Books › Dictionary of Violin makers, 1928 › scan 80
Scan 80
Dictionary of Violin makers, 1928
11 lines. Read by computer on 27 September 2026. No printed page number was found. See the scan on archive.org.
1Niccolo Amati whose model he recalls. He did not however follow it, his work being very individual. The outline and scroll are of fine design: the sound holes are rather small and slightly open. A beautiful and very transparent pale red or orange varnish adorns this fine make, the woods being particularly selected for the violins. This is not so in the case of his 'cellos, but the fact that they were more numerous, probably explains this lack of finish. It is not exactly known why he was familiarly known as "Il Per". No 161.
3RUGGIERI (Giacinto-Gio-Battista) — Cremona circa 1660-1700
4Son and pupil of Francesco Ruggieri. Excellent work but not quite equal to that of his father. His model is a little more substantial in build and the arching more pronounced. Brown varnish, rather dark and of good quality. No 376.
6RUGGIERI (Vincenzo) — Cremona circa 1680-1730. Son of Francesco Ruggieri. The work of this master has not the same value and cannot be compared with that of his father. Like his brother Giacinto, he used a yellow-brown varnish of good quality. His instruments are slightly arched. The scroll is artistically carved, the purfling a little thick. Nos 162-377.
8RUGGIERI or ROGERIE (Giov.-Battista) — Brescia circa 1660-1730. Pupil of N. Amati. Instruments by this maker are not to be mistaken for those of Francesco Ruggieri as it has been ascertained that they did not belong to the same family. Confusion might arise from the fact that they were both pupils of Niccolo Amati and used labels of the same description with Rugerius, Rogerius, Ruggerius and Rogeri, minus the appellation "Il Per" with belonged to Ruggieri of Cremona. His model resembles that of Stradivarius' first efforts, consequently a little arched. The workmanship is good but on the whole there are no outstanding features. Light red varnish of good quality. His 'cellos are valued for their powerful tone. The labels are sometimes printed in red. Nos 88 and 373.
10ROGERIE (Pietro-Giacomo) — Brescia circa 1675-1730. Son of one preceding. Fine make. Same work as his father but perhaps a little less finished. His 'cellos are his best instruments. The backs
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