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Rh  (1615–1688), daughter of the 4th duke, and with her the title became extinct. The title is now vested in the family of the Bourbon-Orleans princes.

—A number of contemporary documents relating to the Guises are included by L. Cimber and F. Danjou in their Archives curieuses de l’histoire de France (Paris, 1834, &c.). Vol. iii. contains a soldier’s diary of the siege of Metz, first published in Italian (Lyons, 1553), accounts of the sieges of Calais (Tours, 1558). of Thionville (Paris, 1558); vol. iv. an account of the tumult of Amboise from the Mémoires of Condé, and four accounts of the affair of Vassy; vol. v. four accounts of the battle of Dreux, one dictated by Guise, and accounts of the murder of Guise; vol. xi. accounts of the Parisian revolution of 1558; and vol. xii. numerous pamphlets and pieces dealing with the murder of Henry of Guise and his brother. An account of the murder of Guise and of the subsequent measures taken by Mayenne, which was supplied by the Venetian ambassador, G. Mocenigo, to his government, is printed by H. Brown in the Eng. ''Hist. Rev.'' (April 1895). For the foreign policy of the Guises, and especially their relations with Scotland, there is abundant material in the English Calendar of State Papers of Queen Elizabeth (Foreign Series) and in the correspondence of Cardinal Granvella. The memoirs of Francis, duke of Guise, covering the years 1547 to 1563, were published by Michel and Poujoulat in series 1, vol. iv. of their ''Coll. de mémoires''. Among contemporary memoirs see especially those of the prince of Condé, of Blaise de Monluc and of Gaspard de Saulx-Tavannes. See also La Vie de F. de Lorraine, duc de Guise (Paris, 1681), by J. B. H. du Trousset de Valincourt; A. de Ruble, L’Assassinat de F. de Lorraine, duc de Guise (1897), where there is a list of the MS. sources available for a history of the house; R. de Bouillé, ''Hist. des ducs de Guise (4 vols., 1849); H. Forneron, Les Guise et leur'' époque (2 vols., 1887).  GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra), a musical instrument strung with gut strings twanged by the fingers, having a body with a flat back and graceful incurvations in complete contrast to the members of the family of lute (i.e.), whose back is vaulted. The construction of the instrument is of paramount importance in assigning to the guitar its true position in the history of musical instruments, midway between the cithara (i.e.) and the violin. The medieval stringed instruments with neck fall into two classes, characterized mainly by the construction of the body: (1) Those which, like their archetype the cithara, had a body composed of a flat or delicately arched back and soundboard joined by ribs. (2) Those which, like the lyre, had a body consisting of a vaulted back over which was glued a flat soundboard without the intermediary of ribs; this method of construction predominates among Oriental Instruments and is greatly inferior to the first. A striking proof of this inferiority is afforded by the fact that instruments with vaulted backs, such as the rebab or rebec, although extensively represented during the middle ages in all parts of Europe by numerous types, have shown but little or no development during the course of some twelve centuries, and have dropped out one by one from the realm of practical music without leaving a single survivor. The guitar must be referred to the first of these classes.

The back and ribs of the guitar are of maple, ash or cherry-wood, frequently inlaid with rose-wood, mother-of-pearl, tortoise-shell, &c., while the soundboard is of pine and has one large ornamental rose sound hole. The bridge, to which the strings are fastened, is of ebony with an ivory nut which determines the one end of the vibrating strings, while the nut at the end of the fingerboard determines the other. The neck and fingerboard are made of hard wood, such as ebony, beech or pear. The head, bent back from the neck at an obtuse angle contains two parallel barrels or long holes through which the pegs or metal screws pass, three on each side of the head. The correct positions for stopping the intervals are marked on the fingerboard by little metal ridges called frets. The modern guitar has six strings, three of gut and three of silk covered with silver wire, tuned as shown. To the thumb are assigned the three deepest strings, while the first, second and third fingers are used to twang the highest strings. It is generally stated that the sixth or lowest string was added in 1790 by Jacob August Otto of Jena, who was the first in Germany to take up the construction of guitars after their introduction from Italy in 1788 by the duchess Amalie of Weimar. Otto states that it was Capellmeister Naumann of Dresden who requested him to make him a guitar with six strings by adding the low E, a spun wire string. The original guitar brought from Italy by the duchess Amalie had five strings, the lowest A being the only one covered with wire. Otto also covered the D in order to increase the fulness of the tone. In Spain six-stringed guitars and vihuelas were known in the 16th century; they are described by Juan Bermudo and others. The lowest string was tuned to G. Other Spanish guitars of the same period had four, five or seven strings or courses of strings in pairs of unisons. They were always twanged by the fingers.

The guitar is derived from the cithara both structurally and etymologically. It is usually asserted that the guitar was introduced into Spain by the Arabs, but this statement is open to the gravest doubts. There is no trace among the instruments of the Arabs known to us of any similar to the guitar in construction or shape, although a guitar (fig. 2) with slight incurvations was known to the ancient Egyptians. There is also extant a fine example of the guitar, with ribs and incurvations and a long neck provided with numerous frets, on a Hittite bas-relief on the dromos at Euyuk (c. 1000 ) in Cappadocia. Unless other monuments of much later date should come to light showing guitars with ribs, we shall be justified in assuming that the instrument, which required skill in construction, died out in Egypt and in Asia before the days of classic Greece, and had to be evolved anew from the cithara by the Greeks of Asia Minor. That the evolution should take place within the Byzantine Empire or in Syria would be quite consistent with the traditions of the Greeks and their veneration for the cithara, which would lead them to adapt the neck and other improvements to it, rather than adopt the rebab, the tanbur or the barbiton from the Persians or Arabians. This is, in fact, what seems to have taken place. It is true that in the 14th century in an enumeration of musical instruments by the Archipreste de Hita, a guitarra morisca is mentioned and unfavourably compared with the guitarra latina; moreover, the Arabs of the present day still use an instrument called kuitra (which in N. Africa would be guithara), but it has a vaulted back, the body being like half a pear with a long neck; the strings are twanged by means of a quill. The Arab instrument therefore belongs to a different class, and to admit the instrument as the ancestor of the Spanish guitar would be tantamount to deriving the guitar from the lute.

By piecing together various indications given by Spanish writers, we obtain a clue to the identity of the medieval instruments, which, in the absence of absolute proof, is entitled to serious consideration. From Bermudo’s work, quoted above, we learn that the guitar and the vihuela da mano were practically identical, differing only in accordance and occasionally in the number of strings. Three kinds of vihuelas were known in Spain during the middle ages, distinguished by the qualifying phrases da arco (with bow), da mano (by hand), da penola (with quill). Spanish scholars who have inquired into this question of identity state that the guitarra latina was afterwards known as the vihuela da mano, a statement fully supported by 