which were solely plucked and strummed until the bow arrived in the 10th century. The remaining lyres as well as the fiddles were adapted to fit the bow, after its arrival. One example of an early bowed fiddle was the Byzantine lyra; an example of a bowed lyre that survived until modern times is the crwth. Kathleen Schlesinger The theory was a variation of an earlier theory, talked about in the 1911 Encyclopædia Britannica's articles about the guitar, cithara and rotta, which were written by Kathleen Schlesinger. Where Winternitz later focused on the cittern, Schlesinger concentrated on the chain of instrument evolution from cithara to guitar. Schlesinger believed that the instrumental change that adapted the lyre into the guitar-like instruments took place among the Greeks in the Anatolian Peninsula, and she saw proof of that transformation in the drawings in the Utrecht Psalter. One point of controversy in Schlesinger's Britannica articles that continues among researchers today is a point of view against the idea of the guitar evolving from Arab introduced instruments. Schlesinger wrote about various instruments including the guitarra latina and the guitarra morisca. Scholars have not conclusively straightened out these instruments. The guitarra latina is one that has also been called the citole, due to the inability to know from the images whether it had a free neck (in which a hand can move up and down the neck freely, as on a guitar) or a deep neck with thumb hole (in which the range on the neck is limited to what the fingers can reach from the thumbhole. Kathleen Schlesinger wrote the cithar article and talked plainly about the transformation of the ancient instruments into the modern: "...it was among the Greeks of Asia Minor that the several steps in the transition from cithara into guitar took place. The first of these steps produced the rotta (q.v.), by the construction of body, arms and transverse bar in one piece...the cithara with rectangular body, while from the cithara with a body having the curve of the lower half of the violin was produced a rotta with the outline of the body of the guitar. Both types were common in Europe until the 14th century, some played with a bow, others twanged by the fingers, and bearing indifferently both names, cithara and rotta....The addition of a finger-board, stretching like a short neck from body to transverse bar, leaving on