Marble Statue of Lucius Verus

The statue depicts Lucius Verus, co-emperor of Rome with Marcus Aurelius in the second century CE. Laffon’s photograph does not interpret the figure symbolically but records its physical presence with precision. The image serves as a visual archive, preserving the statue’s form for scholars and students who could not access the original in Paris. Its value lies in its function as a documentary record, not as a commentary on imperial power or identity.

Laffon employed the albumen print process, common in mid-19th-century photographic documentation. The image exhibits careful lighting and composition, emphasizing the statue’s contours and surface texture without dramatic flair. The style is restrained and objective, aligning with the museum’s goal of creating accurate visual references. There is no attempt at artistic embellishment; the focus remains on fidelity to the object.

The photograph was produced as part of Laffon’s project to document the Campana Collection at the Musée Napoléon III. In 1864, the V&A purchased 500 images from this series through the Parisian agent E. Cappe. Laffon, one of the earliest recognized female photographers in France, contributed to institutional efforts to build visual reference collections. The image entered the V&A’s holdings as part of its National Art Library photography archive, later integrated into the museum’s broader collections.

The V&A, then the South Kensington Museum, was the first institution to systematically collect photographs, beginning in 1852. Under Henry Cole’s leadership, photography was embraced as a practical aid for artists and designers. Laffon’s work was one of many contributions from professional photographers, both institutional and independent, who helped expand the museum’s visual resources. Her role reflects the quiet but essential participation of women in early museum-based photographic practice.

Laffon’s photographs, including this one, remain part of the V&A’s historical archive, illustrating the museum’s pioneering role in using photography for scholarly purposes. Her work contributes to the broader recognition of women in the early history of photographic documentation. While not widely exhibited as art, these images continue to serve as vital records of 19th-century collections and the evolving methods of art historical preservation.