Introduction
By the second half of the 13th century, the economy of Florence flourished due to rapid growth in population, territory, and the establishment of guilds, which consisted of merchants and artisans who did not descend from powerful families or lineages such as the de’ Medici (Najemy, 2008, p.40). Florence quickly became the European leaders in several economic areas including textiles, banking, international trade, and merchants (Najemy, 2008, p.98).
Guilds played an important role in accelerating Florence’s economic growth and demand for the specialization of trades. As guilds were not governed or owned by the elite families or by the popolo they were formed on the premise of those who wanted to establish political strength, security, and cultural identity, but lacked familial power or lacked association with the Florentine elites (Najemy, 2008, p.41). Guilds controlled the economy of the arts and trades, mostly consisting of members who were skilled workers, including merchants, bankers, artisans, notaries, manufacturers, and shopkeepers. Within each guild, there was a guild council consisting anywhere from as few as 12 members to as many as a few dozen which acted as that guild’s governing body as a republican structure (Najemy, 2008, 42). Together the guild council for each respective occupation was responsible for the creation of rules and regulations; legislative procedures for future councils and guild memberships; and designation of the guild’s representatives, or counsels, who could act upon the behalf of their guild without having to hold a vote between the guild council (Najemy, 2008, p.42). Although the guild council was integral to the politics of each guild, guild members also held some power unlike those who were under the rule of the elite families, who had little to no power. Collectively, guild members took turns in the consular office (ie. acted as a consul, who were official representatives of the guild council for an elected term of about four to six months) and had the authority to discipline other members and write statutes (Najemy, 2008, p.43).
There were 21 officially recognized guilds which consisted of roughly 8000 members out of the estimated population of Florence of about 100,000 (Najemy, 2008, p.43). The guilds were broken into three distinct “tiers” derived from the word “arte” which meant “a skill that could be taught and learned, a collective discipline, enshrined in both custom and written rules, governing professional ethics” (Najemy, 2008, p.43):
The guilds were originally divided into two tiers rather than three, Le Arti Maggiori consisting of seven guilds and Le Arti Minori consisting of 14 guilds (Staley, 1906, p.42). The position of each guild within their respective tiers was an indication of how much power that guild had within Florence, with Le Arti Maggiori as the most powerful and influential.
Guilds played an important role in accelerating Florence’s economic growth and demand for the specialization of trades. As guilds were not governed or owned by the elite families or by the popolo they were formed on the premise of those who wanted to establish political strength, security, and cultural identity, but lacked familial power or lacked association with the Florentine elites (Najemy, 2008, p.41). Guilds controlled the economy of the arts and trades, mostly consisting of members who were skilled workers, including merchants, bankers, artisans, notaries, manufacturers, and shopkeepers. Within each guild, there was a guild council consisting anywhere from as few as 12 members to as many as a few dozen which acted as that guild’s governing body as a republican structure (Najemy, 2008, 42). Together the guild council for each respective occupation was responsible for the creation of rules and regulations; legislative procedures for future councils and guild memberships; and designation of the guild’s representatives, or counsels, who could act upon the behalf of their guild without having to hold a vote between the guild council (Najemy, 2008, p.42). Although the guild council was integral to the politics of each guild, guild members also held some power unlike those who were under the rule of the elite families, who had little to no power. Collectively, guild members took turns in the consular office (ie. acted as a consul, who were official representatives of the guild council for an elected term of about four to six months) and had the authority to discipline other members and write statutes (Najemy, 2008, p.43).
There were 21 officially recognized guilds which consisted of roughly 8000 members out of the estimated population of Florence of about 100,000 (Najemy, 2008, p.43). The guilds were broken into three distinct “tiers” derived from the word “arte” which meant “a skill that could be taught and learned, a collective discipline, enshrined in both custom and written rules, governing professional ethics” (Najemy, 2008, p.43):
- Le Arti Maggiori, the seven major guilds
- Le Arti Mediane, the five middle guilds
- Le Arti Minori, the nine minor guilds
The guilds were originally divided into two tiers rather than three, Le Arti Maggiori consisting of seven guilds and Le Arti Minori consisting of 14 guilds (Staley, 1906, p.42). The position of each guild within their respective tiers was an indication of how much power that guild had within Florence, with Le Arti Maggiori as the most powerful and influential.
Le Arti Maggiori, the Seven Major Guilds
Arte de Giudici e Notai - Judges and Notaries (Staley, 1906, p.75)
Responsible for the tribunals of the businesses and trades concerning the skilled artisans and merchants within the other guilds. The judicial system of Florence was founded upon the formation of the guilds and the necessity of trades in order to grow economically and politically. According to Staley (1906, p.76), Florentines were noted to have an extraordinary love for “equity and reverence for justice, and their administration by persons and councils without bias or partiality”.
Arte di Calimala - Foreign cloth Merchants, Finishers, and Dyers (Staley, 1906, p.106)
The oldest of all the guilds, the arte di Calimala borrows its name from the name of the street in Florence where the merchants, finishers, and dyers exported their products. The skill of the arte di Calimala was so excellent in quality and so high in demand that woolen cloth had to be imported from other cities outside of Florence, including France, England, Flanders, and Spain. The increased production and demand for cloth created its own trade industry where traders would regularly travel through Florence and its neighbouring cities selling Florence’s cloth exports.
Within the arte di Calamala, there were many members with varying skills working in collaboration to produce the cloth that was so sought after. At the top were the dyers, whose skill was evident by the condition of the cloth and saturation of colour in the artifacts on display in today’s museums. At the bottom were the Cutters, Patchers, and Piecers, who would prepare the cloth after it was dyed; these workers were considered “inferior” in comparison to the skill of the Dyers, but were still essential in production of cloth. The Folders and Finishers, who were among the most important and highly instructed of labourers alongside the Dyers, were responsible for carefully inspecting the cloth for mistakes after it was prepared and cut; correcting any mistakes made; and smoothing the cloth appropriately by applying heat with weighted rollers or flat irons.
Arte della Lana - Wool Merchants and Manufacturers (Staley, 1906, p.139)
As part of the wool industry, the arte della Lana was also one of the oldest textile industries. Like the arte di Calimala, there were many workers with varying degrees of skill within the guild including wool dyers, woolen-comb makers, cloth-pressers, and sheep-shearers. Although both the Calimala guild and the della Lana guild were involved in the wool industry, the difference between the two guilds was the end product; the Calimala exclusively dealt with working and finishing woolen cloth while the della Lana was only involved with the treatment and gathering of raw wool as well as the manufacture of cloth.
Arte del Cambio - Bankers and Money-changers (Staley, 1906, p.172)
Regarded as the fathers of modern day’s methods of banking, the members of the del Cambio guild actively pursued good relations with foreign courts and held the finances of citizens making Florence the banking center of Europe in the 13th century. Not surprisingly, the bankers had a “friendly rivalry” with the three manufacturing guilds – di Calimala (used-cloth), della Lana (wool), and della Seta (silk) – where it was speculated that all the bankers and money-changers of the del Cambio guild were former members of one of the other three. In the words of Dante: “Commerce and exchange combined made Florence great.”
Arte della Seta - Silk Merchants and Weavers (Staley, 1906, p.205)
Originating from India, arte della Seta was one of the three manufacturing guilds alongside di Calimala and della Lana. The silk trade did not thrive as well as the cloth or wool trades in the beginning due to a high cost-to-profit ratio, but eventually grew as an industry by the late 13th century and was valued for its finery. Members of della Seta were divided into two classes:
Arte de Medici e Speziali - Doctors and Apothecaries/Physicians (Staley, 1906, p.244)
Although this was small guild consisting of about 60 or so doctors and physicians in the 13th century, the importance of doctors was highly valued. All members of de Medici e Specziali were required to have graduated from a university.
Arte de Vaiai e Pelliccia - Furriers and Skinners (Staley, 1906, p.275)
The guild of Furriers and Skinners arose when foreign invaders from north of Italy were seen wearing the pelts of animals, with their kings described as “clothed in fine skins and rare furs”. Popular, luxurious pelts included those of foxes and ermine. Four divisions were created and governed by the introduction of the Pelliccia guild:
1. The furriers, cutters of skins with the hair on, and lambskin dressers
2. The leather dressers, cutters of both heavy leathers and fine leathers, and leather-embossers and gilders
3. The shoemakers, slipper makers, collar and belt makers, leather stainers, and other minor artistic crafts
4. The saddlers, bridle makers, and makers of sword belts and bandoliers
Responsible for the tribunals of the businesses and trades concerning the skilled artisans and merchants within the other guilds. The judicial system of Florence was founded upon the formation of the guilds and the necessity of trades in order to grow economically and politically. According to Staley (1906, p.76), Florentines were noted to have an extraordinary love for “equity and reverence for justice, and their administration by persons and councils without bias or partiality”.
Arte di Calimala - Foreign cloth Merchants, Finishers, and Dyers (Staley, 1906, p.106)
The oldest of all the guilds, the arte di Calimala borrows its name from the name of the street in Florence where the merchants, finishers, and dyers exported their products. The skill of the arte di Calimala was so excellent in quality and so high in demand that woolen cloth had to be imported from other cities outside of Florence, including France, England, Flanders, and Spain. The increased production and demand for cloth created its own trade industry where traders would regularly travel through Florence and its neighbouring cities selling Florence’s cloth exports.
Within the arte di Calamala, there were many members with varying skills working in collaboration to produce the cloth that was so sought after. At the top were the dyers, whose skill was evident by the condition of the cloth and saturation of colour in the artifacts on display in today’s museums. At the bottom were the Cutters, Patchers, and Piecers, who would prepare the cloth after it was dyed; these workers were considered “inferior” in comparison to the skill of the Dyers, but were still essential in production of cloth. The Folders and Finishers, who were among the most important and highly instructed of labourers alongside the Dyers, were responsible for carefully inspecting the cloth for mistakes after it was prepared and cut; correcting any mistakes made; and smoothing the cloth appropriately by applying heat with weighted rollers or flat irons.
Arte della Lana - Wool Merchants and Manufacturers (Staley, 1906, p.139)
As part of the wool industry, the arte della Lana was also one of the oldest textile industries. Like the arte di Calimala, there were many workers with varying degrees of skill within the guild including wool dyers, woolen-comb makers, cloth-pressers, and sheep-shearers. Although both the Calimala guild and the della Lana guild were involved in the wool industry, the difference between the two guilds was the end product; the Calimala exclusively dealt with working and finishing woolen cloth while the della Lana was only involved with the treatment and gathering of raw wool as well as the manufacture of cloth.
Arte del Cambio - Bankers and Money-changers (Staley, 1906, p.172)
Regarded as the fathers of modern day’s methods of banking, the members of the del Cambio guild actively pursued good relations with foreign courts and held the finances of citizens making Florence the banking center of Europe in the 13th century. Not surprisingly, the bankers had a “friendly rivalry” with the three manufacturing guilds – di Calimala (used-cloth), della Lana (wool), and della Seta (silk) – where it was speculated that all the bankers and money-changers of the del Cambio guild were former members of one of the other three. In the words of Dante: “Commerce and exchange combined made Florence great.”
Arte della Seta - Silk Merchants and Weavers (Staley, 1906, p.205)
Originating from India, arte della Seta was one of the three manufacturing guilds alongside di Calimala and della Lana. The silk trade did not thrive as well as the cloth or wool trades in the beginning due to a high cost-to-profit ratio, but eventually grew as an industry by the late 13th century and was valued for its finery. Members of della Seta were divided into two classes:
- Setaiuoli Grossi, the master silk merchants. Silk merchants were among the wealthiest and most influential of Florence’s citizens and were required to have a minimum capital of 12,000 gold florins to be able to have the privilege to manufacture and sell silk wholesale both in Florence and neighbouring cities. Although the merchants were allowed to sell the silk they produced wholesale, they were not permitted to sell retail to avoid undercutting the silk makers.
- Setaiuoli Minuti, the master silk workers (or silk makers). The silk makers were skilled weavers and spinners who sold everything related to silk products in retail which were produced or traded for by the guild. Citizens who wanted to join the guild and become qualified silk makers could do so, but needed a license from the guild consuls to be able to weave or spin silk, unlike the silk merchants who could weave silk at their leisure.
Arte de Medici e Speziali - Doctors and Apothecaries/Physicians (Staley, 1906, p.244)
Although this was small guild consisting of about 60 or so doctors and physicians in the 13th century, the importance of doctors was highly valued. All members of de Medici e Specziali were required to have graduated from a university.
Arte de Vaiai e Pelliccia - Furriers and Skinners (Staley, 1906, p.275)
The guild of Furriers and Skinners arose when foreign invaders from north of Italy were seen wearing the pelts of animals, with their kings described as “clothed in fine skins and rare furs”. Popular, luxurious pelts included those of foxes and ermine. Four divisions were created and governed by the introduction of the Pelliccia guild:
1. The furriers, cutters of skins with the hair on, and lambskin dressers
2. The leather dressers, cutters of both heavy leathers and fine leathers, and leather-embossers and gilders
3. The shoemakers, slipper makers, collar and belt makers, leather stainers, and other minor artistic crafts
4. The saddlers, bridle makers, and makers of sword belts and bandoliers
Le Arti Mediane, the Five Middle Guilds
Arti de Beccai - Butchers
Arti de Fabbri - Blacksmiths
Arti de Calzolai - Shoemakers
Arti de Maestri de Pietra e di Legname - Master Stonemasons and Woodcarvers
Arte de Linaioli e Rigattieri - Retail Cloth-dealers and Linen Manufacturers
Arti de Fabbri - Blacksmiths
Arti de Calzolai - Shoemakers
Arti de Maestri de Pietra e di Legname - Master Stonemasons and Woodcarvers
Arte de Linaioli e Rigattieri - Retail Cloth-dealers and Linen Manufacturers
Le Arti
Minori, the Nine Minor Guilds
Arti de Vinattieri - Wine Merchants
Arti degli Albergatori - Innkeepers
Arti de Galigai - Tanners
Arti degli Oliandoli e Pizzicagnoli - [Olive] Oil Merchants and Dealers
Arti de Correggiai - Saddle-makers
Arti de Chiavaiuoli - Locksmiths
Arti de Corazzai e Spadai - Armourers
Arti de Legnaioli - Carpenters
Arti de Fornai - Bakers
Arti degli Albergatori - Innkeepers
Arti de Galigai - Tanners
Arti degli Oliandoli e Pizzicagnoli - [Olive] Oil Merchants and Dealers
Arti de Correggiai - Saddle-makers
Arti de Chiavaiuoli - Locksmiths
Arti de Corazzai e Spadai - Armourers
Arti de Legnaioli - Carpenters
Arti de Fornai - Bakers
References
Najemy, J. (2008). A history of Florence 1200-1575. Malden, MA: Blackwell Pub.
Staley, John Edgcumbe. (1906). The Guilds of Florence. Methuen & Co.
Staley, John Edgcumbe. (1906). The Guilds of Florence. Methuen & Co.