In 1818 he returned to Parma, where he founded the Secret Society of the Sublime Perfect Master, with the goal of resisting tyranny.

[8] On 9 April 1824 Linati was tried in absentia and sentenced to death by the Supreme Court of Parma for conspiracy against the government.

[9] Linati was commissioned to survey the coast of Mexico and find an anchorage for the ships and machines of mining companies.

[13] It also provided diverse cultural content, and portraits of Guadalupe Victoria, José María Morelos and Miguel Hidalgo y Costilla, heroes of the independence struggle.

[15] Linati took the Yorkino position that the people were sovereign, and only federalism could protect individuals and the nation against the depredations of the army and the priests.

He was opposed to strong central authority and in favor of greater education in citizenship and the discipline of military service.

[12][a] Although short-lived, El Iris established a lasting model for journals that printed satirical lithographs on political and social subjects.

[12] His book of Mexican civil, military and religious costumes, with text and illustrations, was published in Belgium in 1828 and in London in 1830.

[12] On 20 August 1829 a passport was sent to Linati to return Mexico via Le Havre and the United States, but was not used immediately.

[12] Sir Anthony Panizzi, who knew him well, called him a man of turbulent spirit with a hardy constitution, full of energy but with no set purpose, well-read, a painter, poet and playwright.

[9] He hated England and the English, called the French servile cattle for their submission to tyranny, and said Spain was in a condition of priestly anarchy.

[9] There is a plaque on 45 Borgo Felino St, Parma, Italy, that reads:[14] "Filippo and Claudio Linati owned and lived in this house.

The first was indicted as Chief of the Provisional Insurrectional Government in 1831, and the second was sentenced to death for having conspired in 1821 to redeem Italy from domestic and foreign servitude.

[4] The book depicts the great variety of Mexican society of the time, setting a model that would be followed by later illustrators such as Carl Nebel.

[25] Linati praises the ethnic diversity of Mexico, but writes that the indigenous people must abandon their languages and some of their customs.

[10] Linati praises the role the Creoles played in the revolution, but also makes much of Italian volunteers such as Count Giuseppe Stavoli and General Vicente Filisola who had helped in the fight for freedom, and who are depicted in several illustrations.

[23] He shows various types of soldier and praises the fighters in the insurgent movement that had recently won Mexico her independence.

Linati mocks a young female worker in a pink dress with a shawl from Puebla over her head and shoulders, explains why ancient Mexico did not develop wheat and notes the surprise a European would feel in seeing a man carrying fifty pounds of water.