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Master of Città di Castello, in Italian, Maestro di Città di Castello (active 1290–1320), was an anonymous painter of Medieval art. Mason Perkins is responsible for his identification and naming in 1908, based on the styling from the Master preserved at the Pinacoteca comunale, Città di Castello, in Umbria.

The single point of chronological anchor of the Master's activity is related to recognition on the back of Polyptych Montespecchio, indicating that it was made on the occasion of the inauguration in 1307 of the new church of the Hermitage of Montespeccio. All other dating criteria are based solely on stylistic studies, including the presence of influences from Duccio and Giotto. Specifically called the Master by Duccio in 1302, served as a model for the Master of Città di Castello and some works as denoting the influence of young Simone Martini, it is assumed for them a later dating to 1315-1320. Most historians are therefore place his time between the last decade of the thirteenth century and the second decade of the fourteenth century, except Freuler who dates his early works around 1285 and the last around 1330.

The Master's training took place in the very complex time of the Sienese cultural background between 1270-1290, during years of extraordinary upheaval of Western pictorial language crossroads of Byzantine Empire pictorial stereotype centuries already fundamentally rethought by the innovations of the great masters of the moment (the first and foremost being the painter Cimabue certainly the most influential in 1280, but it should also be mentioned among his fellow Sienese artists Guido of Siena and Dietisalvi di Speme and the revolutionary new pictorial language that was emerging on the sites of Assisi embodied by the young Giotto and Duccio. In this context, the Master of Città di Castello is clearly on the side of "modern", and indeed was one of the early followers of Duccio, of those so-called "first generation", including Master of Badia a Isola and Master of Albertini.

Regarding the latter, the work of the Master of Città di Castello shows such stylistic affinities with his work, and even a punch shaped flower with five petals which was used for the Virgin and Child by the Master of Albertini shows up in the Polyptych of the Montespecchio, and some critics (Labriola, Freuler) felt that it was a single artist. Bagnoli however revealed many differences in their work (lighting scenes, volume rendering, brushwork). It is now thought that this could be of two brothers (like Ambrogio Lorenzetti and Pietro Lorenzetti), or two artists working in the same shop.

For Chelazzi Dini, the Master of Città di Castello's work is that of an artist with "a strong personality and remarkable color sensitivity, and therefore easily identifiable amidst the abundant production inspired by Duccio". Freuler in turn refers to "emotional eccentricity of his figures but also [...] personal colors, expressive". This is indeed a full lyric, dramatic, driven by mankind expressions, lively narrative, and made so terribly effective by technical mastery, for innovations Duccio (finesse, elegance, harmony chromatic), Giotto (naturalism, solemnity and volume control) are treated here in an exemplary manner and natural.

Always listening to the latest news, the second decade of the thirteenth century saw a new direction for his work with the influence of the first creations of Simone Martini (which is closely related to the other heirs sensitive to this new trend as Ugolino di Nerio and Segna di Bonaventura for example), and the spatial and chromatic research reveal increasingly subtle similarities.

The altarpiece known as the Montespecchio Polyptych was executed for the consecration of the new church Santa Maria di Monte Eremo at Montespecchio in the present-day commune of Murlo, near Siena, an event which took place on 16 April 1307, as confirmed by the presence of St. Anthony dedicatee of the place, the inclusion of the writing partially legible on the back panel of the Madonna and Child.

Dismembered (presumably in 1687), the different panels have subsequently undergone numerous changes. The panel of the Madonna and Child was drastically cut down to a rectangular format (and embedded within a larger panel). Long preserved in the church of Santa Cecilia Crevole (Murlo), and long attributed to Pietro Lorenzetti, it was then attributed to the Master of Città di Castello by Mason in 1908, before he arrived at the Museo dell'Opera del Duomo in Siena in 1920. The panels depicting St. Augustine, St. Paul, St. Peter, St. Anthony Abbot, were meanwhile long attributed to Duccio and listed as such by the gallery in Siena in 1894 (inv. No. 29-32), before being reassigned by Nicola 1912 to the Master of Città di Castello. Finally, it was only after a controversy among art historians that lasted throughout the twentieth century that the various panels were physically broughout together again in 2003 on the same support, the whole being now preserved in the Pinacoteca Nazionale (National Gallery) of Siena.

For installation and a living relationship with the child, the Madonna of the Montespecchio Polyptych is inspired by those of Duccio appearing on the Polyptych of Perugia and the Polyptych No. 28 of the Pinacoteca of Siena. It therefore shares many similarities with other panels themselves also inspired these works by Duccio, like the Montalcino Triptych (Montalcino, diocesan museum of religious art) Master of Maesta Cini or Master Gondi.

The work also surprised by its chromatic daring, perhaps influenced by those of its predecessors Siena (Guido di Graziano, Dietisalvi di Speme), combining red and white lacquer, purple plum and azure blue, or green and ocher.

The Montespecchio Polyptych is also famous because of its partial inscription "<M> E <F> ECIT" (Latin for "I did it") on the sword of St. Paul. The word that preceded this text probably meant the author, which makes it even more frustrating being erased. It was also assumed that he had never been written (and the name of the author is to be deduced from the one holding the sword or Paolo). Still, the "me fecit" the Montespecchio altarpiece of stands as the oldest inscription of its kind in Sienese painting. It will be followed by that of Segna di Buonaventura "SEGNA FECIT ME" on the sword of St. Paul in the polyptych No. 40 of the Siena Pinacoteca Nazionale; and that of Pietro Lorenzetti in 1320 on the sword of St. Reparata in the Tarlati Polyptych (Santa Maria della Pieve church, Arezzo): "PETRUS FECIT ME" 25.

We can also note the adoption for the first time by our anonymous master of an innovation of Duccio's: the "maphorion" (sailing virgin) painted in white. Previously (see Maesta, the central panel of the triptych of Oxford or the "Madonna of Detroit" (accessed 27 September 2013) he had kept the red "maphorion" of the Byzantine tradition.

• E. Mason Perkins, "Ancora dei dipinti sconosciuti di Scuola Senese," Senese Rassegna of arte, No. IV, 1908, p. 3-9
• Krohn, Italienske Billeder i Danmark, Copenhagen, 1910
• G. De Nicola, Mostra di Duccio di opere e della sua scuola, catalogo della mostra (Siena 1912), 1912
• V. Lusini, "Per lo studio della vita e delle opere di Duccio" Rassegna Auctions Senese, No. IX, 1913, p. 19-32
• Richard Offner, "Two Sienese Panels", Bulletin of the Associates in Fine Arts at Yale University, Vol. 1, No. 1, March 1926, pp. 5-6, JSTOR 40513389.
• Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932
• Cesare Brandi, Regia Pinacoteca di Siena, 1933
• EB Garrison, "A Ducciesque tabernacle at Oxford," The Burlington Magazine, No. lxxxviii, 1946, p. 214-223
• EB Garrison, Italian Romanesque Panel Painting. An Illustrated Index, Firenze, 1949
• Cesare Brandi, Duccio, Firenze, 1951
• Sherwood A. Fehm, "A Pair of Panels by the Master of Città di Castello and has Reconstrudion of Their Original Altarpiece," Yale University Art Gallery Bulletin, vol. 2, No. XXXI, 1967, p. 17-27
• L. Vertova, "What goes with what," The Burlington Magazine, No. CIX, 1967, p. 668-672
• M. Ferretti, "Mr. Ferretti, alla Mostra del recensione restauro delle opere di Pisa e Livorno province," Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia s. III, No. I, 1971, p. 607-613
• JH Stubblebine, "Duccio's Maesta of 1302 for the Chapel of the Nove," The Art Quarterly, No. XXXV, 1972, p. 239-268
• Miklós Boskovits, Cimabue ei precursori di Giotto, Firenze, 1976
• Federico Zeri, "Addendum al Maestro di Città di Castello" in Diari di lavoro 2, Torino, 1976, p. 8-10
• AM Maetzke, Arte nell'Aretino. Mostra di seconda restauri, dal 1975 al 1979, catalogo della mostra (Arezzo 1979-1980), Firenze, 1979
• JH Stubblebine, Duccio and his school, Princeton (NJ), 1979
• J. White, Duccio. Tuscan Art and the Medieval Workshop, London, 1979
• Miklós Boskovits, "Review of Duccio and His School by James H. Stubblebine; Duccio: Tuscan Art and the Medieval Workshop by John White, "The Art Bulletin, New York, vol. LXIV, No. 3, September 1982, p. 496-502
• Luciano Bellosi "scheda" in L. Bellosi, AM Guiducci, S. Padovani, Mostra di opere nelle province of Restaurate arte di Siena and Grosseto. III. catalogo della mostra (Siena 1983), Genova, 1983
• Ph. Pouncey, "A Sienese 14th-century Crucifixion," in National Art Collection Fund Review, 1985, p. 133-134
• Pietro Scarpellini, "4 Maestro di Città di Castello. Madonna in trono col Bambino, angeli sei ed a Domenicano inginocchiato "in E. Mancini, Pinacoteca Comunale di Città di Castello. I Dipinti, Città di Castello, 1987, p. 138
• A. Labriola, "Gli affreschi della Cappella di San Niccolo nell'antico Palazzo dei Viscovi in Pistoia", in Arte Christiana, vol. LXXVI, 1988, p. 247-266
• Giovanna Ragioneri Duccio. Catalogo completo dei dipinti., Firenze, 1989 (ISBN 9788877370587)
• Alessandro Bagnoli, "Museo della Collegiate" in GC Cianferoni, A. Bagnoli, Museo Archeologico e della Collegiate di Casole d'Elsa, Firenze, 1996, p. 61-134
• Hayden BJ Maginnis, "Master of Città di Castello," in The Dictionary of Art, vol. 20, New York, 1996, p. 648
• Giulietta Chelazzi Dini (trad. Maia Rosenberger), "The Sienese Painting 1250-1450," in Alessandro Angelini, Giulietta Chelazzi Dini, Bernardina Sani, Painters of Siena ["Pittura Senese"], Paris, Imprimerie national Editions, 1997 (ISBN 2-7433-0237-2), p. 9-261
• Gaudenz Freuler, "Duccio and his contemporaries. The Master of Città di Castello, "Journal of Art, No. 134, 2001, p. 27-50 (ISBN 2-222-96713-9)
• Hayden BJ Maginnis, The World of the Early Sienese Painter, University Park, 2001
• Alessandro Bagnoli, "I Pittori Ducceschi", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88-8215-483-1), p. 266-277
• Alessandro Bagnoli, "Maestro di Città di Castello", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88-8215-483-1), p. 288-289
• Alessandro Bagnoli, "Cat.41 - Croce dipinta [di Montecerboli]", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88-8215-483-1), p. 290-295
• Alessandro Bagnoli, "Cat.42 - Madonna and Child ei santi Agostino, Paolo, Pietro Antonio Abate", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura senese, Milano, Silvana Editoriale, 2003 (ISBN 88-8215-483-1), p. 296-301
• Alessandro Bagnoli, "I Restauri", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88 -8215-483-1), p. 517-519
• Luciano Bellosi, "It Percorso di Duccio," in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88-8215-483-1), p. 119-145
• Stefano G. Casu, The Pittas Collection. Early Italian Paintings (1200-1530), Mandragora, 2011 (ISBN 978-88-7461-150-8), p. 102-105
• Dillian Gordon, The Italian Painting Before 1400, London, coll. "National Gallery Catalogues," 2011 (ISBN 1-85709-482-4)

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