210:. This promoted a complex restoration and reconstruction of the property, now isolated following the rehabilitation of the Mercato Vecchio area (1885-1895), in order to transform the ancient Compiobbesi tower into an architecture adhering to the idea that one had then of fourteenth-century Florence. Having examined various projects (among which the one in numerous and beautiful tables by the architect Cesare Spighi is kept in the Historical Archive of the Municipality) the works were then implemented in 1905 by the architect Enrico Lusini, who in any case had the merit (compared to other hypothesis) of leaving the door designed by Bernardo Buontalenti to the right of the main front of the building, albeit demolishing the sixteenth-century staircase and building a new one on the other side of the building, as well as giving "gloss and dignity to a building which previously was only called the keep".
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The original building intended as the residence of the Arte della Lana was erected in 1308, as attested by two Latin inscriptions on the fronts of the current building, incorporating an older tower of the
Compiobbesi family, partly burnt down in 1284, after the expulsion of the family since they were
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At the height of the industry the Arte della Lana directly employed 30.000 workers and indirectly about a third of
Florence's population, and produced 100,000 lengths of cloth annually. The Arte della Lana saw all the processes from the raw baled wool through the final cloth, woven at numerous looms
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decreed in 1569 the construction of a staircase with access from via
Calimala which, following the side of the residence with a further leaning body, determined an aerial connection between the two buildings on via dell'Arte della Lana. The project was realized by
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The Arte della Lana exercised its patronage over the Opera del Duomo, entrusted to it directly by the
Signoria in 1331. The patron saint chosen by the guild was Santo Stefano. The guild commissioned a statue of the saint from
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served only to coordinate the activities of its own members, who did not generally own the means of production or directly manage the processes. Its syndics ensured that quality standards were met and contracts were honored.
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After the suppression of the guild in 1770, the building was already transformed into a tenement, and became a rectory of the church of
Orsanmichele from 1772 on.
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Purchased in 1890 by the
Municipality of Florence, it escaped the demolitions of the Renovation despite being deeply compromised, and was sold in 1903 to the
96:(the "middle trades"). The Arte della Lana dealt in woollen cloth and cooperated with the other corporations of bankers and merchants in administering the
144:, was completed in 1308, with an attached fortifiable tower-house. From its interior, where some 14th-century frescoes remain, a gallery designed by
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To allow easier access to the upper floors of the church of
Orsanmichele, intended to house the new General Archive of private contracts and wills,
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The guild of wool was also located in
Florence Italy and were the people that inquired Michelangelo to take on sculpting the statue of David
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182:. In the following centuries, further rooms were built to expand the headquarters, due to the considerable public activity of the Arte.
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L'arte della lana in
Firenze nel Basso Medioevo: il commercio della lana e il mercato dei panni fiorentini nei secoli XIII-XV
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260:. New Dimensions in History: Historical Cities. New York et. al.: John Wiley & Sons. pp. 56–68.
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Interpretation and Visual
Poetics in Medieval and Early Modern Texts: Essays in Honor of H. Wayne Storey
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The predecessor and, until the mid-14th century the rival of the Arte della Lana, was the powerful
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169:(1427–1428) placed in the tabernacle on the facade of Orsanmichele (today a copy).
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276:"Medieval Sourcebook: The Arte della Lana & The Government of Florence, 1224"
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133:, a corporation of importers of raw cloth, who dyed and finished it.
231:. In Arduini, Beatrice; Magni, Isabella; Todorovic, Jelena (eds.).
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Miniature of a wool clothing shop from Biblioteca Casanatense
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scattered in domiciles throughout the city. Like other
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Bruce Brown, "History of the corporation": chapter 9
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Palazzo of the Arte della Lana next to Orsanmichele
294:Antonella Gozzoli, "Palagio dell'Arte della Lana"
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204:for public readings as an illustration of the
229:"Editing the Albiz[z]i Memorial Book"
108:family were prominent members of the guild.
104:and the Republic of Florence. The powerful
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300:Web Archives (archived 2010-08-06)
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152:. The palazzo is now the seat of the
148:links the palazzo with the church of
280:Internet History Sourcebooks Project
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90:(the "lesser trades") and the
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142:Palazzo dell’ Arte della Lana
331:, (Florence: Leo S. Olschki)
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322:L'arte della lana a Firenze
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74:. It was one of the seven
32:Museo dell'Opera del Duomo
256:Gene A. Brucker (1969).
227:Magni, Isabella (2021).
26:of the Arte della Lana,
202:Dante Alighieri Society
235:. Brill. p. 123.
80:("greater trades") of
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324:, (Florence: Edifir)
258:Renaissance Florence
192:Bernardo Buontalenti
146:Bernardo Buontalenti
84:, separate from the
298:Library of Congress
187:Cosimo I de' Medici
28:Andrea della Robbia
345:Guilds of Florence
327:H. Hoshino, 1980.
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320:Gualchiere, 2001.
242:978-9-004-46177-2
154:SocietĂ Dantesca.
100:, both under the
64:guild of Florence
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350:Woollen industry
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269:Other references
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131:Arte di Calimala
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283:. Retrieved
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93:Arti Mediane
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24:Coat of arms
180:Ghibellines
173:The Palazzo
87:Arti Minori
72:Renaissance
70:and in the
68:Middle Ages
339:Categories
214:Citations
160:Patronage
138:guildhall
82:Florence
36:Florence
30:, 1487,
306:at the
296:at the
112:History
106:Albizzi
102:podestĂ
98:commune
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140:, the
121:, the
119:guilds
287:2018
237:ISBN
136:The
123:Arte
58:The
34:in
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