37. THE PONTE ROTTO
Simelli, Carlo Baldessare

The sole surviving arch of the Ponte Rotto, just down stream from the Tiber Island, is all that remains of the Pons Aemilius, the first stone bridge over the Tiber. The original structure of 179–142 B.C. was totally rebuilt under the Emperor Augustus; the concrete core and part of the travertine facing most likely date from his reign (21 B.C.–14 A.D.). The bridge was repeatedly repaired during the Middle Ages and the Renaissance, the last time under Gregory XIII in 1557. After only four decades, its eastern end was swept away in 1598. In 1853 an iron suspension bridge was erected to span the gap, the underside of which is just visible at the top of the picture. The suspension bridge was removed in 1885, when its connection to the western bank was demolished, isolating the single arch that survives. Simelli here has trained the camera on the stump of the crumbled ancient bridge. River sediment has established a foothold for trees to root and a fisherman to build his shack; these details seem to be of equal importance to the photographer. The Tiber has left a sheen as it slowly moves through the lens’s exposure time.

38. THE BANKS OF THE TIBER, LOOKING DOWNSTREAM TOWARDS THE SLOPES OF THE AVENTINE HILL
Chauffourier, Gustavio Eugenio, print, attributed to an earlier de Bonis negative

In this view of the Tiber we are looking downstream from the picturesque street that led from the Velabrum to the Strada della Marmorata. The ramp leading down to the water provides access to a floating mill powered by the river. The Aventine Hill appears on the left, with the flank and bell tower of Santa Sabina. The top of the campanile of the church of SS. Bonifacio e Alessio is visible over the roof of the monastery wing of S. Sabina. A stroller, his head turned to direct our view up the Aventine, rests on the rough stone wall that bisects the photograph. Presumably on a walking tour to photograph the Tiber, the Marmorata and The Porta di Ripa Grande across the river, de Bonis stopped to capture this evocative image of Roman life, which was later printed by Chauffourier.

39. MAN SLEEPING ON STEPS
Chauffourier, Gustavio Eugenio, (attributed)

40. UNIDENTIFIED STAIRWAY
Chauffourier, Gustavio Eugenio, print  

The photographer’s fascination with pedestrian and work-a-day stairways is evident in this print. Stepping down from the just visible well-worn threshold, we arrive at a winding landing at the break in the wall of the street. The treads descend through the wall and actually spill into the street below. A ghost figure moves through the frame during the exposure, and in development the emulsion has dripped, creating an apparition or spirit descending the stairway.

41. UNIDENTIFIED STAIRWAY
Lebel, Edmond

This mysterious study of steps (“all dark and comfortless”– Lear) in the style of de Bonis and Chauffourier has penciled outlines, indicating its use by Lebel as a painting study.

42. THE PALAZZO MUTI-PAPPAZZURI
de Bonis, A(driano)

The Palazzo Muti-Pappazzuri (also Savorelli) is situated at the north end of Piazza Santi Apostoli. In the 18th-century the papacy assigned it to the Stuart kings in exile, James III (the “Old Pretender”) and his eldest son, Prince Charles Edward (the “Young Pretender”), as their Roman residence. That this association lingered is proven by the pencil notation on the verso: “Palazzo Savorelli ove abitarono li Stuardi. Roma.” A corner of the Palazzo Riario closes the composition on the right, while on the left our eyes are led down the dramatic recession of the Via di San Marcello. This corner of Rome was rarely a subject for early photographers. The foreground of deeply shadowed cobbled pavement is used to balance the image, and a small cart pulled by oxen seems intentionally included. The strong raking light accentuates the architectural details and coats of arms on the palace facade, one of which (the second from the left) is that of the reigning pope, Pius IX (1846–78).

43. THE PORTICUS OF OCTAVIA
de Bonis, A(driano)

The Porticus of Octavia, named after the sister of Augustus, was once part of an extensive complex of colonnades surrounding an open space. In the Middle Ages the remains of the Portico were given over to a fish market, a function they continued to serve until late in the 1870s, when the buildings defining the south (left) side of the Via del Portico were cleared. The stone slabs projecting into the street were used by the fish vendors to display their wares. This mysterious image of the old Fish Market is lit from behind and above, re-creating the sense of a tunnel, which must have been the earlier feel of this space. To tightly frame the stone slabs of the market with the ancient Roman arch, the photographer had to have mounted a scaffold to elevate his position. A tattered curtain partially blocks sunlight from above and probably acted to reduce the spoiling of the fish, which created an oft-commented on stench, especially in the summer months.

44. S. MARIA DELL'ORTO
de Bonis, A(driano)

The facade of S. Maria dell’Orto in Trastevere was built in 1566–67 following the design of Jacopo Barozzi da Vignola. In the distance, San Francesco a Ripa rises at the end of the walled Via Anicia. Built into the wall are niches with the Stations of the Cross, which no longer survive. Is de Bonis here documenting the Renaissance architecture of Santa Maria dell’Orto’s facade, or placing it in an urban context? Or is he perhaps photographing the intriguing silhouette and shadow figure of the gas lamp? All the while, he dramatically frames the shot by the patterned cobbled pavement, which is in strong foreground shadow and seems to draw an outline of the base of the church facade. The oblique view, dynamic composition, and disregard for the integrity of Vignola’s facade represents a radically different approach from the documentary photographers who preceded de Bonis, such as Anderson or MacPherson.

45. S. CLEMENTE, PROTIRON
de Bonis, A(driano)

A 12th-century protiron forms the protective gatehouse giving access to the atrium of San Clemente. Like its contemporary counterpart at San Cosimato (see #19), the columns and capitals supporting the barrel-vaulted entry are spolia taken from ancient Roman monuments. The dramatic change in ground level is due, in large part, to the accumulation of debris resulting from the devastation of the area by the Normans in 1084. The shadow thrown by the fence on top of the retaining wall nicely balances the ponderous gatehouse, the steps of which make the shadow of the ancient Roman column fold like an accordion or camera bellows.