Attributed to Bernard van Orley – The Birth and Naming of Saint John the Baptist; (reverse) Trompe-l’oeil with Painting of The Man of Sorrows Metropolitan Museum: part 2

The composition is structured around a central doorway that frames a richly adorned bedchamber. Within this space, a scene unfolds involving several figures arranged in a hierarchical manner. A woman, presumably the mother, sits at a low table with a newborn infant cradled in her arms. She is attended by another woman, likely a servant or relative, who stands beside her and gazes attentively upon the child. The mother’s attire – a high-necked white gown accented with intricate detailing – suggests status and piety.
To the left of the doorway, an older man, possibly a priest or family elder, holds the infant, seemingly performing a naming ceremony. He is flanked by two other figures: one dressed in red robes and another in green, both appearing to observe the proceedings with solemn expressions. The architectural setting beyond them reveals a grand hall with marble columns and further figures engaged in what appears to be ceremonial activity. A peacock stands prominently near a balustrade, its vibrant plumage adding a touch of opulence and symbolic resonance – peacocks are often associated with Christ and resurrection.
The bedchamber itself is dominated by the figure of a woman lying in an elaborate four-poster bed draped in crimson fabric. She appears to be engaged in prayer or contemplation, her posture conveying a sense of quiet devotion. The interior space is illuminated by soft light that highlights the textures of the fabrics and the details of the architecture.
The painting’s subtexts revolve around themes of divine blessing, familial duty, and religious observance. The naming ceremony signifies the integration of the child into the community and the bestowal of a spiritual identity. The peacocks presence reinforces the sacred nature of the event. The contrast between the interior scene of domestic intimacy and the exterior hall suggests a connection between the personal and the public spheres within the context of faith. The overall impression is one of carefully orchestrated ritual, imbued with both solemnity and visual splendor.