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Scan 88
A dictionary of violin makers
19 lines. Read by computer on 27 September 2026. Printed page 78. See the scan on archive.org.
1Roismann, Johann. Was working in Breslau in 1680. A violin of his is in the Paris Conservatoire Collection.
2Rol. A maker in Paris in 1753. In a large pocket violin in the Paris Conservatoire Collection is the label: "1753, Cour Saint-Denis de la Chartre."
3Romano, Pietro. Worked in Pavia in the 18th century. Label: "17— Pietro Romano in Borgo di Pavia."
4Romarini, Antonio Working in Cremona in the 18th century. Label: "Antonio Romarini fecit Cremonæ, anno 17—." The date is effaced, but is probably 1705.
5Rombouts, Pieter. A maker in Amsterdam about 1705-35. He made violins, violas, and violoncellos, much arched, with a brilliant but rather thick varnish. In a six-stringed bass viol, of which the work shows neat finish, was the label: "Pieter Rombouts, Amsterdam, 1708."
6Rook, Joseph. A maker in London about 1777 to 1830. His instruments show good work and follow the pattern of Forster.
7Ropiquet. An amateur maker in Paris about 1810-30. He was an orchestra player by profession, but made some violins of no great value; he signed them with his name.
8Rosiero, Rocco. Worked in Cremona in the early part of the 18th century.
9Rosio, Paolo A maker in Verolanuova, who exhibited an excellent double-bass in Brescia in 1857.
10Ross (Rose), John. A maker of viols and lutes in London about 1560 to 1600. In a collection of airs called "Tripla Concordia," published in London, 1667, by John Carr, is the following advertisement: "There is two chests of viols to be sold, one made by Mr. John Ross, who formerly lived in Bridewell, containing 2 trebles, 3 tenors and one basse: The chest was made in the year 1598." In the instrument known as Queen Elizabeth's lute, in reality a species of guitar known as cither, with ten strings to be tuned in five pairs of unisons, is the inscription: "Johannes Rosa, Londini fecit, in Bridwell, the 27th of July, 1580."
11Rota, Giovanni. A maker in Cremona about 1800-10. His instruments show rather rough work, the purfling is careless, the wood not particularly handsome, the varnish is a yellow colour. Label: "Joannes Rota fecit Cremonæ, anno 1808."
12Rota, Giuseppe Antonio A maker in Turin about 1825. His work is very similar to that of Pressenda, perhaps not so carefully finished, the varnish is red-brown in colour. Label: "Joseph Antonio Rota fecit Taurini anno Domini 18—."
13Roth, Johann and Christian. Are both mentioned as working about 1675, the former at Darmstadt and the latter at Augsburg.
14Rottenbrouck. A maker in Brussels about 1700-25. He followed the pattern of Amati and used fine red-brown varnish.
15Rovetta, Antonio. A maker in Bergamo about 1840-70 He exhibited a good violin at Brescia, 1864.
16Roze. A maker at Orléans about 1755-65 His instruments show fairly good workmanship, the sound-holes well cut, wide in the centre, the scroll rather heavy, and the varnish a yellow colour. Label: "Roze, rue Sainte-Catherine, à Orléans près le Martroy, 1757."
17Rudiman. Was working in Aberdeen in 1769. A cither, with inlaid wood ornamentation, had the inscription: "Rudiman, A. B. Dn, D. G."
18Ruggeri (Rugieri), Francesco. Was the first of a family of makers in Cremona, very often confused with Rogeri of Brescia He worked in Cremona at [address hidden], from about 1645 to 1700. He was one of the celebrated pupils of Nicola Amati, whose pattern he copied, slightly enlarging it, and arching it more. The outline is very graceful, the sound-holes beautifully cut, rather short and open; the purfling broad; the varnish varies from a deep orange to a brilliant yellow-orange colour, it is very light and transparent; the wood is generally maple, of fine quality, often beautifully figured; he sometimes used poplar for the backs of his violoncellos, but always obtained a sonorous and penetrating tone. The violoncellos are often made on too large a pattern; he made a comparatively small number of violins and violas, but some are exceptionally good, the work beautifully finished, the wood and varnish leaving nothing to be desired; they greatly resemble the work of Amati and are often sold as such. His instruments deservedly fetch very high prices. Labels: "Francesco Rugier (or Ruger) detto il Per in Cremona, 1686"; similar ones are dated 1645, 1665, and 1697. Rugier or Ruger is the Cremona patois rendering of Ruggeri; the word "Per" is similarly the equivalent of "Pero." "Francesco
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