Jérusalem, Saint-Sépulcre, Colonne du parvis

Art Historical Context

In 1854, French photographer Auguste Salzmann capturedJérusalem, Saint-Sépul, Colonne du par*, a poignant salted paper print from a paper negative, showcasing the Column of the Parvis in courtyard of Jerusalem's Church of the Holy Sepulchre—one of Christianity's holiest sites, revered as the location of Jesus's crucifixion, burial, and resurrection. Produced by the esteemed Imprimerie photographique Blanquart-Évrard in Lille, this 32.6 x 23 cm image exemplifies early calotype processes, where light-sensitive paper negatives yielded soft, textured prints prized for their atmospheric depth. Salzmann's work formed part of a pioneering series documenting Jerusalem's sacred architecture amid the mid-19th-century Ottoman era, before modern restorations altered these ancient structures. As one of the first photographers to systematically record the Holy Land, he bridged artistic vision with scholarly precision, using the salted paper technique—popularized in the 1840s—for its subtle tonal range that evoked the site's weathered stones and spiritual aura. This photograph, now in the Metropolitan Museum of Art's Gilman Collection, highlights photography's emerging role in preserving cultural heritage, offering visitors a window into a timeless landmark frozen in crisp, early clarity.

About the Artist

Auguste Salzmann|Imprimerie photographique de Blanquart-Évrard, à Lille · 1824–1872

Born 15 april 1824. Salzmann travelled to Palestine in 1850 to 1851 as a draughtsman for a French expedition to the East. Salzmann returned to Paris, France in 1851 and learned photography which he used as an aid to his archaeological research. In 1853 Salzmann was commissioned by the Ministry of Public Instruction to visit Egypt, Syria, Palestine, and the islands of the Archipelago to photograph ...