Looking closely at Mary’s face, in fact, we can see that her cheeks are streaked with tears. The mother’s heartbroken expression at the sight of the blood makes us reflect on how deeply her immaculate heart has known the horror caused by our sins. It makes us reflect on the difference between why Mary weeps and why we weep.
Cima da Conegliano’s painting effectively conveys the Eucharistic significance of the scene from the Gospel of St. John. While it lacks the dramatic gestures found in Caravaggio’s namesake painting, the expression on Jesus’ face is calm and contemplative.
His resurrected body commands the space, drawing the viewer’s attention. From his shoulders upward, Jesus, at the center of the stage, is taller than any of the apostles. The true king of Israel, unlike Saul, reigns by giving his life for the sheep and allows the lost sheep, Thomas, to touch his open side. Jesus’ Body is “the way” to the heavenly sanctuary also for us who, every day, touch his Eucharistic Body.
It’s hard to miss that the setting is a sanctuary with a golden, ornate ceiling whose windows open to a path leading to a royal castle. The “way” through the Body of Jesus leads to the heavenly city, the royal, eternal abode of the Lamb of God. The Church’s sacramentally touching the resurrected Body of Jesus sets on the way to the heavenly Jerusalem.
We can also notice that John, the evangelist, is depicted with eyes lifted in contemplation as if in ecstasy and with his breast bare to signify his union with Jesus’ resurrected Body.
Looking at this colorful and vivid painting, we can only pray with Thomas: “My Lord and my God!” ◼
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