Doubting Thomas with St. Magnus 1505

Cima da Conegliano painted "Doubting Thomas with St. Magnus" in the late 15th or early 16th century, using oil on panel. The painting depicts the Apostle Thomas touching the wound of the resurrected Christ, a moment laden with theological significance. The Republic of Venice, where Conegliano spent his career, was a deeply religious society, and art often served as a tool for reinforcing religious doctrine. The story of Doubting Thomas, found in the Gospel of John, was particularly resonant during the Renaissance, a period marked by both fervent religious belief and a growing emphasis on empirical evidence. In this context, Conegliano’s painting can be seen as an affirmation of faith grounded in tangible proof, a response to the intellectual currents of the time. The inclusion of St. Magnus as an advocate adds another layer of institutional authority. To fully appreciate this work, scholars consult theological texts, historical accounts of Venice, and critical analyses of Renaissance art. Only through the study of social and institutional contexts can we unravel the complex interplay of faith, reason, and power embedded in this painting.