The Naming of the Virgin Mary c. 1690

Marcantonio Franceschini rendered this drawing, "The Naming of the Virgin Mary," with pen and brown ink, accented by brown wash, on cream laid paper. Observe the infant Mary held aloft, as angels descend from the heavens above. The very act of naming, so central to identity, is here divinely sanctioned. A tablet bearing her name, “Maria,” is presented by winged figures, while God the Father looks on from above. This motif of divine intervention in naming echoes across cultures and epochs. Consider, for instance, the ancient Roman practice of consulting oracles for auspicious names or the Egyptian belief in the power of names to shape destiny. The emotional power here is palpable. The upward gazes and reverent gestures create a sense of awe and devotion. It speaks to our shared human impulse to find meaning and purpose in the act of bestowing a name. A name is not just a label but an invocation, a wish, and a destiny. This cyclical progression of naming, blessed by divine forces, resurfaces throughout art history, ever evolving and adapting to new cultural landscapes.