Umbria in the narrow sense includes only the lovely stretches of the upper Tiber, and the rolling banks of Lakes Trasimene and Bolsena. But all the way over the mountains to the Adriatic the civilization was of a similar type, and so the art. Thus we may reckon the Adriatic Marches from Ancona to Ravenna as Umbrian from the point of view of the historian of painting. There were no great cities and little commerce. It is a region of small hill-top communes within the walls of which the peasants huddled for protection at night, going down to the fields in the day. It was a country of hot passions and violent feuds, and equally of religious enthusiasm and mystical piety. Great heresies had swept the land and so had the joyous and practical Christianity of St. Francis, greatest of Umbria’s sons. We have much of the volatility that we noted in Siena, without, however, a capital city to centralize it, and we also have what Siena lacked—an abiding and beautiful humility. Umbria knew her provincial estate and accepted its limitations. Nowhere is this more plainly shown than in her art. For two centuries she was in the position of inducing foreign artists to come in, ever in an attitude of admiration and docility. Thus Giunta of Pisa, Cimabue and his Roman contemporaries; Giotto and his Florentine pupils; Simone Martini and other Sienese painters decorated the chief monument of Umbria, the Basilica of St. Francis at Assisi. Their work extended over a century to say 1330. Later still Sienese artists were employed at Perugia, among others, Taddeo Bartoli, and the region promised to become an artistic dependency of Siena. But with the dawning of the Renaissance and the extension of Florentine power beyond Arezzo, Florentine artists are preferred. We find Domenico Veneziano at Perugia, in 1438, in the pay of the ruling Baglioni. A little earlier Fra Angelico had painted for several years at Cortona. In the early fifties Benozzo Gozzoli painted his Franciscan frescoes at Montefalco, and was otherwise active in the Tiber valley. In 1468 Fra Filippo Lippi was called to Spoleto. Soon after, Umbria learned to depend on her own artists. In the Adriatic Marches there had been a limited penetration of Giotto’s style, chiefly by way of Padua and Rimini. By the end of the century the Lorenzettian manner dominated. It was succeeded by the influence of the Venetian Renaissance as exemplified by such rather backward artists as the Vivarini and Carlo Crivelli. Still later the diffused influence of Giovanni Bellini meets harmoniously that of Perugino. Thus in humility and teachableness Umbria very slowly, and through most various stages of discipleship, worked out her own originality. And when it came one felt deeply in it the teaching of her spacious intervals and blue mountains.