247:, 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 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.
271:
His most productive period was during the 1670s and 1680s, during which time he was assisted by his three sons and closely followed 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
202:, 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 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.
228:, 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 was a serious matter. However, this case may also indicate that Rugeri, who was working in the shadow of the great Cremona makers—Amati,
385:
1713) He was
Francesco's youngest son. Although he inherited all of Francesco's tools relating to the making of "violins, guitars, violoni and calascioni" as indicated in Francesco's codicil, Carlo does not appear to have been involved significantly with the family's violin shop, based upon the fact
270:
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.
261:
working in
Brescia. These two separate families of violin makers both followed 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
216:
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 was born in
366:
4 May 1719) was the third, and most well known son of
Francesco Rugeri. Vincenzo enjoyed considerable fortune as an independent violin maker and was possibly the finest craftsman of the family. His violins advanced upon the models of his father, retaining the Grand Amati form but adapting a flatter
293:
smaller than what was usual in his time. The size of Rugeri's cellos 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
302:
Francesco is the founder of the Rugeri family of violin makers. Francesco married
Ippolito Ravasi in 1652 in 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.
330:
14 Dec 1711) was the eldest son of
Francesco Rugeri. He married in 1677 and moved briefly to another Parish, however returned to San Bernardo to presumably continue work in Francesco's shop. Although a capable luthier, his independent work is extremely rare. Hieronymus Amati II, son of
367:
arch inspired by
Stradivari. The overall quality of his instruments is exceptional and deserve to be ranked at least as high as those of his more famous father. Vincenzo's instruments, together with Francesco's, are the most sought after of the family. Vincenzo was the first teacher of
212:
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 the words "Alumnus Nicolai Amati" on his labels, further adding to the evidence of his
349:
2 June 1697) was the second son of Francesco Rugeri and was also a capable worker in his father's shop. Like Giovanni Battista, his independent work is extremely rare. Giacinto had a son, Antonio, who is recorded as a luthier, however his work is
307:
being the Godfather. Unfortunately, Giacinto only lived a few months following his baptism. The fact that Amati was his Godfather demonstrates that Rugeri and Amati at least shared a close relationship. Francesco's son,
959:
262:
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 the region.
168:'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
575:
602:
742:
206:'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.
251:
concede that they fail to find the hand of Stradivari in any of Nicolo Amati's work, although the unmistakable hands of Andrea Guarneri and Francesco Rugeri are evident.
275:, 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.
967:
822:
Wurlitzer, W. Henry Hill, Arthur F. Hill and Alfred E. Hill ; with a new introduction by Sydney Beck and new supplementary indexes by Rembert (1963).
628:
Wurlitzer, W. Henry Hill, Arthur F. Hill and Alfred E. Hill ; with a new introduction by Sydney Beck and new supplementary indexes by Rembert (1963).
529:
Wurlitzer, W. Henry Hill, Arthur F. Hill and Alfred E. Hill ; with a new introduction by Sydney Beck and new supplementary indexes by Rembert (1963).
257:
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
769:
220:
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
853:
659:
560:
1148:
1143:
254:
243:
and Francesco Rugeri than has previously been recognized. Despite the long-held belief that Antonio Stradivari was the pupil of
478:
752:
612:
585:
422:
160:
28 October 1698), also known as Ruger, Rugier, Rugeri, Ruggeri, Ruggieri, Ruggerius, was the first of an important family of
213:
apprenticeship. For example, there exists a violin labelled "Francescus Rugerius Alumnus Nicolai Amati fecit Cremonæ 1663".
837:
643:
544:
933:
716:
312:, became the most important luthier of Francesco's sons and carried on the Rugeri tradition after Francesco's death.
1043:
303:
Interestingly, Francesco had two sons he named Giacinto—the first was born in 1658 and baptized Nov 19th 1658 with
907:
893:
452:
1083:
504:
1133:
164:, the Casa Rugeri in Cremona, Italy. His instruments are masterfully constructed. His violins are inspired by
990:
773:
278:
Instruments created by Rugeri are highly desirable owing to their high level of craftsmanship and tone.
368:
258:
176:
1020:
879:
829:
823:
635:
629:
536:
530:
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1153:
1138:
8:
248:
209:
1015:
847:
673:
653:
554:
240:
203:
833:
748:
639:
608:
581:
540:
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that there are hardly any examples of his work. He may have pursued another vocation.
875:
482:
430:
354:
309:
272:
179:
family of Brescia who were also noted luthiers following the tradition of Amati.
332:
304:
294:
fairly unmanageable for modern players' usage unless severely cut down in size.
244:
225:
188:
169:
165:
744:
Art and Architecture in Italy, 1600–1750: Volume 2: The High Baroque, 1625–1675
61:
1127:
239:
Some researchers believe there is a closer educational association between
100:
937:
870:
Beare, Charles; Chiesa, Carlo; Rosengard, Duane (20 Jan 2001). "Rugeri".
812:
Carlo Bergonzi: Alla scoperta di un grande Maestro by Christopher Reuning
233:
508:
577:
The Violin: A Social History of the World's Most Versatile Instrument
741:
Wittkower, Rudolf; Connors, Joseph; Montagu, Jennifer (1999-01-01).
229:
57:
24:
19:"Rugeri" redirects here. For other people with similar names, see
196:
192:
161:
113:
53:
20:
696:
694:
290:
199:
691:
1108:
Chiesa, Carlo (Dec 2012). "In the Footsteps of a Master".
701:
Chiesa, Carlo (Dec 2012). "In the Footsteps of a Master".
740:
825:
Antonio Stradivari : his life and work, 1664–1737
631:
Antonio Stradivari : his life and work, 1664–1737
532:
Antonio Stradivari : his life and work, 1664–1737
335:, was a Godfather to one of Giovanni Battista's son's.
957:
794:
Poulain, Yann (May 2018). "Geometrical Progression".
1068:
Reuning, Christopher (Oct 2007). "Vincenzo Rugeri".
869:
476:
281:Francesco was buried in the Church of San Trinita.
224:had bought a violin purporting to be a creation of
236:—had resorted to a desperate act to make a sale.
175:The Rugeri family is not to be confused with the
1125:
828:(New Dover ed.). New York: Dover. pp.
634:(New Dover ed.). New York: Dover. pp.
535:(New Dover ed.). New York: Dover. pp.
958:Aitchison, Robin; Mnatzaganian, Sarah (2008).
601:Hill, W. H.; Davis, Francis A. (2014-05-05).
852:: CS1 maint: multiple names: authors list (
658:: CS1 maint: multiple names: authors list (
559:: CS1 maint: multiple names: authors list (
573:
187:He was perhaps the earliest apprentice of
89:Church of the Holy Trinity, Crema, Cremona
865:
863:
821:
627:
600:
528:
255:Count Ignazio Alessandro Cozio di Salabue
988:
1067:
880:10.1093/gmo/9781561592630.article.24109
793:
423:"Famous Early Italian Makers of Cellos"
406:
289:Francesco Rugeri was the first to make
1126:
1107:
1016:"Violin Makers of the Ruggieri Family"
860:
700:
479:"Violin Makers of the Ruggieri Family"
931:
604:Antonio Stradivari: His Life and Work
411:. London: Cambridge University Press.
284:
502:
409:The Cambridge Companion to the Cello
402:
400:
1149:18th-century Italian businesspeople
1144:17th-century Italian businesspeople
767:
13:
989:Dilworth, John (16 January 2014).
315:Other luthiers in the family are:
14:
1165:
397:
182:
674:"Francesco Rugeri, Violin, 1660"
574:Schoenbaum, David (2012-12-10).
1101:
1076:
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1008:
982:
951:
925:
900:
886:
815:
806:
787:
761:
734:
709:
666:
621:
594:
580:. W. W. Norton & Company.
567:
522:
496:
470:
445:
415:
297:
1:
960:"What Is a Full-sized Cello?"
390:
153:
964:Aitchison & Mnatzaganian
908:"Francesco Rugeri | Tarisio"
382:
378:
363:
359:
346:
342:
327:
323:
157:
150:
7:
505:"The History of the Violin"
16:Italian luthier (1628–1698)
10:
1170:
18:
747:. Yale University Press.
477:Smithsonian Institution.
265:
136:
119:
109:
93:
85:
69:
39:
32:
369:Carlo Bergonzi (luthier)
320:Giovanni Battista Rugeri
259:Giovanni Battista Rogeri
607:. Courier Corporation.
407:Stowell, Robin (1999).
1134:Luthiers from Cremona
222:Tomaso Antonio Vitali
970:on 13 September 2018
934:"Francesco Ruggieri"
717:"Francesco Ruggieri"
249:W.E. Hill & Sons
210:W.E. Hill & Sons
191:, another important
721:Ingles & Hayday
503:Bartruff, William.
362:30 September 1663;
64:(present-day Italy)
991:"Francesco Rugeri"
872:Grove Music Online
453:"Francesco Rugeri"
285:Cello size pioneer
241:Antonio Stradivari
204:Antonio Stradivari
770:"Designer Labels"
754:978-0-300-07940-1
614:978-0-486-17260-6
587:978-0-393-08960-8
433:on 16 August 2018
144:
143:
80:Cremona, Lombardy
77:(aged 69–70)
1161:
1118:
1117:
1105:
1099:
1098:
1096:
1094:
1084:"Carlo Bergonzi"
1080:
1074:
1073:
1065:
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1054:
1044:"Vincezo Rugeri"
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966:. Archived from
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936:. Archived from
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772:. Archived from
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507:. Archived from
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481:. Archived from
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442:
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429:. Archived from
419:
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404:
384:
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365:
361:
348:
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329:
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172:'s instruments.
159:
155:
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147:Francesco Rugeri
140:Cremonese school
76:
50:
48:
34:Francesco Rugeri
30:
29:
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905:
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894:"Maker Profile"
892:
891:
887:
868:
861:
845:
844:
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816:
811:
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792:
788:
779:
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768:Shrader, Erin.
766:
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355:Vincenzo Rugeri
339:Giacinto Rugeri
300:
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273:Vincenzo Rugeri
268:
185:
132:
105:
81:
78:
74:
73:28 October 1698
65:
51:
46:
44:
35:
28:
17:
12:
11:
5:
1167:
1157:
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1136:
1120:
1119:
1116:(1472): 50–59.
1100:
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1007:
981:
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899:
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859:
839:978-0486204253
838:
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733:
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645:978-0486204253
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546:978-0486204253
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183:Apprenticeship
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110:Known for
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62:Duchy of Milan
52:
41:
37:
36:
33:
15:
9:
6:
4:
3:
2:
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992:
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954:
940:on 2006-10-26
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790:
776:on 2006-11-12
775:
771:
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583:
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548:
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533:
525:
511:on 2007-02-08
510:
506:
499:
485:on 2006-10-18
484:
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473:
458:
454:
448:
432:
428:
424:
418:
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403:
401:
396:
376:
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357:
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345:15 May 1661;
340:
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326:2 July 1653;
321:
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86:Resting place
84:
72:
68:
63:
59:
55:
42:
38:
31:
26:
22:
1113:
1109:
1103:
1091:. Retrieved
1087:
1078:
1069:
1063:
1051:. Retrieved
1047:
1038:
1026:. Retrieved
1019:
1010:
998:. Retrieved
994:
984:
972:. Retrieved
968:the original
963:
953:
942:. Retrieved
938:the original
927:
915:. Retrieved
911:
902:
888:
871:
824:
817:
808:
799:
795:
789:
778:. Retrieved
774:the original
763:
743:
736:
724:. Retrieved
720:
711:
702:
681:. Retrieved
677:
668:
630:
623:
603:
596:
576:
569:
531:
524:
513:. Retrieved
509:the original
498:
487:. Retrieved
483:the original
472:
460:. Retrieved
456:
447:
435:. Retrieved
431:the original
426:
417:
408:
375:Carlo Rugeri
374:
353:
338:
333:Nicolò Amati
319:
314:
305:Nicolò Amati
301:
288:
280:
277:
269:
253:
245:Nicolò Amati
238:
226:Nicolò Amati
219:
215:
208:
189:Nicolò Amati
186:
174:
170:Nicolò Amati
166:Nicolò Amati
146:
145:
126:Rugeri style
101:Nicola Amati
75:(1698-10-28)
1154:1628 births
1139:1698 deaths
1028:9 September
1021:Smithsonian
1000:9 September
974:9 September
932:Cozio.com.
912:tarisio.com
457:Tarisio.com
437:9 September
298:Casa Rugeri
129:Amati style
1128:Categories
995:Brompton's
944:2006-11-02
780:2006-11-02
515:2006-11-02
489:2006-11-02
391:References
234:Stradivari
149:(Cremona,
1110:The Strad
1070:The Strad
1048:Cozio.com
917:28 August
848:cite book
830:27 and 31
796:The Strad
703:The Strad
654:cite book
636:27 and 31
555:cite book
427:Cello.org
94:Education
1072:: 70–71.
802:: 54–58.
350:unknown.
310:Vincenzo
230:Guarneri
162:luthiers
137:Movement
58:Lombardy
25:Ruggieri
1088:Tarisio
678:Tarisio
197:Cremona
193:luthier
114:Luthier
54:Cremona
45: (
21:Ruggeri
1093:21 May
1053:21 May
1024:. 1997
836:
751:
726:30 May
683:4 June
642:
611:
584:
543:
462:25 May
381:1666;
291:cellos
266:Career
232:, and
217:1661.
177:Rogeri
156:1628;
705:: 52.
200:Italy
120:Style
1095:2018
1055:2018
1030:2018
1002:2018
976:2018
919:2019
854:link
834:ISBN
749:ISBN
728:2018
685:2018
660:link
640:ISBN
609:ISBN
582:ISBN
561:link
541:ISBN
464:2018
439:2018
70:Died
47:1628
43:1628
40:Born
23:and
1114:123
876:doi
800:129
195:in
1130::
1112:.
1086:.
1046:.
1018:.
993:.
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910:.
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862:^
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846:{{
832:.
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656:}}
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553:{{
539:.
537:28
455:.
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399:^
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379:b.
364:d.
360:b.
347:d.
343:b.
328:d.
324:b.
158:d.
154:c.
151:b.
60:,
56:,
1097:.
1057:.
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