From a sermon by Rev. William Gleason:
Like many biblical stories, there are many pictures, icons and statues depicting Doubting Thomas; but the one I find most remarkable is the one painted by the 16th century artist Caravaggio. In it, Thomas is portrayed in a most animated, almost humorous, pose of skepticism: he is bent over so he can peer closely into the side of Jesus, his left hand perched doggedly on his hip, and his eyes are opened wide in order to scrutinize every bit of this wound. His right wrist is held by Christ, as He draws Thomas’s hand, his index finger extended, right into the hole that is in Jesus’ flesh. Two other disciples stand watching, mouths gaping open, as if they are more astonished by a shameless act of touching, than by the miraculous appearance of the crucified Christ.
But here is where Caravaggio has captured most vividly an essential element of this scene. Unlike many other pictures where Thomas is barely touching the body of Christ, this artist has Thomas’s finger stuck right into the side of Jesus, so much so that the Savior’s skin is pushed up by Thomas’s knuckle. Seeing this graphic illustration, I, too, find myself scandalized by this impetuous invasion of Jesus’ body. But that’s it! It’s Jesus’ body—His real, flesh and blood, living body. I can empathize with those men and women who simply could not believe what they were seeing. Or, perhaps, to put it more accurately, could only believe what they could see. . . .