Francesco Rugeri (Ruggieri)

RUGERI (RUGGIERI), Francesco Born 1620, died 1698 Cremona Italy. Known as ‘Il Per’ on his labels. Previously assumed to have been a pupil of Amati but archival and stylistic research suggests otherwise. His workshop developed separately from Amati, and certain features – his use of maple rather than poplar purfling, and the lack of the central back pin observed in the work of all other makers of the Amati school – suggest less direct contact than was previously thought. There is a stronger case to be made that he was himself the first teacher of Stradivari. A prolific maker, nonetheless his own dated labels only appear after c.1670, and it may well be that earlier work had been sold unlabelled, or falsely labelled as the work of Amati. In 1685 a violinist in Modena made a formal complaint that the violin he had bought for 12 pistoles as made by Amati turned out to be a Rugeri worth only three pistoles. His work is very fine, and indeed easily mistaken for that of Nicolò Amati. Only the slightly more slender soundholes, with small circular finials, and the distinctive head make obvious distinctions. The undercut of the scroll remains very flat around the first turn, but becomes very deep at the eye, while the whole volute has a slight ovality along its horizontal axis. Arching of a medium height, slightly pinched, with very fine golden-brown varnish. Materials can be very variable. His cellos are very important. He was amongst the very first Cremonese or Italian makers to explore the smaller 29” (74cm) model, and made a considerable number of extremely fine instruments; full-arched, often with plain willow backs, but some of extremely handsome maple. These instruments help compensate for the rarity of genuine Amati cellos. Francesco Ruggieri detto il Per / Cremona, 1673 [Chiesa]

Was the first of a family of makers in Cremona, very often confused with Rogeri of Brescia. He worked in Cremona at 7, Contrada Coltellai, from about 1645 to 1700. He was one of the celebrated pupils of Nicola Amati, whose pattern he copied, slightly enlarging it, and arching it more. The outline is very graceful, the sound-holes beautifully cut, rather short and open ; the purfling broad ; the varnish varies from a deep orange to a brilliant yellow-orange colour, it is very light and transparent; the wood is generally maple, of tine quality, often beautifully figured ; he sometimes used poplar for the backs of his violoncellos, but always obtained a sonorous and penetrating tone. The violoncellos are often made on too large a pattern ; he made a comparatively small number of violins and violas, but some are exceptionally good, the work beautifully finished, the wood and varnish leaving nothing to be desired ; they greatly resemble the work of Amati and are often sold as such. His instruments deservedly fetch very high prices. Labels: ” Francesco Rugier (or Ruger) detto il Per in Cremona, 1686 ” ; similar ones are dated 1645, 1665, and 1697. Rugier or Ruger is the Cremona patois rendering of Ruggeri; the word ” Per” is similarly the equivalent of” Pero.” ” Francesco Ruggeri detto il Per Cremona, 1671.” Three violins are known dated 1684.

Surnamed “II Per.” * The family of Ruggeri long occupied a foremost Place in the City of Cremona as makers of Violins, Violas, and Violoncellos. Their position could have been but little if at all 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 impulse 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 Niccolo 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 Niccolo Amati, and perhaps a more exact imitator of his instruments than G. B. Ruggeri; 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. * I am informed “II Per” was unquestionably a nickname, and may have been given to an older member of the family on account of a peculiarity in introducing the word per in conversation, as we introduce ” because,” ” certainly,” &c.

Der älteste und bedeutendste Geigenmacher der Familie. Er wohnte in der Contrada Coltellai No. 7 und war ein Schüler Nicola Amati’s, den er nachahmte. Nur seine F-Löcher sind kürzer und weiter. Die Wölbung etwas höher und das Modell ein wenig breiter; die Umrisse sind schwungvoll, die Einlage breit, und der Lack, der leuchtend und durchsichtig wirkt, ist meist von dunkelgelbrother oder hellgelbrother Farbe. Das Holz ist gewöhnlich sehr schön und oft auch schon geflammt. Häufiger als seine Violinen kommen Violoncelli von ihm vor, deren Modell allerdings ein wenig zu lang erscheint; auch verwendete er bei diesen manchmal zu Zargen und Boden geringere Holzarten, immer aber verstand er, einen edlen vollen und schönen Ton zu erzielen. Ein echtes Violoncello von ihm ist heute kaum unter 6000—8000 M. zu haben. Auf dem Zettel der von Ole Bull gekauften Geige Schlosser’s (aus dem Jahre 1665) nennt er sich Francisco Ruger, und auch auf späteren Zetteln kehrt die Schreibweise des Namens wieder, ebenso auch: Rugièr, Ruggieri und Ruggeri.

Pupil of Niccolo Amati whose model he recalls. He did not however follow it, his work being very individual. The outline and scroll are of fine design: the sound holes are rather small and slightly open. A beautiful and very transparent pale red or orange varnish adorns this fine make, the woods being particularly selected for the violins. This is not so in the case of his ‘cellos, but the fact that they were more numerous, probably explains this lack of finish. It is not exactly known why he was familiaily known as ” II Per”.

Cremona. 1645—1700. The oldest and best violin maker of the family (Not to be mistaken for the Rogeri family). He was a pupil of Nicolo Amati. He selected fine wood, but made the backs of the ‘cellos (on which he specialized) often of maple-wood. The pattern is long, rather broad, of beautiful shape, pleasing to the eye; the arching is somewhat higher, the scrolls bigger than those designed by his teacher. Faultlessly modelled instruments; sound-holes rather short, tastefully cut; broad, yet hand-some purfling; typical long middle bouts. He applied a lustrous brilliant and transparent varnish deep red, dark-yellow-red, bright-yellow-red or orange. The ‘cellos, which are more powerful in tone than his violins (the latter are more mellow than strong), belong to the best in general and are in great favour. He built more ‘cellos than violins and violas. Price 150 — 200.000 Kc. and more. Francesco Ruggieri was the father of Giacinto (1666-1698) and Vincenzo (1690—1735). Antonio, who worked in Cremona ca 1723, was a son of Giacinto Ruggieri.