Interieur baptisterium, Pisa 1855 - 1880

Editor: Here we have "Interieur baptisterium, Pisa" a gelatin silver print from somewhere between 1855 and 1880 by Enrico van Lint. The sepia tones give the interior of this baptistery such a somber feel. What is your take on this print? Curator: This photograph presents us with more than just a snapshot of architectural history; it offers a window into the complex interplay between religious spaces, their cultural significance, and the emerging power of photography in shaping public perception. Consider the context. The mid-19th century was a period of intense fascination with the past, with Romanticism fueling interest in medieval architecture. Photography served to democratize access to these historical sites. Editor: Democratize? Curator: Yes, it made them viewable to a broader public, outside of simply physical travel. It's not simply documenting, it's curating a perspective, which plays into power dynamics within the church, the city of Pisa itself, and how people understand religion. Look how van Lint positions the baptismal font front and center. What does that signify? Is he subtly reinforcing religious doctrine or is there a more nuanced socio-political statement being made? Editor: That's such an interesting angle. I never really considered the social and political influence on how a space is recorded. I was mostly focused on its aesthetic qualities. Curator: The aesthetic and the socio-political are inseparable. What appears to be an objective record is always mediated by the photographer's choices, and these choices reflect and, in turn, shape societal values. The very act of selecting what to photograph, from what angle, for what audience… that’s all political. Editor: So much to unpack. I’ll definitely see photographs differently going forward! Curator: And that is exactly what historical study encourages - looking beyond the surface and understanding how art and architecture interact with power.