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| Domenico Beccafumi St Catherine of Siena receiving the Stigmata 1545 oil on panel Museum Boijmans Van Beuningen, Rotterdam |
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| Domenico Beccafumi Hercules at the Crossroads ca. 1520-30 oil on panel Museo Bardini, Florence |
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| Domenico Beccafumi Adoration of the Child 1510 oil on panel Musée des Beaux-Arts de Caen |
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| Domenico Beccafumi The Sacrifice of King Codron of Athens (from the cycle Public Virtues of Greek and Roman Heroes) 1529-35 detached fresco Pinacoteca Nazionale di Siena |
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| Domenico Beccafumi and workshop Christ carrying the Cross ca. 1520 oil on panel Pinacoteca Nazionale di Siena |
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| Domenico Beccafumi Marcia of Rome ca. 1519 oil on panel, transferred to canvas National Gallery, London |
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| Domenico Beccafumi Reclining Nymph ca. 1519 oil on panel Barber Institute of Fine Arts, University of Birmingham |
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| Domenico Beccafumi Tanaquil of Rome ca. 1519 oil on panel National Gallery, London |
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| Domenico Beccafumi The Annunciation ca. 1545 oil on panel Chiesa di San Martino in Foro, Sarteano |
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| Domenico Beccafumi Study for God the Father seated on Clouds and holding the Earth ca. 1530 drawing Musée du Louvre |
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| Domenico Beccafumi Study for Seated Prophet with Two Putti ca. 1545 drawing Musée du Louvre |
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| Domenico Beccafumi Figure Studies (for mosaic pavement in Siena Cathedral) ca. 1544 drawing Metropolitan Museum of Art, New York |
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| Domenico Beccafumi Study for Apostle 1547 drawing Musée des Beaux-Arts de Rennes |
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| Domenico Beccafumi Frieze of Figures (for mosaic pavement in Siena Cathedral) ca. 1544 drawing Metropolitan Museum of Art, New York |
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| Domenico Beccafumi Studies of an Elderly Figure leaning on a Staff ca. 1522 drawing Musée du Louvre |
"The same talent which could be seen solely as a gift of Nature in Giotto and several of the other painters we have discussed to this point was most recently seen in Domenico Beccafumi, the Sienese painter, for while he was guarding some sheep belonging to his father, a man named Pacio who was a labourer for Lorenzo Beccafumi, a Sienese citizen, he was seen, child though he was, practising drawing all by himself on the rocks or in other ways; and it happened that one day this Lorenzo saw him sketching some things with a pointed stick in the sand of a small stream where he was tending his flock, and Lorenzo asked for the boy from his father, intending to employ him as a servant and at the same time to have him taught. Thus the boy, who was then called Mecherino, was given by his father Pacio to Lorenzo, who brought him to Siena, where, for a time, he made him spend the hours left over from household duties in the shop of a nearby painter of little worth. Nevertheless, what the man did not know he taught to Mecherino from the drawings he possessed by excellent painters which he used for his own purposes, as some masters do when they have few skills in design. And so by practising in this fashion, Mecherino showed promise of becoming a fine painter."
– Giorgio Vasari, The Lives of the Artists (1568), an abridgement translated by Julia Conaway Bondanella and Peter Bondanella (Oxford University Press, 1991)