Jérusalem, Enceinte du Temple, Détails de l'appareil de la piscine probatique
Auguste Salzmann (French, 1824–1872)
Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851–55)
Salted paper print from paper negative
Image: 22.8 x 32.5 cm (9 x 12 13/16 in.)
Mount: 44.6 x 60.2 cm (17 9/16 x 23 11/16 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Not on view
This site is associated with the New Testament’s Gospel of John, which describes Jesus’s healing of paralytics in the Probatic Pool’s waters. Here, Salzmann fills the entire frame with pocked and mottled stones of varying textures, re-creating the experience of standing within the basin. Placing the camera perfectly perpendicular to his subject, he records the physical present in order to connect with a biblical past. This temporal layering occurs throughout Salzmann’s album as he follows the Bible’s path in search of archaeological fragments.
Inscription: Printed on mount, recto BC: "Aug. Salzmann // JÉRUSALEM // ENCEINTE DU TEMPLE // Détails de l'appareil de la Piscine probatique // Gide et J. Baudry, éditeurs. // Imp. Photogr. de Blanquart - Evrard, à Lille."; inscribed in pencil on mount, recto TR: "22";
André Jammes Collection; [Graphics International, Ltd.]; Gilman Paper Company Collection, New York, October 7, 1978
The Metropolitan Museum of Art. "Faith and Photography: Auguste Salzmann in the Holy Land," September 12, 2016–February 5, 2017.
Perez, Nissan. "An Artist in Jerusalem: Auguste Salzmann." The Israel Museum Journal 1 (Spring 1982). pp. 19–50.
In 1854, Auguste Salzmann created approximately two hundred paper negatives during a four-month sojourn in Jerusalem. He recorded sixty-eight sites and categorized them, with some exceptions, by monotheistic religion—Judaism, Christianity, or Islam. Many of the resulting salted paper prints were circulated privately soon after his return to Paris. In 1856, the album, Jerusalem: A Study and Photographic Reproduction of the Holy City, was first advertised as a commercial endeavor for a wider public. Photographic plates were distributed three at a time over fifty-eight installments from September 1856 through 1859. All of Salzmann’s Jerusalem photographs were printed by the preeminent Blanquart-Évrard firm of Lille, France, while their distribution was managed by Gide et Baudry of Paris. Each album was meant to include two volumes of photographic plates accompanied by an archaeological treatise authored by Salzmann. The album in The Met collection is complete with 174 unbound photographic plates.