His rising reputation having reached Urbino, Guidobaldo II. summoned him there, when about fifteen, to undertake the exterior decorations of a chapel in the cathedral, which had been painted by Battista Franco, and soon after carried him on his tour of inspection of the Venetian terra-firma fortresses. On his return, he was established in the palace at Pesaro, where he painted the Duke's portrait and some other cabinet pictures. Two years thus passed away without his being able to commence the chapel, although the designs for it were well advanced; and being dissatisfied with this loss of time, he availed himself of his sovereign's absence at Rome to follow him thither. Orders now crowded upon him, for no contemporary painter was better qualified to supply those slight and rapidly executed works then in fashion for the external and internal decoration of Roman palaces and villas. Most of these have perished; but somewhat superior in character were the incidents in the Passion, painted in 1556, in the Church of Consolation under the Capitol. They are still in good preservation, but though cleverly conceived and carefully executed, these merits scarcely compensate for the exaggerated mannerism of their sprawling attitudes and solid draperies, whilst their violent emotions are anything but devotional. From this time his brother Federigo was associated in most of his labours, and the speed with which their commissions were finished brought them easy gains, and gave satisfaction in an age when taste had sadly degenerated. An arrangement, whereby Taddeo agreed to accompany the Duke of Guise to France, with a salary of 600 scudi, was interrupted by the Duke's death; but soon after our artist had a more important commission, from Cardinal Alessandro Farnese, to paint in his palace of Caprarola, near Viterbo, the heroic actions of his family. This was precisely the class of subject for which the manner and ideas of the Zuccari were most adapted, and the results were highly satisfactory. Accordingly, these paintings, engraved by Prenner in 1748, remain a standard of that style of palatial decoration. Taddeo's allowance was 200 scudi a year, for which he undertook to prepare all the cartoons, and to superintend their execution by his brother and other young artists. Among those whom he was thus enabled to bring forward, several, including Baroccio, were his seniors, a natural consequence of the good fortune which brought him early into repute as a clever head-master of the contract work then in vogue. His mural paintings in the Sala Regia of the Vatican, and his sacred subjects in the chapel of S. Marcello there, were also undertakings of considerable extent, sharing his attention with Caprarola during the latter years of his life. His last work was the Assumption of the Madonna in the Trinità del Monte, upon which death surprised him in 1566, and his dust reposes in the Pantheon, near that of his more illustrious