Cittern

Definition and stakes

1911 Encyclopædia Britannica, Volume 6… (1911)

“ The fourteen-course cittern was also known in England as Bijuga; the seven courses in pairs were stretched over the finger-board, and the seven single strings, fastened to the grotesque head, were stretched as in the lyre à vide alongside the neck; all the strings rested on the one flat bridge near the tail-piece. Robinson gives instructions for learning to play the cittern and for reading the tablature. ”
Source: Wikisource

1911 Encyclopædia Britannica, Volume 6… (1911)

“ The popularity of the cittern was at its height in England and Germany during the 16th and 17th centuries. The cittern consisted of a pear-shaped body similar to that of the lute but with a flat back and sound-board joined by ribs. The neck was provided with a fretted fingerboard; the head was curved and surmounted by a grotesque head of a woman or of an animal. [1] The strings were of wire in pairs of unisons, known as courses, usually four in number in England. ”
Source: Wikisource

Edward Woodall Naylor,  Shakespeare and Music (1896)

“ The modern equivalent for 'bear a part' (l. 1135) is 'sing a part.' [See also Sonnet VIIL] Any person of decent education could 'bear a part' in those days, i.e., read at sight the treble, alto, tenor, or bass 'part' of the work presented by the host for the diversion of his guests. [See Introduction.]
L. 1140. 'Frets upon an instrument' can still be seen on the modern mandoline, guitar, and banjo. In Shakespeare days, the viol, lute, and cittern all had frets on the fingerboard, but they were then simply bits of string tied round at the right places for the fingers, and made fast with glue.
”
Source: Wikisource

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