Long story short, I visited the ancient Roman ruins of Ostia Antica, once Rome's port city. Today, Ostia Antica is a meticulously preserved archaeological site—a day trip journey from Rome.
The author sits astride the entrance to an ancient Roman snack shop on what was once a busy commercial street in Ostia, Antica.
I remember the day we set out—my friend, a clinical social worker, and I, a Benedictine monk! What a pair! The day was hot—one of those excessively hot summer days, which is why, historically, Popes have left Rome in the summer months to retreat at Castel Gandolfo, slightly more elevated and on a beautiful lake. Anyway, I digress. We took one of those local Italian trains that stopped at every village and township between Termini station and the coast.
I don't remember much about visiting Ostia except to say I appreciated how the ancient Romans had snack shops, indoor plumbing, heating, like us, storefronts, and well-laid out streets—a presage to pretty much how we live today—except trade horse carriages with gas-powered automobiles.
Takeaway: Ostia Antica is a day trip by train if you are traveling to Rome, Italy.
Discover a rare Maxime Du Camp salt print at the Met, a pioneering work of travel photography with ties to Gustave Le Gray and Eugène Viollet-le-Duc.
I’m in the Metropolitan Museum of Art today; I am captivated by a remarkable piece of photographic history - a salt print from the French photographer Maxime Du Camp. This print, possibly developed in Gustave Le Gray’s studio, holds a rich narrative beyond its visual allure.
Maxime Du Camp, a journalist with no prior experience in photography, learned the craft under the tutelage of Le Gray shortly before embarking on an ambitious journey to Egypt and the Near East in 1849. Accompanied by Gustave Flaubert, Du Camp set out to meticulously document ancient monuments and archaeological sites. Their expedition, which extended up the Nile and into Palestine, Turkey, and Greece, culminated in the influential album “Egypte, Nubie, Palestine et Syrie,” published in 1852. This collection, showcasing 125 photographs, was a pioneering effort in the field of travel photography and earned Du Camp instant acclaim.
What makes this piece at the Met even more intriguing is its possible provenance. It is thought to have once belonged to the esteemed architect Eugène Viollet-le-Duc. The print in the Met’s collection, part of a private printing that goes beyond the published edition, is notable for its warm color and luminescence, traits that enhance its historical and aesthetic value.
