![Il [mondo] e [per] lo piu [gabbia] di [matti] / Giuseppe Ma. Mitelli inv. dissegno, et int. In Bologna 1654.](https://cache.getarchive.net/Prod/thumb/cdn4/L3Bob3RvLzE2NTQvMDEvMDEvaWwtbW9uZG8tZS1wZXItbG8tcGl1LWdhYmJpYS1kaS1tYXR0aS1naXVzZXBwZS1tYS1taXRlbGxpLWludi1kaXNzZWduby1ldC1pbnQtNjQwLmpwZw%3D%3D/320/439/jpg "Il [mondo] e [per] lo piu [gabbia] di [matti] / Giuseppe Ma. Mitelli inv. dissegno, et int. In Bologna 1654.")
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Il [mondo] e [per] lo piu [gabbia] di [matti] / Giuseppe Ma. Mitelli inv. dissegno, et int. In Bologna 1654.
Summary
Print shows a large cage containing all manner of men, from scientists and musicians to the dregs of society. Sitting outside on the top of the cage are Fortune, whom all desire to reach, and the artist, busily engaged in sketching the "follies of human nature."
Purchase (Hubbard Fund 70-27); Walter Schatzki; (DLC/PP-1970:042).
Published in: Viewpoints; a selection from the pictorial collections of the Library of Congress .... Washington : Library of Congress ..., 1975, no. 189.
Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.
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