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| Pier Francesco Mazzucchelli Jacob wrestling with the Angel ca. 1610 drawing British Museum |
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| Pier Francesco Mazzucchelli Jacob wrestling with the Angel ca. 1610 oil on canvas Museo Diocesano, Milan |
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| Pier Francesco Mazzucchelli Holy Family with an Angel offering a Honeycomb to the Christ Child before 1626 drawing Royal Collection, Great Britain |
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| Pier Francesco Mazzucchelli Holy Family with an Angel offering a Honeycomb to the Christ Child before 1626 oil on canvas National Trust, Kedleston Hall, Derbyshire |
"Morazzone's father, a master mason, took him to Rome in 1592, where he painted frescoes in several churches. He also may have worked for a Mannerist painter and studied in academies or with Francesco Vanni's brother. By 1598 Morazzone had returned to Lombardy, where he became one of the region's principal painters, specializing in altarpieces and frescoes for churches and other religious organizations. His Roman training contributed to his classical style, and the pietist and mystical Counter-Reformation teachings of St. Charles Borromeo encouraged mysticism and pathos in his art."
– from curator's notes at the Getty Museum
"Seicento painting in Milan developed under the shadow of the great counter-reformer St. Charles Borromeo. His spirit of devotion was kept alive by his nephew Archbishop Federico Borromeo. It was he who in 1602 commissioned a cycle of paintings to honour St. Charles's memory. These large canvases depicting scenes from his life were increased in 1610, the year of St. Charles's canonization, to over forty to include portrayals of his miracles. Many of these pictures were due to the three foremost Milanese painters of the early Seicento, Giulio Cesare Procaccini (1574-1625), Giovanni Battista Crespi, called Cerano (c. 1575-1632) and Pier Francesco Mazzucchelli, called Morazzone (1573-1626). A study of their works gives the measure of Milanese 'history painting' at this period: influences from Venice (Veronese, Pordenone) and from Florentine, Emilian (Pellegrino Tibaldi), and northern Mannerism (e.g. Bartholomeus Spranger) have been superimposed upon a local foundation devolving from Guadenzio Ferrari."
– Rudolf Wittkower, Art and Architecture in Italy 1600-1750, originally published in 1958, revised by Joseph Connors and Jennifer Montagu and reissued by Yale University Press in 1999
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| Pier Francesco Mazzucchelli Annunciation ca. 1607-1617 oil on canvas Raccolta d'Arte, Antico Ospedale Maggiore, Ca' Granda, Milan |
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| Pier Francesco Mazzucchelli Adoration of the Magi ca. 1600 oil on panel National Gallery of Art, Washington DC |
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| Pier Francesco Mazzucchelli Adoration of the Magi ca. 1620 oil on canvas Pinacoteca Ambrosiana, Milan |
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| Pier Francesco Mazzucchelli Christ and the Woman taken in Adultery before 1626 oil on canvas Musée des Beaux-Arts de Nîmes |
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| attributed to Pier Francesco Mazzucchelli Raising of Lazarus ca. 1615-20 oil on panel National Gallery of Canada |
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| Pier Francesco Mazzucchelli Modello for Madonna of the Rosary with St Dominic ca. 1617 oil on canvas Pinacoteca di Brera, Milan |
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| attributed to Pier Francesco Mazzucchelli Ecstasy of St Francis ca. 1615 oil on canvas Los Angeles County Museum of Art |
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| Pier Francesco Mazzucchelli The Crowning with Thorns ca. 1610 oil on canvas Fondazione Roberto Longhi, Florence |
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| Pier Francesco Mazzucchelli The Flagellation ca. 1615-20 oil on canvas Museo del Prado, Madrid |
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| Pier Francesco Mazzucchelli Pentecost 1615 oil on canvas Museo d'Arte Antica del Castello Sforzesco, Milan |