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The katholikon of the Hosios Loukas monastery, built around the first quarter   of the eleventh century, has a narthex with a mosaic decoration on its west   side. The Incredulity of Thomas is included amongst the scenes of the   Passion. This paper examines the iconographic, liturgical, and dogmatic roles   of the Incredulity within the context of the overall program and the liminal   space of the narthex. This monumental representation evidences how depictions   of the Incredulity engaged with changing beliefs concerning the senses and   faith. In particular, I focus on the implications of the believer’s   bi-directional movement through the narthex on entering and exiting the   church. Iconographically, the representation of a door behind Christ and His   wound are understood as symbolic conformation of His divine nature and a   marker of the path believers should follow to attain salvation. As a   confirmation of Christ’s dual nature, the Incredulity of Thomas is read in   relation to funerary and Eucharistic contexts as relating to the narthex of   Hosios Loukas. [Projekat Ministarstva nauke Republike Srbije, br. 177032:   Tradition, innovation and identity in the Byzantine world

On the threshold of certainty: The incredulity of Thomas in the narthex of the katholikon of the Hosios Loukas monastery