The Renaissance cittern, likely derived from the medieval citole, is a small, flat-backed instrument with four strings, often played with a plectrum. It differs from instruments like the lute by using metal strings, typically made of brass or steel, which produce a brighter sound and require less maintenance than gut strings. These metal strings also allowed for better tuning stability.
Renaissance cistrens were often equipped with fixed frets, usually arranged diatonically, which made chord formations easier but limited access to all possible notes. By the 17th century, chromatic models, capable of playing all notes, began to spread.
The construction of the cittern also set it apart from the lute, as it featured a flat back and curved ribs, making it simpler and cheaper to produce. Less fragile than the lute, the cittern was a sturdy, low-maintenance instrument that became widely popular. Its popularity is reflected in its use in public spaces and gathering places, such as in Elizabethan England, where it was common to find cistrens in barbershop waiting rooms. Clients would often play the cittern to pass the time while waiting, highlighting its accessibility and its place in the everyday culture of the time.

The cittern-maker Ugo Casalonga built for the ensemble a copy of the cittern made by Gasparo da Salò in Brescia in 1560, which is currently displayed in the “Hill” collection at the Ashmolean Museum in Oxford (UK). The instrument is made of flamed maple and Jura spruce for the soundboard.