Giochi dell'Oca e di percorso
(by Luigi Ciompi & Adrian Seville)
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Senza titolo - Untitled (Gioco dell'Oca - Game of the Goose - Jeu de l'Oie) 
"Da una porta partir' più pellegrini......."  
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 primo autore: Spada Valerio 
secondo autore: Spada Valerio 
anno: 1650 
luogo: Italia-Firenze (?) 
periodo: XVII secolo (3°/4) 
percorso: Percorso di 63 caselle numerate 
materiale: carta (paper) (papier) 
dimensioni: 900X685 (462X330) 
stampa: Stampa su legno (bois gravé) (woodcut) 
luogo acquisto:  
data acquisto:  
dimensioni confezione:  
numero caselle: 63 
categoria: Oca 
tipo di gioco: Gioco Oca Classico (63 caselle) Verticale 
editore: Non indicato 
stampatore: Non indicato 
proprietario: Collezione Rothschild 
autore delle foto: Waddesdon The Rothschild Collection (The National Trust) 
numero di catalogo: 1175 
descrizione: Gioco di 63 caselle numerate, spirale, antiorario, centripeto. Titolo non riportato sul tavoliere.
REGOLE: non riportate sul tavoliere.
CASELLE: mute.
Al centro poemetto in versi tratto da "La Sfinge, Enimmi" di Antonio Malatesti, una raccolta di enigmi pubblicata nel 1640/43. La soluzione di questo enigma è: "Il gioco dell'oca".

"DA una Porta partir’ più pellegrini,
Per arriuare a vn luogo desiato,
Spinti dall’ossa, ch’ han negli occhi il fato,
A andar di trotto, como i Vetturini.
NON andauan’ insieme ma vicini,
E nell’vrtarsi si toglieano il lato.
E chi vn augel trouaua, era forzato
Il paßo a raddoppiar per quei confini.
UN a vn mal’ paßo cadde, e gli dispiacque,
Vn altro ebbe dal vin gran nocumento,
E un altro aßai maggior l’ebbe dall’acque.
UN per la uia smarrißi vn restò dentro
Vn carcer chiuso, vn senza vita giacque,
E vn sol di tanti giunse a saluamento."

D'une porte plusieurs Pèlerins partirent,
Pour arriver à un lieu désiré
Poussés par les os qui ont le destin dans les yeux
Pour aller au trot , comme les cochers
Quoique proches, ils n'allaient pas ensemble,
Et, en se heurtant, ils s'écartaient de côté
Celui qui rencontrait un oiseau était obligé
De redoubler le pas dans ces confins
L'un chut d'un faux pas, et cela lui déplut
Un autre, du vin, eut grand dommage
Et un autre, des eaux, l'eut davantage
L'un par les chemins s'égara, l'un resta enfermé à l'intérieur
D'une prison, un autre gît sans vie,
Et, un seul d'entre tous parvint au salut.

"From a door lots of pilgrims left
To get to a desired place.
Pushed by the bones, that had in the eyes the destiny (fate)
to trot like coach drivers.
They didn’t go together, but were close,
And bumping each other, they moved aside
And whoever found a bird, was forced to
Double their step for the borders.
One fell from a badly made step, and was upset,
Another had a big damage from the wine,
And another had a bigger one from the waters.
One got lost on the way, one got locked
In prison, one lay without life
And only one of many came to salvation."

REFERENZA 1
This classic goose game, the oldest game in the collection, is almost certainly by Valerio Spada (1613-1688), and probably dates from the middle of the 17th century, consistent with the fashions depicted. Primarily employed by the Medici of Florence, Spada was a draughtsman, calligrapher and engraver, known particularly for his frontispieces, book illustrations, views of Florence and drawings of everyday-life. He depicted geese, the suppliers of quills, in some of his beautiful illustrated manuscripts [Massar 1981: 251-275 and 319-344]. The game is of vertical (portrait) format, as is usual for early Italian Goose games. The playing spaces are entirely normal, with the non-significant spaces mostly having flowers or rosettes as decoration. In the corners are landscape vignettes, including hunting of geese with guns. In the centre, men and women play at a goose board, with other scenes involving geese in the background.
The game is characterised by a poem of 14-line sonnet form, beginning ‘Da una porta partir’ più pellegrini’. This describes a pilgrimage (fancifully undertaken by the players of the game). They leave by a single gate (the first space) but do not travel together, though they are near each other. They are driven by the bones in whose eyes is fate (the dice).The poem refers to the doubling when a bird (a goose space) is encountered, and to the perils of wine (the inn), of water (the well), of incarceration (the prison), of losing the way (the labyrinth) and of lying lifeless (death). Of the several pilgrims, only one will reach salvation (the winning space). This poem is of interest as confirming that the game was seen as a metaphor of life. Thierry Depaulis notes (2010 private communication) that the sonnet is taken from La Sfinge, Enimmi by Antonio Malatesti (II, no. 86), published in 1640-4: the Carabba edition is accessible at www.archive.org17. The solution of the enigma is given at page 155 as ‘The Game of the Goose’. Several poems by Malatesti were illustrated by Valerio Spada in Varie Poesie di diversi Autori [see Massar 1981: 259]. Both men belonged to the Accademia degli Apatisti, a literary circle founded in Florence in 1635. The representation in the central area of a Goose game in progress recalls paintings by Caravaggio and his followers, such as Bartolomeo Manfredi, in which scenes of game playing occur. In Northern Europe, such scenes often were intended as warnings against the danger of game playing. In 16th-century Italy, games were part of the culture of the Court and aristocratic games were often depicted in allegories of love [Langdon 2001: 42-65]. The Spada game was clearly intended for such a milieu and the men and women he depicts recall the soudards and courtesans of Caravaggio and Manfredi. Perhaps the game, with its theme of Christian pilgrimage, was thought a more suitable recreation than the gambling games so popular in Florence at the time. Indeed, on this interpretation, the Game of Goose could be regarded as a moral diversion, though on a small scale, comparable to the elaborate devotional books dedicated to the Quarant’ Ore, directed at resisting the temptations of Carnival. As if to underline the point, two other ‘Games of Goose’ are illustrated in the background of the central space. In one, young men compete to climb a pole to reach a goose secured at the top in a cage. In the other, more barabarous, a living goose is suspended from a rope by its feet and is attacked with a sword by by the young ‘players’ in blindfolds, until one of them succeeds in cutting off its head and gaining the prize. [Bougeâtre 1971: 244-245]: this diversion continued to be practised in Italy well into the 20th century [Kertzer 1990: 132 and 152]. A moral interpretation of this kind is not incompatible with Spada’s reputation: he was known for his decorum and ability to resist the pleasures of wine [Massar 1981: 254]. That said, the comical sight of the Christian knight mounted upon a large goose at the start of the game must have reduced the chances of the engraving being taken as a wholly serious moral imperative!
(Plock, Phillippa - Seville Adrian)

REFERENZA 2
"Goose Game with a Poem starting 'From a Door Lots of Pilgrims Left'", c. 1650, attributed to Valerio Spada (b. 1613, d. 1688), Florence, Italy; etching and engraving. Waddesdon Manor, The Rothschild Collection (Rothschild Family Trust).

This Italian game is the oldest in the exhibition. The traditional Game of the Goose is thought to have originated in Italy and the vertical format is characteristic of early Italian examples. The pictorial imagery and the verse explain 'why' and 'how' the game is played. In the centre of the course a family is depicted playing the game together. The poem likens the game to a pilgrimage. All players enter through a single gate but do not travel together. They encounter perils along the way and only one pilgrim will reach salvation. The pilgrim is visualised as a man riding a giant goose, appearing at the beginning and again at the end, with his back to the players, entering through the gate.
(Jacobs Rachel)

Exhibitions
- "Playing, Learning, Flirting: Printed Board Games from 18th-Century France". Catalogue exhibition of French eighteenth-century Board Games, 28 March – 28 October 2012, Waddesdon Manor, The Rothschild Collection (Rothschild Family Trust). Rachel Jacobs, Curator.
bibliografia: 1) BARLETTA, Gabriele: "Sermones fratris Gabrielis Barelete tam quadrigesimales, quam de sanctis noviter impressi." (pubblicati per la prima volta a Brescia da Giacomo Britannico l'11 nov. 1497 i quadragesimali ed il 13 gennaio 1498 gli altri.) Impressi Lugdunum per Magistrum Nicolaum Lupi, 1507.
2) CARRERA, P. : "Il Gioco degli Scacchi", Militello, page 25, 1617.
3) BROWNE, Sir Thomas: "Pseudodoxia Epidemica, ChXII", 1650.
4) LA MARINIERE, de: "La Maison Academique: contenant un recueil general de tous les jeux divertissans pour se rejouyr agreablement dans les bonnes compagnies", par le sieur D.L.M. [de La Marinière]. A Paris: chez Robert de Nain et Marin Leché, M.DC.LIV (1654)
5) MENESTRIER, C. F. : "Bibliotheque Curieuse et Instructive", Trevoux, page 196, 1704.
6) D’ALEMBERT et Alii: "Encyclpédie Methodique: Mathematiques" (con "Dictionnaire de Jeux, faisant suite au Tome III des mathématiques") Ed. Panckoucke e Agasse, Parigi 1792.
7) VINCK, Eugène, Baron de: "Iconographie du Noble Jeu de l’Oye. Catalogue descriptif et raisonné de la Collection de Jeux formé par le Baron de Vinck". 126 Jeux du XVIIIe au débùt du XIXe siècle. FR. J. Olivier Libraire, 11 Rue des Paroissiens, Bruxelles, 1886.
8) CULIN, S. : "Chess and Playing Cards", University of Pennsylvania, pages 843-848, 1895.
9) GRAND-CARTERET, John: "Les jeux d'oie". In "Vieux papiers, vieilles images. Cartons d’un Collectionneur", Le Vasseur&C.ie Parigi (pp. 257-276), 1896-
10) BLAU, J.L. : "The Christian Interpretation of the Cabala in the Renaissance", Columbia University Press,1944.
11) D’ALLEMAGNE,H. R. : "Le Noble Jeu de l’Oie", Paris, Libraire Gruend, 1950.
12) AMADES, Joan: "El Juego de la Oca", Bibliofilia Vol.III, Editorial Castalia, Valencia, 1950.
13) WHITEHAUSE, F. R. B. : "Table Games of Georgian and Victorian Days", London, Peter Garnett, 1951.
14) MURRAY H. J. R. : "A History of Board Games Other Than Chess", Oxford University Press, pp 142-143, 1952.
15) NEGRI, Ilio – VERCELLONI, Virgilio: "I giochi di dadi d’azzardo e di passatempo dei gentiluomini e dei pirati". Introduzione di Caterina Santoro, Lerici Milano (Contiene 125 giochi).1958
16) HANNAS, L. : "The English Jigsaw Puzzle", London, Wayland, page 115, 1972.
17) HIMMELHEBER, G. : "Spiele – Gesellschaftspiele aus einem Jahrtausend", Deutscher Kunstverlag, 1972.
18) Catalogo Mostra: "Il dilettevole giuoco dell’oca". Museo Civico Lodi (catalogo redatto da Silvia Mascheroni e Bianca Tinti), 1980.
19) MASCHERONI S. and TINTI, B. : "Il Gioco dell'Oca", Milano, Bompiani, 1981.
20) GIRARD A. R. - QUETEL, C. : "L'histoire de France racontée par le jeu de l'oie", Paris, Balland/Massin, 1982.
21) MILANO, Alberto: "Antichi giochi su carta". In "Come giocavamo. Giochi e giocattoli 1750-1960". Bonato Patrizia - Franzini Paolo - Tosa Marco (curatori della mostra), 1984.
22) VON WILCKENS, L. : "Spiel, Spiele, Kinderspiel (exhibition catalogue)", Germanisches Nationalmuseums, Nuernberg, page 17, 1985.
23) PREAUD, M. - CASSELLE, P. - GRIVEL, M. - LE BITOURE' C.: "Dictionnaire des éditeurs d'estampes à Paris sous l'Ancien Régime". Promodis,1987.
24) HUFMANN C.C. :"Elizabethan Impressions: John Wolfe and His Press", New York, AMS Press; 1988.
25) DEPAULIS, Thierry: "Sur la piste du jeu de l’oie". In "Le Vieux Papier", fascicolo n°345, ottobre 1997, Parigi.
26) DOMINI, D. : (in)"La Vite e il Vino" (exhibition catalogue), Fondazione Lungarotti, pages 37-38, 1999.
27) DEPAULIS, Thierry: "Sur la piste du jeu de l’oie II". In "Le Vieux Papier", fascicolo n°352, (pag. 269-270) aprile 1999, Parigi.
28) Catalogo Mostra: “Le jeu de l’oie au musée du jouet”, Ville de Poissy 2000.
29) Catalogo Mostra: "Il Gioco dell’oca nei tempi", Pro Loco Mirano, Ed. CentroOffset srl - Mestrino, Padova 2001-
30) ZOLLINGER, M. : "Zwei Unbekannte Regeln des Gansespiels", Board Game Studies 6, Leiden University, 2003.
31) SEVILLE, Adrian:"Tradition and Variation in the Game of Goose", in: "Board Games in Academia III", Firenze, Aprile 1999. (aggiornamento del 2005).
32) BUIJNSTERS, P.J. and Buijnsters-Smets,L. : "Papertoys", Zwolle, Waanders, 2005.
33) SEVILLE, Adrian: "The sociable Game of the Goose". In "Board Games Studies Colloquia XI", 23-26 Aprile 2008, Lisbona - Portogallo. 2008.
34) MARTINEZ Vázquez de Parga, María José: "El Tablero de la Oca" 451 Editores (Casa 451), Zaragoza, Spagna, 2008.
35) DEPAULIS T. - ZOLLINGER M.: "Le jeu de l’oie". In: Annemie Buffels (ed.). "L’art du jeu: 75 ans de Loterie Nationale". Bruxelles, Fonds Mercator / Loterie Nationale, 2009, pag. 70-77.
36) MILANO, Alberto - CRIPPA, Giuliano: "GIOCHI DA SALOTTO. GIOCHI DA OSTERIA nella vita milanese dal Cinquecento all'Ottocento". Catalogo Mostra Palazzo Morando, Via S.Andrea 6 Milano. (Con la collaborazione di Giuliano Crippa). Edizioni Gabriele Mazzotta, 2012.
37) SEVILLE, Adrian: "The Royal Game of the Goose four hundred years of printed Board Games". Catalogue of an Exhibition at the Grolier Club, February 23 - May 14, 2016.
38) SEVILLE, Adrian: "The Medieval Game of the Goose: Philosophy, Numerology and Symbolism". In: "From cardboard to keyboard". Proceedings of Board Games Studies Colloquium XVII; Eddie Duggan & David W. J. Gill (Eds.) Associaçao Ludus, Lisbona 2016.
39) GIAMMINUTI, Patrizia: "Il Gioco dell’Oca: una proposta iconografica". In "Ludica. Annali di storia e civiltà del gioco", 23, 2017.
40) SEVILLE, Adrian: "The Cultural Legacy of the Royal Game of the Goose. 400 years of Printed Board Games". Amsterdam University Press, 2019.


 
  "Tradition and Variation in the Game of Goose" (A. Seville)
   
 
   
  Accession N°2669.1.20 Waddesdon-The Rothschild Collection
 

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