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Scan 60
Old Violins And Their Makers, 1883
6 lines. Read by computer on 30 September 2026. Printed page 46. See the scan on archive.org.
1Francesco Rugeri is supposed to have been a brother of the first of this name. He was also a pupil of Nicolas Amati, and worked at Cremona up to the end of the seventeenth century. In his tickets he dropped the i of his surname, and they are all as follows: "Francesco Ruger, detto il Per Cremona." Then follows date. Vincenzo Rugeri was of the same family, and worked at Cremona from about 1700 to 1730. He also has the same style of ticket, viz., "Vincenzo Ruger detto il per in Cremona, 1714." Not much is known of his violins, but there are a number of violas and basses of his characterised by first-class workmanship. Indeed, the work of the whole family has been highly prized for a long time, and theirs is one of the names largely employed to affix to spurious instruments.
3Besides these Italian pupils and imitators of Amati, there were a number of German makers of first-class ability, who turned out marvellously good copies of this model, and who will be referred to farther on. Those already mentioned are the best known of the second-rate order.
5Andreas Guarnerius, the first of this celebrated name, had little or no part in helping to make it famous. His is chiefly a lustre reflected from that of his later and greater kinsman. He was born in Cremona, some say about 1625, others about 1630, and others, more vaguely still, about the first half of the seventeenth century. He was a pupil of Nicolas Amati, and is said to have worked on his own account from about 1650 to 1696. There is a difference of opinion on this point also, as there is regarding the character of his work. Living and working when violin making was approaching the zenith of
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