Francesco RUGERI (RUGGIERI)

History

Francesco RUGERI (RUGGIERI) (1620-1698) was a celebrated Cremona violin maker, known by the nickname ‘Il Per’. He lived and worked in Cremona, Italy, at No. 7, Contrada Coltellai, from approximately 1645 to 1700. Francesco is recognized as the oldest and most significant violin maker of his family, distinct from the Rogeri family. He was a prolific maker, though his own dated labels only began to appear after c.1670. The Brompton’s Book of Violin & Bow Makers suggests that earlier works might have been sold unlabelled or falsely attributed to Amati. An incident in 1685 saw a formal complaint from a violinist in Modena who discovered a violin bought as an Amati was, in fact, a Rugeri. Francesco was the father of fellow makers Giacinto (born 1666, active to c. 1720) and Vincenzo (1690-1735), with Antonio (active c. 1723) being Giacinto’s son.

Craft

• Innovation: Francesco Rugeri was among the very first Cremonese makers to explore the smaller 29-inch (74 cm) cello model, producing a considerable number of fine instruments in this size.
• Materials: While Francesco Rugeri is noted for selecting fine wood, particularly maple, the materials used could be quite variable across his output. He is distinct for his use of maple rather than poplar for purfling. For his violins, particularly selected woods were often featured. However, for some cellos, he occasionally employed plainer willow backs, though many others boast extremely handsome, flamed maple. Karel Jalovec, Willibald Leo Lütgendorff, and Cecie Stainer all observe that his wood, especially maple, was generally of fine quality and often beautifully figured.
• Methods: His instruments are faultlessly modeled. The arching is of a medium height, sometimes slightly pinched, or somewhat higher than typically seen in the Amati tradition. His soundholes are distinctive: slightly more slender with small circular finials, rather short and tastefully cut, and are considered by George Hart to be a beautiful piece of workmanship, demonstrating a delicacy that lies between those of Niccolò Amati and Stradivari. The scroll's undercut remains very flat around the first turn but deepens significantly at the eye, with the entire volute exhibiting a slight ovality along its horizontal axis. Jalovec notes his scrolls are often larger than those designed by his teacher. The outline of his work is graceful, and his purfling, while broad, is handsome. He applied a very fine golden-brown varnish, described as lustrous, brilliant, and transparent, ranging in color from deep red, dark-yellow-red, bright-yellow-red, to orange. George Hart praises his varnish as thoroughly Cremonese in character and of a most beautiful hue, always true and even, with perfect brilliancy. His cellos, though sometimes based on a model considered a little too long, are powerful in tone, while his violins tend to be more mellow. He consistently achieved a noble, full, and beautiful tone in his instruments.

Influence

• Training and Mentorship: Sources present conflicting information regarding Francesco Rugeri's training. While he was traditionally assumed to have been a pupil of Amati, archival and stylistic research mentioned in The Brompton’s Book of Violin & Bow Makers suggests his workshop developed separately, with less direct contact than previously thought. This source also posits a stronger case that he might have been the first teacher of Stradivari himself. However, Karel Jalovec, Willibald Leo Lütgendorff, Henri Poidras, George Hart, and Cecie Stainer all state he was a direct pupil of Niccolò Amati, whose model he recalled or imitated. Lancetti, as quoted by George Hart, remarked, '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.'
• Schools/Tradition: His work is firmly considered to belong to the Cremonese school of violin making.

Legacy

• Famous Owners: Count Cozio possessed a fine violin by Francesco dated 1684, and the Marquis Castiglioni also owned one made in the same year, according to George Hart. Willibald Leo Lütgendorff notes that the label of the violin bought by Ole Bull (identified as Schlosser's from 1665) calls him 'Francisco Ruger'.
• Modern Recognition: His cellos are considered exceptionally important and are among the finest available, enjoying great favor among musicians and collectors. His instruments, which can be easily mistaken for those of Niccolò Amati due to their quality and style, deservedly fetch very high prices.

Further Information

• Technical Characteristics: Distinctive technical features include his consistent use of maple rather than poplar for purfling, and notably, the absence of a central back pin—a characteristic typically observed in makers of the Amati school. His violins are very fine and can indeed be easily mistaken for those of Niccolò Amati. The outline and arching are very graceful, and his soundholes, though short and open, are beautifully cut. Compared to Amati's work, his pattern was often longer and broader, with somewhat higher arching and larger scrolls.
• Historical Uncertainties: There are significant historical uncertainties regarding Francesco Rugeri's relationship with Niccolò Amati; while many traditional sources claim he was a pupil, modern research suggests a more independent development. The exact meaning of his nickname 'Il Per' is also debated; George Hart suggests it may have referred to a peculiarity in his conversation, while Cecie Stainer indicates 'Per' is the equivalent of 'Pero' in Cremona patois, and Henri Poidras notes it is not exactly known why he was known by this name.
• Notable Quotes: Lancetti, as quoted by George Hart, remarked: '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.'

Summary

Francesco RUGERI (RUGGIERI) (1620-1698) was a highly significant Cremona violin maker, celebrated for his prolific output of high-quality violins and particularly important cellos. While traditionally regarded as a pupil of Niccolò Amati, recent research suggests a more independent development, even proposing him as a potential early teacher of Stradivari. His instruments are characterized by fine workmanship, distinctive soundholes, graceful outlines, and a beautiful, transparent varnish. He was innovative in exploring the smaller cello model and is lauded for consistently achieving a noble, full, and beautiful tone in his instruments, which are often indistinguishable from Amati's work and highly valued today.