The Giudici worked for more than a century among the nineteenth century builders from Bergamo. The earliest member was Giovanni Giudici (1815?-1855), an apprentice at the Serassi's firm. We don't know whether he came from Bergamo or from the province (the surname Giudici is present in the zone of Clusone and in Valle di Scalve).

From 1836 to 1845 he founded a firm which very soon appeared in the very qualified and competitive environment of Bergamo, conquering a first level position. Beginning from 1845, an intense activity was documented: it averaged four works a year (restorations, enlargements, new organs), sign of a thriving, prosperous firm.

In the organ building outline of the first half of the nineteenth century, Giovanni Giudici interpreted in a very good way the cultural, artistic climate, since he faithfully proposed the model of the Serassi organ with its style, sound and structure. From the chronicles of that time and through an analisis of surviving organs, we know that his organs were solid, efficient, comfortable in utilization, thanks to his new inventions.

These organs had powerful, sweet sounds which set a high value and nobility on the music. In the mechanic part he was ingenious, "in this very noble art he was second to none, and perhaps he was unsuperable as regards the mechanism " (1853).

From a human point of view, he was very loved; not only did he satisfy his purchasers by means of favourable payment conditions but, he was even able to surprise them thanks to the quality of his works.

The newspapers of that time began speaking about him in 1846 with more and more praises and encouragements to such a point that we wonder which future he would have had if he had lived longer. He was praised as a talented artist like the great Bossi and Serassi.

In 1846 the "Giornale della Provincia di Bergamo" said: "his organs are astonishing; they have a faultless intonation, very strong but sweet and agreable too, which perfectly imitate the instruments"; and again in 1851: "he is one of the cleverest and most considered apprentice in the Serassi's Firm".

In 1855 he died when was "in the prime of live and very hopeful", leaving minor children and a prosperous firm which had about ten workers. The company passed under the direction of his nephew Egidio Sgritta from Iseo (1830- after 1901), partner and representative, with the trade name "Giudici e Compagno" till when the Giudici's sons (Luigi and Alessandro) got legal capacity. They went on the activity, first in the area of Bergamo, then in the centre of Italy and in Sicily. From 1885 Luigi had been active at Pesaro (in this city Antonio Vincenzo Petrali from Bergamo taught organ at the musical Liceo "Rossini").

Alessandro worked at the firm Serassi Brothers as a tuner: for a long time this firm had been building organs just in Sicily, so he could come into contact with the rich Sicilian culture and tradition. He left Bergamo and moved to Sicily where formed a partnership with the organ builder Laudani from Catania whose son Alfio got married to his daughter Alessandrina. Here, he built many organs - many of them were for the churches of Malta - based on the Serassi model.

After Alessandro's death (1893), the firm passed under the direction of his son Giovanni together with his brother-in-law Laudani: they built many organs in the most important churches in the island.

An important figure in the organ building outline of Bergamo was Luigi Giudici (1805- after 1885) too. We don't know if he were Giovanni's brother or relative (perhaps a cousin): but, they had in common many artistic characteristics (both of them were very gifted with the mechanics) and were almost the same age. First, he worked for the Serassi, then for Giacomo Locatelli who in 1870 established his own firm; here he got the head of the firm. He was short and humpbacked but very sharp and clever.

Regarding him, it is interesting what the Genoese Remondini (the promoter of the renewal of the late nineteenth century Italian organ building outline) said about the majestic Giacomo Locatelli organ (1880, opus 48) of the Consolazione church, Genoa: "it is much better than every other organ built by the Italians [...] and can stand comparison with the best in Italy"; "whoever hadn't had a perfect knowledge of the plan, a wonderful intonation of the pipes, a very sharp ear, a lucid mind, an easy perception, the observance of the science, the pliability to others' opinion like Luigi Giudici had, wouldn't have reached anything".

In the Giudici family there was Egidio Sgritta too: he contributed very much to increase the renown and the quality of the firm when the founder Giovanni I, his uncle, died. He was Giuseppe's son, and was born in Iseo (1830 approx. - after 1901).

He grew in his uncle's organ building shop, where learnt the building art; he was gifted with great talent and cleverness, to such a point that when his uncle died in 1855, he went on the activity with the trade name "Ditta Giudici e Compagno" and was very esteemed by everybody as manager and representative of the firm.

In 1861 ten men were working in this firm and there were some hardly fourteen-year-old apprentices (in general there were one or more apprentices for each worker).

First he formed a partnership (till 1867) with his brother Bernardino at 60, Borgo Palazzo; then his brother got trader in wines. From 1871 to 1880 Egidio Sgritta went on the activity as the sole owner; from 1881 he moved to Iseo (Brescia). In 1901 he was still active.

His activity mainly took place in the lands of Bergamo and Brescia: he was a reliable, very appreciated artist for his skill, quality, cleverness and taste; he followed the Serassi's school too. In his organs we can see: first quality materials, fine pieces of work, rational and efficient planning, excellent timbre taste, ingeniousness in new works. By the way, it was important a new, clever kind of small valve chest, according to the Brini method (1857), carried out for the first time in 1861: it was possible to play soprano stops in the bass range, and the bass stops in the soprano range, in order to get fanciful timbrical effects. The press of that time was rich in praises about him: "good as well as fair, industrious artist" (1863); and about his working (1863) the following qualities were underlined: faultless chests; excellent intonation; irreproachable tuning; plain sounds; prompt, lasting and unfailing mechanism; majestic, strong Principal chorus and praiseworthy balance between its strenght and the other stops.