In 1856, Auguste Salzmann, a French painter, archaeologist, and pioneer in early photography, published this project under the French title Jérusalem: Étude et reproduction photographique des monuments de la ville sainte depuis l'époque judaïque jusqu'à nos jours, a photographic album documenting the architecture and historical context of Jerusalem. At the height of 19th-century Orientalist exploration, Salzmann’s work emerged as both an artistic and scholarly response to the era’s fascination with the biblical and archaeological significance of the Holy Land.
Commissioned by the French Ministry of Public Instruction, Salzmann set out to scientifically document Jerusalem’s monuments amidst debates on biblical archaeology. His work was partially motivated by a desire to validate the controversial theories of archaeologist Ferdinand de Saulcy. De Saulcy argued that certain architectural fragments in Jerusalem dated from the time of King David and Solomon, a view that was ridiculed by other scholars. Salzmann's photographs aimed to provide visual evidence to support de Saulcy's claims, how photography was used in archaeological discussions.
Salzmann’s photographs focus on Jerusalem’s enduring stonework—walls, gates, and tombs—rendered with a clear focus on texture and detail. His visual style eliminates the horizon, while shadows and light interplay to evoke a spiritual resonance. By foregrounding architectural fragments, his images eschew picturesque tropes, instead engaging viewers in a deeper dialogue with history and faith. The lack of human presence in these scenes imbues the photographs with solemnity, aligning with the project’s goal of presenting Jerusalem as a site of divine and historical testimony.
At the heart of Salzmann’s work lies a consideration of the role of photography in 19th-century cultural narratives. His project not only addressed scholarly debates but also aligned with Western imperialist aspirations, where visual documentation of the East served to assert cultural and intellectual authority. By framing Jerusalem through a Western gaze, Salzmann contributed to a growing archive of imagery that shaped perceptions of the Holy Land as both a site of spiritual mystique and scholarly conquest.
First circulated in 1856, the series has been shaped by key presentations—from Salzmann’s showing at the 1855 Exposition Universelle to The Met’s Faith and Photography: Auguste Salzmann in the Holy Land (2016–17), presented alongside Jerusalem 1000–1400: Every People Under Heaven. Substantial holdings in the Metropolitan Museum of Art (Gilman Collection), the Bibliothèque nationale de France, and other archives continue to support research and display.
