ROGER, G.—Montpellier; nineteenth century. Nicolas type of work.
ROGERI, 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 in two sizes, the large examples being very scarce. The size usually seen is about 137/8 inches long and the measurements are about those of an ordinary Amati fiddle. The spelling of the name in the labels varies. Sometimes it appears as “Rugerius,” but more commonly it is spelt with an “o.” The violoncellos are splendid examples of their class, and having mostly been built of convenient size, their proportions have not usually been reduced like those of the Amati family.
ROGERI, Pietro Giacomo.—Cremona and Brescia. Seems to have worked from about 1690 until after 1730. His relationship to G. B. Rogeri is not known, but if he worked, as some of the tickets state, with Niccolò Amati, he could not have been a son, as has often been alleged. Messrs. Hill suppose, and it is extremely probable, that the two Rogeri were associated in their work, though there do not seem to be labels containing their joint names. Pietro Giacomo’s work is almost, if not quite, equal to that of his relative. Violins bearing his label are very scarce, but strongly resemble those of the latter. The corners droop somewhat more, but the scrolls in one or two specimens seen by the writer are so alike that they might be the work of the same man. A beautiful violin with fine red varnish is in the possession of Mr. W. Sachse, the well-known professor; and Piatti for many years possessed a fine violoncello of Pietro’s make. Some of his labels date from Cremona, and his name is also sometimes seen spelt with a “u” instead of an “o.”
ROMBOUTS, Pieter.—Amsterdam; circa 1700-30. The violins are well made. Rather high built, and with a brilliant red varnish. The purfling is whalebone. There is some resemblance to the work of Jacobs, with whom he is said to have worked. It is also said that in earlier years he was known as “Pieter—Jacobs’s pupil,” and this is supposed to be the origin of the Peeter Jacobs whose name has so frequently appeared in fiddle literature.
ROMER, Adolf.—Freibourg. Born 1863. A maker who seems to possess considerable scientific knowledge, and has made some very handsome copies of the Italian masters. He has received various medals.
ROOK, Joseph.—Carlisle; circa 1775-1825. The work is neat. Rather high built; and the violins seen by writer of medium size, with clear yellow-brown varnish. It is said that he was taught by Forster, presumably when the latter worked in the North of England.
ROSSI.—Nineteenth century. Several makers of this name have lived in Italy, chiefly in Padua and Milan. One named Enrico is a good workman who, with his son, has a business in Padua, and obtained a medal in 1877.
ROTTA, Giovanni.—Cremona; early nineteenth century. The name in labels seen by the writer was spelt with a single “t,” but it is said that a good many doubtful or spurious ones exist. Work not highly finished. Reddish-yellow varnish. Writer has seen the label in at least two violins which were certainly of Mittenwald origin.
ROZE.—Orleans; eighteenth century. Rather neat work and good pattern. Yellow varnish.
RUB, August de.—Viterbo; circa 1760-75. His label states that he made his instruments for his personal delectation. Writer came across a violin in London recently.