But, in the historical subjects from the life of St. Thomas, the first place must be given to the one scriptural incident in which he figures as a principal person. ‘The Incredulity of St. Thomas’ occurs in all the early series of the life of Christ, as one of the events of his mission, and one of the proofs of his resurrection. On the ancient gates of San Paolo it is treated with great simplicity as a sacred mystery, St. Thomas being the principal personage in the action, as the one whose conviction was to bring conviction to the universe. Christ stands on a pedestal surmounted by a cross; the apostles are ranged on each side, and St. Thomas, approaching, stretches forth his hand. The incident, as a separate subject, is of frequent occurrence in the later schools of Italy, and in the Flemish schools. The general treatment, when given in this dramatic style, admits of two variations: either St. Thomas is placing his hand, with an expression of doubt and fear, on the wounds of the Saviour; or, his doubts being removed, he is gazing upwards in adoration and wonder. Of the first, one of the finest examples is a well-known picture by Rubens,[220] one of his most beautiful works, and extraordinary for the truth of the expression in the countenance of the apostle, whose hand is on the side of Christ; St. John and St. Peter are behind. In Vandyck’s picture at Petersburg, St. Thomas stoops to examine the Saviour’s hand. In a design ascribed to Raphael, we have the second version: the look of astonished conviction in St. Thomas.[221] Niccolò Poussin has painted it finely, introducing twelve figures.[222] Guercino’s picture is celebrated, but he has committed the fault of representing the two principal figures both in profile.[223] * * * * * The legendary subject styled ‘La Madonna della Cintola’ belongs properly to the legends of the Virgin, but as St. Thomas is always a principal personage I shall mention it here. The legend relates that when the Madonna ascended into heaven, in the sight of the apostles, Thomas was absent; but after three days he returned, and, _doubting_ the truth of her glorious translation, he desired that her tomb should be opened; which was done, and lo! it was found empty. Then the Virgin, taking pity on his weakness and want of faith, threw down to him her girdle, that this tangible proof remaining in his hands might remove all doubts for ever from his mind: hence in many pictures of the Assumption and Coronation of the Virgin, St. Thomas is seen below holding the sacred girdle in his hand. For instance, in Raphael’s beautiful ‘Coronation’ in the Vatican; and in Correggio’s ‘Assumption’ at Parma, where St. Thomas holds the girdle, and another apostle kisses it. [Illustration: _The Madonna of the Girdle_]