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the life and times of 17th century glassmaker antonio neri monday, october 15, 2018 secret laboratory the studiolo of francesco de' medici, palazzo vecchio, florence. in all likelihood, antonio neri started his glassmaking career around 1601 in the laboratory palace of medici prince don antonio. the casino di san marco is located on the north side of florence, not far from where the old city walls once stood. it was purpose-built as a laboratory by don antonio’s father, grand duke francesco and stands on the former location of the sculptural school that michelangelo attended as a boy. the casino is a remarkable structure in the history of science, however, our subject today is not the laboratory but one of its primary inspirations, located across town in the palazzo vecchio; the studiolo of francesco de’ medici. books of secrets, like neri’s l’arte vetraria exposed methods to transform nature. cabinets of curiosities, on the other hand, celebrated the finished products as well as nature’s ready-made treasures. these so-called cabinets were a sort of physical counterpart to books of secrets. starting as small collections of exotic objects, princes and nobles strove to out-do each other and the largest examples encompassed entire rooms. in the early 1570s, at around age thirty, francesco de’ medici initiated a special project; he constructed a secret room in the palazzo vecchio. [1] accessible through a concealed staircase in his bedroom, this small, but opulent, study chamber was devoted to natural curiosities and secrets. the “studiolo” contained his collection of rare gems, exotic seashells, animal horns, chemicals, potions, scientific instruments and other strange and wonderful treasures collected from around the world. from floor to barrel-vaulted ceiling, paintings and niched sculptures covered the chamber walls. celebrated artist giorgio vasari designed and constructed the secret room in partnership with vincenzo borghini, a benedictine priest and close medici advisor. [2] in all, thirty-two of the city’s artists contributed to the project, although most had no idea where their work was destined to hang. francesco organized paintings such that each wall was themed by one of the four aristotelian elements: air, earth, water and fire. behind nineteen of the lower paintings, cabinets housed the treasures of francesco’s collection. from within the studiolo two other secret passages were accessible from behind concealed panels. one leads to a smaller private treasury once used by francesco’s father, cosimo and another leads down a stairs to an unmarked outside door on the street. [3] part study and part museum, francesco used the studiolo to escape public life and explore the secrets of nature. this menagerie and ones like it were an outgrowth of the wunderkammer or “cabinet of curiosities.” early in their evolution, they took the form of single pieces of furniture for the display of collections. monarchs and nobles throughout europe boasted collections of ever-increasing size and diversity. in a way, the casino di san marco was the next evolutionary step; from a cabinet of curiosities, to a study room, to an entire facility devoted to nature’s secrets. the paintings in francesco’s studiolo depict various religious, mythological, historical and industrial scenes. [4] some of them show various royal workshops documenting activities as diverse as goldsmithing and wool dying. a 1571 painting by giovanni stradano [5] is entitled the alchemy studio. it shows francesco i in the uffizi surrounded by laboratory equipment and workers. [1] constructed between 1567 and 1675, cf. feinberg 2002, edwards 2007. [2] giorgio vasari (1511–1574), vincenzo borghini (1515–1580). [3] via della nina. [4] feinberg 2002. [5] giovanni stradano, also called jan van der straet (1523–1605). posted by paul engle at 12:00 am no comments: email this blogthis! share to twitter share to facebook share to pinterest labels: antonio neri , cosimo de' medici , francesco de' medici , marco , palazzo vecchio , stradano , vasari , wunderkammer friday, october 12, 2018 fall from grace in 1790, two centuries after the life of glassmaker antonio neri, his name appeared in an unlikely place: in the annotations of a swedish manuscript that was translated into italian by one of florence's leading scientists.[1] on second thought, perhaps its appearance is more unexpected than unlikely. torbern bergman was the celebrated swedish chemist responsible for the manuscript and the translator was felice fontana, the founding director of florence's natural history museum (la specola). fontana took the opportunity to annotate bergman’s history of chemistry in the middle ages with a list of renaissance era materials collected in the grand ducal library in florence (now the bncf). figuring prominently among the documents was alchemist antonio neri. below is an excerpt from one such letter, penned by don stefano giraldi, the prior of san pancrazio church in florence, addressed to "your excellency." in the passage notable characters are don antonio de' medici, neri's long-time benefactor — the prince who ran the casino di san marco laboratory where the priest first made glass. also, francesco orlando lorenzi (count lorenz, active 1793) was third count of lorenzana and the minister of france at the florentine court in the time of louis xv. among those who abused the credulity of the prince d[on] antonio by leading him to understand they knew how to make gold, the most famous was florentine priest antonio neri, who, if he could not make gold, did know how to make many other beautiful and useful things, and has secured eternal fame with his work on the art of glassmaking, which also found prestige in the tuscan language… of other works of preist neri, i do not know if they have been published or even if the manuscripts have been found. uniquely, father maestro arrighi, [augustinian] serviette and alchemist, in 1735 bought books that count lorenz had sent to france. among them was a large manuscript in quattro by antonio neri. he told me that it contained a method of making the philosopher's stone and that there was a preamble in which neri confessed to have copied this method from a manuscript found in an old library. he tried [the recipe] several times and always failed. to raise hope for others to enjoy much treasure, he had copied the method by characters in a cipher he invented and burned the old original. p[reist] arrighi never let me see the manuscript, which was four fingers high as he assured me that the bookseller had sold it to him for the price of 5 lire; and no doubt, there will be other things besides the process of the philosopher's stone, which occupied[only a] few page. this flaw in priest neri to pass himself off as the possessor of the philosopher’s stone detracted much from his esteem. nearby, his countrymen were wise and enlightened, and therefore he never attained the good image he should have had in his country, his mercy was the real merit of so many other good things; indeed always absent [making] gold, though he wanted to give the impression that he could, he incurred various dangers, and was forced to spend some time wandering.[2] this gem of a letter has many interesting facets. first, it establishes that 150 years after neri’s death, his name was still on the lips of royal courtiers and his manuscripts commanded a dear price from booksellers. it also establishes a route that his unpublished work took in leaving italy, through france. the letter also provides us with insight to the changing narrative about alchemy. neri was being distanced from the less palatable aspects of his work. "[i]f he could not make gold, [he] did know how to make many other beautiful and useful things, and has secured eternal fame with his work on the art of glassmaking." his sponsor don antonio’s portrayal as gullible about the possibility of transmutation kept the prince's reputation intact, even if somewha

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