A more memorable person is Andrea Luigi di Assisi, a competitor of Raffaello, although of more mature years, who, from his happy genius was named L'Ingegno. He assisted Perugino in the Sala del Cambio, and in other works of more consequence; and he may be said to be the first of that school who began to enlarge the style, and soften the colouring. This is observable in several of his works, and singularly so in the sybils and prophets in fresco in the church of Assisi; if they are by his hand, as is generally believed. It is impossible to behold his pictures without a feeling of compassion, when we recollect that he was visited with blindness at the most valuable period of his life. Domenico di Paris Alfani also enlarged the manner of his master, and even more than him Orazio his son, and not his brother, as has been imagined. This artist bears a great resemblance to Raffaello. There are some of his pictures in Perugia, which, if it were not for a more delicate colouring, and something of the suavity of Baroccio, might be assigned to the school of Raffaello; and there are pictures on which a question arises whether they belong to that school or to Orazio; particularly some Madonnas, which are preserved in various collections. I have seen one in the possession of the accomplished Sig. Auditor Frigeri in Perugia; and there is another in the ducal gallery in Florence. The reputation of the younger Alfani has injured that of the other; and even in Perugia some fine pieces were long considered to be by Orazio, which have since been restored to Domenico. An account of these, and other works of eminent artists, may be found in modern writers; and particularly in Mariotti, who mentions the altarpiece of the Crucifixion, between S. Apollonia and S. Jerome, at the church of the Conventuals, a work by the two Alfanis, father and son. In commendation of the latter he adds, that he was the chief of the academy for design, which was founded in 1573, and which, after many honourable struggles, has been revived in our own time.