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Meanwhile Giuliano had come into even greater credit with Lorenzo; and the latter, who was intending to build a palace at Poggio a Cajano, a place between Florence and Pistoia, and had caused several models to be made for it by Francione and by others, commissioned Giuliano, also, to make one of the sort of building that he proposed to erect.
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.
I departed in an unlucky hour, leaving under the care of my journeymen my castle and all my effects; but all the way I could not refrain from sighing and weeping. At this time Cosmo, Duke of Florence, resided at Poggio Cajano, a place ten miles from Florence. I there waited upon him to pay my respects, and he and his duchess received me with the greatest kindness.
In this work are Moors, Indians, costumes of strange shapes, and a most bizarre hut. In a loggia at Poggio a Cajano he began a Sacrifice in fresco for Lorenzo de' Medici, but it remained unfinished.
In some cases he was placed in direct competition with his master, Andrea del Sarto, being employed by Borgherini to paint the coffers and cabinets in the same room for which Andrea did the History of Joseph; and again later at Poggio a Cajano, where the ends of the great hall were assigned to him to paint, Andrea and Francia Bigio taking the larger walls at the sides.
The Medici, always patrons of art, did not neglect to enrich their palaces with the works of Andrea del Sarto. Ottaviano de' Medici, a cousin of the reigning branch, was an especial friend of his, from the time that Andrea began the fresco of Caesar receiving tribute of animals in the Hall of Poggio a Cajano.
His triumphal reception was painted in fresco on the walls of their villa at Cajano under the transparent allegory of Cicero's entrance into Rome. By their brief exile the Medici had gained the credit of injured innocence, the fame of martyrdom in the popular cause. Their foes had struck the first blow, and in striking at them had seemed to aim against the liberties of the republic.
Giuliano brought from Rome the method of casting vaults with such materials as made them ready carved; examples of which may be seen in a room in his own house, and in the vaulting of the Great Hall at Poggio a Cajano, which is still to be seen there.
In 1521 Bigio competed with Andrea and Pontormo, in the Medici Villa at Poggio a Cajano; Andrea's Casar receiving Tribute occupies one wall of the hall, and Francia Bigio's Triumph of Cicero another. The subjects were selected by the historian, Messer Paolo Giovio, Bishop of Nocera; it only remained for the artists to make the most of the chosen themes.