Books › the history of the violin, 1864 › scan 235
Scan 235
the history of the violin, 1864
4 lines. Read by computer on 28 September 2026. Printed page 213. See the scan on archive.org.
1name of Il per, as in the following ticket, for instance, from "Luthomonographie," "Francesco Ruger, detto il per in Cremona dell anno 1645." This "detto il per," probably only means "commonly known as the father." He had a son called Giacinto Giovanni Batista Ruggeri, who apparently worked in the latter part of this century at Brescia, but there is difficulty in ascertaining his dates; he was called Il buono. His ticket is "Giacinto filio di Francesco Ruggero detto il Per 1696." There was a Pietro Giacomo Ruggeri, who worked at Brescia from 1700 to 1720, and might have been his son. The accomplished performer Piatti has a fine violoncello of his make, with the following label, "Petrus Jacobus Ruggerius de Nicolaij Amati Cremonensis fecit Brixiae 1717." A Vincent Ruggeri at Cremona from 1700 to 1730 is mentioned, but little is known of him.
3Of the Grancino family, the first were Giovanni and Paolo, who worked at Milan during great part of the seventeenth century; Paolo, it is said, had two sons, Giovanni and Giovanni Baptista, who worked till the early part of the eighteenth century at the same place; the former made good instruments after the plan of Gaspar di Salo, but the shape was not very good, and the wood not handsome; he left a son named Francesco, who worked up to the middle of the eighteenth century. A very fine instrument of one of the Giovannis was brought over from Italy, about eighty years since, by Mr. Waterhouse, page to the Duke of Cumberland, brother to George III; it afterwards became the property of Mr. Lindley, who played on it at the Italian Opera, and its fine telling tone induced Mr. Farsyde to purchase it. In 1837 he sold it to Mr. Thomas Masterman, of Essex. The tone was very fine and powerful; the varnish of a light yellow colour, mellowed by time to a slight reddish
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