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Vitellius, Emperor of Rome. Line engraving by A. Sadeler
Vitellius, Emperor of Rome. Line engraving by A. Sadeler
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The subject
Aulus Vitellius Germanicus Augustus is one of the Eleven Caesars, a series of eleven half-length portraits of Roman emperors painted by Titian in 1536-40 for Federico II, Duke of Mantua. They were among his best-known works, inspired by Suetonius' Lives of the Caesars. Titian's paintings were originally housed in a new room within the Palazzo Ducale in Mantua. Bernardino Campi added a twelfth portrait in 1562. The portraits were copied by Flemish engravers in the late 16th and early 17th centuries, who added engravings of twelve Roman empresses. Between 1627 and 1628 the paintings were sold to Charles I of England by Vincenzo II Gonzaga, and when Charles I's Royal Collection was broken up and sold after his execution by the English Commonwealth, the Eleven Caesars passed in 1651 into the collection of Philip IV of Spain. They were all destroyed in a catastrophic fire at the Royal Alcázar of Madrid in 1734 and are now known only from copies and engravings. This one is by Aegidius Sadeler.
How the reproductions are made
Trizio Editore's craftsmen produce a reproduction of this subject using a unique process. In fact, the image is printed several times as a test until the correct combination of colour tones is found. Finally, a professional 12-colour inkjet printer produces a perfect copy, which is checked again by hand and left to dry in protected environments. The craftsmen use a natural fixative to preserve the brilliance and sharpness of the image and package the product entirely by hand. Appreciated and used today by true connoisseurs of quality, fine papers, very fine photographic papers and painter's canvases have an ancient tradition. A symbol of Made in Italy recognised throughout the world, these exquisite prints present priceless subjects brought back to life in a new light. Once the print has been made, it moves on to drying, which, in protected environments and at precise temperature and humidity, helps the colours stay vivid and full-bodied. The subsequent fixing keeps the colours exactly as they were when first printed, for ever. The fixative comes into direct contact with the surface and creates a genuine physical barrier between the colours and dust or the elements. Choosing the frames and the brilliant glass is then a delicate and precise design step. Each colour has its own peculiarity. Using natural elements, we have special frames of incredible brilliance and lightness. The frames are, of course, matched to the subject. To help us choose art experts and master painters carry out tests and tell us which choice to make. All reproductions are selected and overseen by our Italian craftsmen.

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