The reputation of one of the most original, varied, and exciting draughtsmen of the later Italian Renaissance, Taddeo Zuccaro, has been to a great extent observed by that of his younger brother Federico. The obloquy often leveled at him is largely due to the failure of critics to distinguish between the work of the two brothers. A critical re-evaluation of Taddeo Zuccaro is long overdue, and will be warmly welcomed by art historians, especially those...