Rogeri Giovanni Battista *ca. 1642 or 1650 Bologna, †ca. 1710 Brescia, Italian luthier. He trained in Cremona under N. Amati (together with A. Stradivari) and around 1675 settled in Brescia. His early work remained strongly influenced by the stylistic concepts of N. Amati, especially his large violin model, characterized by relatively low arching, comparatively short corners, and shallow scroll turns. After moving his workshop to Brescia, Rogeri adopted certain features of the Brescian school; his activity thus marked the end of the dominance of the tradition of G. P. Maggini and its fusion with the Cremonese tradition. Rogeri’s violins are distinguished by carefully selected wood, exceptional precision in craftsmanship, slender and slightly inclined sound holes (f-holes), and a thick varnish of red, reddish-brown, or golden-brown hue. Several dozen of his violins have survived, as well as over a dozen violas and cellos, which also show a strong influence of the Cremonese school. His violins, in particular, are highly sought after as concert instruments due to their tone, often compared to those of Amati. Rogeri was one of the few Brescian luthiers active after the devastation caused by the plague in the mid-17th century and following Amati’s death in 1684. His son and collaborator, Pietro Giacomo (ca. 1670–1724), based his work on his father’s later violin model, modifying it only slightly in the corners. All instruments signed by him (violins and cellos) date from after 1705 and do not match the refinement of his father’s craftsmanship.
Literature: W. Hamma Meister italienischer Geigenbaukunst, Stuttgart 1965; Alte Meistergeigen, ed. H.K. Herzog, vols. 5–6, Frankfurt am Main 1980; E. Blot 1520-1724 Liutai in Brescia, Cremona 2008; J. Hersh Giovanni Battista Rogeri, https://darntonhersh.com/giovanni-battista-rogeri-part-one-a-tale-of-two-cities; Giovanni Battista Rogeri, https://amati.com/maker/rogeri-giovannibattista; P. Kass In focus: violin by G.B. Rogeri, “The Strad” CXXIX, 2018.
