Antonio Torres Jurado

Antonio de Torres Jurado (13 June 1817 in Almería, Andalucía – 19 November 1892) was a Spanish guitarist and luthier, and "the most important Spanish guitar maker of the 19th century."

It is with his designs that the first recognisably modern classical guitars are to be seen. Most acoustic guitars in use today are derivatives of his designs.

Antonio de Torres was the son of Juan Torres, a local tax collector, and Maria Jurado. As was common, when he was 12 he started an apprenticeship as a carpenter. In 1833, a dynastic war broke out, and soon after Torres was conscripted into the army. Through his father's machinations, young Antonio was dismissed as medically unfit for service. As only single men and widowers without children were subject to conscription, in 1835 his family pushed Torres into a hastily arranged marriage to Juana María López, the 13-year-old daughter of a shopkeeper. Children soon followed: a daughter in 1836, another in 1839, and a third in 1842, who died a few months later. His second daughter also died. In 1845 his wife died at the age of 23, of tuberculosis. These were difficult years for Torres, who was often in debt and forced to look for more lucrative forms of employment.

Although there is some debate as to who taught Torres, one theory is that some time around 1842, Torres may have gone to work for José Pernas in Granada, rapidly learning to build guitars. He soon returned to Seville, and opened a shop on the Calle de Cerragería No. 7 that he shared with Manuel Soto y Solares. Although he made some guitars during the 1840s, it was not until the 1850s on the advice of the renowned guitarist and composer Julián Arcas, that Torres made it his profession, and he began building in earnest. Julián Arcas offered Torres advice on building, and their collaboration turned Torres into an inveterate investigator of the guitar construction. Torres reasoned that the soundboard was key. To increase its volume, he made his guitars not only larger, but fitted them with thinner, hence lighter soundboards that were arched in both directions, made possible by a system of fan-bracing for strength.These bracing struts were laid out geometrically, based on two isosceles triangles joined at their base creating a kite shape, within which the struts were set out symmetrically.

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