Bas-relief Virgin and Child in terra cotta of the school of Ghiberti

The relief depicts the Virgin Mary holding the infant Jesus, rendered in the restrained, elegant style characteristic of early Renaissance Florence. Though not by Ghiberti himself, the work embodies his workshop’s influence in its delicate modeling and harmonious composition. Laffon’s photograph preserves this devotional subject not as a sacred object, but as a study in form, line, and spatial depth—valued for its artistic lineage rather than religious function.

Laffon’s photograph is a gelatin silver print, rendered in monochrome to emphasize tonal gradations and surface texture. The composition is carefully framed to isolate the relief against a neutral background, minimizing distractions and enhancing its sculptural qualities. The lighting is even and controlled, typical of museum documentation practices of the period, designed to reveal detail without dramatic shadow or emphasis.

In 1864, the Victoria and Albert Museum acquired 500 photographs from Laffon’s series through the Parisian agent E. Cappe. These images originated from her work documenting the Campana Collection at the Musée Napoléon III. Laffon, one of the earliest female members of Le Société Française de la Photographie, was commissioned for her technical precision. The V&A integrated these photographs into its National Art Library collection, where they served academic and curatorial purposes.

During the 1850s and 1860s, the V&A, under Henry Cole’s leadership, pioneered the use of photography in art education. Rather than relying solely on drawings or casts, the museum sought photographic reproductions to provide students and faculty with accurate visual references. Laffon’s work was part of an international network of photographers whose images helped democratize access to European sculpture, particularly works not easily transportable or visible to British audiences.

Laffon’s photograph exemplifies the quiet but vital role women played in the institutionalization of photographic documentation in museums. Though her name was long overlooked, her work contributed to the V&A’s foundational collection of photographic reproductions. Today, such images remain essential for art historical research, preserving the appearance of objects that may have since been altered, lost, or relocated.