apostle, as there is no specific physical description of him in the biblical texts. In religious artwork, the apostles are often portrayed as a group or in scenes related to specific biblical events, such as the Last Supper or the Pentecost. In these depictions, Simon is typically included among the twelve apostles, but he may not always be individually highlighted or distinguishable. There is a vague story that Simon was martyred be being sawn in half and therefore in art, Simon sometimes has the identifying attribute of a saw.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Simon, with on the left side, under the book, the saw. the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
James the Less
Pompeo Batoni (1708–1787), The Apostle James the Less with the club, symbol of his martyrdom (c.1741), 73x61cm, Basildon Park (National Trust), Berkshire, United Kingdom.
The apostle James the Less is called “Less” to indicate his relative obscurity or younger age compared to James the Great. Not much is known about James the Less beyond his designation as an apostle.
The martyr symbol traditionally associated with Saint James the Less is a fuller’s club, as he was said to have been martyred by being beaten to death with a club or a similar instrument. A fuller’s club was a tool used by fullers, the workers in the wool industry who beat or thump the cloth to clean, shrink and thicken it. James the Less is still the patron saint of the fullers and textile workers.
James the Less, from The Menologion of Basil II, (c.1000), an illuminated manuscript compiled for the Byzantine Emperor Basil II (reign 976 – 1025). It contains a synaxarion, a short collection of saints’ lives and around 430 miniature paintings by eight different artists, Vatican Library (Ms. Vat. gr. 1613), The Vatican.
Judas Thaddeus
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Judas Thaddeus (c.1620), 63×47cm, Louvre, Paris. The Louvre formerly identified this guy as Saint Joseph, the father of Jesus; understandable, as Joseph was a carpenter and here is someone pictured with a carpenter’s square. But this portrait fits very well in one of the two series of the apostles painted by Van Dyck, and therefore more likely this is an apostle.
Judas Thaddeus is one of the twelve original apostles, but information about him is limited. Although he certainly played an important role in spreading the teachings of Jesus Christ after his death and resurrection. Judas Thaddeus is believed to have traveled to various regions, including Syria, Mesopotamia, and Armenia, where he is highly venerated as one of the founding apostles of the Armenian Church. His attributes are ambiguous. It can be a club as symbol of his martyrdom, or a book as general “scripture” reference, or a flame around his head which represents his presence at Pentecost, when he received the Holy Spirit with the other apostles. I like the option of a carpenter’s square the most, as a metaphorical symbol of Judas Thaddeus being an architect of the church. Judas Thaddeus is the patron saint of desperate situations and lost causes; good to know!
A note: Judas Thaddeus is to be clearly distinguished from Judas Iscariot, the apostle who betrayed Jesus prior to his crucifixion.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Judas Thaddeus, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. The Prado identifies this one as James the Lees, and in older catalogues as Thomas. In my view it’s Thaddeus, because of the carpenter’s square. Although Thaddeus is not very often depicted in this way, certainly James the Less and Thomas are not depicted with this tool With the more obscure apostles it’s sometimes guessing who the painter meant to depict.
Judas Iscariot was chosen by Jesus Christ to be one of his apostles but is known primarily for his betrayal of Jesus. According to the Gospels, Judas agreed to betray Jesus to the religious authorities in exchange for thirty pieces of silver. He identified Jesus to the authorities by giving him a kiss, leading to Jesus’ arrest. This event ultimately led to Jesus’ crucifixion. The act of betrayal has been widely condemned, and Judas is often portrayed as a symbol of treachery and betrayal. Judas’ story concludes tragically. After the betrayal, he reportedly felt remorse for his actions and attempted to return the money. However, overcome by guilt, he ultimately hanged himself.
On the frescos by Giotto, both from the wonderful Scrovegni Chapel in Padua, we can see (above) Judas who just plotted his betrayal and received the bag with the thirty pieces of silver; firmly in grip of the devil! And (below) Judas identifies Jesus Christ with a kiss, an act of friendship he would turn into betrayal.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Matthias with the axe by which he was killed, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid.
The Apostle Matthias was chosen to replace Judas Iscariot as one of the twelve apostles following Judas’ betrayal and subsequent death by suicide. After Jesus’ ascension, the remaining eleven apostles felt the need to replace Judas Iscariot in order to restore the number of apostles to twelve, a significant symbolic number. They believed it was essential to have twelve apostles to fulfill the mission and ministry that Jesus had entrusted to them. To select a new apostle, the remaining apostles prayed and sought guidance from God. They determined that the new apostle must be someone who had been with them from the beginning of Jesus’ ministry and had witnessed his resurrection. The apostles prayed, cast lots, and ultimately chose Matthias as the one to take Judas’ place. Matthias was then counted as one of the twelve, and he joined the other apostles in spreading the message of Jesus Christ. The biblical account does not provide extensive details about Matthias’ activities or specific teachings, and he is not mentioned again in the New Testament after his selection. In art, Matthias does not have a well-defined or universally recognized symbol. While he is often depicted as one of the twelve apostles, his individual attributes or symbols are not as established or consistent as those of some other apostles.
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Matthias with just a book as apostle-reference (c.1619), 65×48cm, Yale University Art Gallery, New Haven, CT.
Paul
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Paul, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle Paul, originally known as Saul, is recognized as one of the most influential and prolific writers of the New Testament. Paul’s life and teachings played a crucial role in the spread of Christianity. Before his conversion to Christianity, Paul was a zealous persecutor of early Christians. However, his life took a dramatic turn when he encountered a vision of Jesus on the road to Damascus. This encounter led to his conversion and subsequent dedication to spreading the Gospel. Paul’s epistles, or letters, form a significant part of the New Testament. They provide theological insights, practical guidance for Christian living, and address various issues faced by the early Christian communities. Paul’s teachings contributed significantly to the development of Christian theology and helped shape the early Christian community. His writings continue to be studied and revered by Christians worldwide.
In addition to his theological and missionary contributions, Paul also endured hardships and persecution for the sake of the Gospel. He was imprisoned multiple times, faced opposition from both Jewish and Roman authorities, and eventually died as a martyr, traditionally believed to have been executed in Rome. Rubens includes Paul in his series of apostles, as many other artists also did. The depiction of Paul with a sword is primarily influenced by his writings and teachings. In his letters, Paul frequently uses metaphors related to warfare and battle to describe the Christian life and the spiritual struggle against evil. He speaks of the “sword of the Spirit” as a metaphor for the Word of God, emphasizing its power and authority.
And hereunder the Caravaggio painting with the moment of the apostle Paul’s conversion as described in the Acts of the Apostles in the Bible. Paul (then still known as Saul) is shown falling from his horse and extending his arms to the blinding divine light that emanates from heaven, in a gesture of astonishment and surrender.
Caravaggio (Italian, 1571 – 1610), Conversion of Paul on the Way to Damascus (1601), 230x175cm, Cerasi Chapel, Santa Maria del Popolo, Rome.
Peter and Paul
And to make the circle round, here is an El Greco painting that brings “Peter”, the first apostle, together with “Paul”, the last one. These two apostles are the most prominent figures in the early Christian community and have a common feast day. Peter, was chosen by Jesus as the leader of the apostles and is considered the first Pope. Paul, formerly a persecutor of Christians who underwent a profound conversion and became a significant evangelist and writer of several Epistles in the New Testament. The Feast of Saints Peter and Paul is observed on June 29 to commemorate the martyrdom of these apostles and to celebrate the role of these apostles in spreading the Gospel and establishing the early Christian Church. The feast is marked with special Masses and liturgical ceremonies, and it holds particular significance in Rome, where the Basilica of Saint Peter and the Basilica of Saint Paul Outside the Walls are dedicated to these saints.
El Greco (Greek, Spanish, 1541 – 1614), The Apostles Peter and Paul; Peter with the keys in his left hand, which is difficult to see, and Paul holding the sword (c.1595), 116x91cm (45.6 in), Museu Nacional d’Art de Catalunya, Barcelona, Spain.
