This impression shows how a printing plate could pass through several owners and continue to satisfy demand for an artist's prints even after it had worn down. Lucas van Leyden’s renown meant that his plates were reprinted long after his death to satisfy demand from print-collectors. This print was made from Lucas van Leyden’s original plate. In the corner, printer Maarten Peeters later added his address to the plate, which another owner then erased. To extend its life, the plate was re-engraved when it had become worn down. Some details have completely changed, such as the boulder beside the dog and the buildings top left. Unfortunately the original quality of the print is barely discernable.

At this time a canon of printmakers was being established by writers like Giorgio Vasari (1568). Vasari considered Leyden almost equal to Albrecht Dürer. This was one of three works singled out as his best.

Carel van Mander in his 1604 Schilder-boek describes Leyden as being particular about the quality of the prints he sold, burning 'great heaps' of them. Ironically, there survive more poor impressions than good ones because Leyden's renown led to the plates being reprinted and reworked long after his death.