a eucharistic interpretation, seen as an allegory of the sacrament of the Eucharist, what remained a recurring theme in commentary. Art In art this subject, formally termed The Incredulity of Saint Thomas, has been common since at least the early 6th century, when it appears in the mosaics at Basilica of Sant'Apollinare Nuovo in Ravenna, and on the Monza ampullae. In those depictions, as later in the Baroque, the subject, normally depicted at the moment Thomas puts his fingers into Jesus' side, was used to emphasize the importance of physical experiences and evidences for the believer, as described above. The Ravenna mosaic introduces the motif of Jesus raising his hand high to reveal the wound in his side; his pose often, but not always, is such that the wounds on his hands can also be seen, and often those on his feet as well. The scene was used in a number of contexts in medieval art, including Byzantine icons. Where there was room all the apostles were often shown, and sometimes Thomas' acceptance of the Resurrection is shown, with Thomas kneeling and Jesus blessing him. This iconography leaves it unclear whether the moment shown follows an examination or not, but probably suggests that it does not, especially in Protestant art. From the late Middle Ages onwards a number of variations of the poses of the two figures occur (see gallery). The typical "touching" representation formed one of a number of scenes sometimes placed around a central Crucifixion of Jesus, and is one of the scenes shown on the Irish Muiredach's High Cross, and the subject of a large relief in the famous Romanesque sculpted cloister at the Abbey of Santo Domingo de Silos. In works showing pairs of typologically related scenes from the Old and New Testaments it could be paired with Jacob Wrestling with the Angel, but in a 10th-century Ottonian ivory diptych it is paired with Moses receiving the Law, comparing both the two Biblical Testaments and the support for the faith from both textual "sacred writ" and physical evidences. In the later Middle Ages Jesus with one side of his robe pulled back, displaying the wound in his side and his other four wounds (called the ostentatio vulnerum), was taken from images with Thomas and turned into a pose adopted by Jesus alone, who often places his own fingers into the wound in his side. This form