Michelangelo Merisi da Caravaggio was a revolutionary artist of his time. The vigor and strength which characterizes his work introduced a new style in the art of the late sixteenth and early seventeenth centuries. This dissertation, titled A God who concedes to be touched – A Theological Reading of Caravaggio’s «The Incredulity of Saint Thomas» establishes a dialog between art and the truths of faith through the famous painting mentioned. The focus of this study is the visceral meeting between Christ resurrected and the apostle Thomas. It is an encounter which has the body of Christ as mediator, not only because through Him comes the initiative of encounter, but also because in Him the apostle finds the ultimate meaning of his existence. It is from this dynamism of dialogue that this dissertation develops its’ anthropology of faith: God and men share a common patrimony – the body – and to God’s first intervention man is invited to answer in a profound manner, which engages all of his life.