When Vision of St Antony of Padua was stolen from Seville Cathedral in 1874, thieves cut out the figure of St Antony itself, leaving a gaping wound in the canvas. The missing saint surfaced in New York, where a sharp-eyed priest recognized the fragment and alerted authorities, leading to its dramatic recovery and restoration. This tale of theft and reunion only deepened the painting’s fame, making it a symbol of both devotion and resilience.

The work’s turbulent journey is a testament to its enduring power and the reverence it commands. Murillo captures the miraculous moment when St Antony, lost in prayer, is visited by the Christ Child. The saint kneels, hands clasped, his gaze lifted in awe as the infant Jesus descends in a radiant cloud, surrounded by cherubs. The soft, golden light bathes the scene, blurring the boundary between the earthly and the divine.

The lilies at St Antony’s feet signal purity, while the open book hints at his scholarship. Unlike the more dramatic visions painted by El Greco, Murillo’s approach is gentle and intimate, inviting viewers to witness a private revelation. Painted around 1670, Vision of St Antony of Padua reflects the height of Bartolomé Estebán Murillo’s career in Seville, where he was celebrated for his warm, accessible religious imagery. The work was originally commissioned for the chapel of St Antony in Seville Cathedral, where it inspired generations of worshippers.

After its theft and recovery in the late nineteenth century, the painting was carefully restored and returned to its original home. Today, it remains in Seville Cathedral, a cherished example of the Baroque devotion that defined Murillo’s legacy.