Ingang van het weeshuis te Leiden 1879 - 1915

Curator: Here we have Jan Goedeljee’s photograph, "Ingang van het weeshuis te Leiden", dating roughly from 1879 to 1915. It’s an albumen print, showing the entrance to an orphanage in Leiden. Editor: Well, my first impression is melancholic. The sepia tone gives it a kind of nostalgic weight, like a memory fading at the edges. It's a stately building, but there's an inherent sadness knowing it's an orphanage. Curator: Absolutely. The choice of albumen print, a popular photographic process at the time, enhances this sense of looking back. Albumen prints have a distinctive look - the tones are rich and warm. The building itself is quite imposing, isn’t it? The architecture speaks to a kind of civic responsibility. Editor: It's ornate, almost deliberately so. It's like the city is trying to overcompensate with this impressive façade, perhaps to mask the reality of childhoods spent inside. It almost feels…performative. Are we meant to be impressed by the benevolence on display? Curator: I think the presence of architectural ornamentation, like the sculptures and reliefs above the entrance, can be understood through a lens of social messaging. Orphans, despite their circumstances, are deserving of care, and this grand entrance signifies that societal commitment, the visual language conveys these values. Editor: I find myself drawn to the figures standing in the doorway – their expressions are unreadable. Are they inhabitants? Are they visitors? The photograph captures this ambiguity, and I keep thinking about the personal narratives, these untold stories from a place intended for care but so loaded with absence. Curator: Photography at this time, of course, functioned quite differently than today. This is not just a snapshot. It’s a carefully constructed image with the purpose of documenting a civic space. The photographer chose a vantage point to emphasize the architectural features of this orphanage, its inherent qualities as a social and urban marker. The presence of the individuals further anchors the scene into a relatable human experience. Editor: You are right; the placement feels intentional. I wonder if Goedeljee pondered this paradox of grandeur masking sorrow too. Either way, there is something incredibly moving about its silence. I keep coming back to it! Curator: It is thought-provoking, this visual record. It reminds us that images carry complex layers of meaning about not just what is present but also what remains unsaid and how deeply those unspoken narratives shape our understanding of social history.