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Scan 263
Violin tone and violin makers, 1916
14 lines. Read by computer on 27 September 2026. Printed page 241. See the scan on archive.org.
1AND VIOLIN MAKERS
3always too well. The backs are frequently of plain wood. GIACINTO GIO. BATTISTA RUGERI, a son, seems to have dropped the "Gio. Battista" from his later labels. He worked down to about the end of the seventeenth century, but probably assisted his father largely, and his own signed work is comparatively scarce. It is said that he made good tenors and a number of useful violoncellos. One or two violins seen by the writer were less graceful than those of Francesco, and the varnish brown. VINCENZO RUGERI, a younger son of Francesco, seems to have been the last of the family, and was at work until 1735 or later. Writer has seen violas and violoncellos, but only one violin of his make. The work is of Amati character, and the finish good, but not remarkably so. Some, if not all, of his tickets have an ornamental border.
5RUPPERT, JOHANN HEINRICH.—Erfurt; 1719-36. Stainer outline, but arching comparatively flat; no linings or corner blocks.
7RUPRECHT, WILHELM.—Vienna. Died 1862. A clever maker. Many of his copies are double purfled, and it is said that some have been sold as genuine Brescian work. He was awarded a medal in 1839.
9SACCHINI, SABATTINO.—Pesaro; seventeenth century.
11SACQUIN.—Paris; nineteenth century, to about 1860. Backs of instruments branded inside. Chiefly Stradivari pattern.
13SAINT PAUL, ANTOINE.—Paris; 1768-89. Guersan style of work. Heads like those of other
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