The Lambertville record. [volume] (Lambertville, N.J.) 1872-1968, 1920-10-22

that of palmer figures being reserved
for 'cellos; and his wood is always of
the finest description for tone.
We consider that it is not going too
far to say that the Hawley Rogeri is the
finest existing specimen of Rogeri's
work. Its date is 1899, a period when
Rogeri was in his prime and the re-
cipient of discriminating patronage at
Brescia, the cradle of the violin-making
art He occupied a unique position III
that city The opponents of the Bres-
clan school then living were at best but
ordinary artisans Their work was in
ferior and their wood plain, and the
general character of their production
| shows that their trade was but local,
and confined to the cheaper grades.
Roger, inspired with artistic zeal by his
master and the traditions of Cremona,
and gifted with lofty ideals, must have
won for himself immediate recogni-
ton. The beautiful wood he used, the
exquisite varnish, and the thoughtful
care he gave to his violins in point of
workmanship and varnish, indicate that
he was we'll remunerated for his instru-
ments. Otherwise, he could not have
given such marked attention to details.
While in a general way his outline
clearly resembles that of Amati, he
cannot with justice be termed a copyist
of that masters style. To the practiced
eye, the entire ensemble is different and
it is impossible to confound the two.
He was an originator of style His
edges and corners are wider and fiat
ter. and the purhing heavier and set in
farther from the edge, and his corners
have an inward and downward droop
peculiarly his own. His arching is more
abrupt, especially in the middle bouts,
so that it has not the gradual sweep of
Amati, and the breast is wider and fiat
ter. In the fashioning of his sound
hole, he was especially successful, but
in the carving of the SCROLL where
Amati was truly great, he shows lack
of skill in handling the knife. The
style of the scroll is heavier, larger, and
the volute is not turned with the admir-
able precision of his master, but never
theless, it is charmingly full of char
acter. He very often wrote his labels
in red ink
The aim of Rogeri seems to have
been to produce a tone which, while
retaining the beauty and brightness of
Amati, should yet contain shade of
the sombre quality so dear to the Bres-
clan heart. That he succeeded cannot
be disputed and the result is a tone
timbre unique in character. It is I'M
fortunate that there are so few of these
beautiful instruments, for their tone is
especially adapted to many artists, and
seems to be rare source of inspira-
ton for public performance. Rogeri
exhibited great judgment in the ar
rangement of thicknesses, and built his
vlolinS to withstand hard wear and
usage successfully. Pietro, according to
Mr.. Fleming, was his son, but by other
writers is spoken of as son of Fran
cesco Ruggeri. This must ever remain
mooted point, but, from the charac-
ter of Pietros work and varnish, we
incline to Mr.. Fleming's belief. Pietro
Rogeri also signed himself a pupil of
N. Amati, and must, therefore, have
spent some time in the shop of that
master. He made many 'cellos and
violas, and some double BASES, and he
is known chiefly through them We re-
member a violin with ash back and
sides signed by him. 1t was we'll arched
and the model was quite slender The
top was of pine of the choicest descrip-
ton; the varnish all that could be de-
sired. In color it was shade lighter
than the Brescian brown; in texture it
was very soft, and wore extremely well.
The back was left excessively heavy in
wood. The tone was of charming quail
ity, though not SO sonorous as it prob
ably would have been had he used maple
instead of ash for the back. Giovanni
worked until about 1920. The precise
date of his death is not known, but it
probably occurred about that time
The Hawley Rogeri reached England
through the medium of Sig Tarisio and
NJ. Vuillaume, forty years ago, when
the late Mr.. George Hart, charmed by
its remarkable tone qualities and rare
beauties of Workmanship, added it to
his collection. 1t was purchased by Mr..
Hawley in 18-. A number of the
greatest modern violinists have called
forth its beautiful tones, and as the
echoes have died away an enthusiastic
tribute of praise has invariably been
paid to the skill of Brescia's gifted fos-
ter SON. Giovanni Rattista ROperi