It is believed that “The first well-documented account of facial prosthetics is provided by Ambroise Pare (1509-1590), a French military surgeon of great ability who made many and varied contributions to the development of surgery-no doubt the father of ‘facial prosthesis.’ ” (Valauri 244). Dr. Pare did much to standardize the indications for and materials used in facial prosthetics.
Since this time, many accounts of ocular and facial prosthetics have been recorded. Both the common and the famous have achieved notoriety as a result of their facial injuries. Their stories give us a reasonably good view of the historical progression of prosthetics from an art, to a combination of art and science. Among the more notable persons to have had a facial trauma restored by earlier prosthetic means was Tyco Brahe (1546-1601,) the famous Danish astronomer. An account of the time states that “on the 29th, at seven o’clock in the evening, in perfect darkness, [Tyco Brahe and Manderup Parbjerg] settled their dispute with swords. The result was that Tyco lost part of his nose, and in order to conceal the disfigurement, he replaced the lost piece by another made of a composition of gold and silver” (Valauri 246). Another slightly later event in 1883 brought a French private who was injured in the siege of Antwerp to the attention of the medical community. This private known as the “Gunner with the Silver Mask” had the majority of the lower portion of his face avulsed by a large shell fragment. A silver mask was fabricated to disguise the defect as well as to provide anatomical support for the tongue and for collection of secretions. The mask was described in the London Gazette as:
“Half mask, without nose or cheeks, that enclosed the whole extent of the edges of the contrivance, where they came in contact with the face, were skillfully obscured by mustachios and whiskers, and it was fortunate that these were the fashion of the day. The external aspect of the mask was painted in oils so as to correspond with his complexion, and it is said that the illusion was so strong that ‘unless forewarned, he might be steadfastly examined at a short distance without betraying his misfortune.’” (Valauri 247)
This case indicates that the importance of functionality, as well as cosmesis, was beginning to be recognized by those who were making prosthetics at the time.
In Europe, the art of fabricating artificial eyes took a great leap forward from the use of metals, ivory, and clay. This leap took place when Laurent Hiester, a German surgeon, suggested in 1752 that the “use of glass rather than metal eyes, since glass could be better tolerated by orbital tissues” (Danz Sr. 2). Glass came to become the material of choice for ocular prosthetics worldwide for the next two hundred years. The techniques for making the glass stock, as well as for the fabrication of the glass ocular prosthesis, evolved into a highly refined art limited in its approximation of the cosmesis of the eye and the anatomical relationship to the orbit only by the limitations of the material itself. The greatest of these limitations was the inability to approximate the surface irregularities of the anterior surface of the posterior orbit. Another was the fragility of the glass and its propensity to fracture in orbit.
An 1869 text entitled Diseases of the Eye, published in the United States, describes the “state of the art” with great respect. “These substitutes for one of the most expressive of the human features have been brought to a beautiful perfection” (Williams 234). It goes on to indicated the origin of the prostheses in use at the time in the U.S.. “Most of those in use are of Paris manufacture, though a few are made in this country” (Williams 234). This same period, though, saw a migration of the apprentices of Europe to the United States where in a very short period of time, a domestic capability to produce prosthetics of suitable quality was established.