became a common feature of single iconic figures of Jesus and subjects such as the Last Judgement (where Bamberg Cathedral has an early example of about 1235), Christ in Majesty, the Man of Sorrows and Christ with the Arma Christi, and was used to emphasize Christ's suffering as well as the fact of his Resurrection. In the Renaissance the famous sculpted pair of Christ and St. Thomas by Andrea del Verrocchio (1467–1483) for the Orsanmichele in Florence is the best known representation; the subject is rare in free-standing sculpture. This guild church also housed commercial tribunals, and the presentation of physical evidence gave the subject a particular relevance to courts and justice, and it appeared on many other buildings in Tuscany with judicial functions. The Medici family, heavily involved in the commission, also had a particular association with St Thomas, though the painting by Salviati seems to reflect anti-Medici feeling in the 1540s. The subject enjoyed a revival in popularity in Counter-Reformation art as an assertion of Catholic doctrine against Protestant rejection of the Catholic practices which the episode was held to support, and Protestant belief in "faith alone". In the Catholic interpretation, although Jesus asserts the superiority of those who have faith without physical evidence, he was nonetheless willing to show Thomas his wound, and let him feel it. The Incredulity of Saint Thomas by Caravaggio (c. 1601–1602) is now the most famous depiction (unusually showing Thomas to the viewer's right of Jesus), but there are many others, especially by the Utrecht Caravaggisti, painting in a Protestant environment, such as the Flemish Caravaggist Matthias Stom, whose two versions of the subject are now in Madrid and Bergamo. Both Rembrandt (Pushkin Museum) and Rubens (centrepiece of the Rockox Triptych, Royal Museum of Fine Arts, Antwerp) also painted it. Gallery Medieval drama The dramatic nature of the episode meant that it often featured in medieval drama telling the story of the life of Jesus. It takes the whole of "Play 41" of the York Mystery Cycle, probably dating from some time between 1463 and 1477, which takes 195 six-line stanzas to tell it. Other shorter cycles omit it, and the Chester Mystery Plays take 70 lines to cover it. Related legends The biblical episode generated two late medieval legends or stories, which also appear in art. Girdle of Thomas In this story, at the Assumption of Mary, where the other apostles