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The solemnity of the Epiphany of the Lord, celebrated in the liturgical season of Christmas, commemorates one of the most significant moments in Christianity: the manifestation of Jesus Christ as the Savior of the world. It is the moment when the Child God, born in the humility of Bethlehem, is recognized and adored by the Magi from the East, representatives of the peoples and nations who come to the light of faith. The Christmas message of the Cathedral Chapter of Seville is framed in this climate of peace and hope, wishing a Merry Christmas and a prosperous year 2026, full of peace and hope, recalling the ancient words of the Christmas calends:
«With the whole world at peace, Jesus Christ, eternal God and Son of the eternal Father, wishing to consecrate the world with his most pious coming, conceived by the Holy Spirit, nine months after his conception, is born in Bethlehem of Judea, made man»
This theological truth finds one of its most eloquent artistic expressions in the painting The Epiphany, made in 1669 by the Flemish master Jacob Jordaens, a work that is preserved in the Cathedral of Seville. The canvas is paired with a Circumcision of Jesus Christ, both exhibited in the Baptistery Chapel, and is a prominent example of the exceptional collection of Flemish painting that the metropolitan temple treasures.
True to his style, Jordaens constructs a scene of intense Baroque style and marked theatricality, where the abundance of characters is balanced with a deep spiritual charge. Although the chromatism is more sober than in other works by the painter, the richness of the color is distributed harmoniously throughout the canvas, reinforcing the solemnity of the event represented.
The composition is articulated around the Holy Family, the true visual and theological axis of the scene. The Virgin Mary, presented as Throne of God, holds the Child Jesus in her lap and offers him to the adoration of the Magi, who come with the traditional gifts of gold, frankincense, and myrrh, symbols of royalty, divinity, and the redemptive sacrifice of Christ. Mary covers the Child with an elegant blue mantle, while the white tunic of Jesus enhances the immaculate values, underlining his purity and divine condition.
The canvas can be divided into three clearly defined areas: that of the Holy Family, full of spiritual unction; that of the Three Wise Men, characterized by the sumptuous richness of their vestments and embroidery; and that of the retinue that accompanies them, where exoticism and uniqueness add narrative depth to the scene. Historically, the Magi have been interpreted as the personification of the ages of man or of the continents then known—Europe, Asia, and Africa—, thus reinforcing the universality of the Christian message.
After being adored by the shepherds, a symbol of the humble and the poor, Christ now receives the recognition of those who represent the power, wisdom, and authority of the world. The Epiphany is manifested, therefore, as the full revelation of the expected Messiah, of the Savior who comes to consecrate the world with his presence.
From this Christian perspective, the scene also invites personal and community reflection. Like the Magi, who do not approach the Lord to receive, but to give, it is worth asking: have we brought any gift to Jesus this Christmas, or have we exchanged gifts only among ourselves? The answer to this question challenges the conscience of the believer and opens the way to a faith lived from surrender, adoration, and commitment.
In the solemn silence of the Cathedral of Seville, the Epiphany of Jacob Jordaens continues to proclaim, centuries later, a fully valid message: a call to peace, hope, and generosity, which invites us to begin the new year with our eyes set on the One who manifests himself to the world as a light for all peoples.
