Physiognotrace

A physiognotrace is an instrument, designed to trace a person's physiognomy to make semi-automated portrait aquatints. It was invented in France in 1783–84 and popular for some decades. The sitter climbed into a wooden frame (1.75m high x .65m wide), sat and turned to the side to pose. A pantograph connected to a pencil produced within a few minutes a "grand trait", a contour line on a piece of paper. With the help of a second scaling down pantograph, the basic features of the portrait were transferred from this sheet in the form of dotted lines to a copper plate which had previously been prepared with a ground for etching. One week later the sitter received an etched plate and twelve little prints.[1] Not only this device, but also the aquatint prints, are called physionotraces.

Pierre Gaveaux, 1821, by Edme Quenedey (1756–1830) after a physionotrace

History
Quenedey's drawing of the tool

In 1783–84 a Frenchman named Gilles-Louis Chrétien invented the "physionotrace" to aid in the production of silhouette portraits which became popular during the reign of Louis XVI. Within a few minutes a "grand trait" was produced . This life-size drawing was completed by an artist. Chrétien's device used the mechanics of the pantograph to transmit the tracing (via an eyepiece) of the subject's profile silhouette to an engraving needle. Thus it enabled the production of multiple portrait copies.[2] Chrétien's first partner, Edme Quenedey, made a drawing of the instrument in 1788, which now sits in the Bibliothèque Nationale de France.[3] When Quenedey started his own business in Germany, Chrétien cooperated with the artist Jean-Baptiste Fouquet, and Jean Simon Fournier. Chrétien's workshop was taken over by Edme Bouchardy.

In 1802, John Isaac Hawkins, who was born in England in 1772 and who lived in Philadelphia, Pennsylvania, patented the second official physiognotrace, and partnered with Charles Willson Peale to market it to prospective buyers. John Hawkins's machine differed from Chrétien's in that it traced around the actual face with a small bar connected to a pantograph that reduced the silhouette to less than two inches. At that time, many versions of these instruments were being used all over the East Coast in the United States, some of which predated Hawkins's, and which were capable of quickly making machine-made profiles.[4]

By 1802, in response to the popularity of silhouettes, which were invented in the late eighteenth century, Peale introduced the British inventor John Hawkins’s (1772–1855) physiognotrace at his museum in Philadelphia. While the operator traced the sitter’s head, the mechanism impressed the image onto a piece of paper that was often folded to produce multiple portraits. The operator then cut away the center of the paper, leaving a “hollow cut” image. These silhouettes, or profiles as they were also called, could be kept loose, framed, or compiled in albums; a black or blue piece of paper or fabric placed behind the image provided contrast.[5]

Peale sent the watercolor sketch of this instrument to Thomas Jefferson,[6] along with a detailed explanation. The drawing now sits with the Jefferson Papers in the Library of Congress. In April 1805, Mr. Peale wrote his friend, Dr. William Thornton to request a certified copy of a patent of a physiognotrace that was issued to John J. Hawkins. Peale, who had an interest in the instrument and who kept the original in his museum, "needed the certified copy to bring suit against a person who was making the device without authority. John J. Hawkins had been in England, where he sold patent rights to the polygraph (duplicating device) and drawing machine for 1,600 guineas. Mr. Peale also wrote to Dr. Thornton in May 1805 to record an assignment of the Hawkins invention to Mr. Peale for the City of Philadelphia."[7] James Sharples, an itinerant British portrait artist, who also lived for a time in Philadelphia, used a physiognotrace to draw profiles of such famous subjects as George Washington and Dolly and James Madison.

References
  1. Physionotraces: galerie de portraits, de la Révolution à l’Empire
  2. Cromer "Le secret du physoniotrace" Bulletin de la société archéologique, historique et artistique, "Le Vieux Papier", 26th year, October 1925
  3. "The Mechanization of Likeness in Jeffersonian America". mit.edu.
  4. http://206.180.235.133/jaic/articles/jaic41-03-001_5.html%5B%5D
  5. "Distinguishing Real from Fake Peale's Museum Silhouette by user from Antiques & Fine Art magazine". antiquesandfineart.com. Archived from the original on 2012-02-09. Retrieved 2009-08-27.
  6. "Archived copy". Archived from the original on 2010-06-21. Retrieved 2009-08-27.CS1 maint: archived copy as title (link)
  7. "History of the United States Patent Office, Chapter 8". Myoutbox.net. Retrieved 2017-08-18.
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