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| Taddeo Zuccaro Alexander and Bucephalus ca. 1553 drawing National Gallery of Art, Washington DC |
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| Taddeo Zuccaro Cherub with the Head of St John the Baptist before 1566 drawing Musée du Louvre |
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| Taddeo Zuccaro Frolicking Putti before 1566 drawing (study for frieze) Musée du Louvre |
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| Taddeo Zuccaro St John the Evangelist before 1566 drawing Musée du Louvre |
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| Taddeo Zuccaro St John the Evangelist in Pendentive ca. 1556 drawing (study for fresco) Musée du Louvre |
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| Federico Zuccaro Assumption of the Virgin before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Dante and Virgil at the Entrance to Hell ca. 1585-88 drawing Musée du Louvre |
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| Federico Zuccaro Faun playing Pipes before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Head of a Man before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Ignudo before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Portrait of a Girl before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Portrait of a Man before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Portrait of Taddeo Zuccaro ca. 1560-65 drawing Musée du Louvre |
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| Federico Zuccaro Portrait of Taddeo Zuccaro ca. 1560-65 drawing Musée du Louvre |
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| Federico Zuccaro St Jerome in the Wilderness before 1609 drawing Musée du Louvre |
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| Federico Zuccaro Youth with Dog before 1609 drawing Musée du Louvre |
"In the decade and a half of Federico's geographically diffuse and energetic activity before 1575 he demonstrated the efficiency with which he had absorbed his brother's lessons. The ingredients that constitute the bases of Federico's style, and much of his precise vocabulary, are more like Taddeo's than the normal connection between pupil and master would account for. Federico's skill of hand does not seem less than Taddeo's; however, the mentality that moves the hand does not inspire it in the same way. Federico's attitude towards what he represents seems more detached than Taddeo's, but he is more attached to habits of classicistic correctness and routine. The dryness that Taddeo adopted on occasion as a thematically indicated choice of mode seems, in Federico, a habitual disposition. But that Federico's version of Maniera in the later sixties and seventies is more routine and classicistic than his brother's may be less a function of his private disposition than of a cultural sensibility we may suppose that he possessed, which continued the significant process Taddeo himself had begun of accommodation between Maniera and – now, still farther into the century – the ever more restrictive atmosphere of the Counter-Reformation."
– S.J. Freedberg, Painting in Italy, 1500-1600 (Penguin, 1970)