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Scan 259
Violin tone and violin makers, 1916
8 lines. Read by computer on 27 September 2026. Printed page 237. See the scan on archive.org.
1AND VIOLIN MAKERS
3of other patterns. His best copies of Stradivari are very valuable, and he was also successful with the del Gesù model. The varnish on early work is sometimes rather thin, and hard looking, but in this detail he seems to have improved as time went on. The colour varies a good deal, from a rich dark red of mahogany hue, to yellow of different shades. Double purfled instruments are sometimes seen, and he occasionally used mahogany for his backs. The Stradivari copies are generally, but not always, similar in pattern to the violin known as the "Messie." His work is sought after by concert performers, and the prices paid for good specimens have in recent years been very high. He obtained several medals, and has been cleverly imitated by Fagnola and other makers. A good many counterfeit Roccas have found their way into the market. ENRICO ROCCA, a son, worked in Genoa and Turin, and died in May, 1915.
5ROGER, G.—Montpellier; nineteenth century. Nicolas type of work.
7ROGERI, GIOVANNI BATTISTA.—Cremona, Brescia. Born about 1660 in Bologna. Worked until about 1730. An admirable workman, who was a pupil in Niccolò Amati's workshop, the pupillage being invariably stated in his labels, which are often printed in red ink. Some of his work contains the genuine tickets of his master, and a good many of his instruments are very like those of Amati, the head, however, being heavier in style and the sound-holes slightly different in form. Later work shows a flatter arching, and there is more or less resemblance in the form to that of Stradivari. The general workmanship is always fine. The varnish either identical with Amati's or a beautiful clear red. The violins were
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