While at Foligno, Perugino received orders to come to Rome. Pope Julius II. desired him to decorate some ceilings in the Vatican, but it is not very clear what the instructions really were. One ceiling we know he decorated, that in the Camera dell' Incendio, because when Raphael completed the decoration of the series of rooms he spared this ceiling out of respect to his old master. The Holy Father, prior to Raphael's arrival in Rome in 1508, had been employing the chief well-known artists of the day in his schemes; Piero della Francesca, Bramantino, Sodoma, Luca Signorelli, and others had received commissions. Raphael, who, then only in his twenty-fifth year, was heard of through Bramante, was summoned to Rome to assist the others, but his work so delighted the Pope that the other artists were dismissed, and Raphael was ordered to destroy their frescoes and to replace them with his own. One, however, of Perugino's ceilings Raphael spared as just recorded. This ceiling decoration consists of three tondi within borders and decoration of flowing arabesque design, and both composition and figures are marked by the master's early methods, and do not reveal the power of his more mature work. Their composition is more crowded than was Perugino's wont, but the exquisite beauty of the figures is unmistakable, and it was a graceful act on the part of Raphael to spare this fine ceiling as a memorial of his master's work in the Vatican stanze. Two at least of the Uffizi drawings were prepared, I believe, for this ceiling. What else Perugino did in Rome on this his second visit, or how long he stayed, is not known. We are, however, told that he lodged in the Palazzo San Clemento, that he met Luca Signorelli and Pinturicchio, and that they dined together at Bramante's house, and the scene is described by Giambattista Caporali in his comments on Vitruvius. Perugino at this time introduced his pupil Caporali to the artists in Rome. Crowe thinks that from Rome Perugino went to Assisi, where, at the church of Santa Maria degli Angeli, on the rear wall of the portiuncula, facing east, he painted a fine "Crucifixion."