Books › Violin tone and violin makers, 1916 › scan 262
Scan 262
Violin tone and violin makers, 1916
6 lines. Read by computer on 27 September 2026. Printed page 240. See the scan on archive.org.
1personal delectation. Writer came across a violin in London recently.
3RUDDIMAN, JOSEPH.—Aberdeen. Born 1733. Died 1810. Said to have been a pupil of Matthew Hardie.
5RUGERI.—Cremona; seventeenth and eighteenth centuries. A celebrated family of makers. The name is seen spelt in a variety of ways, e.g. "Ruggieri," "Rugieri," etc. The founder was FRANCESCO, who worked in the latter half of the seventeenth century, and adopted the distinctive title "il Per" on his label, possibly to prevent confusing his work with that of the Rogeri who also worked with Amati but came from Bologna. In this practice he was followed by his sons. He was a splendid workman and one of the best of Amati's followers. He copied Niccolò's instruments with much fidelity and was very successful with the "grand pattern." Amati labels, mostly badly latinised and incorrect, seem to have been found in his violins from an early period, but it does not seem to be certainly established that he himself inserted them. Such work of his as was made in the master's workshop would obviously bear correct labels. Most of his violins have handsome backs, some of larger figure than that usually employed by Amati. His varnish is most beautiful, and, in the finest specimens, of a brilliant red colour. In other works it is identical with the yellow seen on the majority of Amati's instruments. In later works he somewhat altered the form of the sound-hole, but his work, of whatever date, is almost always full of grace. The heads are excellent. A large number of his violoncellos survive. They were mostly, but not invariably, of large size, and have been reduced, not
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