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33-552: The Rogeri family is not to be confused with the Rugeri family of Cremona, also an important family of violin makers. "Rogeri is believed to have been born in Bologna but moved to Cremona , where he was apprenticed to Nicolo Amati . By 1675 Rogeri had moved again, this time to Brescia . He fused the neatness of construction that he had learned from Amati with the slightly elongated f-holes and C-bouts of his Brescian predecessors, and

66-474: A number of fine cellos that again demonstrate the benefit of a Cremonese education."-- Four Centuries of Violin Making by Tim Ingles (as summarised on Cozio.com) This article about an Italian musician is a stub . You can help Misplaced Pages by expanding it . Francesco Rugeri Francesco Rugeri ( c.  1628 – 28 October 1698), also known as Ruger, Rugier, Rugeri, Ruggeri, Ruggieri, Ruggerius,

99-400: A stronger resemblance to Francesco Rugeri's work than Amati's. Additionally, the utilization of a small dorsal pin or small hole, invariably used not just by Nicolò Amati but all of his confirmed pupils—with the exception of Antonio Stradivari, adds further evidence that Stradivari may have learnt his craft apart from Amati. This pin or hole was fundamental in the graduation of the thickness of

132-580: Is heavily influenced by Amati. Nicola Amati was the fifth son of Girolamo Amati ( Hieronymus I , b. 1561; d. 1630) from his second wife, and the grandson of Andrea Amati . He was one of 12 children of Girolamo. Amati's mother, Laura de Lazzarini, also known as Laura de Medici de Lazzarini, was the daughter of Giovanni Francesco Guazzoni. They were distantly related to the Florentine Medici family . The 1629–31 Italian plague affected northern and central Italy including Cremona. In 1630,

165-559: Is not to be confused with the Rogeri family of Brescia who were also noted luthiers following the tradition of Amati. He was perhaps the earliest apprentice of Nicolò Amati , another important luthier in Cremona , Italy , although other sources call this association into question as there is no census record showing his presence in the Amati household. The lack of census records showing

198-515: Is now known as the "Grand Amati Pattern". This Grand Pattern was slightly larger, the backs being up to 35.6 cm (about 14 inches) long, and most notably, up to 20.9 cm (about 8 1 ⁄ 4  inches) wide, allowed a larger sound. Well curved, long-cornered, and strongly and cleanly purfled , these instruments represent perhaps the height of elegance in violin making, and were characterized by mathematically derived outlines and transparent amber-colored varnish . The Grand Amati style

231-478: Is now the standard. His cello is 4 inches (10 cm) smaller than cellos made by other Cremonese luthiers of the same period, namely, Amati and Stradivari. Cellos made by other luthiers of the period are often quite massive and fairly unmanageable for modern players' usage unless severely cut down in size. Francesco is the founder of the Rugeri family of violin makers. Francesco married Ippolito Ravasi in 1652 in

264-573: The Guarneri Family of violin makers, was Amati's pupil. Francesco Rugeri may have been a pupil of Nicola Amati, however, like Antonio Stradivari, census records also fail to mention his name in the census of the Amati household. The lack of census records showing the Rugeri name may be explained by the possibility of Francesco not being an indoor apprentice, but one who lived and boarded at his own home while apprenticing. Francesco occasionally inserted his labels in his instruments stating he

297-409: The Amati tradition of violin making; however, their work is distinctive from each other and not thought to be related. The Rugeri family included the words "il Per" or "detto il Per" in their labels. This nickname appears also in almost all of the religious and legal documents pertaining to the Rugeri family from 1669 onward and was probably meant to distinguish them from the many other Rugeri families in

330-544: The Church of San Bernardo. They had a total of 10 children (six sons and 4 daughters) although some died young. Three of his six sons followed his footsteps in string instruments making. Interestingly, Francesco had two sons he named Giacinto—the first was born in 1658 and baptized Nov 19th 1658 with Nicolò Amati being the Godfather. Unfortunately, Giacinto only lived a few months following his baptism. The fact that Amati

363-586: The Rugeri name may be explained by the possibility of Francesco not being an indoor apprentice, but one who lived and boarded at his own home while apprenticing. Antonio Stradivari 's name never appears in the census records of the Amati household even though he was also a possible pupil of Nicolò Amati and may have lived and boarded with his own family. W.E. Hill & Sons note that the "unmistakable" handiwork of Francesco Rugeri can be found, in certain of Nicolo Amati's works, and just like Antonio Stradivari and Andrea Guarneri, Francesco from time to time included

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396-450: The concepts of his father's, with a relatively small model and high arch rising nearly to a ridge in the centre of both the front and back of the instrument. The Latin forms of the first names, Andreas, Antonius, Hieronymus, and Nicolaus, were generally used on the violin labels, and the family name was sometimes Latinized as Amatus. Beginning in 1630, he gradually began to show signs of originality, which by 1640 were expressed in what

429-460: The designs of Nicolò Amati, sometimes even placing Amati labels in his instruments. His success peaked after Nicolò Amati's decline and before the rise of the workshop of Antonio Stradivari. Francesco's violins were characterized by a high level of craftsmanship and a very slightly higher arch. After 1670, Francesco was ably assisted by 3 of his sons in his workshop. The Rugeri tradition was carried on and developed by Francesco's son Vincenzo Rugeri ,

462-445: The end of 1670. Increasingly the handwork of his son, Hieronymus II, is seen on Amati instruments. Amati died on 12 April 1684, aged 87. Amati married Lucrezia Pagliari ( d. 26 November 1703) on 23 May 1645. His pupil, Andrea Guarneri , was present at the ceremony and signed the register. Nicolo and Lucrezia had four sons and four daughters. Their son Girolamo Amati ( Hieronymus II, b. 1649; d. 1740) (known as Girolamo II)

495-611: The hand of Stradivari in any of Nicolo Amati's work, although the unmistakable hands of Andrea Guarneri and Francesco Rugeri are evident. Count Ignazio Alessandro Cozio di Salabue and other early violin connoisseurs such as the Mantegazza brothers seemed to confuse the families of the Rugeri working in Cremona with the family of Giovanni Battista Rogeri working in Brescia. These two separate families of violin makers both followed

528-445: The only one of his sons to later have an independent successful career as a luthier. Some instruments purported to be by Francesco are actually the work of Vincenzo. Instruments created by Rugeri are highly desirable owing to their high level of craftsmanship and tone. Francesco was buried in the Church of San Trinita. Francesco Rugeri was the first to make cellos smaller than what was usual in his time. The size of Rugeri's cellos

561-479: The plague killed Amati's father, mother and two of his sisters. After his parents' death, he lived with his sister until his marriage. Nicola probably apprenticed with his father and uncle. By the 1620s, Nicola was the dominant luthier in the Amati workshop. Of all the Amati Family violins, those of Nicola are often considered most suitable for modern playing. As a young man his instruments closely followed

594-426: The plates and was obviously a technique passed on through generations of pupils of the Amati. This dorsal pin is also not found in any of the instruments of the Rugeri family, suggesting Antonio Stradivari may have actually learnt his craft from Francesco Rugeri, although both being influenced by Amati. W.E. Hill & Sons concede that they fail to find the hand of Stradivari in any of Nicolo Amati's work, although

627-558: The region. Francesco lived and worked just outside of the walls of Cremona, Italy, in the Parishes of San Bernardo at No. 7 Contrada Coltellai; later, by 1687, he had moved to the Parish of San Sebastiano. In San Sebastiano he lived next to the convent of San Sigismondo, one of the finest buildings in Cremona. His most productive period was during the 1670s and 1680s, during which time he was assisted by his three sons and closely followed

660-546: The soundboard on a surviving Stradivarius harp from 1681 shows that it was made from the same tree trunk as an Amati cello made in 1679. The only documentary evidence is one Antonio Stradivari label dated 1666, which reads, "Alumnus Nicolais Amati" - student of Nicolò Amati. It has always been controversial whether he was an actual apprentice of Nicola Amati or merely considered himself a student and admirer of his work. There are important discrepancies between their work. Some researchers believe early instruments by Stradivari bear

693-549: The unmistakable hands of Andrea Guarneri and Francesco Rugeri are evident. Other documented pupils of Amati include: Giovanni Battista Rogeri , Matthias Klotz , Jacob Railich, Bartolomeo Pasta, Bartolomeo Cristofori , Giacomo Gennaro, Giacomo 'Tedesco' (meaning 'German' and probably a nickname), Giacomo Reilich, Giovanni Segher (or Jaeger), and Amati's son, Hieronymus II (often referred to in English as Girolamo). Nicola ceased being actively involved in violin manufacturing by

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726-506: The words "Alumnus Nicolai Amati" on his labels, further adding to the evidence of his apprenticeship. For example, there exists a violin labelled "Francescus Rugerius Alumnus Nicolai Amati fecit Cremonæ 1663". Nicolò Amati was the godfather to one of Francesco's sons, Giacinto (born in 1658 and lived only a few months), indicating that the two families at least shared a close relationship and close collaboration would seem likely. Francesco later had another son whom he also named Giacinto, who

759-432: Was a pupil of Nicola Amati. For example, there exists a violin labelled "Francescus Rugerius Alumnus Nicolai Amati fecit Cremonæ 1663". Nicolò Amati was the godfather to Francesco's son, Giacinto, indicating that the two families at least shared a close relationship and close collaboration would seem likely. Antonio Stradivari was likely a pupil of Nicola, although evidence is scarce. For instance, dendrochronology of

792-423: Was a serious matter. However, this case may also indicate that Rugeri, who was working in the shadow of the great Cremona makers—Amati, Guarneri , and Stradivari —had resorted to a desperate act to make a sale. Some researchers believe there is a closer educational association between Antonio Stradivari and Francesco Rugeri than has previously been recognized. Despite the long-held belief that Antonio Stradivari

825-479: Was able to combine the best elements of the Cremonese and Brescian schools. He reached his peak as a craftsman from about 1690 and his violins based on Amati's Grand Pattern are generally considered his best. By 1690 he was aided by his son Pietro Giacomo, who was a skilled assistant, and no doubt helped with the production of some lesser instruments, which often have unpurfled backs. The Rogeri workshop also produced

858-505: Was an Italian master luthier from Cremona , Italy. Amati is one of the most well-known luthiers from the Casa Amati (House of Amati). He was the teacher of illustrious Cremonese School luthiers such as Andrea Guarneri and Giovanni Battista Rogeri . While no clear documentation exists for their being apprentices in his shop, Amati may also have apprenticed Antonio Stradivari , Francesco Rugeri , and Jacob Stainer , as their work

891-482: Was born in 1661. A court case was brought in 1685 by a violinist seeking relief from the Duke of Modena as a victim of fraud. In this case, the violinist and composer Tomaso Antonio Vitali had bought a violin purporting to be a creation of Nicolò Amati , but he discovered that under the Amati label was the label of Francesco Rugeri. There was a price difference in those days of 3 to 1 on Amati vs. Rugeri violins, so this

924-416: Was fundamental in the graduation of the thickness of the plates, and was obviously a technique passed on through generations of pupils of the Amati. This dorsal pin is also not found in any of the instruments of the Rugeri family, suggesting Antonio Stradivari may have actually learnt his craft from Francesco Rugeri, although both being influenced by Amati. W.E. Hill & Sons concede that they fail to find

957-486: Was his Godfather demonstrates that Rugeri and Amati at least shared a close relationship. Francesco's son, Vincenzo , became the most important luthier of Francesco's sons and carried on the Rugeri tradition after Francesco's death. Other luthiers in the family are: Nicol%C3%B2 Amati Nicola Amati , Nicolò Amati or Nicolao Amati ( / ə ˈ m ɑː t i / , Italian: [niˈkɔːla aˈmaːti, nikoˈlɔ -, nikoˈlaːo -] ; 3 September 1596 – 12 April 1684)

990-701: Was the family's last luthier. Amati died on 12 April 1684, aged 87, in Cremona, Italy. Amati's instruments are very rare and most of them are on display in museums around the world. Museums with his work on display, include the Metropolitan Museum of Art in New York, Museo del Violino in Cremona and the Royal Academy of Music Museum in London. However, there are a few performers who have played with Nicola instruments, Thomas Bowes plays

1023-484: Was the first of an important family of luthiers , the Casa Rugeri in Cremona, Italy. His instruments are masterfully constructed. His violins are inspired by Nicolò Amati 's "Grand Amati" pattern. Francesco was the first to develop a smaller cello design, which has become the standard for modern cello dimensions. Today, Rugeri's instruments are nearly as renowned as Nicolò Amati 's instruments. The Rugeri family

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1056-488: Was the inspiration for other Cremonese makers such as Vincenzo Rugeri and early violins by Antonio Stradivari . After the 1629-1631 Italian plague virtually wiped out all the luthiers of Cremona and Brescia, Nicola singlehandedly continued the local tradition of violin making. Demand for musical instruments began to increase in the 1640s, causing him to be one of the first to take apprentices from outside his family into his workshop. Andrea Guarneri , who eventually founded

1089-485: Was the pupil of Nicolò Amati , there are important discrepancies between their work. Some researchers believe early instruments by Stradivari bear a stronger resemblance to Francesco Rugeri's work than Amati's. Additionally, the use of a small dorsal pin or small hole, invariably used not just by Nicolò Amati but all of his recognized pupils—with the exception of Antonio Stradivari—adds further evidence that Stradivari may have learnt his craft apart from Amati. This pin or hole

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