Selenography was both a practice and a tool which developed through optical instrumentation in the seventeenth century. As a practice, it was the process of creating composite graphical depictions of the Moon through skill and sustained telescopic study. As a paper-based tool, the focus of this article, a selenography was a stabilized visualization and codified template for making, organizing and communicating lunar-based astronomical observations. The template's key observation and notation device was its system of named Moon spots, or lunar nomenclatures. Such systems varied significantly in different sites of knowledge making. Through the close study of two naming schemes produced and exchanged in Counter-Reformation contexts by Michael van Langren (1645) and Giovanni Battista Riccioli in collaboration with Maria Francesco Grimaldi (1651), this essay argues that selenographies were conceived with an eye to ideals of universal standardization for collective and even global observation. In practice, however, different forms of universality, revealing distinct local agendas tied to political and religious priorities, were materialized in each competing scheme.