Abstract
Peter Paul Rubens's Rockox Triptych is generally thought to represent the incredulity of Saint Thomas, even though the side wound that presented Christ's famously distrustful disciple with proof of the resurrection is nowhere to be seen. This article explores the significance of the missing side wound. Drawing attention to the circulation of skeptical philosophy within the artist's milieu, it argues that he conceived of the painting as an epistemic dilemma that would both elicit doubt and suggest how it might be set aside.
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