Vijver met de Tempel van Diana bij de Villa Pallavicini in Pegli c. 1870 - 1890

Editor: This gelatin silver print from somewhere between 1870 and 1890 by Celestino Degoix, depicts the pond with the Temple of Diana at the Villa Pallavicini in Pegli. I find it quite dreamlike, like something from a fairytale, what stands out for you? Curator: This image, with its carefully placed statues and temple dedicated to Diana, vibrates with a sense of cultural memory. Diana, the Roman goddess of the hunt, wilderness, and the moon, embodies a certain kind of untamed power, a connection to nature, and perhaps even a longing for a simpler, more instinctual existence. What emotions do those symbolic layers conjure for you? Editor: I definitely get a feeling of serenity and also a hint of mystery with the darker tones of the water reflecting the sculpted setting. But it also feels constructed, self-consciously arranged, a little artificial, would you agree? Curator: Precisely. This "artificiality" you've picked up on underscores the Romantics' complex relationship with nature. They sought to capture its essence, but often through idealized and curated experiences. Think about it: even the placement of the Temple is intended to evoke a specific emotional response. Does this staged encounter with nature lessen its power, or does it, perhaps, amplify certain aspects? Editor: I think it probably depends on the viewer, but it’s fascinating to consider that Romanticism attempts to curate our emotional connection to nature in such deliberate ways through established symbols and conventions. Thanks for showing me the historical continuity of those symbolic relationships! Curator: Indeed, by exploring how Degoix consciously employs familiar visual symbols, we begin to understand how photography was actively constructing cultural values and emotional associations. It reminds us how powerfully images shape not just our perceptions, but also our desires.