Giovanni Battista ROGERI

History

Giovanni Battista ROGERI (b. c. 1650, Bologna; d. after 1725) was born in Bologna around 1650. He traveled to Cremona to train and work under the renowned Nicola Amati, where he may have been a contemporary of Stradivari, though this connection is not definitively documented. Subsequently, Rogeri established his workshop in Brescia, working there from approximately 1670 to 1725. His labels typically read: "Jo. Bap. Rogerius Bon. Nicolai Amati de Cremona alumnus Brixiae fecit, anno Domini 1671," with "Bon." signifying "Bononiensis" (of or from Bologna). He consistently used this label, which appeared in both red and black letters, with other dated examples from 1705 and 1725. The abbreviation for his birthplace, Bononiensis, was occasionally misunderstood, leading some to mistakenly give him the nickname "il Bon."

Craft

• Materials: Rogeri chose wood for his instruments with the greatest care. His violoncellos were crafted from both maple and, at times, poplar-wood for the backs. His instruments are also noted for their very beautiful, golden-red varnish.
  
  
• Methods: He made admirable string musical instruments, generally following the patterns of Amati or Stradivari. His violins are described as excellently made with a fine tone. Distinguishing features include sound holes that resemble those of Amati, accurate purfling, and elegant corners.

Influence

• Training and Mentorship: Giovanni Battista Rogeri received his training directly from Nicola Amati in Cremona, a foundational influence on his violin-making style.
  
  
• Schools/Tradition: His work clearly reflects the Cremonese tradition through his training with Amati, and his subsequent establishment in Brescia contributed to the Brescian school of violin making. He consistently adopted patterns from both the Amati and Stradivari traditions.
  
  
• Notable Associations: During his apprenticeship under Nicola Amati, he may have been a contemporary of Antonio Stradivari, though this relationship is not historically verified.

Legacy

• Modern Recognition: Some of Giovanni Battista Rogeri's violins were so exceptionally well-made that they were occasionally sold as the work of Stradivari, highlighting their outstanding quality. His violoncellos, whether made from poplar or maple, are consistently beautifully crafted and are now highly valued for their especially penetrating and robust tone, making them very desirable.

Further Information

• Technical Characteristics: Rogeri's instruments are distinguished by their careful wood selection, a beautiful golden-red varnish, Amati-like sound holes, precise purfling, and elegant corners. His violoncellos are particularly known for their robust and penetrating tone.
  
  
• Historical Uncertainties: The exact reason for Rogeri's occasional use of poplar-wood for violoncello backs is subject to speculation; it is thought that it might have been believed to enhance the instrument's sonority, or potentially due to economic reasons requiring the use of less expensive wood. Additionally, the abbreviation "Bon." (Bononiensis) on his labels, indicating his origin from Bologna, was frequently misunderstood, leading to him being erroneously nicknamed "il Bon."

Summary

Giovanni Battista Rogeri (b. c. 1650, Bologna; d. after 1725) was a highly esteemed Italian violin maker, rooted in the distinguished Cremonese tradition under Nicola Amati, where he worked alongside Stradivari. He later established his prolific career in Brescia from approximately 1670 to 1725. Rogeri crafted admirable string musical instruments, including violins and violoncellos, expertly following the renowned Amati and Stradivari patterns. His work is celebrated for its meticulous construction, characterized by carefully selected wood, a beautiful golden-red varnish, precise purfling, and elegant corners. Such was the exceptional quality and fine tone of some of his violins that they were occasionally mistaken for, and sold as, the work of Stradivari, demonstrating their significant value and desirability as fine musical instruments. His violoncellos, particularly noted for their penetrating and robust tone, are highly valued, whether crafted from maple or, at times, poplar-wood. His consistent labeling, with dates spanning from 1671 to 1725, provides clear identification of his significant contributions to the art of violin making and why his used violins are so sought after.