Varchi: Storia Fiorentina, lib. iii. caps. 20, 21, 22.
The whole city of Florence is divided into four quarters, the first of which takes in the whole of that part which is now called Beyond the Arno, and the chief church of the district gives it the name of Santo Spirito. The other three, which embrace all that is called This side the Arno, also take their names from their chief churches, and are the Quarters of Sta. Croce, Sta. Maria Novella, and San Giovanni. Each of these four quarters is divided into four gonfalons, named after the different animals or other things they carry painted on their ensigns. The quarter of Santo Spirito includes the gonfalons of the Ladder, the Shell, the Whip, and the Dragon; that of Santa Croce, the Car, the Ox, the Golden Lion, and the Wheels; that of Santa Maria Novella, the Viper, the Unicorn, the Red Lion, and the White Lion; that of San Giovanni, the Black Lion, the Dragon, the Keys, and the Vair. Now all the households and families of Florence are included and classified under these four quarters and sixteen gonfalons, so that there is no burgher of Florence who does not rank in one of the four quarters and one of the sixteen gonfalons. Each gonfalon had its standard-bearer, who carried the standard like captains of bands; and their chief office was to run with arms whenever they were called by the Gonfalonier of Justice, and to defend, each under his own ensign, the palace of the Signory, and to fight for the people's liberty; wherefore they were called Gonfaloniers of the companies of the people, or, more briefly, from their number, the Sixteen. Now since they never assembled by themselves alone, seeing that they could not propose or carry any measure without the Signory, they were also called the Colleagues, that is, the companions of the Signory, and their title was venerable. This, after the Signory, was the first and most honorable magistracy of Florence; and after them came the Twelve Buonuomini, also called, for the like reason, Colleagues. So the Signory with the Gonfalonier of Justice, the Sixteen, and the Twelve were called the Three Greater. No man was said to have the franchise (aver lo stato), and in consequence to frequent the council, or to exercise any office, whose grandfather or father had not occupied or been passed for (seduto o veduto) one of these three magistracies. To be passed (veduto) Gonfalonier or Colleague meant this: when a man's name was drawn from the purse of the Gonfaloniers or of the College to exercise the office of Gonfalonier or Colleague, but by reason of being below the legal age, or for some other cause, he never sat himself upon the Board or was in fact Gonfalonier or Colleague, he was then said to have been passed; and this held good of all the other magistracies of the city.
It should also be known that all the Florentine burghers were obliged to rank in one of the twenty-one arts: that is, no one could be a burgher of Florence unless he or his ancestors had been approved and matriculated in one of these arts, whether they practiced it or no. Without the proof of such matriculation he could not be drawn for any office, or exercise any magistracy, or even have his name put into the bags. The arts were these: i. Judges and Notaries (for the doctors of the law were styled of old in Florence Judges); Merchants, or the Arts of; ii. Calimala,[1] iii. Exchange, iv. Wool; Porta Santa Maria, or the Arts of; v. Silk; vi. Physicians and Apothecaries; vii. Furriers. The others were viii. Butchers, ix. Shoemakers, x. Blacksmiths, xi. Linen-drapers and Clothesmen, xii. Masters, or Masons, and Stone-cutters, xiii. Vintners, xiv. Innkeepers, xv. Oilsellers, Pork-butchers, and Rope-makers, xvi. Hosiers, xvii. Armorers, xviii. Locksmiths, xix. Saddlers, xx. Carpenters, xxi. Bakers. The last fourteen were called Lesser Arts; whoever was enrolled or matriculated into one of these was said to rank with the lesser (andare per la minore); and though there were in Florence many other trades than these, yet having no guild of their own they were associated to one or other of those that I have named. Each art had, as may still be seen, a house or mansion, large and noble, where they assembled, appointed officers, and gave account of debit and credit to all the members of the guild.[2] In processions and other public assemblies the heads (for so the chiefs of the several arts were called) had their place and precedence in order. Moreover, these arts at first had each an ensign for the defense, on occasion, of liberty with arms. Their origin was when the people in 1282 overcame the nobles (Grandi), and passed the Ordinances of Justice against them, whereby no nobleman could exercise any magistracy; so that such of the patricians as desired to be able to hold office had to enter the ranks of the people, as did many great houses of quality, and matriculate into one of the arts. Which thing, while it partly allayed the civil strife of Florence, almost wholly extinguished all noble feeling in the souls of the Florentines; and the power and haughtiness of the city were no less abated than the insolence and pride of the nobles, who since then have never lifted up their heads again. These arts, the greater as well as the lesser, have varied in numbers at different times; and often have not only been rivals, but even foes, among themselves; so much so that the lesser arts once got it passed that the Gonfalonier should be appointed only from their body. Yet after long dispute it was finally settled that the Gonfalonier could not be chosen from the lesser, but that he should always rank with the greater, and that in all other offices and magistracies, the lesser should always have a fourth and no more. Consequently, of the eight Priors, two were always of the lesser; of the Twelve, three; of the Sixteen, four; and so on through all the magistracies.
[1] The name Calimala was given to a trade in cloth carried on at Florence by merchants who bought rough goods in France, Flanders, and England, and manufactured them into more delicate materials.
[2] Marco Foscari, quoted lower down, estimates the property the Arts at 200,000 ducats.
As a consequence from what has been said, it is easy to perceive that all the inhabitants of Florence (by inhabitants I mean those only who are really settled there, for of strangers, who are passing or sojourning a while, we need not here take any account) are of two sorts. The one class are liable to taxation in Florence, that is, they pay tithes of their goods and are inscribed upon the books of the Commune, and these are called contributors. The others are not taxed nor inscribed upon the registers of the Commune, inasmuch as they do not pay the tithes or other ordinary imposts; and these are called non-contributors: who, seeing that they live by their hands, and carry on mechanical arts and the vilest trades, should be called plebeians; and though they have ruled Florence more than once, ought not even to entertain a thought about public affairs in a well-governed state. The contributors are of two sorts: for some, while they pay the taxes, do not enjoy the citizenship (i.e. cannot attend the council or take any office); either because none of their ancestors, and in particular their father or their grandfather, has sat or been passed for any of the three greater magistracies; or else because they have not had themselves submitted to the scrutiny,[1] or, if they have advanced so far, have not been approved and nominated for office. These are indeed entitled citizens: but he who knows what a citizen is really, knows also that, being unable to share either the honors or the advantages of the city, they are not truly citizens; therefore let us call them burghers, without franchise. Those again who pay taxes and enjoy the citizenship (whom we will therefore call enfranchised burghers) are in like manner of two kinds. The one class, inscribed and matriculated into one of the seven first arts, are said to rank with the greater; whence we may call them Burghers of the Greater: the others, inscribed and matriculated into the fourteen lesser arts, are said to rank with the lesser; whence we may call them Burghers of the Lesser. This distinction had the Romans, but not for the same reason.
Varchi: Storia Fiorentina, lib. ix. chs. 48, 49, 46.
As for natural abilities, I for my part cannot believe that any one either could or ought to doubt that the Florentines, even if they do not excel all other nations, are at least inferior to none in those things to which they give their minds. In trade, whereon of a truth their city is founded, and wherein their industry is chiefly exercised, they ever have been and still are reckoned not less trusty and true than great and prudent: but besides trade, it is clear that the three most noble arts of painting, sculpture, and architecture have reached that degree of supreme excellence in which we find them now, chiefly by the toil and by the skill of the Florentines, who have beautified and adorned not only their own city but also very many others, with great glory and no small profit to themselves and to their country. And, seeing that the fear of being held a flatterer should not prevent me from testifying to the truth, though this will turn to the highest fame and honor of my lords and patrons, I say that all Italy, nay the whole world, owes it solely to the judgment and the generosity of the Medici that Greek letters were not extinguished to the great injury of the human race, and that Latin literature was restored to the incalculable profit of all men.