Early Modern Low Countries 1 (2017) 2, pp. 318-349 - eISSN: 2543-1587 318 DOI 10.18352/emlc.29 - URL: http://www.emlc-journal.org Publisher: Stichting EMLC, supported by Utrecht University Library Open Access Journals | he Netherlands Copyright: he Author(s). his work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. United Under One Roof Artist Painters and Coarse Painters and their Relations in Seventeenth-Century Leiden Piet Bakker Piet Bakker studied Cultural History with a major in Art History at the University of Amsterdam. In 2003 he was commissioned by the Fries Museum in Leeuwarden to write a socio-economic history of the seventeenth-century art production in Friesland. his also became the main focus of his PhD dissertation, concluded in 2008 at the University of Amsterdam. he same year he started to work for he Leiden Collection, New York, for which he conducted (archival) research into the paint- ers and art market of Leiden during the seventeenth century. Between 2012 and 2017 Bakker has been involved in the project From Isolation to Coherence, hosted by the University of Technology in Delt. Currently he participates as archival researcher in the Jordaens Van Dyck Panel Painting Project, hosted by the Royal Museums of Fine Art of Belgium in Brussels. Abstract he job titles kunstschilder (artist painter) and klad- or grofschilder (coarse painter) only came into regular use ater 1640. In the irst decades of the seventeenth century, anyone who painted for a living was simply referred to as a schilder (painter). his article traces the way the division of the painter’s crat into two more or less separate trades emerged, speciically for Leiden. he background against which this process is considered is the genesis of Leiden’s Guild of St Luke. In the art historical literature, the Guild of St Luke usually appears in its role as successful protector of the artist paint- ers against the import of paintings from other towns and cities. In most studies, the importance of the guild is measured in terms of the composition of the local holdings of paintings – the demand side of the art market. he diicult genesis of the Leiden Guild of St Luke provides a good opportunity to consider the importance of this guild from the supply side – the artists themselves. Keywords: Guild of St Luke, Leiden, coarse-painter, art-market, decoratieschilder, kladschilder