After Parmigianino. Bartsch XII, 90, 7; Gnann (2013) 87 and 88; Takahatake (2018) 31 and 32. The cheek of the first boy on the right is unshaded, as in Takahatake’s first state. An exceptionally fine, early impression before any of the holes or plugs that accrue in both blocks with successive printings, and before the upper left corner is broken off. Still with fresh relief. Condition notes available. There are two other versions of this composition in the same direction, each executed in four blocks rather than two. It was also copied in other print mediums, attesting to the success of the design. With its swirling parallel lines and complex hatching, the woodcut is one of Antonio’s finest.