Make sure never to return the neck, where the rod attaches to the glass, into the crucible of cristallo, because there are always remains of the iron that will cause it to become dark ...The antidote to iron is manganese or more specifically manganese oxide, a mineral mined throughout Italy. However, Neri cautions "… you must always use manganese of Piedmont the way it is made for Murano, because the manganese of Tuscany and Liguria has more rust, which always make the melt dark."
Removing the green tint of iron with manganese is a clever trick. The manganese imparts a magenta tint to glass. As the complementary color to green, it effectively "cancels out" the green tint. The trade-off is that the glass is slightly darkened, even if neutral in color. In terms of what light does, when it passes through glass tinted by iron, green light is unaffected, while red and violet light is dampened. In effect, the green is enhanced. Now, adding manganese to the glass dampens only green light and brings the spectrum back into balance. The overall effect is that all the colors of light are slightly dampened, but by the same amount. In Neri's case, minor contamination from iron would produce only a small green tinge and the problem was corrected with a small dose of manganese. The resulting grey would hardly be noticed, especially in the thin, delicate pieces so popular at the time. To the eye of all but the most experienced expert, this decolorized glass had perfect crystal clarity.