is an imaginative and moving approach to the subject that also underlines Caravaggio's artistic mastery. The two autograph works of Caravaggio's Unblinking Thomas differ in that Christ's thigh is uncovered in the Potsdam secular version and covered by the white cloak in the Trieste ecclesiastical version. The Potsdam painting has already been restored and is also in warmer tones, somewhat smaller in size, the folds of the red robe are missing at the bottom, the space above the heads is smaller and Christ's elbow is cut off. Analysis The paintings features heavy chiaroscuro. Thomas's face shows surprise as Jesus holds his hand and guides it into the wound. The absence of a halo emphasizes the corporeality of the risen Christ. Behind Thomas are two other apostles, probably Saint Peter and Saint John the Evangelist. Peter is subject of other works by Caravaggio, namely the Crucifixion of Saint Peter (1601) and The Denial of Saint Peter (1610). Caravaggio, in the horizontal dimension of the canvas, "photographs" the moment of observation in a three-quarter frame in which he arranges the four figures on a neutral and dark background. This allows the viewer's attention to be focused on Thomas' head, while the light illuminates Christ's forehead, profile and clear side, allowing us to draw attention to the anxious and unsettled posture of Thomas, who is being comforted by Christ and to whom he bends his head. The close arrangement of the four heads and a triangle of gazes, with the focus on Thomas' gesture, allows for a further emotional concentration of the viewer's gaze, which can now focus on the centre of the "drama": the revelation of the real presence in the flesh of Jesus. Caravaggo shows the apostle Thomas who, following a certain iconographic tradition, sticks a finger into Jesus' spear wound while two other apostles observe the scene. The facial expression of Christ can only be compared in simplicity and beauty to Leonardo's Mona Lisa. Also on the compositional level we observe the intersection of two main axes, the horizontal one consisting of the arm of Thomas and the hands of Jesus and the vertical one running from the head of the two apostles (or better between both heads) and continuing exactly at the neck of the apostle Thomas. This arrangement is rounded off by an arch formed by the two backs of Thomas and Christ: An admirable interlocking of human