Vincenzo Rugeri

History

Vincenzo RUGERI (1663-1719) was born in 1663 and died in 1719 in Cremona, Italy, as documented by John Dilworth in The Brompton's Book of Violin & Bow Makers. He was the son, pupil, and successor of Francesco Rugeri. Vincenzo RUGERI is considered a significant maker of the mid-classical period. While sources like John Dilworth and Henri Poidras suggest he was regarded as a lesser craftsman than his father, he made notable advancements in his craft. George Hart notes that he worked from about 1700 to 1730, while Karel Jalovec indicates his working period as 1690 to 1735, and Cecie Stainer suggests he worked in Cremona about 1700-1750, also mentioning he was said to have worked in Brescia. Vincenzo RUGERI also used the name "il Per" on his labels, likely to distinguish his work from that of the Rogeri of Brescia, according to Cecie Stainer. John Dilworth suggests it is very likely that Carlo Bergonzi was a pupil of Vincenzo and may have taken over the workshop briefly after Vincenzo's death in 1719, as his two sons, Francesco and Carlo Giuseppe, were only 16 and 13 years old respectively at that time.

Craft

• Archings: Vincenzo RUGERI made great advances in quickly adopting the low Stradivari arching, moving away from the slightly high, pinched Amatisé arch that characterized his father's work, as noted by John Dilworth. Henri Poidras also describes his instruments as being slightly arched.
• Model: He retained the 'Grand Amati' model, according to John Dilworth.
• Varnish: John Dilworth describes a distinctive dark red varnish used by Vincenzo RUGERI, which has a tendency to craze. This recipe appears in certain late Stradivari works and those of Carlo Bergonzi. Karel Jalovec mentions he applied a beautiful yellow-brown, brown, or red varnish, while Willibald Leo Lütgendorff and Henri Poidras specifically note a yellow-brown varnish.
• Workmanship: His workmanship is generally described as less careful than his father's. John Dilworth states he was "regarded as a lesser craftsman than his father." Karel Jalovec notes that his instruments are "not characterized by particularly careful workmanship." Cecie Stainer describes his work as "somewhat rough and careless," and Willibald Leo Lütgendorff states his work was "weniger sorgfältig durchgeführt als die der übrigen Mitglieder der Familie" (less carefully executed than other family members). Henri Poidras adds that his work "has not the same value and cannot be compared with that of his father."
• Wood: The wood used is generally fine, with only a few insignificant exceptions, according to Karel Jalovec. Willibald Leo Lütgendorff also states his wood is good.
• Scrolls & Sound-holes: Karel Jalovec notes that the scrolls and small sound-holes are gracefully cut. Henri Poidras describes the scroll as artistically carved.
• Purfling: The carefully finished purfling is near the edge, as observed by Karel Jalovec. Henri Poidras mentions the purfling is a little thick.
• Instruments: He made many violoncellos, which are considered excellent by Karel Jalovec and Willibald Leo Lütgendorff. Cecie Stainer also notes he made many altos and violoncellos.

Influence

• Mentorship: Vincenzo RUGERI was a pupil of his father, Francesco Rugeri, as stated by John Dilworth.
• Pupils: John Dilworth suggests it is very likely that Carlo Bergonzi was a pupil of Vincenzo RUGERI.

Legacy

• Notable Owners: Ludwig van Beethoven possessed a viola made by Vincenzo RUGERI in 1690, which was a gift from Prince Lichnowsky, according to Willibald Leo Lütgendorff.
• Museum Collections: A magnificent Viola da Gamba from 1702, featuring a vaulted back, is held in the Royal Collection of Old Musical Instruments in Berlin (No. 838), as noted by Willibald Leo Lütgendorff.
• Family Continuity: Cecie Stainer identifies Vincenzo RUGERI as the last member of his family to make violins.

Further Information

• Labels: Labels used include "Vincenzo Roger detto il Per / in Cremona, 1714" and "Vincenzo Rugieri detto il Per / Cremona, 1690," as cited by John Dilworth. Cecie Stainer also provides examples such as "Vincenzo Rugier (or Ruger) detto il Per m Cremona, 1714" and a similar label dated 1720. George Hart also notes the use of "Vincenzo Ruger detto il Per in Cremona 17—".
• Value: Karel Jalovec indicates a price range of 65,000 to 80,000 Kc for his instruments.

Summary

Vincenzo RUGERI (1663-1719) was a significant Cremonese violin maker, son and pupil of Francesco Rugeri. Although often considered a lesser craftsman than his father, he was instrumental in adopting the low Stradivari arching and retained the 'Grand Amati' model. He is known for his distinctive dark red varnish, which sometimes crazes, and also used yellow-brown and brown varnishes. His instruments, particularly his excellent violoncellos, feature gracefully cut scrolls and sound-holes, and fine wood. Vincenzo RUGERI used the appellation "il Per" on his labels and is believed to have potentially mentored Carlo Bergonzi. His legacy includes a viola owned by Beethoven and a Viola da Gamba in the Berlin Royal Collection, and he is considered the last violin maker of his family line.