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| Federico Barocci St Francis ca. 1600-1604 oil on canvas Metropolitan Museum of Art, New York |
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| Federico Barocci St Francis receiving the Stigmata ca. 1594-95 oil on canvas Galleria Nazionale delle Marche, Urbino |
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| Federico Barocci Aeneas and his Family fleeing Troy 1598 oil on canvas (Barocci's second version of this composition) Galleria Borghese, Rome |
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| Federico Barocci Aeneas and his Family fleeing Troy ca. 1586-89 drawing (squared cartoon) Musée du Louvre |
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| Federico Barocci Study for Aeneas and his Family fleeing Troy ca. 1586-89 drawing Kupferstichkabinett, Berlin |
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| Federico Barocci Aeneas and his Family fleeing Troy ca. 1595-98 drawing Cleveland Museum of Art, Ohio |
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| Federico Barocci Aeneas and his Family fleeing Troy before 1595 drawing Royal Collection, Windsor |
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| Agostino Carracci after Federico Barocci Aeneas and his Family fleeing Troy 1595 engraving (copied after the first version of the painted composition) Metropolitan Museum of Art, New York |
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| Federico Barocci Madonna del Popolo 1579 oil on panel (altarpiece) Galleria degli Uffizi, Florence |
"The famous Madonna del Popolo, painted for the Misericordia of Arezzo, is the completer demonstration of a maturity that has moved beyond dependence on Correggio. From a theme that combines the Virgin's roles of Madonna della Misericordia and Madonna Mediatrix, Barocci has evolved a design which links these functions, one earth-directed and the other heavenly, and which pulls the spectator into the union, too. Emerging from a rearward space (which depicts the actual piazza in front of the church of the confraternity at Arezzo), the impulse of design moves forward, round, and upward like a helix through the supplicants, gathering the spectator as it sweeps by, and breaking on the blessing gesture of the heavenly Christ – a gesture meant for the spectator as much as for the population in the picture. Each element in the picture, not just the composition, works towards an effective unity which shall be not only internal but include the spectator. It is by extension from Correggio's precedent that a chief means to this end is the infusion of the work of art by movement, in Barocci more pervasive than Correggio's, and of a more high-pitched, small-scale vibrance. It affects the painterly activity of surface and gives extraordinary life, as well as natural conviction, to optical effects; colour becomes brilliantly but also subtly diverse. Action is gesticulative and impelled but also ornamentally refined, and the linear rhythms that describe it are articulated in a temper close to febrility. The image vibrates in its every part and into the surrounding ambience: it makes an aura to engage the spectator, and then to convince him Barocci employs a measure of descriptive naturalism that is generically like Correggio's and evidently dependent on him. However, Barocci's scale of description is smaller than Correggio's, and his detail thus more intimate."
– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |
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| Federico Barocci Madonna del Popolo (detail) 1579 oil on panel Galleria degli Uffizi, Florence |