Jérusalem. Massif de la Tour Antonia 1860

Louis de Clercq captured this view of Jérusalem, Massif de la Tour Antonia, using photography, a relatively new medium at the time. The image’s sepia tones arise from the chemical processes used to develop the print. Consider how de Clercq frames the ancient stonework of Jerusalem. The rough-hewn blocks, likely shaped by hand through quarrying and masonry, speak to a long history of labor. The image captures not just a place, but also the weight of human effort embedded in its construction. There's a contrast between the timelessness of the stone and the modern technology used to record it. De Clercq, as a photographer, is also a worker, using his tools to capture and present this place to a wider audience. The photograph flattens the complexities of the city into a consumable image, a product of early tourism and documentation. By recognizing the materials, the making, and the social context, we can understand its layered meanings beyond just a visual representation.