each side of the finger-board space for the hand to pass through in order to stop the strings, produced the crwth or crowd (q.v.), and brought about the reduction in the number of the strings to three or four. The conversion of the rotta into the guitar (q.v.) was an easy transition effected by the addition of a long neck to a body derived from the oval rotta. When the bow was applied the result was the guitar or troubadour fiddle." From the rotta article: "...The rotta represents the first step in the evolution of the cithara, when arms and cross-bar were replaced by a frame joined to the body, the strings being usually restricted to eight or less...The next step was the addition of a finger-board and the consequent reduction of the strings to three or four, since each string was now capable of producing several notes...As soon as the neck was added to the guitar-shaped body, the instrument ceased to be a rotta and became a guitar (q.v.), or a guitar-fiddle (q.v.) if played with the bow." From the guitar article: "The guitar is derived from the cithara both structurally and etymologically...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...The transitions whereby the cithara acquired a neck and became a guitar are shown in the miniatures of a single MS., the celebrated Utrecht Psalter, which gave rise to so many discussions. The Utrecht Psalter was executed in the diocese of Reims in the 9th century, and the miniatures, drawn by an Anglo-Saxon artist attached to the Reims school, are unique, and illustrate the Psalter, psalm by psalm. It is evident that the Anglo-Saxon artist, while endowed with extraordinary talent and vivid imagination, drew his inspiration from an older Greek illustrated Psalter from the Christian East, where the evolution of the guitar took place." Dr. Emanuel Winternitz Winternitz's theory,