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upper left, in image, in plate: Brueghel Inue; lower left, in image, in plate: H COCK EXCVD CVM PRIVILEGIO; lower margin, in plate: DEBENT IGNARI RES FERRE ET POST OPERARI / IVS LAPIDIS CARI VILIS SED DENIQ3 RARI / VNICA RES CERTA VILIS SED VBIQ3 REPERTA // QVATVOR INSERTA NATVRIS IN PRINCIPALIS / SED TALIS QVALIS REPERTITVR VBIQ3 LOCALIS. (The ignorant should suffer things and labor accordingly. The law of the precious, cheap but at the same time rare stone is the only certain, worthless but everywhere discovered thing. With four natures stuffed into the cloud it is no mineral that is unique somewhere but is of such a kind as to be found everywhere.) [translation from Nadine Orenstein, ed., Pieter Bruegel the Elder: Drawings and Prints. Exhibition catalogue. New York: Metropolitan Museum of Art, 2001, p. 170.]

Exhibition History
Europe in Torment: 1450-1550, Rhode Island School of Design, Providence, RI, 1974, no. 24, repro.
The Fantastic in Renaissance Prints and Drawings, National Gallery of Art, Washington, 2000.
"Writing on Hands: Memory and Knowledge in Early Modern Europe, 1470-1700", The Trout Gallery, Dickinson College, Carlisle, 2000, no. 69.
Bastelaer, Rene van. Les estampes de Peter Bruegel l'ancien. Brussels: G. van Oest et Cie, 1908.
The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450-1700. (Philips Galle, Manfred Sellink and Marjolein Leesberg, authors). Rotterdam: Sound & Vision Interactive, 1996-, no. 391, state i/iii.
Sherman, Claire Richter. Writing on Hands: Memory and Knowledge in Early Modern Europe. Exh. cat. The Trout Gallery, Dickinson College, Carlisle, PA, 2000, no. 69.
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