Raimondo Villano - Elements on art and history of pharmacy: vessels

Raimondo Villano - Elements on art and history of pharmacy208
“Pharmacy,
Church of the desperate,
a little god in every pill”
Pablo Neruda, Ode

CHIRON
EEEllleeemmmeeennntttsss ooonnn AAArrrttt aaannnddd
HHHiiissstttooorrryyy ooofff PPPaaarrrmmmaaacccyyy
RRRaaaiiimmmooonnndddooo VVViiillllllaaannnooo
CHIRON

Copy n. _____________
The autor
__________________________
Elements on art and history of pharmacy
© Copyright Raimondo Villano
© Research, creation, cover by Raimondo Villano.
All right reserved. No part of this book shall be reproduced in publications and studies
without root’s citation. No part of this book shall be stored in a retrieval system, or
transmitted by ani means, electronic, mechanical, photocopying, recording or otherwise,
without written permission from the publisher.
Editorial: Prof. Dott. Maria Rosaria Giordano.
Editors: mobile 338 59 60 222; e-mail: farmavillano@libero.it
Advisor executive: Francesco Villano
Editions Chiron Found. - Praxys dpt.
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First published in English in Mars 2011.
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ISBN 978-88-904235-36.
CDD 615 VIL ele 2011
LCC R131-687
CHIRON FOUND.
Praxys dpt

49
Caro Dottor Villano,
ho letto con molto interesse ed apprezzamento il Suo libro “Arte e Storia della Farmacia”.
Rappresenta certamente un valente contributo alla Storia della farmacia ed ai suoi uomini che hanno
rappresentato una struttura determinante alle cure degli uomini attraverso i secoli.
Mi auguro di poterLa incontrare in qualche prossima riunione accademica a Napoli o a Roma.
Con i più cordiali saluti.
Comm. Prof. Dott. Angelo Capparoni
Presidente Accademia di Storia dell’Arte Sanitaria
Chiarissimo Dottor Villano,
ho avuto modo di leggere ed apprezzare il Tuo testo - Arte e Storia della Farmacia - è scritto con stile
piacevole e soprattutto con estrema chiarezza; è il testo ideale per chi vuole conoscere una Disciplina tanto
affascinante quale la Storia della Farmacia.
Una copia verrà conservata, per i posteri, nella Nostra secolare Biblioteca.
Ti ringrazio ancora per il capitolo che hai voluto riservare al Nostro Nobile Collegio e, confidando in una
Nostra futura collaborazione, mi complimento vivamente con Te.
Nell’anno del Collegio 577
Il Presidente
Dott. Gian Carlo Signore
Gentilissimo Dottor Villano, mi congratulo con Lei vivamente per la Sua interessante ed elegante opera
“Cenni di arte e storia della farmacia”, contributo culturale che certamente figurerà nella nostra biblioteca
come volume di referenza.
Prof. Rodolfo Paoletti,
Preside della Facoltà di Farmacia
dell’Università di Milano
Gentile Cav. Villano, (…) sono certa che il suo libro sarà una gradita sorpresa anche per i numerosi
giovani israeliani che scelgono l’Italia come meta dei loro studi in Farmacologia.
Simonetta Della Seta,
Direttore Istituto Italiano di Cultura
di Tel Aviv, Israele

Raimondo Villano - Elements on art and history of pharmacy 5
To
my son Francis,
a small admirable
scholar of Egyptian history
and
those who trust in the ethics
for a profession
to improve quality of life.

CONTENTS
Presentations 13
Preface 17
Historical notes 21
Old recipes and ancient remedies 21
Prescription contraceptive from the "Ebers Papyrus" 113
Recipe for diagnosis of pregnancy by "Papyrus Berlin 113
Amaroco Kos 114
Toothpaste 114
Headaches, due to the heat, especially the Sun 114
Dandruff care 115
Affections of the throat 115
Respiratory diseases 115
Stomach ailments 115
Medicines for hair and skin conditions of the crown 116
Muscerda anti hair loss 117
Elettuario bay 117
Infusion guaiac (or Holy Wood) 117
Emploi Crusta panis 117
Fat rate 118
Hiera composite 118
Mitridatum 118
Medication Roman 118
Arab aphrodisiac potion of formic acid 119
Recipes of the School of Salerno 119
Recipe for stones 120
Recipe for hair removal 120
Prescription painkillers and anticalcolosi 120
Clinical use of urine 121
Therapeutic use of dung 121
Epitima friendly 121
Remedy for hemorrhoids 121
Remedies for skin cosmetics 122
Tamarind 122
Treacle 122
Oil Beeswax 125
Honey Oil 125
Oil Sugar 125
Oil Human Skull 125
Magisterium of red coral 127
Footbath antigelonico of Sennerto 127
Of asthma Sennerto 127
Powder Antigout Benedictine Pistoia 127
Applications aphrodisiac electricity 127
Blood 128
Example of animal products that the chemist must have in its pharmacy 128
Drug minerals used by the Greeks and Romans 129

Study of botany 131
Herbaria figured 131
Herbaria in impression 132
Dried Herbals 132
Major herbaria Italian 133
Wax Botanical 133
Aloe 134
Instruments and laboratory techniques 135
- Laboratory Techniques 135
Distillation 135
Production of strong acids 135
Distillation (by G. B. Della Porta) 136
Distillation in the sun 137
Heating and temperature misurement 138
The degrees of Fire 138
Bain Marie, or Marino, and vapor 139
- Laboratory instruments 139
Scales, weights and measures 142
Mortars 147
Glass 148
The glass pharmacy 149
Vessels 153
The art of majolica 153
Neapolitan majolica 154
Majolica Cerretese 156
Ceramic Castle 156
Deruta pottery 157
Other production 158
Pharmacies 159
Officina Profumo-Farmaceutica S. Maria Novella 161
Pharmacy Camaldoli Hermitage 162
Pharmacy Pitti 163
Pharmacy banner of the Moro 163
Pharmacy Certosa del Galluzzo 163
Pharmacy of the Boar 164
Pharmacy of the Deer 164
Pharmacy Paturzo 164
Pharmacy Molteni 165
Hospital Pharmacy S. Fina 165
Pharmacy "Del Campo" 165
Pharmacy "Lucerne" 166
Old Pharmacy "Canto alle Rondini" 166
Old Pharmacy Betti 166
Pharmacy Serafini 167
Pharmacy La Fenice 167
Pharmacy "to give St. Marks" 167
Pharmacy Hospital for Incurable Diseases 167

ùSpecialty Pharmaceutical 169
Pharmaceutical Advertising 171
Noble College Universitas Aromatariorum Urbis 176
Structure and activities 176
Main publications 177
Prize "Superior Gold" 177
Italian Academy of the History of Pharmacy 178
Executive 178
Regional delegations 178
Calendar of recent years 179
Main activities 181
Magazine and Newsletter 182
Editorial Guidelines 183
Statute 183
Foundation "Pier Paolo Daniele" 184
Competition "Christopher Masino" for the History of Pharmacy 185
International Congress of History of Pharmacy 186
Museums 188
Museums in the World 188
Museums in Italy 194
Apothecary jars 196
Apothecary jars in some Italian museums 197
Museum collections: 198
• Aboca Museum of Sansepolcro (AR) 198
• Old Corvi rewarded Pharmacy 198
• Married Anna and Angelo Beccarello 199
• Pharmacy Museum Picciola 1799 - 1999 199
• Pharmacy Museum of Brixen / Bressanone 200
Aphorisms and curiosity 201
Addresses of teh History of pharmacy 203
Internet address 203
Postal addresses 203
References 204
Books 204
Media Books 205
Magazines 205
Communications to Congress 205
Conferences 206
Articles 206
Web Sites 207
Thesis 207

“Nobody knows his profession
unless he knows the story”
Johann Wolfgang von Göethe

Presentation
he new book by our colleague Raymond Villano richly illustrated with a
gorgeous collection of data and facts about the past of our profession from the
earliest times until today.
The work offers a presentation of ideas through the history of pharmacy and
pharmaceutical literature but also of Italian and European laws, preparation of
medicines, and materials used for their preparation by pharmacists.
This vast fresco of the author is accompanied by a multitude of practical information
on historical pharmacies, museums and structures in the history of pharmacy in the
world and in Italy of interest to many enthusiasts of the history of pharmacy. But at
the same time, Dr. Villano also effectively addresses the wide audience of
pharmacists revealing to people a broad way that leads to cultural and historical
knowledge of the pharmacy.
Prof. Dr. François Ledermann
President of the International Society
for the History of Pharmacy
T

Presentation
t's not often the case in person, exercising a profession, I also feel the need to
possess, in addition to the contents of which it consists and the logic that governs
it, including the historical dimension.When this happens, it means that the
expertise of the professional field have risen to intellectual needs broader and more
articulated, in a word: culture have become such.
Such is the case of Raymond Villa, which gives us further evidence of his
inexhaustible curiosity and his professional commitment with this work, the fruit
together, of painstaking research and intellectual passion. Was well known for its
reliability through careful research and diligent other proofs of his industry insight
and time to examine with the broad realities of our time (I think especially towards
the Global Information Society, 1996) and now that very seriously,rekindles passion
and involvement in human search for ways that his profession has changed over the
centuries by trial and experiments that have marked and characterized the
performance of the same cultural history of mankind.
The history of pharmacy, in fact, heard and presented as the struggle that mankind
has struggled against physical illness, committed, under the dramatic urgency of
suffering, their faith is in divine and the resources of his genius, so that the
adventurous tale of attempts successful or denied the experience is identical with
man's journey into the dimension of time to the laborious conquest of civilization as
slow but inexorable liberation from subjection to the hostile forces of nature and as a
gradual but also unstoppable domination of nature. Hence the fascination of a search
that will win over not only the interests of employees at work but also, perhaps above
all, how many for the first time, as happened to me, facing a horizon stranger who
turns out to pleasant surprise harmoniously complements that of the historical and
literary studies. If we consider the rich documentation of the professional institutions,
civil and political as well as the variety of objects produced by the advance
pharmaceutical science historian, you will be more extensive and satisfactory use of
fatigue Villano made by offering the vision of many evidence (books, drawings,
I

museums, etc.).'s long journey man by the heroic solitude of the origins of modern
comfort care valetudinarian.
So we are grateful to the Author of giving us the fruit of his labor can enrich our poor
knowledge of the long and difficult man advanced on the path of civil progress with
the discovery of an aspect of his achievements so far remained on the margins
ofcommon knowledge.
Prof. Antonio Carosella
Literary critic

Preface
aced with the disintegration of complex societies, as expressed by Salvatore
Settis, can be questioned with more acute our present knowledge allows us to
open up its sense of the classic elements of story, which never cease to say what
they have to say that persists as background noise even when the current rule as
incompatible (Calvin) and, having overcome its own ruin and could show his
greatness mutilated more attractive to their full integrity, they are both time and
memory capacity project. The inferred fragmenta it pereant (John, ch. IV),
reconstruction of fragments of the past, long and difficult, which sometimes are not
enough tracks, one hand can enhance the awareness of having inherited a well-
deserved privilege by our fathers and 'On the other hand, gathering the threads of this
same noble heritage, can project into the future today, due to a rapid development of
the profession rather than a succession of this is, in fact, almost a present. According
Cantoni1
, mainly because Italians often historians tell the story almost entirely of
political life, the common awareness of the past, the memory of it comes out
deformed, and therefore attention to this. But when this is characterized by a weak
policy, the question arises of a reconstruction of this historical time that is not limited
solely to a sequence of political action, moreover, at least with recent evidence, not
ideologically motivated.
And this, the length of time between the twentieth century, the "short century"
according to Eric J. Hobsbawm, begun in 1914 and already completed in 19892
, and
the early years of Century XXI, which was not chronologically started when he was
already under way, is characterized by a common weakness for totalitarian
hypertrophy after decompression or compression by other areas of life.
That grows in humus, therefore, interest in the life "politics" as politically-
conditioning that is the ebb, whether voluntary or promoted, is accompanied by the
application of different quality within that unfolds between curiositas and
F

studiositas on everything is not politics and history, or on its characters and
permanent changes in its course.
If this question remains unanswered and is disappointed by the official authorities,
which are most universities, there is legitimate room for corporate initiatives, ie
initiatives of those who are curious and scholars of the past of his own business,
while satisfying the public interest .
While acceptable reflection of the importance of the Johann Wolfgang Goethe
completion of their professional knowledge by the knowledge of its intrinsic history,
when considered certainty gained profi-cuamente can undoubtedly lead to herald in a
remote future, the enormous potential for training on their academic disciplines and
professional historian can deploy in implementation projects of even broader than,
though valuable, of modern times.
In the development of the History of Pharmacy as a scientific discipline are central to
the definition of its object of study, its implications on many issues, the demarcation
of borders and relations with neighboring or related disciplines. To correctly identify
the object of this discipline, therefore, must take into account that the term
"Pharmacy" is used to identify both a technical and scientific profession that area: it
meets a definition in the various preparatory activities, storage and dispensing of
medicines and technical-scientific as the result of an intersection of various
disciplines such as Biology, Chemistry, Medicine, having as the relationship between
drugs and living organisms.
In this view, whatever point of view, the core of its meaning is the medicine.
It would be a stretch, therefore, conclude that the subject of History of Pharmacy is
the profession and the pharmaceutical medicine. It is not, therefore, to study a
medicine as such, nor to study a drug in the abstract but to study a number of
different relationships between people and civilizations. Paraphrasing M. Bloch,
therefore, the History of Pharmacy is the discipline that studies the relationship
between man and medicine. It is this relationship that defines its subject, while its
rich domain that shows in all its breadth the importance of this discipline in training
future professionals in medicine. In this conceptual framework, the pharmaceutical
profession continues to be important as in the past.

The areas of the discipline of History of Pharmacy as defined above, namely the
transformation of theories and concepts in relation to medicines and the
transformation that occurred in relation profession-drug-companies, are indeed
traditionally the two dominant forms of supervision of History Pharmacy: a History
of Science and the other linked to the Economic-Social History.
Currently, the main address of pharmaceutical history is the synthesis between these
two perspectives that consider the technical specifications of work but are integrated
to enable a comprehensive understanding of medicine in human history. The next
component integration in the history of science rather than the part next to the
Economic-Social History, in each case using methods and techniques identical3
is a
problem of relatively recent approach and is largely be the result of the impact of the
change it can be seen growing interest and appreciation for Clinical Pharmacy.
The attempt here is to be doing, in conclusion, is to stimulate curiosity about the
depth of the issues mentioned and Food is responsible for keeping alive the past from
which we come at the same time as our father and our son, we can not Moreover,
escape from history, or accept that history is made of silence to no end, then, we
silence4
below. Engage, even in the relentless race to the future, research applied to
the recovery of historical knowledge of the essence and reason of their profession,
carefully assessing achievements and mistakes, is - to paraphrase Kaplan
consciousness is absolutely necessary because we realize the recognition, of finding
oneself, of being.
History, in fact, as a "category" of thought, is an inexhaustible source of reflection
and critical education exercise, attention and power that is pushing forward is a sense
of life, life as one of the pharmacist, but perhaps often misunderstood rich with
meaning, full of varied and multiple large part of the great cultural history, civil,
economic, political and social of all time.
Raimondo Villano

Notes
1 John Cantoni - The monastery and monastic pharmacy - No Christianity 270, 1997.
2 See Eric J. Hobsbawm, The Age, trans. com., Rizzoli, Milan 1995.
3 To study the sources the History of Pharmacy largely applies essentially the same
method and the same techniques of historical sciences. The historical method historical criticism is
developed in different techniques. The critical documents is to determine rigorously the value of
testimony and information if compared to other historical sources. The first stage, the critical external or
authenticity, is to determine if a document is authentic or fake or if it is an original or a copy. It is
generally divided into a critique of origin (which includes a determination of the author, place and date
of preparation) and a critique of Reconstruction (which aims to reconstruct the original text of a
document containing, for example, transcription errors ). The internal criticism or credibility is
concerned to determine the accuracy of information contained in a document through five steps: critical
interpretation (which merges with part of hermeneutics and through who is concerned to learn the
content of the text) critical competence (which determines the quality of the text through the author's
assessment of the ability to know and understand the facts), criticism of truthfulness (which examines
the possible existence of false), rigorous criticism (which identifies the inadvertent errors in the
description of facts), and verification of testimonials (which compares the information contained in the
text with other available evidence). The use of historical criticism, along with the use of ancillary
sciences gives the story its character as a science that should not be confused with experimental science,
it is impossible to riproduduzione of historical phenomena in order to prove the hypothesis of, for
example, a chemical phenomenon.
4 Carlos Fuentes, author, Mexico City.

“... The ancient vases provide valuable information on the
arduous journey of medical science with their scrolls,
decorative and allegorical figures difficult to interpret”
Hon Dr Giacomo Leopardi
VESSELS
The art of majolica
fter a thousand years many Italian centers knew the art of
majolica, which was characterized throughout the
country with artifacts of a dark green on a white ceramic
tiled defined archaic. The name majolica seems to
derive from the island of Majorca, whose port is a
major hub of ceramic products
in Spain and North Africa (usually
decorated with metallic luster)
for medieval Europe.
From the sixteenth
century onwards, appeared in
Italy and broke the tiles
engraved Raphael. The
client wanted the pottery
miniature the great fresco
cycles, especially
Romans. In mid-sixteenth
century, after the great
season polychrome,
the taste changed. The
pottery became white and white
became faiance. To shine
using iridescence, thin film of small
metal particles obtained by
applying the object over a preparation
of salts that can be silver or copper,
depending on whether you want to get a reflex
silver or red. The subject treated in this way is put to
cook. This is the third firing at lower temperature reducing
atmosphere of the previous obtained by placing in the
oven closed smoke substances that escape
oxygen, type of horse nails or oily rags. When
cooked, the surface of objects is rubbed with a
cloth. This is an ancient technique of Arab
A

origin already known in Persia and Mesopotamia before the year one thousand, as
witnessed by finds of amphorae.
Islam came via this method and was widespread in North Africa and from there, then
came the Moors of Spain.
The kilns of Deruta and Gubbio captured the Arab formula and specialize in the early
sixteenth century, this technique of metallic luster (or "Shine") that characterized the
Italian production, to the point that you wanted in Italy for majolica its luster these
ceramics that were traded across the island of Mallorca. Only the name maiolica was
to indicate, broadly, the product majolica.
The pottery is all made of clay that is manipulated by man and consolidated with the
action of the hot furnace, this concept is universal and unites people of all cultures.
Depending on the clay used and degree of cooking, there are different types of
ceramics:
* Pottery: white body porous ceramics
* Glazed ceramic with colored dough compact
* Crockery: bricks, garden pots, Terracotta
* Finish: white earthy
* Terracotta with glaze: with a coating of glaze to make the item waterproof . The
glaze can be painted or engraved
* Crockery engobed: earthy with a white coating, or slip slipped just said, which is
putting a glaze to make the item waterproof. The glaze can be painted or engraved
* China: white clay, ceramics compact white paste, cooked at high temperatures with
or without glaze, for example, the French biscuit
* Majolica: pottery glazed with opaque white glass waterproof coating and polished,
said enamel majolica, consisting of oxides of lead and tin mixed together. The
mixture of these oxides is calcined to form a mass of white, fine grinding, is put into
a tub of suspension. It immerses the object on which biscuit is a layer of enamel. The
painted object is then baked a second time. Shall, therefore, that the element is
opaque overglaze element together.
Neapolitan majolica
The vitality of Neapolitan majolica workshops in the Renaissance is reflected not
only by substantial examples floors, but also pharmacy kits, as demonstrated by
extensive research conducted by Guido Donatone, a distinguished scholar of southern
pottery, precious china, bearing the emblem of Alfonso Aragon Duke of Calabria,
was the apothecary of the King in Castelnuovo (Angevin) Aragonese palace and
fortress, palaces and other spices of Aragon. From grocery monumental Castelnuovo
gave rise to the sumptuous taste of spices Neapolitan subsequent centuries. In
addition to Naples (Museo di Capodimonte), apothecary jars of that found in various
museums (Paris: Louvre, London: British Museum and Victoria & Albert Museum),
Lyon: Musée des Arts Décoratifs) and private collections. The Pharmaceutical
pottery in the sixteenth century has been remarkable, with characters of color and
ornamental beauty. Among the potters in the '500 Neapolitan active in Naples and
found documentation that you have to remember Master Caesar Cretara, creator of
the kit pharmaceutical pharmacy of San Domenico Maggiore, and Luca Iodice. In the

sixteenth century, moreover, recorded the presence of Neapolitan majolica in some
northern and central regions of Italy: Leonardo Grilli, Ravenna, Giovanni Maria
Capua, first in Antwerp and then to Milan, Gian Pietro Leyna in Milan. For the whole
of the seventeenth and eighteenth century Naples has provided new forms of
expression through the beautiful ceramic art works of the Baroque era. In the early
decades of the seventeenth century the Renaissance tradition persists in Naples in the
pottery of pharmacy. At the close of the seventeenth century spread the use of
decoration en bleu camaieu for entire apothecary jars bearing kits devotional figures,
landscape representations, mythological scenes, but the decoration "camaieu en bleu"
was used to program more content, such environments small convent spices or
private, while in large kits majolica major pharmacies monumental role was entrusted
to a potter for more creative freedom. In vast areas of the Sanctuary of Our Lady of
spices Arch, the Convent of St. Domenico Maggiore, the Certosa di San Martino, the
Monastery of Santa Severina and Sossio, as in the eighteenth century of Incurable,
often embellished with elegant frescoes and painted ceilings, an in polychrome
decoration.
In the seventeenth century potters produced Neapolitan ceramic outfits
pharmaceutical taste compendiario, Faenza and Urbino even more (among other
things, large hydrias), with summary figures, drawn from the traditional repertoire
mannered and, then, from the baroque, and surrounded by calligraphic polychrome
decorated, they are also characterized by elaborate floral scrolls loops. In the middle
ages viceroyalty there is a cultural phenomenon particularly fruitful for the art of
majolica: that of the interplay between Naples and Castles, famous Abruzzo, the best
castle builders who moved to Naples, the most important figure is
Charles Anthony Grue, one of the protagonists of Italian majolica of
the seventeenth century. In the last decades of the century, the
influence of the Ligurian pottery factories Neapolitan as
important as that of manufacturing Abruzzi: some
pharmacists rich Neapolitan ordered, in fact, the entire set
of their spices in the ceramic factories in Liguria. Often
the manufacturers participating in the Neapolitan style
of decoration blue pottery producing pharmaceuticals
"in the manner of Genoa". In this type of work
emerges a leading personalities: Paul Francis Brandi.
The Neapolitan majolica in the eighteenth century had
a remarkable flowering, with the phenomenon of
immigration dell'incessante potters Abruzzo Castles,
intensified at the end of the seventeenth century and
then continued throughout the whole of the eighteenth
century. The Pharmacy of Incurable is a wonderful
example of Neapolitan eighteenth-century decoration:
the lab of chemist (controspezieria) above the
pharmacy has maintained a first set of hydrias and jars
(approximately 240 vessels of various sizes) decorated
with landscapes and figures in chiaroscuro blue (camaieu
blue), some pots recanolo emblem of the Holy House of

incurable Stiglio in the salon is kept intact and a rare set of 400 colored earthenware
vessels stained in the biggest bear painted biblical scenes while the smallest are
represented allegories of the virtues of the seasons and work vessels are of three
dimensions: height 35 cm, 26 cm and 24 cm, some are topped with domed lids with
knob, others crushed and lids are decorated only the front; not take registration of the
name of the medicine. Some vessels are marked by full potter Lorenzo Calandra,
active between 1727 and 1748, on a Salandra also wrote that Donato Massa (died
1747) was the "Master of these vessels". The stories painted on the vases are those of
the Old Testament, their iconographic source is identifiable in recordings taken from
a print of Raphael's frescoes in the Vatican Loggia. Neapolitan majolica palette was
warm and mellow tones, the repertoire made use of combinations of yellow, orange
(obtained by adding antimony oxide of iron) with the translucent copper green, as
well that measured use of blue and purple vinous manganese.
Majolica Cerretese
Many vessels in Cerreto Neapolitans emigrated and it is therefore difficult to
distinguish the production of fine ceramic factories Cerreto from Naples, while it
becomes easier to identify as Cerretese those tiles that have a stronger impression and
rustic folk. A potter Neapolitan family Giustiniani, perhaps Dominic is attributed the
introduction of factories in the repertoire of decorative landscape Cerretese blue
chiaroscuro (camaieu blue), unique factory six-eighteenth-century Naples. This blue
chiaroscuro decoration conforms the considerable production of pharmaceutical jars
from the kilns of Cerreto after 1721, examples of such pharmaceutical kits are jars
currently in the Museo del Sannio, Benevento. From the second half of the 700
production of artistic Cerretese apothecary jars is directed to the most elegant and
sinuous rococo forms: artifacts lose fast and simple line of cylindrical jars to take the
form commonly known as the "inverted pear"; the palette becomes refined,
sophisticated color combinations are used in representations "to the Chinese" and
reasons "to rubble" that enclose them. The repertoire is of course mediated by the
nearby shops in Naples. Noted was the manufacture of Nicola Giustiniani, founder of
a dynasty of potters, who prepared dishes for the fine spices of the monasteries (such
as, for example, the Benedictine Abbey of Monte Lady of Loreto in the province of
Avellino. Around 1754 Nicholas Giustiniani moved his shop in Naples, where he
remained open for over a century. Among the potters Cerretese you must remember,
also, John Day and Thomas Marchitto. After the first decades of the nineteenth
century the furnaces Cerretese declined and the process is common to all the other
centers southern children: those Abruzzi, Campania and the Salento. The work of
potters was continued only in its humbler forms and the simple requirements of
painted pottery.
Ceramic of Castelli
The origin of the school of ceramics of Castelli, City in the province of Teramo in the
Abruzzo region on the slopes of Gran Sasso, one of the most famous manufacturers

of ceramics art center of Italy, dates back to the Benedictine monks of St. Saviour,
who around the year one thousand settled in those parts under the protection of the
Counts of Pagliara.
Since then and until the fifteenth forwarded ceramic production provides a rich
implementation of engobed, painted, glazed and incised. The production of majolica
real does not begin before early sixteenth century, using enamel stannate introduced
by contact with Spanish-Moorish culture and when they reached the first-known
artists, Polidoro and Remo from Lanciano. In those years, took shape in the
production of ceramics of the type of kit that said Farnese and Orsini-Colonna. In the
seventeenth and eighteenth century the "dynasties" of Grue of Cappelletti and Gentile
did reach the highest levels to work with ceramics rich iconographic references to
monastic orders, with lake and mountain views and pastoral scenes and the noble
families - in particular Neapolitan - the most important patrons of the school
castle. In particular, Francescantonio Grue addition to being one of the most famous
majolica Castelli, active around the first half of the seventeenth, was also active for a
long time by the Royal Factory of Capodimonte in Naples while Fuina Gesualdo was
one of the leading innovators of expressive modes of Castelli majolica.Towards the
end of the eighteenth century majolica undergoes a deep crisis mainly due to the
advent of the porcelain. However, the tradition still continues Castles: many
laboratories still produce ceramics and export worldwide.
Deruta pottery
The first expressions of Deruta pottery artefacts have been documented by archaic
majolica dating from the second half of '300: these everyday objects like bowls,
plates, mugs and plates, decorated with geometric and floral motifs in green and
brown. The most famous and celebrated stage of Deruta majolica
was that of the Renaissance.
At the beginning of '500 lie types of "petal-back family", with
simple decorations in the shape of petals on the back of plates and
cups.During the same period, says the production of majolica
luster characteristics iridescent metallic gold, it will inform
Deruta worldwide.
The contemporary production is characterized by polychrome
decorations to "crown of thorns" to "floral scrolls", the "china",
the favorite subjects are portraits of "beautiful women",
allegorical, mythological and sacred, often inspired by the
painting schoolUmbrian time. Towards the middle of the
'500 painter G. Mancini, said the friar, will lead to
Deruta storied type of painting, the representation on
plates and vases inspired by mythological or religious
scenes.
From the second half until the end of '500 '600, is
characterized compendiario style: essential and
abstract (hence the name) in both subjects represented
in that stretch.

Between the late nineteenth and early twentieth century are distinguished on the
majolica paintings of significant artists such as A. Micheletti, A. Magnini, U. Grace,
D. Zipirovic: their work helped to renovate, tastefully historicist, the great age of
Renaissance majolica of Deruta rich not only in the past but also ingenious copies of
a work for the recovery of classical motifs: including favorite was the portrait.
Other production
• Products in Faenza at the end of the fifteenth century were among the most admired
in Italy, famous, then, were the so-called "white" Faenza late Renaissance and
Baroque (second half. XVI - end seconds. - XVII).
• The tiles in 'metallic luster' of Valencia between the fifteenth and seventeenth-
century Moorish particular type of pottery imitating gold reflections, obtained by a
cook Teza, according to a formula in the lands of Islam.
• Pottery of manufactures and Renaissance Perugia Pesaro.
• Products of the famous shop of the castle and the nearby Cafaggiolo Galliano.
• Copies of Montelupo document the activities of this Tuscan manufacture that, in the
sixteenth century has exported a large quantity of pottery from apothecary, covering
the needs of Florence and leaving traces of their hard work in remote areas in the
Mediterranean.
• Venice products are distinguished by vivid colors and decorations, as well as the
quality of enamels.
• The Renaissance majolica Marche: in particular, examples of Urbino and pottery
Casteldurante.
• Products late-Renaissance and Baroque (second half. XVI - end seconds. - XVII)
style 'compendiario' set to revolutionize the history of ceramics.
• The rare production of Florentine Medici porcelain.
• The Italian manufacturers active in the seventeenth and nineteenth century in Milan
and Palermo, Pavia and Laterza.
• The manufacture of the twentieth century Florentine: Ignatius Press, China, Ginori
and manufacturing of Signa.
• The Italian art in the Pharmacy also has influenced all European art. They have
Italian roots, in fact, the "pharmaceutical faience" in the south-east of France,
produced by the sixteenth century in Montpellier, Nimes, Narbonne, the latter
characterized by the fusion of Spanish-Moorish motifs, and Italians. The French
region of potters learned their art from the first Italian artists in the wake of
Governors of the great patrons of the Languedoc region, and thereafter by master
potters from Faenza.
• Malta has always had special relations with Sicily in the Kingdom, however, was a
member until the early nineteenth century. These fruitful relationships are testimony
Sicilian ceramics, abundantly present in Malta from where they were required for the
pharmacy of the Holy Infirmary of the Sovereign Military Order and to enrich the
opulent mansions of the aristocracy of the island.

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REFERENCES
Books
• Champier S. - Le Myrouel des Appothiquaires et Pharmacopoles; Item les Lunectes des
Cyrurgiens et Barbiers - P. Mardichi, Lione, 1525 circa;
• Dioscoride P. - Materia Medica verso Rullio, Venezia, 1538;
• Galeno C. - De Simplicium medicamentorum facultatibus, verso Gaudano, Lione, 1547;
• Galeno C. - De Antidotis, XVI secolo;
• Lisset Benancio (Sébastien Colin) - Declaration des Abuz et Tromperies Que Font les
Apothicaires - Michel Jove, Lione, 1556 ;
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• Galeno C. - Methodus Merendi, Edizione Generale, Venezia, 1565;
• Galeno C. - De Remediis paratu facilibus libèllus ab Huberto Bariando Philiatro latino
sermoni
traditus, Venezia, 1565;
• Della Porta G.B. - Della Magia Naturale, Napoli, 1587 (vers. italiana);
• Avicenna - Canone della Medicina, verso Alpago, Venezia, 1595;
• Galeno C. - De Antidotis, XVI sec.;
• Galeno C. - De Compositione medicamento rum secundum locos, raccolta danneggiata XVI
sec.;
• Galeno C. - De Compositione medicamentorum secundum locos, XVI secolo;
• Galeno C. - De Compositione medicamentorum per genera, XVI secolo;
• Avicenna - Canone della Medicina, verso Alpago, Venezia, 1595;
• Della Porta C. - De distillatione - Rev. Camere Apostoliche, Roma, 1608;
• Mesué, Collectorio, Venezia, 1612;
• Antidotario Romano, Edizione, 1612;
• Weickard A. - Pharmacia Domestica, Daß Ist: HaußApoteck - Erasmo Kempffern e
Johannes
Theobald Schönwetter, Francoforte, 1628;
• Della Porta G.B. - Magia Naturalis, Lione, 1650 (vers. latina);
• Harvey G. - The Family Physician, and the House Apothecary - T. Rooks, Londra, 1676;
• Cristini - Pratica Medicinaleet Osservazioni, Bologna, 1680;
• Ricettario Fiorentino, Edizione 1696;
• Donzelli G. - Teatro Farmaceutico Dogmatico e Spagirico, Yenena, 1737;
• Capello G.B. - Lessico Farmaceutico Chimico Venezia, 1745;
• Castelli B. - Lexicon Medicum Graeco-Latinum, Padova, 1762;
• Lemery N. - Farmacopea Universale, Bassano, 1786;
• Lavoisier A.L. - Trattato elementare di Chimica - Venezia, 1791;
• Ricettario Sanese, Siena, 1795;
• Orosi G. - Formulario farmaceutico officinale e magistrale, Livorno, 1853;
• Benedicenti - Malati, medici e farmacisti - 1866;
• Gilbert É., La Pharmacie à Travers les Siècles: Antiquité, Moyen Âge, Temps Modernes,
Vialelle,
Tolosa, 1886 ;
• Thompson C.J.S. - The Mystery and Art of the Apothecary – J. Lane the Bodley Head,
London, 1929;
• Conci G. - Pagine di Storia della Farmacia - Vittoria, Milano, 1934;
• Prevet F. - Histoire de l’Organisation Sociale en Pharmacie - Librairie Recueil Sirey, Paris,
1940 ;
• Pedrazzini C. - La Farmacia italiana nella storia e nell’arte - IGAP Editrice, Milano, 1964;

• Mariacher G. - Vetri italiani del ‘600 e ’700 - Milano, 1965;
• Donatone G. - Maiolica napoletana dalle origini al sec. XV- Storia di Napoli, vol. IV, 1974;
• AA.VV. - Dossier pubblicità - Panorama Farmaceutico, Supplemento, Anno V, n.1, 1982;
• FMR mensile di Franco Maria Ricci - aa. 1982 - 1983 - 1984 - FMR Editore;
• AA. VV. - Per una storia della farmacia e del farmacista in Italia: Sicilia - Schema
Schiapparelli, Bologna, 1983;
• FMR mensile di Franco Maria Ricci - aa. 1982 - 1983 - 1984 - FMR Editore;
• KOS rivista di cultura e storia delle scienze mediche, naturali e umane dirette da Massimo
Piattelli Palmarini - n. 1 - Franco Maria Ricci Editore, febbraio 1984;
• L. Colapinto, G.B. Bettòlo, C. De Vita, E. Cicconetti, O. Mazzuccato, C. Sciorilli -
L’Universitas Aromatariorum, Edizione speciale Merk Sharp & Dohme Italia, 1985;
• Masino C. - Voci di Spezieria secoli XlV-XVIII, Italian Academy History of Pharmacy,
Piacenza, 1988;
• Gara A. - Tecnica e tecnologia nelle società antiche, Nuova Italia Scientifica, Roma, 1994;
• Giannelli L. - De Compositione medicamentorum, da «L’Erborista» no. 6, Ottobre 1994;
• Corvi A., Riva E. - La farmacia monastica e conventuale - Pisa, 1996;
• Laghi A. - Vetri da farmacia - Menarini Otc, Cantini Editore, 1998;
• Boccanera F., Laghi A. - Farmacie storiche in Toscana - Regione Toscana, 1998;
• Russo L. - La Rivoluzione dimenticata, Feltrinelli, Milano, 1996-1999;
• A.I.S.F. - Acta 34° Congressus Internationalis Historiae Pharmaciae - Firenze, ott. 1999;
• AA.VV. - La spezieria, medicamenti e arte farmaceutica nel Veneto dal Cinquecento ad
oggi -
Università degli Studi di Padova, Antilia, 2002;
Multimedial books
• Villano R. - Il profumo del tempo. Cenni di arte e storia della farmacia - 2^ edizione, 1^
ristampa Eidos/Italian Academy History of Pharmacy/D.2100 - Italy Rotary International,
Firenze, dic. 2002.
Magazines
• Civiltà Farmaceutica 1972/1975 (mensile);
• Farmacia Regioni 1978/1989 (mensile);
• Panorama Farmaceutico e supplementi 1979/2002 (mensile);
• Collegamento 1980/2002 (mensile);
• Farmacia Ottanta - intera serie (mensile);
• Il Farmacista Moderno 1981/2002 (mensile);
• Il Farmacista F.O.F.I. 1982/1990 (trimestrale);
• Tema Farmacia - intera serie (mensile);
• Pro Pharmacopoea - ed. Min. Sanità - intera collana (periodico);
• Doctor Farmacia - intera serie (mensile);
• Chemist 1996/1999 (mensile); • Punto Effe - intera serie (mensile);
• Farma Mese - intera collana (mensile);
• Pharmacy - intera serie (mensile); • Calendario 2000 Collezione Bayer;
• Calendario 2003 Collezione A.I.S.F..
Communications to Congress
• Russo A. - Botanica farmaceutica antica tra storia, leggende e pratica - Congressus
Internationalis Historiae Pharmaciae, Piacenza settembre 1988;

• Merlo E. - Gli speziali milanesi nel ‘700. Storie di antidoti e affari di droghe, in
Corporazioni
e Gruppi Professionali nell’Italia Moderna - Atti del Convegno, Roma, 26-27 settembre
1997;
• Zardin D. - Fraternità, mestieri: intrecci e parentele nella costituzione delle trame di base
della
società europea. Alcune premesse - in Corpi, «fraternità», mestieri nella storia della società
europea, Atti del Convegno, Trento, 30 maggio -1 giugno 1996 (Roma, 1998);
• Cingolani E. - Il Ricettario Fiorentino e le disposizioni relative alla professione
farmaceutica - 34° Congressus Internationalis Historiae Pharmaciae, Firenze 20/23
ottobre1999;
• Torricelli G. - L’arte degli Speziali di Firenze - 34° Congressus Internationalis Historiae
Pharmaciae, Firenze 20/23 ottobre1999;
• Morandi A.E. - La Sinossi di Farmacopea omeopatica edita dall’Istituto Omeopatico
Italiano
- 34° Congressus Internationalis Historiae Pharmaciae, Firenze 20/23 ottobre1999;
• Sironi V.A. - Da spetiale a farmacista: funzione scientifica e ruolo politico di una figura
professionale nell’Italia risorgimentale e post-unitaria - 34° Congressus Internationalis
Historiae Pharmaciae, Firenze 20/23 ottobre1999;
• François Chast - Relazioni sul tema dei rapporti Stato/Farmacia: L’affare Lafarge -
Congresso Internazionale di Storia della Farmacia - Lucerna, Switzerland, ottobre 2001.
Conferenze
• Kristensen - Ruolo della Farmacopea Europea nel processo regolatorio - Convegno su
Quality: a strategic element in the success of a company, Portofino Vetta - Dompé S.p.A.,
17.05.2003;
• Lazzi G. - L’alambicco dell’alchimista - Serata AISF, Firenze, 30.11.2003;
Articles
• Pallavisini A. - Le ricette del Collega di Ur - Collegamento, 5/1982;
• Fremito C. - Il glorioso Amarcord della professione - Panorama Farmaceutico, 10/1983;
• Raitano A. - I medicamenti degli antichi Romani - Collegamento, marzo/aprile 1988;
• Masino C. - La dottrina della segnatura - Collegamento, marzo/aprile 1988;
• Corvi A. - L’alba del farmaco - Collegamento, 10/1990;
• Corvi A. - Il Ricettario Fiorentino - Collegamento, 10/1991;
• Colapinto L. - Tutto ha avuto origine dall’ordinanza di Federico II - Farmacia Regioni, 1-2/
1992;
• Cingolani E. - La Farmacopea italiana dal 1892 ad oggi - Pro Pharmacopoea, 3-4/1992
• Cingolati E. - La Farmacopea a Firenze - Pro Pharmacopoea, 3-4/1992
• Boccetto C. - Le tradizioni di Torino - Farmacia Regioni, 10/1992;
• Leopardi G. - Da I a IX edizione della F.U.: 100 anni di sanità in Italia - Pro
Pharmacopoea, 4/1993;
• Marchisio S. - Grazie Ser Niccolò - Pharmacy, ottobre 1993;
• Cantoni G. - La farmacia monastica e conventuale - Cristianità n. 270, 1997;
• Catalani P. - Tempi bui, ma non troppo - Punto Effe, ottobre 2000;
• Panichi G. - In viaggio con gli Etruschi - Punto Effe, ottobre 2000;
• Mezzera R. - L’amarcord di un farmacista - Punto Effe, aprile 2001;
• Corvi A. - Viaggio nel tempo - Farma Mese, 10/01;

• Peruzzi G. - Nuovi strumenti per la lettura dei semplici agli albori della scienza nuova -
A.I.S.F. Atti e Memorie, Anno XX, N.3, dicembre 2002;
• Canova G. M.- La cultura universitaria padovana e la nascita del realismo dell’immagine
botanica - A.I.S.F. Atti e Memorie, Anno XX, N.3, dicembre 2002;
• Cappelletti E. - I semplici vegetali negli erbari veneti quattrocenteschi - A.I.S.F. Atti e
Memorie, Anno XX, N.3, dicembre 2002;
• Peruzzi G. - Nuovi strumenti per la lettura dei semplici agli albori della scienza nuova -
A.I.S.F. Atti e Memorie, Anno XX, N.3, dicembre 2002;
• Giannelli L. - Alopecia, un problema antico - Farmacia News, febbraio 2003;
• Giannelli L. - Alle origini dell’Alchemia - Farmacia News, aprile 2003;
• Catellani P.- La Croce di Sant’Elena - Punto Effe, settembre 2003;
• Catellani P.- Farmacisti o attori? - Punto Effe, settembre 2003;
• Giannelli L. - Manualetto per la preparazione di rimedi facili - Farmacia News, ottobre
2003;
• Farma Mese - Continuità nella tradizione - gennaio 2004;
• Corvi A. - Perché a Bressanone - Farma Mese, gennaio 2004;
• Giannelli L. - Gli Egizi e la “Scienza nascosta” - Farmacia News, marzo 2004;
• Barberi M. - Quando a salute e malattia ci pensavano gli speziali - Farma News, 14.05.04;
Website
• cadnet.marche.it/farmacia; • chifar.unipv.it/museo; • diocesi.genova.it; • dipbot.unict.it;
• eikonos.it/roccavaldina/farmacia; • elbuenosaires.com.ar; • emmeti.it/arte/toscana;
• eurialo.cib.na.cnr.it; • farm.unipi.it; • home.swipnet.sc/pharmhist/museer; •
imolanetwork.com;
• imss.florence.it; • landferie.dk/pics/sc/detgamle.apotek.htm; • museionline.com; •
nobilecollegio.com;
• rettorato.unito.it; • mega.it/ita/gui/epo/medalb.htm; • edscuola.com/archivio/alchimia.html;
• galileo.imss.firenze.it/multi/luoghi/oggetti/iimsso.html;
• galileo.imss.firenze.it/multi/luoghi/indici/ipersona.html; • thais.it/scultura/sch00075.htm;
• mega.it/ita/gui/monu/bo.htm; • galileo.imss.firenze.it/multi/luoghi/oggetti/imspecoo.html;
• www.unifi.it/unifi/msn/main_eng.htm; •
galileo.imss.firenze.it/multi/luoghi/oggetti/imbotano.html;
• chifar.unipv.it/museo/storia_Farm_Pv/St_farmacia_Pv.htm;
• medlav.unimo.it/dida/storimed.HTM#Ilrinascimentoscientifico;•
medithema.it/testi/storia/sto14_1.htm;
• medithema.it/testi/storia/indice.htm; • galileo.imss.firenze.it/farmacie/ifi1.html;
• chim1.unifi.it/group/education/montalve/montalve.htm;
Thesis
• Giordano M. R. – Key historical developments and prospects of Pharmacy – University Federico II of
Naples, Faculty of Pharmacy - Thesis completed in Pharmacognosy, AA 2003-04.

ISBN 978-88-904235-74
CDD 615 VIL tra 2012 v1
LCC R 131-687
“We have a responsability
to keep the past alive
from which we come from;
is both our father and our son”
Carlos Fuentes

Raimondo Villano - Elements on art and history of pharmacy: vessels

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