Rouen Cathedral, interior before 1865

Curator: Here, we're looking at a gelatin silver print dating to before 1865, attributed to Joseph Cundall. It's a photograph of the interior of Rouen Cathedral. What's your immediate reaction? Editor: Stark. That receding perspective, emphasized by the columns, feels almost endless, pulling you into the architecture itself. The tonality emphasizes a certain somber quality to it. Curator: Cundall's choice of gelatin silver perfectly captures the gothic ambition of the cathedral, with its towering columns and ribbed vaults reaching skyward. The photographic process itself, of course, played a part. What considerations do you think Cundall had in the creation of this? Editor: Considering it was before 1865, the time and labor involved were considerable. This isn't a snapshot; it’s a calculated attempt to document and present the grandeur of the space. What purpose would this documentation of space have at that moment? Curator: Think of the cultural and political landscape. Photography was still relatively new. The rise of tourism was underway and these prints made the wonders of medieval architecture more widely accessible. The photograph acts as both documentation and artifact for popular consumption. Editor: It also freezes a particular moment in the building’s lifespan. What we see isn't just stone and light, it's the state of the cathedral at a specific time, shaped by restoration efforts, social changes. In essence, we could study this as historical record as much as aesthetic artifact. Curator: Precisely! The interplay between the sacred and the civic is also visible. Cathedrals such as these often functioned as community hubs. This piece brings that together, demonstrating it with technological and societal movement. Editor: Looking at this print I'm struck by its enduring power. Beyond simply capturing light and stone, this speaks to the social and economic underpinnings of Victorian society's relationship with sacred architecture and photographic craft. Curator: Indeed, it encapsulates both the awe of the medieval and the ambitions of the modern.