In the morning, when the police scoured Rob's room for clues, all they could find was a bloodstained doorknob and three small crimson beads. Each of the three rooms displays a significant alteration in the instrument. The show neatly informs us of guitar history while we feast on choice visual and audio morsels. In the first room, the early guitars' intricate adornments overcome us. Spruce and rosewood construct one of the earliest surviving guitars, from Lisbon.
Ivory caning crisscrosses the sound hole like lace.
White swirls cascade down this 16th-century Baroque guitar's neck. Adjacent to it, hangs a Joachim Tielke guitar, created circa 1641-1719. The harp-guitar's development ties the first two rooms together. Tuned to an open C chord to sound like a harp, this instrument usually includes more bass strings. Mordaunt Levien's 19th-century version combines a wider head and neck with a teardrop body.