Books › Old violins and violin lore, 1900 › scan 289
Scan 289
Old violins and violin lore, 1900
37 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3ROTA, Giovanni. Cremona, 1800-10; rough work; varnish yellow. one of two readings
4ROTA, Giovanni. Cremona, 1800–10; rough work; varnish yellow. one of two readings
5ROTA, Giuseppe Antonio. Turin, 1825; his work similar to that of Pressenda; varnish is red-brown.
6ROTH, Johann and Christian. Both about 1675, the former at Darmstadt and the latter at Augsburg.
7ROTTENBROUCK. Brussels, 1700-25; pattern of Amati; red-brown varnish. one of two readings
8ROTTENBROUCK. Brussels, 1700–25; pattern of Amati; red-brown varnish. one of two readings
9ROVETTA, Antonio. Bergamo, 1840-70. one of two readings
10ROVETTA, Antonio. Bergamo, 1840–70. one of two readings
11ROZE. Orléans, 1755-65; good workmanship; varnish yellow. one of two readings
12ROZE. Orléans, 1755–65; good workmanship; varnish yellow. one of two readings
13RUGGERI (Rugieri), Francesco. 1668-1720. Was the first of a family of makers in Cremona, very often confused with Rogeri of Brescia. (See p. 50.) one of two readings
14RUGGERI (Rugieri), Francesco. 1668–1720. Was the first of a family of makers in Cremona, very often confused with Rogeri of Brescia. (See p. 50.) one of two readings
15RUGGERI (Rugieri), Giacinto, son of Francesco Ruggeri; b. in Cremona.
16RUGGERI (Rugieri), Guido. Cremona about 1720.
17RUGGERI (Rugieri), Pietro Giacomo and Giovanni Battista. Both working in Brescia about 1700-25. one of two readings
18RUGGERI (Rugieri), Pietro Giacomo and Giovanni Battista. Both working in Brescia about 1700–25. one of two readings
19RUGGERI (Rugieri), Vincenzo, son of Francesco Ruggeri. Cremona about 1700-30, is also said to have worked in Brescia. He made many altos and violoncellos; work rough; 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. one of two readings
20RUGGERI (Rugieri), Vincenzo, son of Francesco Ruggeri. Cremona about 1700–30, is also said to have worked in Brescia. He made many altos and violoncellos; work rough; 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. one of two readings
21RUGGERI, Gianbattista. Cremona, cir. 1693.
22RUPPERT, Johann Heinrich. Erfurt about 1720. His violins, altos, and violoncellos were of a flat model, without linings, corner blocks, or purfling; loud tone, and dark brown varnish.
24SACCHINI, Sabattino. Pesaro in 1686.
25SACQUIN. Paris about 1830-60; instruments well made, especially the double basses; followed the Stradivari pattern. one of two readings
26SACQUIN. Paris about 1830–60; instruments well made, especially the double basses; followed the Stradivari pattern. one of two readings
27SAINT-PAUL, Antoine. Paris about 1765-90. He was son-in-law and successor of Louis Guersan; his advertisement says, "Il fait et vend toutes sortes d'instruments de musique, scavoir; violons de Cremona, violons de sa façon et de toutes sortes d'auteurs; alto-violas, basses et contrebasses." one of two readings
28SAINT-PAUL, Antoine. Paris about 1765–90. He was son-in-law and successor of Louis Guersan; his advertisement says, "Il fait et vend toutes sortes d'instruments de musique, scavoir; violons de Cremona, violons de sa façon et de toutes sortes d'auteurs; alto-violas, basses et contrebasses." one of two readings
29SAINT-PAUL, Pierre. Paris, 1740.
30SAJOT. Paris, 1730-35; instruments with flat backs; varnish yellow-brown; the work poor. one of two readings
31SAJOT. Paris, 1730–35; instruments with flat backs; varnish yellow-brown; the work poor. one of two readings
32SALINO, J. B. Rome in 1760; very arched; varnish bad, brown.
33SALLE, le Père. Paris about 1825-53. He made a few violins; beautiful copies of Guarneri; fine repairer and great connoisseur. one of two readings
34SALLE, le Père. Paris about 1825–53. He made a few violins; beautiful copies of Guarneri; fine repairer and great connoisseur. one of two readings
35SALOMON, Jean Baptiste Deshayes. Rheims, 1747-70 (?); went to Paris, where his widow carried on the firm, employing Namy; 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 one of two readings
36SALOMON, Jean Baptiste Deshayes. Rheims, 1747–70 (?); went to Paris, where his widow carried on the firm, employing Namy; 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 one of two readings
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