The Violin Chronicles: Interview with Julian Thompson on His Antique Cello In this episode of the Violin Chronicles, we sit down with Julian Thompson, a distinguished cellist with the Australian Chamber Orchestra since 2006. Julian shares fascinating insights into the unique 1729 Giuseppe Guarneri cello he's been playing for the past eight years. We delve into the history, craftsmanship, and intricate details of this extraordinary instrument, including its complex provenance and distinctive features. Julian also discusses the quirks of playing such a historic cello, from its responsiveness to various climates to how its rich history impacts his playing style. Additionally, we touch upon the differences in construction techniques between Baroque and modern instruments, exploring how these methods influence their sound and playability. Join us for an in-depth look at one of the most remarkable cellos in existence and gain a deeper appreciation for the artistry involved in its creation and performance.   Transcript     Welcome back to the Violin Chronicles. In this episode, I'll be talking to Julian Thompson, cellist extraordinaire, who has been playing with the Australian Chamber Orchestra since 2006. Overly accomplished musician that he is. We are going to concentrate on his instrument in this interview. What is it? I hear you asking. Well, I will let him do the honours. Julian Thompson I'm Julian Thompson. I play cello with the Australian Chamber Orchestra for the last. 20 years. Linda Lespets Wow. And, and what, what instrument do you play? Julian Thompson So, I am lucky enough to have had in my hot hands for probably about the last eight years a beautiful 1729 Giuseppe Guari cello which I understand has a, possibly, has a slightly complicated providence. Linda Lespets Do you know when it sort of changed identity? Julian Thompson I, I don't know exactly when. I just know that there's been quite a lot of speculation that the hand of Jesu may have played a part in the, the, the table of the cello and maybe the scroll as well. So it's, it's that cello, I think it's really late. And there's another cello that certainly has a lot of Del Gesu a different form, apparently that one. This one's still in the, in the older form. The, the fathers, the Guarneri Filius Andrea, that's right. But the, the experts out there seem to say that yeah, because of some of the features, the specific features of, of the wood and the scroll and, and the, maybe the f holes as well. That they think that there's certainly the hand of Del Gesù in part of this cello, so that's pretty special. Linda Lespets Yeah. Yeah, because there's the other cello is the messias I think it's called. Mm-hmm. Where they say it's all Del Gesù Mm. So there's this sort of idea that he never made cello, but he has, he has indeed made a cello, a full one. And then why not? Bits of one? Well, I guess you can imagine if he, if he's around working in the workshop and Giuseppe's getting older, then you would imagine there would be, I guess an increasing amount of work done. Julian Thompson And there's also been talk about, and you, you probably know a lot more about this, about. Sort of illnesses at various points and whether that meant that Giuseppe Guarneri wasn't in the studio for a while and then, you know Del Gesù maybe had to take the reins there more, more solidly for a period. Linda Lespets  Yeah. So what happened was Del Gesu, he moved out of home when in 1722, he left.   And his brother Pietro of Venice had left in 1717 to go to Venice. That, so it was just him. His dad was kind of really bad with money and pretty much like very heavily indebted. So Del Gesù was like a young man. He was married and so he moved away. Because his, it was just a black hole basically working in his dad's workshop because he owed so much, so much money to so many different people. Yeah. So he moved away, but then in 1729, 1730, when your cello's made, he had, he was very ill. He we

In this episode we look at the mysterious years following Del Gesu's departure from his fathers workshop and his early independent work. This is a period in his life when our hero is in his prime and the instruments are all his own. The army is back in town and Giuseppe is putting new labels in his violins that today have all but disappeared, what statement is he trying to make here? Transcript Welcome back to the Violin Chronicles podcast. A show dedicated to the stories of history's greatest violin makers. My name is Linda Lespets, and if you haven't already done so, I would encourage you to sign up to Patreon, that's Patreon.com/the violin chronicles, where you can get extra episodes and extra content and to support the podcast if you felt that it has been useful and that you've learned so It would be very much appreciated. But here in this third episode, we're gonna jump in and have a look at what our violin maker is up to. So picture this, it's the early 1730s in Cremona. Our hero, the young Giuseppe Guarneri, is standing before the altar in the Church of San Pantaleone By special decree with the usual bands of marriage conveniently skipped. He weds Katarina, a German woman from Vienna, right under the watchful eyes of the Church's Vicar General. The witnesses are nobles and neighbours and the ceremony formal and blessed. Yet beneath her there is a hint of scandal because this wasn't just any marriage. Giuseppe Guarneri had married a foreigner from among what many locals saw as the occupying forces, and as if that weren't enough to raise eyebrows in Cremonas narrow streets he wasn't about to settle down at the family home on Piazza San Domenico, no Guarneri Del Gesu and his new bride were leaving. His brother had written from Venice boasting of steady work and success making instruments. Meanwhile, back home, Del Gesu’s father, the elder, Giuseppe, was drowning in debt and dragging the family workshop down with him. The house was falling apart, the business barely alive, and Giuseppe Guarneri Del Gesu knew that if he stayed, he'd sink with it. So he packed up his tools, took his young wife, and vanished from Cremona for a while. Or at least vanished from records. Where did he go? Honestly, no one's quite sure. These are what I like to call the wilderness years. A time when the trail goes cold and speculation begins and yeah, I like to speculate. Now remember this was the same era as Antonio Stradivari's Golden Period when Stradivari's instruments were gracing the salons of princes and patrons across Europe. But while Stradivari's clients were wealthy and insulated from the region's economic troubles, the rest of Cremona was in deep depression. The market for fine instruments had shrunk, and the city's famed liutaio were competing for a handful of buyers. Del Gesu must have wondered, what's the point of making violins here when no one's buying? So he didn't stop entirely. He continued to make the occasional instrument, but this time he refused to put his father's label inside. He wanted no association with the elder Giuseppe Guarneri, whose reputation was well, less than spotless. The old man owed money to half the city. His health was failing and his name wasn't one to build a future on, Guarneri Del Gesu’s new labels read. Giuseppe Guarneri Andrea Nepos (Giuseppe Guarneri, grandson of Andrea). He deliberately skipped his father's name, linking himself instead to his grandfather, the revered student of the great Nicolo Amati. It was a bold move, a quiet act of rebellion, and a statement of identity. I'm my own maker and I belong to the legacy of excellence, not the shadow of debt. He probably knew people would talk that it wasn't proper to make violins under a new name while his father still lived. But Del Gesu wasn't one to bow to convention. He had a new life, a new wife, and he had plans even if that meant wandering into obscurity for a while. And so began the lost years of Giuseppe Guarneri Del Gesu. For t

Giuseppe gets married leaves home and a mystery ensues, what did Del Gesu do, and where did he go for those "lost years"? Find out in this second episode of the life of Giuseppe Guarneri "Del Gesu". With special guests Jonathan Marolle, Joe Bein and Christopher Reuning. Transcript Jonathan Marolle  I'll say that there is a paradox when talking about Guarneri del gesu because I don't wanna shock anybody, but if you look at the work, you'd say that he's probably, well to me, he is probably, in terms of craftsmanship, the less talented maker of the family. But yet he's the most famous and one can see the prices of instruments by Guarneri del gesu that rich, like crazy, crazy amount of money. We have to try to explain that. And I guess that what makes Guarneri del gesu so amazing for musicians and also for makers and value makers and dealers and restorers, is that. There is some sort of a, he is a legendary maker. There's so many stories about him, more or less true. And there is some sort of, he was a crazy maker. If you look at the instruments that he has made, especially at the very end of his career, it's so crazy. It's so extravagant that I think this plays a part of this this myth of Guarneri del gesu. And also we have to mention the tone quality, because eventually that's a, that's a musical instrument. So these were made to perform music and the tone quality is is beyond question. It's these are great instruments. Strange figure of the crazy artists, you know, let his, ideas flowing and crafting crazy instruments while on the opposite you have Stradivari who is the, also the other top maker that was so careful, that was so clean, neat, and precise in his making. So you have to, yeah, it's like two sides of a coin, you know, or the ying and the yang the, the wisdom and the, and the craziness. And that was the lovely Jonathan Marolle of the workshop Vatelot-Rampal in Paris, and you'll be hearing more from him later. Thank you for joining me on the Violin Chronicles. My name is Linda Lepets and welcome back to this season and episode two of the Life of Giuseppe Guarneri, AKA del gesu. If you've enjoyed this journey through the world of the Guarneris, remember you can dive deeper and access bonus content by visiting patreon.com/the violin chronicles. In the last Patreon episode, we heard from Peter Biddulph tell his story of archival discovery and present the life of a lesser known Stradivari Hmm. Before we start, I would like to say a very big thank you to our sponsor for this episode, Libby Summers of Stamford Strings and the brazenose range of instruments she has created. You can check them out on the website, brazenose violins.co.uk. That's B-R-A-Z-E-N-O-S-E violins.co.uk. But for now, we are going to jump straight back into the story of our hero, Giuseppe Guarneri del gesu. There she was this exotic creature from a far off land with her accent in strange ways. And although she was not the nice local girl, his mother kept hinting at, she was the woman, Guarneri or Giuseppe was going to marry whether they liked it or not. And no, he was not going to leave for foreign parts with his bride like his brother. Don't worry, he assured his mother. He would stay in town for now, not that it would do him any good. The family home and finances were crumbling into disrepair and his lovely Catarina did not have an impressive dowry that would save the family coffers just yet. On October the third, 1722 in the Parish of San Pantaleone, Bartolomeo or Giuseppe married Katinarina Rotta, the daughter of an Austrian imperial soldier. She was German from the city of Vienna. “By special decree by the most reverend Vicar General, Banns having been omitted, as appears in the file, Guiseppe Guarneri of the Parish of San Matteo of this city of Cremona, the son of Guiseppe and Barbara Franchi, husband and wife, and Cate Caterina Rota, German formerly of the city of Vienna, were joined in matrimony by their vows before the church and bles

In this episode, we dive into the mysterious and brilliant world of Giuseppe Guarneri “del Gesù”, one of history’s most revered violin makers. Often overshadowed by Stradivari, del Gesù was doing his own thing  creating violins that have raw power, and emotional depth—qualities that still captivate players and collectors nearly three centuries later. We’ll explore his fascinating life in 18th-century Cremona, the distinctive features that set his instruments apart, and the myths that surround his work. Then, I sit down with Joe Bein of Bein and Company rare violins, one of the world’s leading experts and dealers in fine string instruments, to unpack what makes a Guarneri violin so extraordinary—and why musicians from Paganini to today’s great soloists remain spellbound by them. Whether you’re a violinist, a luthier, or simply a lover of classical music’s deep craftsmanship, this episode offers a rare look into the genius and mystery of Guarneri del Gesù. And for my amazing Patreon listeners Peter Biddulph tells his intriguing story of a very important archival discovery that rocked the violin making world and we discuss a Stradivari that perhaps you never knew existed! Listen now to discover the passion, artistry, and intrigue behind some of the most powerful violins ever made.     Transcript Joe Bein  You know, there is something, in my experience, I think there is something primal about players when they get around. Del Gesus. And of course, we're basically just talking about violinists, but there's an excitement and there's a, I don't know, it just feels like there's a, there's something, like Stradivari of course has this regal element to it, and it's like, it's so perfect and beautiful and usually more symmetrical. And then you get to a Del Gesu and it's just this like, I don't know, it's like, it's like the wild child or it's like the, the one you're, I don't know. You're not supposed to like, but you really do. And obviously like there's this dark. Powerful sound that I think is associated with his best instruments that is just like intoxicating. And that was the delight for Joe Bein of Bein and company rare violins in Chicago. We'll be having the pleasure of hearing more from this superbly loquacious individual later on. So don't fall off the edge of your seats just yet. He'll be back. Welcome to the Violin Chronicles, a show dedicated to the story of history's greatest violin makers. Now, this season, we are diving into the life of one of the most mysterious and fascinating figures in violin making history, really. And his name is Giuseppe Guarneri Del Gesu. Hello, I'm Linda Lespets, a violin maker based in Sydney, Australia. And together with my husband Antoine, we run a workshop where many remarkable instruments pass through our hands. And here I'll be sharing the stories behind the people who created these beautiful works of craftsmanship. It really is exciting to finally be talking about Bartoloemo Giuseppe Guarneri. Now, by this time, we've already looked at 200 years of violin making, starting with Andrea Amati. Now, Andrea Amati laid down the foundations of modern violin making, and yet just two doors down from the Amati home in which Gerolamo Amati the second was living. The Guarneri family continued to follow many of the same methods Andrea Amati had pioneered keeping the cremonese tradition alive with other violin makers around town of course. So in this series, I'll be joined by some incredible guests, the renowned expert, Peter Biddulph who will share a story of a landmark discovery connected to the Guarneris, or sort of thanks to the Guarneris. You'll hear it's a very cool story. And I also speak to the expert, Joe Bein, whose deep knowledge of Del Gesu's instruments offer rare insight into the maker's genius, if you will. This European summer, I happen to be in France and I spoke to Jonathan Marolle from the French maison Vatelot Rampal who will help us explore just how the French played an u

Charles Reade the dramatist and violin dealer wrote 4 letters to the Pall Mall Gazette in 1872 about Cremona violins, google says "This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it!" So listen on! I say. To understand what these letters are about here is an intro with Benjamin Hebbert.

This is the life and times of Pietro Guarneri of Mantua. Join me as I explore this lesser-known Guarneri his truly beautiful instruments and his unique working conditions. This is a condensed version of the previous series on Pietro of Mantua if you would like the more elaborate tale I invite you to listen to episodes 29-31.

In this final episode on the life of Giuseppe Guarneri Filius Andrea. Join me as I delve into end of the tumultuous life of this maker who turns out to be much more important than I could have ever imagined to the Life, style, workmanship and just plain understanding of his son Guarneri Del Gesu and his violins.

Hello and welcome to the violin Chronicles this is the 4th episode on the life of Filius Andrea and we will see how and why his youngest son Giuseppe or Guarneri Del Gesu as we more commonly know him as will step up to start helping his father and I will also be talking to the expert Christopher Reuning about identifying the hand of both Del Gesu and Pietro of Venice in the works labelled Giuseppe Guarneri filius Andrea. To listen to this full episode join us over at Patreon and sign up to have access to this and many more episodes.  

Welcome to the violin Chronicles, in this episode we are going to explore Giuseppe’s challenges following the death of his parents, holding up against the giant working next door Antonio Stradivari, and the impact of the War of the Spanish Succession on Guarneris business and family. The city of Cremona becomes a battleground as French and Austrian troops vie for control, culminating in the Battle of Cremona in 1702. And Despite these difficulties, Giuseppe continues to craft instruments, experimenting with new models we will live through Cremona’s ups and downs, repeated flooding, and Guiseppes personal tragedies, including the loss of one of his children which will change the outlook of the Guarneri workshop form now on and lets see how he gets on with his remaining children. This is a Patreon only ep which means if you would like To listen come and join us on Patreon.com/theviolinchronicles where you will be able to listen to this show and a whole lot more exclusive patreon only content. When you are there why not listen to the episode on Shakespeare and the soundpost and the next time you are watching Romeo and Juliette you can pipe up with some violin trivia.

Hello! In this second episode we will continue to delve into the life of violin maker Giuseppe Filius Andrea Guarneri. And I am Joined by Dr. Alan Maddox from the Sydney Conservatorium of Music, as we explore the musical landscape of the late 17th century, focusing on the trio sonata and its impact on violin making (because yes it does have an impact!). Come and join me as I take a look at Giuseppe's life, his growing family, and his inheritance complications after the death of his father, Andrea Guarneri. Discover with me why the development of printed music influenced so many musicians at the time of Giuseppe Guarneri Filius Andrea, and we take a sneak peak at the lifestyles of virtuoso performers, and the intricate connections between different musical styles in different parts of Europe at this time because it will ultimately help us to understand these violin makers so much more. And finally we unveil how these historical musicians and their innovations continue to affect our understanding of music and instrument making today. Now if you would like to join me for these episodes on Giuseppe Guarneri Filius Andrea pleas go to Patreon.com/thevioinchronicles where you will have access to these exclusive episodes and a whole bunch more, I hope to see you there.

In this episode of 'The Violin Chronicles,' Linda Lespets takes listeners through the life of Giuseppe Guarneri, also known as Filius Andrea, a seminal violin maker from Cremona in the 17th century. The discussion begins with the significance of understanding Giuseppe to fully appreciate his more famous son, Guarneri del Gesù.  Giuseppe's We look at his early life, his family dynamics, and the socio-economic environment of Cremona, while spotlighting the intricacies of his violin-making career. Through the lens of historical events and familial relationships, listeners learn about Giuseppe's craftsmanship, his rivalry with contemporary luthiers like Stradivari, and his contributions to cello design. This episode provides a comprehensive look at how his work and legacy intertwined with that of his distinguished family. Join Linda on Patreon.com/theviolinchronicles for exclusive content and insights into the lives of other great violin makers.

Here we are! The final chapter in the life of Pietro Guarneri of Mantua, a distinguished violin maker, and his experiences during a turbulent period in history. Pietro's mother-in-law joins their household in 1700. Pietro's style of violin making has evolved substantially, reflecting the broader and bolder designs of his instruments. However, family tensions arise as his brother Giuseppe fails to pay Pietro his share of their father's inheritance, eventually resolving the dispute after several years. Meanwhile, historical events significantly impact Pietro’s life. The death of the King of Spain in 1700 sparks the War of Spanish Succession, embroiling Mantua in conflict as the French and Austrians vie for control over northern Italian territories. This period sees devastating consequences for Pietro's family, including the death of his daughter Eleonora and the chronic instability caused by shifting political powers. Despite these challenges, Pietro continues his craft, even as the Austrians eventually claim Mantua what will happen to our violin maker Pietro Guarneri? Personal tragedies persist with the death of more children, but Pietro forges on, making exquisite instruments until his death in 1720.  Mantua is transforming how will the art of the violin makers survive this upheaval?   

Welcome back to the complex and eventful life of Pietro Guarneri of Mantua. This episode explores Pietro's struggle of managing six children alone, the influence of Jacob Steiner on his instruments, and the familial conflicts over inheritance.  We look at Pietro's work for the court of Mantua, including his decorated instruments with the fleur de lis patterns, why did he do this? Find out all! The episode also touches on the personal hardships Pietro faced, such as the death of his wife Caterina and subsequent remarriage to Lucia Birani. Financial challenges, especially related to dowries and house payments, are prominent, alongside Pietro's continuous dedication to his craft and the musical court despite political instability. Andrea Guarneri's death left a few curved balls for his sons to sort out, let see how the brothers (Pietro of Mantua and Giuseppe Filius Andrea) manage.   

In this episode of The Violin Chronicles, the life of Pietro Guarneri, Andrea Guarneri's eldest son, continues as he and his wife Caterina move to Mantua, a culturally rich yet politically tumultuous city. This episode opens a window onto Pietro's daily life, his tasks for the imprudent Duke Ferdinando Carlo, and the socio-political environment of 17th-century Mantua. This episode also explores the impact of European power struggles, particularly the War of the Spanish Succession, on the Guarneri family and Mantuan society. Pietro's craftsmanship, family dynamics, and interactions with the declining ducal court stand at the forefront, offering a rich historical tapestry in which our violin maker despite tough times was making a go of it.

Never get your Pietro Guarneri's mixed up again! Pietro Guarneri of Mantua was Andrea Guarneri's eldest son, both a talented maker and musician, so why did he leave his home town to go work for a narcissistic socialite down the road? Find out as we take a look at this often forgotten Guarneri at the opulent and downright turbulent court of the Gonzaga's.   Pietro Guarneri of Mantua, a fascinating yet often overlooked figure in violin making history. This episode covers Pietro's colourful life, beginning with his birth in Cremona in 1655, his early years working alongside his father Andrea Guarneri, and his move to Mantua. Pietro's journey is marked by personal tragedies, including the loss of his first child, and professional aspirations driven by his exceptional talent both as a craftsman and a musician. The episode also delves into the political complexities of Mantua, its court life, and the intrigues surrounding its rulers. Pietro's move to Mantua to work under the Gonzaga court, his successful establishment as both a musician and an instrument maker, and the legacy he left behind form the crux of this engaging historical account.

Continue listening to the life of Andrea Guarneri, student of Nicolo Amati and father of 2 very important violin makers. To listen to this episode I invite you to sign up to Patreon, you can do this at Patreon/thevioinchronicles.com  

Andrea Guarneri was the first in the line of Guarneri violin makers and he is the link with the Amati family, having been apprenticed to Nicolo Amati, but as you will see this family will soon break away from the Amati tradition and start creating their own unique style.  the Guarneri family of violin makers. Take a look with me at Andrea's early life amidst war, famine, and the plague, and his apprenticeship under the esteemed Niccolo Amati, who had lost many family members to the plague. Andrea becomes a trusted apprentice and eventually moves out of the Amati household to get married to Anna Maria Orcelli. How will Andrea evolve in his work and business success working just around the corner from the great Nicolo Amati?

In this second episode on Giovanni Battista Rogeri we look at his family and children. Living in Brescia also meant that Rogeri was in the heart of an Opera loving people close to Venice and an exciting time musically and instrumentally. Transcript  Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting, violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband, Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them.  So often when we look back at history, I know that I have a tendency to look at just one aspect. But here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine and war, but also of love, artistic genius, revolutionary craftsmanship, determination, cunning and bravery that all have their part to play in the history of the violin. Welcome back to part two of The Life of Giovanni Battista Rogeri. In the last episode of the Violin Chronicles, we looked at Rogeri's early life. His apprenticeship with the master Niccolo Amati himself in Cremona. He's moved to Brescia seeking out greener pastures. And now he is in Brescia where we will see his style really come into its own and take a look at this thing Opera, that was really changing the musical landscape for musicians and instrument makers alike. So stay with me as we take a dive into the life and career of Giovanni Battista Ruggieri. Not Ruggeri, Rogeri. Before we move on, I would like to say that I am an independent podcaster and really appreciate the support people have been showing in helping this show happen. If you would like to be one of those people helping me make more content for you to enjoy, consider going to patreon.com forward slash the violin chronicles, where you can have access to extra episode and help make things happen.  We now find ourselves in the home of Laura and Giovanni Rugeri. The year after this young couple married in 1665, they had their first child called Pietro Giacomo and would go on to have at least six more children. Two years after Pietro's birth, they had another son called Gio Paolo. These two sons would be the only surviving boys of the Rogeri's five sons and would go on to become violin makers as well. In these early years, there is not much we know about Giovanni Battista Rogeri's work, but five years on, into the 1670s, we see an active workshop Giovanni definitely had his own style. When working for Niccolò Amati, his hand can be seen in that cremonese workshop as his instruments differed to those of Niccolò.  His bolder style even influenced the young Girolamo II Amati in the development of his own characteristic instruments. Now, if you can cast your minds back to the first few episodes of the Violin Chronicles, where we spoke about the city of Brescia, we looked at its close connection with Venice. And now that Venice is embracing this exciting new art form called opera, it's no surprise that Brescia is not far behind. And the year before Rogeri married, in 1664, Brescia opened its very own commercial opera house. And this first theatre was called the Teatro degli Erranti.  Cremona would never embrace opera to the extent that the Venetian state did. And here we find Giovanni Battista Rogeri setting up his workshop in the midst of this exciting time for the city of Brescia.  Here I talk to Stephen Mould about how opera was so different to anything people had ever seen how it was pulling on human emotion and the impact music would have had on pe

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Bres

Francesco Rugeri had 4 sons, lets take a look at who they were and their contribution to Cremona in its golden period. In this episode we concludes the story of Francesco Ruggeri, a lesser-known but fascinating violin maker from Cremona, Italy. Discover his life, his move to different parishes, and the roles his children played in carrying on his legacy. This episode looks at the history of Cremona as a bustling city for artisans, the family dynamics and movements of the Ruggeri family, and their contributions to violin making, especially in producing smaller cellos. Discover Vincenzo Ruggeri, Francesco's well-known son, his marriage, and his life in Cremona. Then again there is the mysterious death of Francesco's youngest son, Carlo.... Join me as I talk to guests Duane Rosengard, Jason Price, and Emily Brayshaw on topics like the influence of military fashion on civilian dress, the characteristics of Ruggeri instruments, and the historical contexts of the Ruggeri family's work.