Settimanni accuses Don Pietro of the further crime of poisoning his little son who was odious to him on account of his likeness to his mother. He also records that when, thirty-eight years after death, Donna Eleonora’s body was moved from one vault to another in San Lorenzo it was found to be perfectly preserved, and the beautiful young princess (she was but twenty-one when so foully murdered) lay as though asleep, clothed all in white with her hands crossed over the wounds in her breast.[16] Murders and sudden deaths were too common in the Medici family to deter the Grand Duke Francesco I from taking his second wife Bianca Cappello to Cafaggiuolo in 1585 with a great following of courtiers. Hearing that their favourite painter Sandrino Bronzino was painting an altarpiece for the church of Santa Maria a Olmi near Borgo San Lorenzo, they mounted their horses and went to pay a visit to the prior, Don Quintilio Rinieri. He was an old acquaintance of Bianca’s, and entreated them to do him the honour of dining with him. Don Quintilio had a fine taste in wine and some reputation as a sayer of good things, he was moreover a courtier, and before dinner was over he obtained the consent of the Grand Duchess Bianca to allow Bronzino to paint her portrait on the wall of his room. In 1871 the fresco was transferred to canvas and placed in the Uffizzi gallery. Bianca, who was then thirty-seven, sits resplendent in crimson velvet, and this, Signor Baccini thinks, is probably the only authentic portrait that exists of the “daughter of Venice.”[17] When Cardinal Ferdinando succeeded his brother Francesco as Grand Duke, he used to spend the autumn months at Cafaggiuolo, where he could enjoy complete liberty and indulge in his passion for the chase. From an unpublished diary in three large volumes by Cesare Tinghi, one of his secretaries, and found in the National Library by Signor Baccini, we learn that Ferdinando I was very strict as to preserving his game, and punished poachers severely. He rose early and went out shooting or fishing with his gentlemen, and in the afternoon gave audiences to princes and ambassadors who were received with great magnificence. Often the peasants would be summoned to dance for the amusement of the Grand Duchess Christine and her children, and sent home rejoicing with presents of ribbons, scarves and nick-nacks; or the soldiers from San Martino, the fortress begun by Cosimo I, and finished by Ferdinando, which guarded the entrance to the Mugello, would execute military games and sham battles.