Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 89

A dictionary of violin makers

21 lines. Read by computer on 27 September 2026. Printed page 79. See the scan on archive.org.

1Ruggeri detto il Per Cremona, 1671." Three violins are known dated 1684.
2Ruggeri (Rugieri), Giacinto Giovanni Battista, son of Francesco Ruggeri; b. in Cremona. His work is similar to that of his father, but has not the same value he made several violoncellos of large pattern rather arched, generally of plain wood and with dark brown varnish of good quality, both the sound holes and the scroll were cut wider than in Amati work Label, "Giacinto filio di Francesco Ruggeri detto il Per 1696"; another was dated 1692.
3Ruggeri (Rugieri), Guido. Worked in Cremona about 1720
4Ruggeri, Pietro Giacomo. See "Ruggeri." Violin exhibited 1885 with label: "Petrus Jacobus Ruggerius fecit Brixiae, 1735."
5Ruggeri (Rugieri), Vincenzo, son of Francesco Ruggeri. Was working in Cremona about 1700-50, is also said to have worked in Brescia. He made many altos and violoncellos, the work is somewhat rough and careless. He was the last member of this family to make violins. He also used "il Per" on his labels, for the same reason probably—viz., to distinguish his work from that of the Rogeri of Brescia. Labels "Vincenzo Rugier (or Ruger) detto il Per in Cremona, 1714"; a similar label is dated 1720.
6Ruppert, Johann Heinrich. A maker in Erfurt about 1720. His violins, altos, and violoncellos were of a very flat model, without linings, corner blocks, or purfling, had a powerful tone, and dark brown-amber varnish. Label: "Johann Heinrich Ruppert, anno 1719 in Erfurt," in a viola da gamba, with neck ending in a beautifully carved female head.
8S.
10Sacchini, Sabattino A maker in Pesaro in 1686 Label: "Sabattino Sacchini da Pesaro, 1686"
11Sacquin. A maker in Paris about 1830-60. His instruments are well made, especially the double-basses; the oil varnish is of good quality; he generally followed the Stradivari pattern. His name is branded on the back in the interior Label: "Sacquin, luthier, rue Beauregard, 14, à Paris, 185—."
12Sainpra, Jaques. A maker in Berlin in the 17th century. A viola di bordone, or baryton, was exhibited in the South Kensington Museum, 1872.
13Saint-Paul, Antoine. A maker in Paris about 1765-90. He was son-in-law and successor of Louis Guersan, and worked at the sign of "Au luth royal" in the rue des Fossés-Saint-Germain-des-Prés, near the Comédie Française, where, as his advertisement says, "il fait et vend toutes sortes d'instruments de musique, savoir; violons de Cremona, violons de sa façon et de toutes sortes d'auteurs; alto-violas, basses et contrebasses," &c. In a five-stringed viol, with a carved neck and yellow varnish, is the label: "Antonius Saint-Paul, prope Comœdiam Gallicam, Lutetiæ, anno 1772."
14Saint-Paul, Pierre. A maker in Paris about 1740. A violin of that date is known, also a six-stringed viol dated from the rue St.-André-des-Arts in 1742.
15In a violoncello, with yellow-greyish varnish, and of rather poor workmanship, is the label: "Pierre Saint-Paul, rue de la Comédie françoise, Paris, 1741"
16Sajot. Was working in Paris, 1730-35. He made his instruments with flat backs, using varnish of a yellow-brown colour; the workmanship was poor. Label: "Sajot, à Paris, 1734."
17Salino, J. B. A maker in Rome in 1760. His instruments were very arched, with varnish of bad quality, brown shading into black in colour; the work not well finished. Label: "J. B. Salino fecit Roma, anno 1760."
18Salle, le Père. A maker in Paris about 1825-53. He made a few violins, which are very beautiful copies of Guarneri; but he was chiefly noted for his cleverness in repairing old instruments, and his extraordinary knowledge of the work of old Italian makers.
19Salò. See "Gasparo da Salò."
20Salomon, Jean Baptiste Deshayes. Worked in Rheims till about 1747, and then in Paris at the place de l'Ecole; later he settled in the rue de l'Arbre-sec (about 1769). He died before 1772, for in that year Namy is mentioned as working for the widowed Madame Salomon. He made few violins, but they show good work, and are on a similar pattern to those of Louis Guersan, his contemporary; they have

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