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Scan 107
The Hawley Collection of violins, 1904
10 lines. Read by computer on 3 September 2026. Printed page 61. See the scan on archive.org.
1Chapter VI
2Giovanni Battista Rogeri, 1638-1720
3The Hawley Rogeri
5HERE were two families having similar names who made violins in Italy, and both were prominent in the industry. One spelled the name Roger and the other Rugger, or, as often seen on their labels, Ruggerius and Rogerius. They occupied a very important place in the violin world of their day, and their work now is classed with the best and is exceeded in point of tone, workmanship, and varnish only by the three greatest masters. Gio. Battista Rogeri was a pupil of Nicola Amati, working for a short time side by side at the bench with Stradivari. His work is always of a high order. His best creations approach those of Amati in workmanship, while in tone they fully equal in most instances the violins of his famous master. Some unfortunate makers of violins were "born to blush unseen," inasmuch as they have been deprived of fame justly due them, as their labels, at an early date, were taken from their instruments and the names of more famous makers inserted instead. Giovanni was one of these. Many of his instruments, both violins and 'cellos, add to the reputation of Nicola Amati by bearing his name. It is in this manner that many an Italian liutaro has, as far as human credit is concerned, "wasted his sweetness on the desert air." By Rogeri's authority, we are informed that he was a native of that center of Italian culture, Bologna. He signed himself "Bonomiensis," which signifies of or from Bologna. Inasmuch as he established himself in Brescia about 1660, it may be surmised that his birth occurred between 1638 and 1640. Supposing that 1660 was the year of his leaving Cremona and the shop of Amati, it seems doubtful if, as most writers assert, he could have worked side by side with Stradivari for any considerable period, for that young man was only then about to enter into his apprenticeship with Amati, being but sixteen years of age. It is more probable that Rogeri's approaching departure made room at the bench for the newcomer.
7Rogeri made two types of violins, one quite flat and the other higher arched, the latter bearing greater resemblance to the work of Amati than the former, not only as regards arching but outline of model as well. Those he wrought of the Amati type are among the best made in Italy after that famous pattern. In point of varnish, he excelled to a very marked degree. His varnish is soft in texture, rich in color, and applied in a masterly manner. In point of wood, he ranks among the foremost Italian makers. It is invariably beautifully marked in his violins, that of plainer figures being reserved for 'cellos; and his wood is always of the finest description for tone.
9We consider that it is not going too far to say that the Hawley Rogeri is the finest existing specimen of Rogeri's work. Its date is 1699, a period when Rogeri
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