o, in 1824, became
Musical Director of the Royal Orchestra at Turin. Pressenda died in
the year 1854 at Turin. His Violins are chiefly of the model of
Stradivari. The sound-holes are well cut. The thicknesses of his best
instruments are well arranged, and the wood appears to have been
selected with good judgment. The scrolls, whilst having much
character, are somewhat roughly cut. The Violins belonging to his
early period are chiefly of the Amatese character.

[Footnote 13: "L'Italie economique," 1847.]

RACCERIS,----, Mantua, about 1670.

RINALDI, Gioffredo, Turin. (Benedetti, Gioffredo.) Chiefly known as a
dealer in Violins. He exhibited a few Violins by Giovanni F. Pressenda
at the Vienna Exhibition, 1873, and published a short notice of that
maker, which he inscribed to the Archduke Rannieri.

RIVOLTA, Giacomo, Milan, about 1822. Excellent work; scroll well cut.
One of the best Italian makers of the nineteenth century.

ROCCA, Joseph Antonio, Piedmont, 1837-1863. Chiefly followed the
pattern of Stradivarius. Neat workmanship, varnish rather thin,
well-cut scroll. He worked for some time with Pressenda.

RODIANI, Giovita, sometimes called Budiani; Brescia, about 1580-1620.
His instruments resemble those of Maggini. Dragonetti is said to have
had a Double Bass of this make.

ROTA, Giovanni, Cremona. Yellow varnish, plain wood, heavy work, rough
purfling.

Joannes Rota fecit Cremonese Anno 1808.

ROVETTA, Bergamo, 1840-70.

ROGERI, Giovanni Battista, Cremona and Brescia.

Io: Bapt. Rogerius Bon: Nicolai
Amati de Cremona Alumnus
Brixiae fecit Anno Domini 1705.

The word Bon after his name refers to his having been a citizen of
Bologna. Vincenzo Lancetti speaks of its being certain that he called
himself _Bononiensis_. The instruments of this maker are of a
different pattern from those of Francesco Ruggeri. They are higher
modelled, the sound-holes less elegant, and the scroll heavier. They
possess, however, high merits, and command prices nearly equivalent to
those of the instruments of Francesco. The labels of this maker are
sometimes met with printed in red ink. The instruments he made of
large Amati pattern are highly valued. He appears to have worked from
about the close of the seventeenth century. Count Cozio di Salabue and
Lancetti speak of G. B. Rogeri having worked down to 1723, and
possibly later, and state that he lived for many years in Brescia.
There are some instruments bear