Just as in the 13th century, also in the 14th and the early 15th centuries no autonmous school of art with distinctive characteristics developed in Città di Castello. The position of the town in the upper Tiber Valley between Umbria and Toscana and along the road between the two coasts favoured an ecclectic artistic culture with the influx of numerous outside influences. Mary on Her Throne holding Baby Jesus by Spinello Aretino (hall I), from the end of the 14th century, is an example of the Arezzo style. In 1382, the Siena painter, Bartolomeo di Bindo, established his residence at Città di Castello and among his surviving works is a fragment of mural painting, Mary on Her Throne with Angels, in the town hall meeting room. In 1412, another painter from Siena, Giorgio di Andrea di Bartolo di Fredi Battilori, together with the local painter, Giacomo di Michele, painted a three section altar pannel for San Florido. Its central section portraying Mary with Baby Jesus is in the Pinacoteca, and one side portraying San Florido is in the Cathedral Museum. In the early 15th century the town became an important artistic center. Among the artists who came to work at Città di Castello were Gentile da Fabriano, Arcangelo di Cola da Camerino, Ottaviano Nelli (who painted Mary's Death in 1436 in the church of Santa Maria delle Grazie), and Antonio Alberti (who painted the altar pannel of San Bartolomeo in the Pinacoteca and two mural paintings in San Domenico: San Antonio Abate and a Crucifiction). Alberti drew much of his artistic inspiration directly from work being done in Emilia in that period. With the conquest of Città di Castello by Braccio da Montone in 1422, artistic production received impetus; the commission of art works abounded. But even in that prosperous period for art, a local school never took hold.

HALL 3
Artists and ideas continued to come from outside. The last important work in late Gothic style was Mary on Her Throne with Baby Jesus by Antonio Vivarini (1443-1446) a document of Venetian influence at Città di Castello. Although evidence remains of a proficuous production of works in gold influenced by the schools of Florence and Siena, the Reliquiario of S. Andrea, previously in the church of San Francesco and now in the Pinacoteca is of a level of quality that excludes local production. This work was commissioned by the municipality in 1414 for conserving the apostle's arm. It was completed in 1420 according to the inscription on it. Over the centuries it has suffered some alterations, but it is still possible to appreciate its late Gothic splendor in the form and details of the figures and its exquisite enameled surfaces. Despite some difficulty in reconstructing its original form and some disagreement among art historians on the exact position of the two statuettes representing S. Andrea and S. Francesco, specialists agree that it came from the workshop of Lorenzo Ghiberti and probably the master himself worked on it. The carved and inlaid walnut church chairs in hall II were previously in the Monastery of S. Benedetto and came originally from the workshop of Manno di Benincasa Mannucci at Florence in the first part of the 15th century.