Ottaviano also bought from Carlo Ginori a _Madonna_ and _S. Job_, a nude half figure, which were by Andrea's hand. He it was who commissioned him to paint the portrait of Cardinal Giulio, afterwards Pope Clement VII., and it was also at his instance that the imitation Raphael was painted for the Duke of Mantua. The Duke had set his heart on obtaining the picture painted by Raphael representing _Leo X. between the Cardinals Giulio and Rossi_, and got a promise of it as a gift from Pope Clement. His Holiness wrote to Ottaviano desiring him to have it sent to Mantua. But Ottaviano, appreciating the treasure as much as the Duke of Mantua, determined to secure it to the house of Medici. Under the pretence of having a new frame made he gained time, and meanwhile employing Andrea del Sarto secretly to make an exact copy of it, he sent that to the Duke instead of the original. So well had Andrea imitated the great master's style that every one in Mantua, even Giulio Romano, Raphael's own scholar, was deceived, and it was only some years later that George Vasari divulged the secret and showed Andrea's monogram on the side of the panel beneath the frame. This copy is now at Naples. The fresco at Poggio a Cajano abandoned, Andrea returned to the Scalzo, where he painted the _Dance of Herodias, Martyrdom of S. John Baptist, Presentation of the Head, Allegory of Hope_, and the _Apparition of the Angel to Zacharias_. The last was paid for August 22nd, 1523. About this time there was a great wedding in Florence. Pier Francesco Borgherini espoused Margherita Accajuoli, and Salvi, the bridegroom's father, determined to prepare for his son's bride a wedding chamber which should be famous in all ages. Baccio d' Agnolo had carved wonderful coffers, chairs, and bedsteads in walnut wood. Pontormo painted beautiful cabinets and _cassoni_, and Granacci, Francesco d' Ubertini Verdi, called Bacchiacca, and Andrea were all employed on the walls. Andrea furnished two pictures; the one tells the story of Joseph in Canaan, the other gives his life in Egypt. The style is that of Piero di Cosimo, but with greater excellence and more dignified figures. The landscape is highly finished and minute, and has a part of the story in every nook of it. The centre group, where Joseph leaves his father and mother to go to his brethren, is very dignified, although fine enough to be a miniature. In the second Pharaoh's palace is [Footnote: Reumont (_Life of Andrea del Sarto_, p. 134) dates these works 1523; the style, which is very much that of Piero di Cosimo, would seem to place them earlier.] represented as a medieval Italian castle, the dresses are all Italian, and as an instance of Andrea's versatility of talent they are very interesting paintings.