Andrea Magliar's portrait of Thomas de Aquino Castilionis Feroleti, Prince of Spain, was made using engraving techniques, with the lines incised into a metal plate, likely copper. This was a printmaking method of image production, which allowed for the circulation of portraits beyond painted versions for the elite. Consider the labor involved in creating this image. The engraver meticulously cut lines to represent light and shadow, capturing the textures of hair, lace, and armor. This highly skilled work transformed the Prince's likeness into a repeatable image. Engravings like this one reflect broader social issues of the time, where images of power and nobility were consumed as symbols of status and authority. The print’s graphic detail emphasizes the materiality of the image, making it a tangible object that circulated within a specific social and political context. By examining the materials, processes, and social context of this artwork, we gain insight into the intersection of art, labor, and power in the 17th century, challenging the boundary between craft and fine art.