Spaanse Trappen te Rome, met op de achtergrond de Trinità dei Monti c. 1850 - 1880

Curator: Here we have an early photograph titled "Spaanse Trappen te Rome, met op de achtergrond de Trinità dei Monti," or Spanish Steps in Rome, with the Trinità dei Monti in the background. The piece dates back to sometime between 1850 and 1880. It's a gelatin-silver print. What are your initial thoughts? Editor: Haunting, isn't it? A monochrome memory. It’s like staring into a sepia dreamscape. All those steps seem to lead to a kingdom in the clouds, or perhaps just to divine contemplation, that church looming in the distance certainly has the 'ol heavenward gaze locked down. Curator: Indeed. It's fascinating to consider how photography, still quite young at this time, was already being employed to capture iconic landmarks and, in effect, create a visual culture of tourism. Photography democratized access to the great monuments of Europe, right? Editor: Absolutely. Imagine the impact. For someone who'd never leave their village, suddenly Rome unfolds before their eyes. A romantic, yet somehow melancholy experience too, I think. There's a quiet stillness here. You know, these images often capture these sites devoid of crowds; quite different from the bustling experience you’d have as a contemporary tourist. It emphasizes the architectural grandeur but almost feels post-apocalyptic... a forgotten empire, still beautiful though. Curator: Precisely! These early photographs highlight not just the site, but also the passage of time and the layers of history embedded within. The absence of people, I think, directs us toward the monumental, inviting us to consider the architectural feat itself and its place within Rome’s narrative. It makes one wonder about Ansiglioni’s other works; what kind of narratives did he attempt to create around these architectural photographs? Editor: You make me ponder this piece's place outside time... that constant struggle to grab on to things just as they quickly change and decay, even iconic architecture isn’t impervious. So much is fleeting and unseen if not documented—or witnessed and reflected on by our creative eye! Well, I know where I want to travel now: back in time to compare this romantic snapshot with the clamorous tourist trap that probably surrounds those steps these days. Curator: A fascinating perspective. I’m leaving with thoughts of how such images shaped our collective understanding of cultural heritage and continue to inform our perception of Rome. Editor: And I with a newfound appreciation for photography as time travel. It is all so dreamily melancholic, like something half-remembered...