The Doubt of St. Thomas: Romanesque Relief at Santo Domingo de Silos
The Doubt of St. Thomas: Cloister of Santo Domingo de Silos
The monumental sculpture, now prominently displayed, once adorned the cloisters of the Monastery of Santo Domingo de Silos in Burgos. Santo Domingo de Silos and Moissac, nearly contemporary, were among the first to embellish architectural elements of cloisters with storied iconography.
“The Doubt of St. Thomas” Relief
“The Doubt of St. Thomas” is a celebrated relief found on the inner sides of the pillars within the cloister of Santo Domingo.
General Documentation:
- Part: The Doubt of St. Thomas
- Author: Unknown
- Timeline: Circa 1130
- Style: Romanesque
- Technique: Carved Relief
- Dimensions: 1.8 m (height) x 1 m (width)
- Original and Current Location: Cloister of the Monastery of Santo Domingo de Silos (Burgos)
Composition:
The Doubt of St. Thomas presents an original compositional approach: Christ, though slightly shifted to the left, remains the focal point, drawing the gaze of most of the apostles. His right arm, raised to display his wounds to the doubting Thomas, disrupts the composition’s homogeneity and commands the viewer’s attention.
The overall approach adheres to the conventions of Romanesque sculpture. All figures, except Jesus, are positioned at the same height through clever juxtaposition in three superimposed friezes of equal size. The composition occupies a geometric space defined by an arch supported by two slender columns topped with Corinthian-inspired capitals. The figures conform to the architectural framework, with Christ depicted larger than the others, reflecting traditional hierarchical representation.
The action initiated by Jesus’ raised arm culminates in St. Thomas’s gesture of touching the wound, and the apostles’ spiritual turmoil is conveyed through unnatural leg positions and varied hand gestures. These subtle movements are characteristic of Romanesque hieratic style.
Technically, this bas-relief impresses with its delicate carving and flawless execution, reminiscent of exquisite ivory work of the era and echoing Byzantine and Mozarabic influences. The figures exhibit sleek, slender proportions and rounded volumes. The garments, closely fitted to the body, are modeled with gentle, superficial incisions, creating subtle contrasts of light and shadow.
Content:
The scene depicts the Gospel account of Jesus’ encounter with Thomas. The disciples told Thomas, “We have seen the Lord.” He replied, “Unless I see in his hands the print of the nails and put my finger into the place of the nails, and put my hand into his side, I will not believe.”
While the doors were locked, Jesus came and stood among them. Then he said to Thomas, “Put your finger here, and see my hands; and put out your hand, and place it in my side. Do not disbelieve, but believe.” Thomas answered him, “My Lord and my God!” Jesus said to him, “Have you believed because you have seen me? Blessed are those who have not seen and yet have believed.”
The core of the artistic program resides in the relief sculptures of the pillars, complemented by the highly valuable capitals of the cloister. The balanced proportions of the double columns and capitals, along with a shared cornice adorned with interwoven stems, vegetation, and fantastical animals, reveal Byzantine influences. The rhythm and meticulous detail demonstrate exceptional sensitivity, approaching that of Arab artisans. Interpreting the capitals can be challenging, as their themes are not always easily accessible to historians.