'For his grandest composition, The Entombment, known in two versions, Parmigianino made something like twenty preparatory drawings. [After the first attempt ended in technical failure he]..was forced to copy it onto another plate...This is very much bolder in its approach: the tool is thicker, the biting is deeper...The print is full of restlessness and drama. This is one of Parmigianino's greatest achievements in all media, and it is fitting, given what we know of his character, that he should have abandoned printmaking soon after completing his masterpiece.'
(David Landau and Peter Parshall, The Renaissance Print, Yale University Press, New Haven and London, 1994, p. 269.)