| Io: Bapt. Rogerius Bon: Nicolai Amati de Cremona Alumnus Brixiæ fecit Anno Domini 1705. |
ROGERI, Giovanni Battista, Cremona and Brescia. The word Bon after his name refers to his having been a citizen of Bologna. Vincenzo Lancetti speaks of its being certain that he called himself Bononiensis. The instruments of this maker are of a different pattern from those of Francesco Ruggeri. They are higher modelled, the sound-holes less elegant, and the scroll heavier. They possess, however, high merits, and command prices nearly equivalent to those of the instruments of Francesco. The labels of this maker are sometimes met with printed in red ink. The instruments he made of large Amati pattern are highly valued. He appears to have worked from about the close of the seventeenth century. Count Cozio di Salabue and Lancetti speak of G. B. Rogeri having worked down to 1723, and possibly later, and state that he lived for many years in Brescia. There are some instruments bearing original Amati labels of this make, made, doubtless, when he was in the shop of Amati.
ROGERI, Pietro Giacomo, Brescia, describes himself on his label as a pupil of Niccolò Amati. Lancetti refers to a Violoncello by Pietro Rogeri as having belonged to Count Cozio, and remarks that he was a "nearly unknown member of the Rogeri family." The date of the instrument is given as 1714. He cannot now be looked upon as almost unknown, since Signor Piatti played for many years upon a famous Violoncello of his make. The pattern is a little narrower than that of G. B. Rogeri. Varnish of beautiful quality; sound-hole resembles that of Francesco Ruggeri.
| Francesco Ruggeri detto il Per Cremona 16— |
RUGGERI, Francesco, Cremona, 1668-1720. Surnamed "Il Per." The family of Ruggeri long occupied a foremost place in the city of Cremona as makers of Violins, Tenors, and Violoncellos. Their position must have been but little inferior to that of the Amati family. Francesco, in his earliest works, gives evidence of exceptional artistic feeling, and the sequel of his career, as evidenced by his productions, is a genuine development of the first impulses of his genius. His work belongs to the school of Amati, but though the list of instruments which he has bequeathed to us be a long one, there is no sign of his ever having been a mere copyist. He evidently thought for himself. His sound-hole is a beautiful piece of workmanship, and may be said to come between that of Niccolò Amati and Stradivari, being of the most delicate execution. The outline of his work is very graceful, and the arching admirable. The scroll has quite an equal merit with the body. He was very successful in selecting his material, much of which is handsome. His varnish, thoroughly Cremonese in character, and of a most beautiful hue, may be equalled, but never surpassed. This maker also knew how to use his varnish. There is no instance in which it has been laid on in clumsy patches; the surface is always true and even, and, in consequence, the brilliancy of its appearance is perfect. Lancetti remarks, "Francesco Ruggeri was a pupil of Niccolò Amati, and perhaps a more exact imitator of his instruments than G. B. Rogeri, and made several instruments, beautifully finished, and which are not easily distinguished from those of his master." Count Cozio possessed a fine Violin by Francesco, dated 1684, and the Marquis Castiglioni also possessed one made in the same year. Francesco Ruggeri died at the house No. 7, Contrada Coltellai, Cremona.
RUGGERI, Giacinto detto Il Per, Cremona. Son of Francesco Ruggeri. A Violoncello bearing this label is in the possession of Mr. G. Foster Cooke:
Giacinto filio di
Francesco Ruggeri detto il Per
1696.
RUGGERI, Vincenzo, Cremona, also uses the name "Il Per." Worked from about 1700 to 1730. He appears to have made many Violoncellos.
Vincenzo Ruger detto il Per
in Cremona 17—
RUGGERI, Giambattista, Cremona. About 1693. Also called himself Il Per. Lancetti suggests that this maker was a relative of Francesco. He made several Violoncellos of large size and deep sides, the wood of which is often plain. The varnish is of good quality and dark brown colour. He also made Violins and Tenors, the latter being excellent instruments.