Filippo Sassetti

 

Goa, India 1509

Later distinguished as a renowned glassmaker and alchemist, Antonio Neri was born into a patrician household. In the Florentine baptism records, his entry was made on a Thursday, the first of March, 1576. He was born the previous evening, to Dianora Parenti and Neri Neri. His godmother is listed in the document as Ginevra Sassetti. Not a great amount is known about her; she was from a prominent family, at the time in her late fifties. However, there are indications that other members of her family interacted with the Neri's. Her nephew Filippo mentions Antonio's father favorably several times in letters, providing a fascinating glimpse into the way disease was diagnosed and treated.

When Antonio was born, his father Neri Neri was in his early thirties, and already a highly regarded physician. Baccio Valori was director of the famed Laurentian Library in Florence and steward of the Medici's simples (medicinal herbs) garden. He was friend to Neri Neri and godfather to Antonio's oldest sister Lessandra. Between 1583 and 1588, Valori received letters from a mutual friend, Filippo Sassetti, who was living in Goa and Cochin – trading settlements in India. Filippo was a native Florentine; he attended university in Pisa with Valori and they became lifelong friends. After Sassetti's father was forced to sell the family home to pay off a debt. Filippo moved to Lisbon and became a spice trader. Not suited for a desk job, he soon set sail seeking adventure in the orient. 

In a 1586 letter to his old friend Valori, Sassetti discusses an Indian remedy against the plague, with a substance called bezoar. The bezoar stone is a mass that develops and becomes trapped in the digestive systems of certain animals. It often resembles a smooth rock. Some thought ground bezoar to be a universal antidote to any poison. Sassetti was puzzled about how the grindings of bezoar could work to cure the plague. Its Aristotelian elemental properties would not be a match for correcting the imbalance of humors in the body. "This is a principle," he explains, taught to him by Neri Neri. "I have thought about it and I can not understand how it works, because the plague is of the same corruption and this is a lack of heat inherent in the humidity. And the stones, if I recall correctly, they have a cold and dry complexion, hence may not precede the restoration of heat. Messer Neri one time did me the favor of telling me." 

In another letter to Baccio Valori, Sassetti notes that he has collected rare varieties of cinnamon in his travels along the Malibar coast in India. His intention was to rediscover the species thought to be a powerful cure of disease by the ancients. He planned to send a parcel of seeds of these and other medicinal plants. "If it pleases God, in the coming year, I will send this to you, so that you may see it all, together with our Messer Neri Neri, who graces my memories." Later he writes that he is sending Baccio the discourse on cinnamon, which he has compiled, along with some plants. These, it later turned out, were water damaged in the journey. He had hoped for some help from Neri Neri on the question of whether the cinnamon he collected from the island of Zeilan [Ceylon], is the same thing as the curative cinnamon of Mantua described by the ancients. Valori was an authority on these matters in his own right. As librarian for the Medici's imposing collection of books and manuscripts, he had vast academic access. As keeper of the simples garden, he had first hand experience in horticulture and its derivative medicinal cures. 

The principles of "humorism" were passed down from celebrated physicians of the ancient world, like Galen, Hippocrates and Dioscorides. It was thought that the cure of disease was dependent on the restoration of balance between four substances in the body: blood, phlegm, black bile and yellow bile. In turn, each of these was associated with one of the Aristotelian elements: air, water, earth and fire respectively. Each was further associated with specific symptoms and characteristic traits of the patient, even their psychological outlook and physical complexion. This system formed the foundation of Western medicine and was taught and practiced well into the nineteenth century. Although, within Antonio Neri's lifetime newer experimentally based methods did start to take hold. A decade after his father's death, in a 1609 letter, Antonio boasts about his success in curing disease in Antwerp using the methods of the medical upstart Paracelsus. It is unlikely that his father would have approved.

*This post first appeared here 13 August 2014.

An Alchemist's Kitchen

 

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to Neri's later claim to fame: glass—its most notable appearance in Tesoro  is in illustrations of experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] To outsiders, the Neri's were a wealthy and quite well respected family, but internally, the tragic events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe of Tesoro: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself. The scene suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Allesandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In one sense, the methodology of alchemy lives-on today in kitchens around the world. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,

Sisters of an Alchemist

Pharmacy, apothecary and assistant 
cooking medicine, woodcut, from: 
Hieronymus Brunschwig
 (circa 1450 - circa 1512)

Among the ten children born to glassmaker Antonio Neri’s parents, three of them were girls; Lessandra, Maria, and Lucrezia. Because women were not allowed to legally own property, or sign contracts many of the usual sources of information are silent. Most of what we can learn about them is through their relationships with the men around them.

The Neri's were a patrician family, and the children enjoyed a very comfortable existence for the late sixteenth century. There is evidence that all three sisters survived into adulthood. Lessandra was the first-born, nine years older than Maria, and twelve years older than Lucrezia.

When Lessandra was around age seventeen, her famous father, Neri Neri, was appointed as personal physician to the newly crowned Grand Duke Ferdinando de’ Medici. However, only a few short years later their mother Dianora died at age 42, of causes that are unknown, perhaps childbirth. The girls were 22, 13 and 10. A few short years later they lost both their father, and a brother.

Two information sources for the Neri sisters are their birth records kept at the Opera del Duomo and genealogy records for the family which are filed at the National Archives, both in Florence. The baptism records hold a wealth of indirect material through the names of their godparents. While these do not tell us anything specific about them, it does tell us who their influences were; who they looked to for strength and spiritual guidance, under the circumstances, this is the best we can do.

Lessandra (b. 1572) claimed Baccio Valori as her godfather. The Valori family had a long, tragic history with the ruling Medici family. His father, grandfather and great-grandfather were all close Medici supporters, yet each ended up exiled, imprisoned, or executed after relationships soured. On one hand he was faithfully employed by the Medici, yet he reportedly spent a good deal of his time collecting letters and papers documenting his family’s close support of Girolamo Savonarola, the firebrand Dominican priest who lead Florence in the late 1490s, after the Medici had been temporarily expelled from the city.

Lessandra’s godmother was Marietta Gaetani, also from a noble family, which included dukes, cardinals and popes. They played prominent roles in the politics of Pisa, Rome and Naples for several centuries. Marietta’s father owned the house from whose tower Galileo showed the moons of Jupiter to Grand Duke Cosimo II in 1610.

The genealogical records imply that Lessandra later took vows with the S. Agata monastery on the North end of Florence and took the name suor Emilia.

Maria’s (b. 1581) godfather was Monsignor Giovanni Alberti. Giovanni was the son of a Florentine senator. He served as protonotary apostolic for Pope Gregory XIII and as bishop of Cortona under Pope Clement VIII. A godfather serving in the papal inner chambers was a good family contact indeed. Also appearing for Maria was Pierfilippo Perini, a physician and lawyer. The Registri lists Maria Neri's godmother as Alessandra di Girolamo Pepi. Among the prominent Florentine republicans was Alessandra's father, Girolamo. He was tortured by Alessandro de' Medici in the 1530s, upon the family's regaining control of Florence after the siege.The genealogy indicates that she married into the Boscoli family, but further work is needed to identify a specific individual.

Lucrezia (b. 1584), the youngest Neri girl, has a single godparent listed in the register, Montiglio degli Albizi. The Albizi family boasted powerful bankers and politicians. This was another case where deep divisions over Medici rule drove a family apart. Perhaps the best-recognized member of the Albizzi family was Eleonora degli Albizi. She was the young consort of grand duke Cosimo I. Folklore has it that in 1566, Cosimo intended to retire from public life and marry Albizi quietly, after the birth of a girl, but his regent son, Francesco I, forbade it to due to the inheritance complications that would ensue. The story is that Cosimo's long-time personal secretary, Sforza Almeni, leaked word of the clandestine marriage to the family. For his betrayal, an enraged Cosimo murdered Almeni in cold blood. Eleonora later gave birth to Don Giovanni de’ Medici, the uncle and friend of Don Antonio, Neri's sponsor. The specific Albizi family member we are interested in, Lucrezia's godfather, Montiglio degli Albizi, seems to have eluded history. Lucretia married into the Talenti family, but no further details are known.

Kitchen Alchemy

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to Neri's later claim to fame: glass—its most notable appearance in Tesoro  is in illustrations of experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] To outsiders, the Neri's were a wealthy and quite well respected family, but internally, the tragic events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe of Tesoro: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself. The scene suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Allesandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In one sense, the methodology of alchemy lives-on today in kitchens around the world. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,

Filippo Sassetti

Goa, India 1509

Later distinguished as a renowned glassmaker and alchemist, Antonio Neri was born into a patrician household. In the Florentine baptism records, his entry was made on a Thursday, the first of March, 1576. He was born the previous evening, to Dianora Parenti and Neri Neri. His godmother is listed in the document as Ginevra Sassetti. Not a great amount is known about her; she was from a prominent family, at the time in her late fifties. However, there are indications that other members of her family interacted with the Neri's. Her nephew Filippo mentions Antonio's father favorably several times in letters, providing a fascinating glimpse into the way disease was diagnosed and treated.

When Antonio was born, his father Neri Neri was in his early thirties, and already a highly regarded physician. Baccio Valori was director of the famed Laurentian Library in Florence and steward of the Medici's simples (medicinal herbs) garden. He was friend to Neri Neri and godfather to Antonio's oldest sister Lessandra. Between 1583 and 1588, Valori received letters from a mutual friend, Filippo Sassetti, who was living in Goa and Cochin – trading settlements in India. Filippo was a native Florentine; he attended university in Pisa with Valori and they became lifelong friends. After Sassetti's father was forced to sell the family home to pay off a debt. Filippo moved to Lisbon and became a spice trader. Not suited for a desk job, he soon set sail seeking adventure in the orient. 

In a 1586 letter to his old friend Valori, Sassetti discusses an Indian remedy against the plague, with a substance called bezoar. The bezoar stone is a mass that develops and becomes trapped in the digestive systems of certain animals. It often resembles a smooth rock. Some thought ground bezoar to be a universal antidote to any poison. Sassetti was puzzled about how the grindings of bezoar could work to cure the plague. Its Aristotelian elemental properties would not be a match for correcting the imbalance of humors in the body. "This is a principle," he explains, taught to him by Neri Neri. "I have thought about it and I can not understand how it works, because the plague is of the same corruption and this is a lack of heat inherent in the humidity. And the stones, if I recall correctly, they have a cold and dry complexion, hence may not precede the restoration of heat. Messer Neri one time did me the favor of telling me." 

In another letter to Baccio Valori, Sassetti notes that he has collected rare varieties of cinnamon in his travels along the Malibar coast in India. His intention was to rediscover the species thought to be a powerful cure of disease by the ancients. He planned to send a parcel of seeds of these and other medicinal plants. "If it pleases God, in the coming year, I will send this to you, so that you may see it all, together with our Messer Neri Neri, who graces my memories." Later he writes that he is sending Baccio the discourse on cinnamon, which he has compiled, along with some plants. These, it later turned out, were water damaged in the journey. He had hoped for some help from Neri Neri on the question of whether the cinnamon he collected from the island of Zeilan [Ceylon], is the same thing as the curative cinnamon of Mantua described by the ancients. Valori was an authority on these matters in his own right. As librarian for the Medici's imposing collection of books and manuscripts, he had vast academic access. As keeper of the simples garden, he had first hand experience in horticulture and its derivative medicinal cures. 

The principles of "humorism" were passed down from celebrated physicians of the ancient world, like Galen, Hippocrates and Dioscorides. It was thought that the cure of disease was dependent on the restoration of balance between four substances in the body: blood, phlegm, black bile and yellow bile. In turn, each of these was associated with one of the Aristotelian elements: air, water, earth and fire respectively. Each was further associated with specific symptoms and characteristic traits of the patient, even their psychological outlook and physical complexion. This system formed the foundation of Western medicine and was taught and practiced well into the nineteenth century. Although, within Antonio Neri's lifetime newer experimentally based methods did start to take hold. A decade after his father's death, in a 1609 letter, Antonio boasts about his success in curing disease in Antwerp using the methods of the medical upstart Paracelsus. It is unlikely that his father would have approved.

*This post first appeared here 13 August 2014.

Sisters of an Alchemist

Portrait of the Egerton Sisters
(no relation to Neri)
English School,  c. 1601-1602

Among the ten children born to glassmaker Antonio Neri’s parents, three of them were girls; Lessandra, Maria, and Lucrezia. Because women were not allowed to legally own property, or sign contracts many of the usual sources of information are silent. Most of what we can learn about them is through their relationships with the men around them.

The Neri's were a patrician family, and the children enjoyed a very comfortable existence for the late sixteenth century. There is evidence that all three sisters survived into adulthood. Lessandra was the first-born, nine years older than Maria, and twelve years older than Lucrezia.

When Lessandra was around age seventeen, her famous father, Neri Neri, was appointed as personal physician to the newly crowned Grand Duke Ferdinando de’ Medici. However, only a few short years later their mother Dianora died at age 42, of causes that are unknown, perhaps childbirth. The girls were 22, 13 and 10. A few short years later they lost both their father, and a brother.

Two information sources for the Neri sisters are their birth records kept at the Opera del Duomo and genealogy records for the family which are filed at the National Archives, both in Florence. The baptism records hold a wealth of indirect material through the names of their godparents. While these do not tell us anything specific about them, it does tell us who their influences were; who they looked to for strength and spiritual guidance, under the circumstances, this is the best we can do.

Lessandra (b. 1572) claimed Baccio Valori as her godfather. The Valori family had a long, tragic history with the ruling Medici family. His father, grandfather and great-grandfather were all close Medici supporters, yet each ended up exiled, imprisoned, or executed after relationships soured. On one hand he was faithfully employed by the Medici, yet he reportedly spent a good deal of his time collecting letters and papers documenting his family’s close support of Girolamo Savonarola, the firebrand Dominican priest who lead Florence in the late 1490s, after the Medici had been temporarily expelled from the city.

Lessandra’s godmother was Marietta Gaetani, also from a noble family, which included dukes, cardinals and popes. They played prominent roles in the politics of Pisa, Rome and Naples for several centuries. Marietta’s father owned the house from whose tower Galileo showed the moons of Jupiter to Grand Duke Cosimo II in 1610.

The genealogical records imply that Lessandra later took vows with the S. Agata monastery on the North end of Florence and took the name suor Emilia.


Maria’s (b. 1581) godfather was Monsignor Giovanni Alberti. Giovanni was the son of a Florentine senator. He served as protonotary apostolic for Pope Gregory XIII and as bishop of Cortona under Pope Clement VIII. A godfather serving in the papal inner chambers was a good family contact indeed. Also appearing for Maria was Pierfilippo Perini, a physician and lawyer. The Registri lists Maria Neri's godmother as Alessandra di Girolamo Pepi. Among the prominent Florentine republicans was Alessandra's father, Girolamo. He was tortured by Alessandro de' Medici in the 1530s, upon the family's regaining control of Florence after the siege.The genealogy indicates that she married into the Boscoli family, but further work is needed to identify a specific individual.

Lucrezia (b. 1584), the youngest Neri girl, has a single godparent listed in the register, Montiglio degli Albizi. The Albizi family boasted powerful bankers and politicians. This was another case where deep divisions over Medici rule drove a family apart. Perhaps the best-recognized member of the Albizzi family was Eleonora degli Albizi. She was the young consort of grand duke Cosimo I. Folklore has it that in 1566, Cosimo intended to retire from public life and marry Albizi quietly, after the birth of a girl, but his regent son, Francesco I, forbade it to due to the inheritance complications that would ensue. The story is that Cosimo's long-time personal secretary, Sforza Almeni, leaked word of the clandestine marriage to the family. For his betrayal, an enraged Cosimo murdered Almeni in cold blood. Eleonora later gave birth to Don Giovanni de’ Medici, the uncle and friend of Don Antonio, Neri's sponsor. The specific Albizi family member we are interested in, Lucrezia's godfather, Montiglio degli Albizi, seems to have eluded history. Lucretia married into the Talenti family, but no further details are known.

Kitchen Alchemy

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to Neri's later claim to fame: glass—its most notable appearance in Tesoro  is in illustrations of experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] To outsiders, the Neri's were a wealthy and quite well respected family, but internally, the tragic events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe of Tesoro: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself. The scene suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Allesandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In one sense, the methodology of alchemy lives-on today in kitchens around the world. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,

Filippo Sassetti

Goa, India 1509

Later distinguished as a renowned glassmaker and alchemist, Antonio Neri was born into a patrician household. In the Florentine baptism records, his entry was made on a Thursday, the first of March, 1576. He was born the previous evening, to Dianora Parenti and Neri Neri. His godmother is listed in the document as Ginevra Sassetti. Not a great amount is known about her; she was from a prominent family, at the time in her late fifties. However, there are indications that other members of her family interacted with the Neri's. Her nephew Filippo mentions Antonio's father favorably several times in letters, providing a fascinating glimpse into the way disease was diagnosed and treated.

When Antonio was born, his father Neri Neri was in his early thirties, and already a highly regarded physician. Baccio Valori was director of the famed Laurentian Library in Florence and steward of the Medici's simples (medicinal herbs) garden. He was friend to Neri Neri and godfather to Antonio's oldest sister Lessandra. Between 1583 and 1588, Valori received letters from a mutual friend, Filippo Sassetti, who was living in Goa and Cochin – trading settlements in India. Filippo was a native Florentine; he attended university in Pisa with Valori and they became lifelong friends. After Sassetti's father was forced to sell the family home to pay off a debt. Filippo moved to Lisbon and became a spice trader. Not suited for a desk job, he soon set sail seeking adventure in the orient. 

In a 1586 letter to his old friend Valori, Sassetti discusses an Indian remedy against the plague, with a substance called bezoar. The bezoar stone is a mass that develops and becomes trapped in the digestive systems of certain animals. It often resembles a smooth rock. Some thought ground bezoar to be a universal antidote to any poison. Sassetti was puzzled about how the grindings of bezoar could work to cure the plague. Its Aristotelian elemental properties would not be a match for correcting the imbalance of humors in the body. "This is a principle," he explains, taught to him by Neri Neri. "I have thought about it and I can not understand how it works, because the plague is of the same corruption and this is a lack of heat inherent in the humidity. And the stones, if I recall correctly, they have a cold and dry complexion, hence may not precede the restoration of heat. Messer Neri one time did me the favor of telling me." 

In another letter to Baccio Valori, Sassetti notes that he has collected rare varieties of cinnamon in his travels along the Malibar coast in India. His intention was to rediscover the species thought to be a powerful cure of disease by the ancients. He planned to send a parcel of seeds of these and other medicinal plants. "If it pleases God, in the coming year, I will send this to you, so that you may see it all, together with our Messer Neri Neri, who graces my memories." Later he writes that he is sending Baccio the discourse on cinnamon, which he has compiled, along with some plants. These, it later turned out, were water damaged in the journey. He had hoped for some help from Neri Neri on the question of whether the cinnamon he collected from the island of Zeilan [Ceylon], is the same thing as the curative cinnamon of Mantua described by the ancients. Valori was an authority on these matters in his own right. As librarian for the Medici's imposing collection of books and manuscripts, he had vast academic access. As keeper of the simples garden, he had first hand experience in horticulture and its derivative medicinal cures. 

The principles of "humorism" were passed down from celebrated physicians of the ancient world, like Galen, Hippocrates and Dioscorides. It was thought that the cure of disease was dependent on the restoration of balance between four substances in the body: blood, phlegm, black bile and yellow bile. In turn, each of these was associated with one of the Aristotelian elements: air, water, earth and fire respectively. Each was further associated with specific symptoms and characteristic traits of the patient, even their psychological outlook and physical complexion. This system formed the foundation of Western medicine and was taught and practiced well into the nineteenth century. Although, within Antonio Neri's lifetime newer experimentally based methods did start to take hold. A decade after his father's death, in a 1609 letter, Antonio boasts about his success in curing disease in Antwerp using the methods of the medical upstart Paracelsus. It is unlikely that his father would have approved.

*This post first appeared here 13 August 2014.

Sisters of an Alchemist

Portrait of the Egerton Sisters
(no relation to Neri)
English School,  c. 1601-1602

Among the ten children born to glassmaker Antonio Neri’s parents, three of them were girls; Lessandra, Maria, and Lucrezia. Because women were not allowed to legally own property, or sign contracts many of the usual sources of information are silent. Most of what we can learn about them is through their relationships with the men around them.

The Neri's were a patrician family, and the children enjoyed a very comfortable existence for the late sixteenth century. There is evidence that all three sisters survived into adulthood. Lessandra was the first-born, nine years older than Maria, and twelve years older than Lucrezia.

When Lessandra was around age seventeen, her famous father, Neri Neri, was appointed as personal physician to the newly crowned Grand Duke Ferdinando de’ Medici. However, only a few short years later their mother Dianora died at age 42, of causes that are unknown, perhaps childbirth. The girls were 22, 13 and 10. A few short years later they lost both their father, and a brother.

Two information sources for the Neri sisters are their birth records kept at the Opera del Duomo and genealogy records for the family which are filed at the National Archives, both in Florence. The baptism records hold a wealth of indirect material through the names of their godparents. While these do not tell us anything specific about them, it does tell us who their influences were; who they looked to for strength and spiritual guidance, under the circumstances, this is the best we can do.

Lessandra (b. 1572) claimed Baccio Valori as her godfather. The Valori family had a long, tragic history with the ruling Medici family. His father, grandfather and great-grandfather were all close Medici supporters, yet each ended up exiled, imprisoned, or executed after relationships soured. On one hand he was faithfully employed by the Medici, yet he reportedly spent a good deal of his time collecting letters and papers documenting his family’s close support of Girolamo Savonarola, the firebrand Dominican priest who lead Florence in the late 1490s, after the Medici had been temporarily expelled from the city.

Lessandra’s godmother was Marietta Gaetani, also from a noble family, which included dukes, cardinals and popes. They played prominent roles in the politics of Pisa, Rome and Naples for several centuries. Marietta’s father owned the house from whose tower Galileo showed the moons of Jupiter to Grand Duke Cosimo II in 1610.

The genealogical records imply that Lessandra later took vows with the S. Agata monastery on the North end of Florence and took the name suor Emilia.


Maria’s (b. 1581) godfather was Monsignor Giovanni Alberti. Giovanni was the son of a Florentine senator. He served as protonotary apostolic for Pope Gregory XIII and as bishop of Cortona under Pope Clement VIII. A godfather serving in the papal inner chambers was a good family contact indeed. Also appearing for Maria was Pierfilippo Perini, a physician and lawyer. The Registri lists Maria Neri's godmother as Alessandra di Girolamo Pepi. Among the prominent Florentine republicans was Alessandra's father, Girolamo. He was tortured by Alessandro de' Medici in the 1530s, upon the family's regaining control of Florence after the siege.The genealogy indicates that she married into the Boscoli family, but further work is needed to identify a specific individual.

Lucrezia (b. 1584), the youngest Neri girl, has a single godparent listed in the register, Montiglio degli Albizi. The Albizi family boasted powerful bankers and politicians. This was another case where deep divisions over Medici rule drove a family apart. Perhaps the best-recognized member of the Albizzi family was Eleonora degli Albizi. She was the young consort of grand duke Cosimo I. Folklore has it that in 1566, Cosimo intended to retire from public life and marry Albizi quietly, after the birth of a girl, but his regent son, Francesco I, forbade it to due to the inheritance complications that would ensue. The story is that Cosimo's long-time personal secretary, Sforza Almeni, leaked word of the clandestine marriage to the family. For his betrayal, an enraged Cosimo murdered Almeni in cold blood. Eleonora later gave birth to Don Giovanni de’ Medici, the uncle and friend of Don Antonio, Neri's sponsor. The specific Albizi family member we are interested in, Lucrezia's godfather, Montiglio degli Albizi, seems to have eluded history. Lucretia married into the Talenti family, but no further details are known.

Kitchen Alchemy

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to Neri's later claim to fame: glass—its most notable appearance in Tesoro  is in illustrations of experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] To outsiders, the Neri's were a wealthy and quite well respected family, but internally, the tragic events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe of Tesoro: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself. The scene suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Allesandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In one sense, the methodology of alchemy lives-on today in kitchens around the world. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,

Kitchen Alchemy

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to Neri's later claim to fame: glass—its most notable appearance in Tesoro  is in illustrations of experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] To outsiders, the Neri's were a wealthy and quite well respected family, but internally, the tragic events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe of Tesoro: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself. The scene suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Allesandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In one sense, the methodology of alchemy lives-on today in kitchens around the world. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,

Filippo Sassetti

Goa, India 1509

Later distinguished as a renowned glassmaker and alchemist, Antonio Neri was born into a patrician household. In the Florentine baptism records, his entry was made on a Thursday, the first of March, 1576. He was born the previous evening, to Dianora Parenti and Neri Neri. His godmother is listed in the document as Ginevra Sassetti. Not a great amount is known about her; she was from a prominent family, at the time in her late fifties. However, there are indications that other members of her family interacted with the Neri's. Her nephew Filippo mentions Antonio's father favorably several times in letters, providing a fascinating glimpse into the way disease was diagnosed and treated.

When Antonio was born, his father Neri Neri was in his early thirties, and already a highly regarded physician. Baccio Valori was director of the famed Laurentian Library in Florence and steward of the Medici's simples (medicinal herbs) garden. He was friend to Neri Neri and godfather to Antonio's oldest sister Lessandra. Between 1583 and 1588, Valori received letters from a mutual friend, Filippo Sassetti, who was living in Goa and Cochin – trading settlements in India. Filippo was a native Florentine; he attended university in Pisa with Valori and they became lifelong friends. After Sassetti's father was forced to sell the family home to pay off a debt. Filippo moved to Lisbon and became a spice trader. Not suited for a desk job, he soon set sail seeking adventure in the orient. 

In a 1586 letter to his old friend Valori, Sassetti discusses an Indian remedy against the plague, with a substance called bezoar. The bezoar stone is a mass that develops and becomes trapped in the digestive systems of certain animals. It often resembles a smooth rock. Some thought ground bezoar to be a universal antidote to any poison. Sassetti was puzzled about how the grindings of bezoar could work to cure the plague. Its Aristotelian elemental properties would not be a match for correcting the imbalance of humors in the body. "This is a principle," he explains, taught to him by Neri Neri. "I have thought about it and I can not understand how it works, because the plague is of the same corruption and this is a lack of heat inherent in the humidity. And the stones, if I recall correctly, they have a cold and dry complexion, hence may not precede the restoration of heat. Messer Neri one time did me the favor of telling me." 

In another letter to Baccio Valori, Sassetti notes that he has collected rare varieties of cinnamon in his travels along the Malibar coast in India. His intention was to rediscover the species thought to be a powerful cure of disease by the ancients. He planned to send a parcel of seeds of these and other medicinal plants. "If it pleases God, in the coming year, I will send this to you, so that you may see it all, together with our Messer Neri Neri, who graces my memories." Later he writes that he is sending Baccio the discourse on cinnamon, which he has compiled, along with some plants. These, it later turned out, were water damaged in the journey. He had hoped for some help from Neri Neri on the question of whether the cinnamon he collected from the island of Zeilan [Ceylon], is the same thing as the curative cinnamon of Mantua described by the ancients. Valori was an authority on these matters in his own right. As librarian for the Medici's imposing collection of books and manuscripts, he had vast academic access. As keeper of the simples garden, he had first hand experience in horticulture and its derivative medicinal cures. 

The principles of "humorism" were passed down from celebrated physicians of the ancient world, like Galen, Hippocrates and Dioscorides. It was thought that the cure of disease was dependent on the restoration of balance between four substances in the body: blood, phlegm, black bile and yellow bile. In turn, each of these was associated with one of the Aristotelian elements: air, water, earth and fire respectively. Each was further associated with specific symptoms and characteristic traits of the patient, even their psychological outlook and physical complexion. This system formed the foundation of Western medicine and was taught and practiced well into the nineteenth century. Although, within Antonio Neri's lifetime newer experimentally based methods did start to take hold. A decade after his father's death, in a 1609 letter, Antonio boasts about his success in curing disease in Antwerp using the methods of the medical upstart Paracelsus. It is unlikely that his father would have approved.

*This post first appeared here 13 August 2014.

Sisters of an Alchemist

Portrait of the Egerton Sisters
(no relation to Neri)
English School,  c. 1601-1602

Among the ten children born to glassmaker Antonio Neri’s parents, three of them were girls; Lessandra, Maria, and Lucrezia. Because women were not allowed to legally own property, or sign contracts many of the usual sources of information are silent. Most of what we can learn about them is through their relationships with the men around them.

The Neri's were a patrician family, and the children enjoyed a very comfortable existence for the late sixteenth century. There is evidence that all three sisters survived into adulthood. Lessandra was the first-born, nine years older than Maria, and twelve years older than Lucrezia.

When Lessandra was around age seventeen, her famous father, Neri Neri, was appointed as personal physician to the newly crowned Grand Duke Ferdinando de’ Medici. However, only a few short years later their mother Dianora died at age 42, of causes that are unknown, perhaps childbirth. The girls were 22, 13 and 10. A few short years later they lost both their father, and a brother.

Two information sources for the Neri sisters are their birth records kept at the Opera del Duomo and genealogy records for the family which are filed at the National Archives, both in Florence. The baptism records hold a wealth of indirect material through the names of their godparents. While these do not tell us anything specific about them, it does tell us who their influences were; who they looked to for strength and spiritual guidance, under the circumstances, this is the best we can do.

Lessandra (b. 1572) claimed Baccio Valori as her godfather. The Valori family had a long, tragic history with the ruling Medici family. His father, grandfather and great-grandfather were all close Medici supporters, yet each ended up exiled, imprisoned, or executed after relationships soured. On one hand he was faithfully employed by the Medici, yet he reportedly spent a good deal of his time collecting letters and papers documenting his family’s close support of Girolamo Savonarola, the firebrand Dominican priest who lead Florence in the late 1490s, after the Medici had been temporarily expelled from the city.

Lessandra’s godmother was Marietta Gaetani, also from a noble family, which included dukes, cardinals and popes. They played prominent roles in the politics of Pisa, Rome and Naples for several centuries. Marietta’s father owned the house from whose tower Galileo showed the moons of Jupiter to Grand Duke Cosimo II in 1610.

The genealogical records imply that Lessandra later took vows with the S. Agata monastery on the North end of Florence and took the name suor Emilia.


Maria’s (b. 1581) godfather was Monsignor Giovanni Alberti. Giovanni was the son of a Florentine senator. He served as protonotary apostolic for Pope Gregory XIII and as bishop of Cortona under Pope Clement VIII. A godfather serving in the papal inner chambers was a good family contact indeed. Also appearing for Maria was Pierfilippo Perini, a physician and lawyer. The Registri lists Maria Neri's godmother as Alessandra di Girolamo Pepi. Among the prominent Florentine republicans was Alessandra's father, Girolamo. He was tortured by Alessandro de' Medici in the 1530s, upon the family's regaining control of Florence after the siege.The genealogy indicates that she married into the Boscoli family, but further work is needed to identify a specific individual.

Lucrezia (b. 1584), the youngest Neri girl, has a single godparent listed in the register, Montiglio degli Albizi. The Albizi family boasted powerful bankers and politicians. This was another case where deep divisions over Medici rule drove a family apart. Perhaps the best-recognized member of the Albizzi family was Eleonora degli Albizi. She was the young consort of grand duke Cosimo I. Folklore has it that in 1566, Cosimo intended to retire from public life and marry Albizi quietly, after the birth of a girl, but his regent son, Francesco I, forbade it to due to the inheritance complications that would ensue. The story is that Cosimo's long-time personal secretary, Sforza Almeni, leaked word of the clandestine marriage to the family. For his betrayal, an enraged Cosimo murdered Almeni in cold blood. Eleonora later gave birth to Don Giovanni de’ Medici, the uncle and friend of Don Antonio, Neri's sponsor. The specific Albizi family member we are interested in, Lucrezia's godfather, Montiglio degli Albizi, seems to have eluded history. Lucretia married into the Talenti family, but no further details are known.

Kitchen Alchemy

Tesoro del Mondo, "Ars Preparatio Animalium"

Antonio Neri 1598-1600, f. 10r (MS Ferguson 67).

Between 1598 and 1600, Antonio Neri wrote a manuscript filled with alchemical recipes. He entitled it Tesoro del Mondo or "Treasure of the World" and stated that it was a book in draft form, intended for publication. It never did see the ink of a printer's press, but Neri's original handwritten version did survive intact and today occupies a place of pride in the Ferguson Collection of the University of Glasgow Library. [1]

Tesoro is an ambitious work, devoted to "all of alchemy," containing numerous hand-drawn ink and watercolor illustrations; some of the pictures are allegorical, many others document practitioners working with equipment. Only passing reference is made in this manuscript to glass—its most notable appearance is as experimental vessels. 1598 was two or three years before Antonio's glassmaking career is thought to have started. His life was busy on other fronts. He had just been ordained as a Catholic Priest, undergoing the laying on of hands ceremony, probably by his neighbor on Borgo Pinti, the Florentine archbishop Alessandro Ottaviano de' Medici. 1598 was also a year of tragedy for the Neri family; by the summer, his father Neri Neri, personal physician to the grand duke, died of an unknown illness, but not before making arrangements for his family, which included a will. A court magistrate would oversee the now orphaned children's education, inheritance and dowries. They would soon suffer further tragedy in the unexpected death of a brother; sixteen year-old Emilio would leave them on Christmas day of the following year, in Castello outside Florence. 

The losses must have been devastating. In 1598, five of the nine children were still under the age of twenty. Without a mother or father, great responsibility must have fallen on the shoulders of the matriarch of the house, the children's elderly paternal grandmother Maddalena. [2] Even though the Neri's were a wealthy and quite well respected family, these events undoubtedly threw their lives into turmoil. It is in these circumstances that Antonio started his manuscript. The tragic events allude to the reasoning behind a cryptic Latin quote scribbled at the top of a page above the first recipe: "fuimus troes." It means, "We are Trojans no more" From Virgil's Aeneid, referring to the fall of Troy. [3] 

Early in the manuscript there is a series of four illustrations, each showing a different activity, In order, they are titled The Art of Preparation of Stones, Metals, Plants and Animals. [4] Each is filled with multiple workers engaged in various activities pertinent to the specific art. Each highlights interactions between the Aristotelian elements: air, water, earth and fire. There is no specific indication of where any of the four scenes take place, although some educated guesses can be taken. For instance, the stone workers, or lapidaries, almost certainly are an early incarnation of the famed 'Opificio delle pietre dure' working in the Uffizi's Galleria dei Lavori. But we will leave that discussion for another time. 

Of the four illustrations, "Preparing Animals" focuses on activity within a kitchen. (See above, click to enlarge). The scene is intriguing in that it appears to take place in a domestic setting. It is also remarkable for featuring women at work. Labels call out the four Aristotelian elements; birds hanging from the rafters represent air, fish on a grilling rack represent water, a whole carcass on the spit represents earth and fire appears as itself in several locations. It is not unreasonable to suggest that this setting is none other than the Neri family kitchen and that the practitioners of the art are three of Antonio's siblings. In the middle right, a young boy is engaged in turning the spit (in green). The best candidate would be then eleven year-old Alessandro, the eventual heir to the family, whose own son named Neri would carry on the family practice as a physician. Of the two young women pictured, the three family choices are fourteen year-old Lucretia, Sixteen year-old Maria and twenty-six year-old Lessandra.

In addition to preparing finished meals, seventeenth century kitchens were busy making more basic ingredients also; preserves, distillations, special salts, herbal extracts and so forth. In addition to foods, medicinal and hygienic products were produced, like syrups and soaps. There is another strong connection between the kitchen and alchemy that lives on today: the methodology of cooking. The process of combining raw ingredients and cooking them together, of experimentation and of iteratively refining a recipe to perfection, this is not so different from what Antonio Neri and his siblings were doing four hundred years ago.


[1] Neri 1598-1600.
[2] Maddalena di Bartolomeo di Niccolò Bartoloz[z]i, married Jacopo Neri, and they gave birth to Antonio’s father Neri Neri. (ASF 599).
[3] Fuimus Troes, fuit Ilium, et ingens Gloria Teucrorum. [We Trojans are at an end, Illium has ended and the vast glory of the Trojans], The Aeneid: Book 2, Line 325.  See also the post in this blog (Conciatore.org) dated 13 June 2014.
[4] Neri 1598-1600, ff. 7r, 8r, 9r, 10r.
* This post first appeared here on 27 August 2014,