Jael and Cisera? [verso]

Executed in red chalk, the drawing is characterized by loose, overlapping strokes that give the figures a sense of movement and ambiguity. The paper’s thin, laid texture and its worn edges reveal extensive handling, while the unfinished areas and soft tonal application illustrate Parmigianino’s exploratory approach to form.

The piece originates from Parmigianino’s early career, a period when he was active in Florence, Rome, Bologna and his native Parma. It predates his more polished works such as the *Vision of Saint Jerome* (1527) and the *Madonna with the Long Neck* (1534), offering insight into his developmental process.

During the early sixteenth century, Italian artists often produced rapid sketches to test compositional ideas before committing to oil paintings. This drawing exemplifies that practice, serving as a visual study for a larger, possibly painted, narrative that was never completed.