A spot was pointed to Mariotti half-a-mile from Fontignano as the place of Perugino's burial, but he records that, although nothing was found when this spot was examined, yet he could never find any proof that the devout wishes of the three sons, Giovanni Batista, Francesco, and Michel Angelo, were ever fulfilled. It is most probable that owing to the plague and to the war, which at the time were raging in Perugia, the removal of Perugino's body was delayed, and so eventually quite forgotten. No man, therefore, knows where the great artist was buried, and the burial-place he bought at SS. Annunziata in Florence, was unoccupied. Mariotti states that his only descendant was a grandson, one John Battista Vannucci, whose name appeared as a scholar in the University of Città della Pieve. It is, therefore, quite possible that the plague carried off not only the artist, but shortly afterwards his three sons also. Pietro's wife was one Chiare Fancelli, a very beautiful girl, whom he married, 1st September 1493, in the Canonica in Perugia. She was the daughter of Luca, an architect and surveyor in the service of the Marquis of Mantua. Tradition states that she was the model for the angel with Tobias in the National Gallery. She brought him a dowry of 500 gold ducats, and had in all seven children; and Vasari states that Pietro was exceeding fond of her, and so proud of her beauty that he loved to give her beautiful jewels and costly dresses, and to adorn her with his own hands. After his death she wrote in 1524 to the Marchioness of Mantua offering her a picture by her husband (not now known) of "Mars and Venus discovered together by Vulcan," which was for sale. This information Braghirolli discovered. She was still living in 1540. Of Perugino's scholars who so closely followed their master, it will suffice just to mention Lo Spagna, Eusebio di San Giorgio, Giovanni Batta Caporali, Tiberio d'Assisi, Giannicola Manni, Rocco Zoppo, Baccio Ubertini, but the glory of Raphael has overshadowed them all.