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File:Baroque guitar (ca.1630-50), Matteo Sellas, The Met, NYC.jpg

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Baroque guitar (ca.1630-50), Matteo Sellas, The Met, NYC.jpg 

Guitar
Attributed to Matteo Sellas  (German, Füssen ca. 1599–1654 Venice)

Accession Number:1990.103
Date:		  ca. 1630–50
Geography:	  Venice, Italy
Medium:		  Spruce, bone, parchment, snakewood, ivory
Dimensions:	  Label: 26.9 x 95.6cm (10 9/16 x 37 5/8in.) 
Classification:   Chordophone-Lute
Credit Line:	  Purchase, Clara Mertens Bequest, in memory of André Mertens, 1990

This artwork is currently on display in Gallery 684
Date
Source Flickr: The Metropolitan Museum of Art
Author Aleksandr Zykov
Permission
(Reusing this file)
This image, which was originally posted to Flickr, was uploaded to Commons using Flickr upload bot on 25 April 2013, 01:47 by Clusternote. On that date, it was confirmed to be licensed under the terms of the license indicated.
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Flickr album
InfoField
"The Metropolitan Museum of Art" by Aleksandr Zykov from Perm, Russia.
References
InfoField
  • Matteo Sellas [Attributed to] (ca. 1630–50). [1990.103] Guitar. Venice, Italy.
    "​ Maker: Attributed to Matteo Sellas (German, Füssen ca. 1599–1654 Venice) ",
    "​ Signatures, Inscriptions, and Markings: Marking: “MS” scratched under top; false inscription “Matteo Sellas alla Corona in Venetia” engraved in plaque on head. ",
    "​During the 17th century, amateurs in Italy, Spain, and southern France used the guitar to accompany songs and arias or to play solo pieces. In Italy, Venice was the guitar-manufacturing center and Matteo Sellas its most eminent luthier. The style of the instrument with scalloped snakewood ribs, bone striping and fanciful arabesques are hallmarks of the Venetian tradition of lute and guitar making. Engraved bone plaques, geometric bone and snakewood inlays further enrich the beauty of this restored guitar. Between the end of the 16th and the end of the 18th century, guitars had five double courses of gut strings, a decorative parchment rose placed in the sound hole, and a back that was often vaulted instead of flat. As musical taste changed during the second half of the 18th century many old guitars were refitted to adjust to contemporary taste. The rose, bridge and pegblock of this instrument were removed and five single strings were added. Prior to its arrival at the Metropolitan Museum the old fittings were reintroduced. "

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