Arch-cittern, sycamore back and sides, with ebony and mother of pearl decoration, S.Renault, Paris, French, 1780-1800.

"Back and sides of sycamore, decorated with ebony stringing lines. Belly, painted a cream colour with barber's-pole purfling of ebony and mother-of-pearl. The same border surrounds the soundhole, which is filled with a rough rose, perhaps not original. Concave sides, narrowing towards the neck. The black-painted neck has two star-shaped mother-of-pearl position marks inlaid among the bass edge. The ebony fingerboard has seventeen brass frets and three small ivory position dots. Ebony pegs with ivory studs. The main pegbox has eleven, for four double courses and three single. The upper pegbox has five, for five single basses, and has an oblique nut." - Anthony Baines: Catalogue of Musical Instruments in the Victoria and Albert Museum - Part II: Non-keyboard instruments (London, 1998), p. 53.

This instrument formed part of the collections of Carl Engel (1818-1882) and was purchased by this museum for £5.

Citterns were usually wire-strung instruments, and those with extra unstopped strings in the bass were known as 'arch-citterns'. However, this example was fitted with gut strings and presumably played with fingers. Made by Sébastien Renault of Paris (active c.1765-1804), this elegant instrument was probably intended for drawing rooms and salons, whereas the German and Swiss versions of the arch-cittern were more often used for playing folk music.

207-1882