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I knew there was something hatching a few months ago, when artist Anthony Mahoney showed me some sketches, but little did I think it would lead to this magnificent example of his life’s work.

Those who know Mahoney have no difficulty recognising his dreamy, creamy, mystic canvases on muffled tiptoe between blinding lights and secretive darknesses.

Mahoney is not only cosily spiritual, but also warmly religious. This canvas celebrates the birth of the world’s Saviour, so the central scene is the traditional birth inside a cave.

Outside, two daring curves form the Christian fish sign with a strong eye in the head. It is the Icthus (Greek for fish) referring to the first letters of the Greek words that say: “Jesus Christ, God’s Son, Saviour.”

The angels are universally present, but only by their movement and wings. There is a fluttering of wings everywhere.

On the cave of the birth is built a church – Jesus and his church being inseparable. Baby Jesus is pointing a finger at the rose window above him, it being Mary, the Rosa Mystica.

But in the same direction lies the Cross above the Church, the gibbet from which Christ saved mankind by his death; and there is also the Star of Bethlehem announcing the good news.

A small hamlet in the background sleeps peacefully wrapped in night’s colours. These are cold colours. The quiet hamlet contrasts with the joyous activity of the cave where the greatest miracle possible has happened.

The cave is suffused with warm colours, token of the great love of God that has led him to be born of woman and to make a new pact of salvation with mankind.

After you have heard what to look for, you can spend time before this profound painting, observing how deep thought has been abstracted economically with paint from a palette knife, and it may be that at the end you will want to go down on your knees.