Seite - 72 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

72 Sektion I: Themen und Medien der Repräsentation on the relationship between a fa- ther and his children – between the Emperor and his subjects.44 Telesko has shown how Franz’s characteris- tically ernste physiognomy would become in the nineteenth century a ‘trademark’ for his leadership style, one distinguished by his sense of duty, responsibility, and fatherly love towards his subjects.45 It is sig- nificant therefore that Adam chose to publish Müller-Deym’s portraits of Franz and Marie Therese in pro- file rather than frontally. Through careful choice of lighting effects within the roundels, Adam is able to both suggest something of the reality effect of the wax medium while maximizing the contrast between the highlighted contours of the imperial physiognomy and the dark background to produce as clear a silhouette as possible. The result is a com- pounding of the indexicality of these two forms of automatic portraiture: wax like- nesses derived from casts and silhouettes. Silhouettes also had a particular currency in the year 1794, around the end of the Terror, when a distinct subgenre of silhouette imagery emerged, characterized by the profiles of prominent figures, often royalty, ‘hidden’ in the negative space of another ostensible image.46 Although the genre would evolve in the Napoleonic period, the vast majority produced around the end of the Terror featured the silhouettes of the defunct French royal family embedded into allegorical mourning scenes. A curious exception can be found in a series of prints produced in Rome in 1794 by Pier Leone Bombelli, one of which features the silhouettes of Franz and Marie Therese. While Franz features in a handful of other prints in the company of manifold other sover- eigns47, Bombelli’s print titled Aquila Imperiale appears to be unique in its focusing exclusively on the imperial couple (Fig. 7). The first plane of the image is composed of the Habsburg double-headed eagle crowned with the Austrian imperial crown, bran- dishing in its talons the imperial sceptre, sword and orb. As the caption at the bottom Figure 6: L.[?] M. f. [Mansfeld?], Franciscus. II., n. d.