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Laurie’s New and Entertaining Game of The Golden Goose

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	primo autore:	Anonimo
	secondo autore:	Laurie Richard Holmes
	anno:	1831
	luogo:	Inghilterra-Londra
	periodo:	XIX secolo (2°/4)
	percorso:	Percorso di 63 caselle numerate
	materiale:	carta incollata su tela (engraving on paper with linen backing)
	dimensioni:	406X472
	stampa:	Litografia colorata (hand coloured engraving)
	luogo acquisto:
	data acquisto:
	dimensioni confezione:
	numero caselle:	63
	categoria:	Oca
	tipo di gioco:	Gioco Oca Classico (63 caselle) Orizzontale
	editore:	Published nov.r 22 1831 by Rich.d Holmes Laurie N°53 Fleet Street, London
	stampatore:	Published nov.r 22 1831 by Rich.d Holmes Laurie N°53 Fleet Street, London
	proprietario:	Collezione L. Ciompi
	autore delle foto:	L. Ciompi (da "Goodfellow C.)
	numero di catalogo:	1383
	descrizione:	Gioco di 63 caselle numerate distribuite sul corpo di un'oca. REGOLE: sul tavoliere. CASELLE: mute. REFERENZA 1 "Laurie’s New and Entertaining Game of The Golden Goose". (Victoria&Albert Museum). The Game of the Goose is generally regarded as the prototype of the modern race game. It was devised in Florence, Italy, in the last quarter of the 16th century and first came to England in 1597. This game is apparently a reprint or a re-engraving of a plate used for an edition of the game issued at the end of the 18th century or the beginning of the 19th century. Instead of the more usual sequence of numbered spaces, this design places the playing area within the body of a goose. The numbering starts beneath the goose's eye and continues from right to left, and back from left to right across the body to the last number, 63, which is at the bottom by one of the legs. Physical description Design: engraving; impression from the plate used for printed the playing sheet; goose in a landscape with circular medallions on the body; 18 sheets on linen. N°of squares: 63 Squares illustrated: some Square numbering: all Squares titled: 6,9,11,52,58 ; others with goose Subject of starting square: blank Subject of ending square: blank Place of Origin: London Date: 22/11/1831 Artist/maker: R. H. Laurie Materials and Techniques: Hand coloured engraving on paper backed with linen Dimensions: Height: 40.6 cm; width: 47.2 cm Object history note: Richard Holmes Laurie was at the 53 Fleet Street address between 1813 and 1859. See also note at the end of the Rules. Another impression E. 1752-1954. The game was re-issued several times. The goose is set against a river scene with a house in the far left distance and three large `golden eggs' in the lower left corner Historical context note Rewards: receipt of stakes, forward movement, extra turns. Forfeits: payment of stakes, backward movement, missing turns. N°of Players: any Equipment required: dice, markers, counters Rules: RULES TO BE OBSERVED IN THIS GAME: 1. This game is play'd with a pair of dice and any number of persons may play at it. 2. Whatever number it is that anyone throws, the person must place his counter in the white shape under the same number. For example, - Should the cast be 6 and 3, he must place the counter at 9; if the cast be 6 and 5, he must place the counter at 11; and, when he throws again, he must add the number to that where his counter lies and so remove accordingly. 3. He that throws a 6 must pay a stake for his passage over the Bridge and go to 12. 4. He that throws a Goose, must double his cast forward from his last place. 5. He that throws 19, where the Ale House is, must pay a stake and drink till his turn comes to throw again. 6. He that throws 31, where the well is, must stay there till everyone has thrown twice, unless, someone else throws the same and then he must return to that person's place. 7. He that throws 42, where the maze is, must pay a stake and return back to the number 29. 8. He that goeth to 52, where the Prison is, must pay one stake and stay there a prisoner till somebody relieves him by throwing the same number. 9. He that goeth to 58, where Death is, must pay one stake and begin again. 10. He that is overtaken by another, must return to his place that overtook him and both must pay a stake. 11. He that overthroweth the number 63 must return back and begin as at first. 12. He that throweth the just number 63 winneth the Game. Notes: Nos. 14,18, 23, 27, 32, 41, 45, 50, 54 and 59 each show a goose. The numbering of the playing sheet starts at 1 beneath the goose's eye and then continues from left to right, back right to left across the body to the last number 63 which is at the bottom by one of the legs. This game is apparently a reprint or a re-engraving of a plate probably used by Laurie and Whittle for an edition of the game issued at the end of the 18th century or the beginning of the 19th century. The Game of the Goose, the prototype of the race track games, was invented in Florence in the last quarter of the 16th century and first came to England in 1597. Rules placement: in egg shape in the centre of the plate beneath top margin Descriptive line: Hand coloured engraving, Game of the Golden Goose, published in England by R. H. Laurie in 1831. REFERENZA 2 "Laurie’s New and Entertaining Game of the Golden Goose", London: Richard Holmes Laurie, 1831, 40 x 51 cm. (Yale University GV1199 .L38 1831.) HOW TO PLAY THE GAME: Like The Royal Pastime of Cupid, or, Entertaining Game of the Snake (at left), this game is a classic race game, with the track laid within an outline of a goose. Players lost a turn if they landed on the Inn, as payment for “beverages.” Death (square 58) was the worst roll; those who landed on it had to go back to the start. (Patrons) Exhibitions: - "Instruction and Delight: Children's Games from the Ellen and Arthur Liman Collection" (Yale Center for British Art, 17 January-23 May, 2019).
	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.
		"The Development of the English Board Game", 1770-1850 (Caroline G. Goodfellow)
		Throughout the 18th century and well into the 19th century, the size of the middle income group of merchants, solicitors, doctors and industrialists grew. Trade flourished and unknown areas were explored. The adventurers who were prepared to open shipping routes and establish trading agreements reaped rich financial rewards. This was an age of enlightenment, invention, innovation and scientific discovery. Games were a part of the industrial and social life of entire nations, reflecting changing ideas and ideals, particularly during periods of major upheaval. The upbringing of children within these middle class families changed dramatically. Education became essential, covering not only the `three Rs’, but sensible grounding in national and international affairs. National pride and achievements were stressed, as were faults. In general, everyone seemed to be looking outwards, to try to understand new concepts. We must, however, when viewing the games of this period, remember to set them against their own time rather than to evaluate them in the light of modern history, knowledge or ideals. The publishers of many of these games were already established producers of maps and books, many of which were aimed at children. The idea of creating an educational tool was, in a way, a novelty. The Game of Goose was already well known and it required few changes to create The Game of Human Life or the History of England. The games were well received by parents who appreciated the educational aspects, the children’s resulting enjoyment and possibly that the games could be played in relative peace and calm. The early games stressed learning through play, but this aspect was gradually dropped in favour of sheer enjoyment of play. However, not all games were that enjoyable despite the claims of their titles. Perhaps the whole logic of such games was summed up by John Harris in the introduction or Advertisement as it was called to his game Historical Pastimes which was published in 1810. “The utility and tendency of this Game must be obvious at first sight; for surely there cannot be a more agreeable study than History, and none more improving to Youth, than that which conveys to them, in a pleasing and comprehensive manner, the Events which have occurred in their own Country. The little prints, which are regularly numbered from 1 to 158, represent either Portraits of principal Personages who have signalised themselves as Kings, Statesmen, Churchmen, Generals, Poets etc., or some remarkable Occurrence in our Country. This will naturally excite a curiousity in the youthful mind; and that curiousity will be gratified in the short account of each reign subjoined. On the whole, the writer flatters himself, that the public approbation will convince him, that the hours he has devoted to the formation of this little Scheme, have not been spent in vain.” It is known from surviving records, paintings and artifacts that games of the period (and today) are played in a similar way to those of ancient civilisations in the near and far east. There are only a few basic methods of playing games and over the past 250 years many thousands of variations have been created. The basic methods of play come down to four types – race games, strategy games, table games and card games. Many were originally developed for adults and were later adapted for children. Today I will be discussing only board games developed in the United Kingdom. It was the race game which above all became the basis for the educational game of the late 18th century and first half of the 19th century. The aim was to win but it was played with an element of chance and normally gambling was included by the means of a central kitty or pool into which players placed an agreed number of counters. Throughout play, rewards were given and penalties paid; sometimes these were the receiving or forfeiting of counters and at other times forward or backward movement on the board itself, though not the removing of markers from the board unless there was a provision for retirement from the game. Why was this format produced for the wealth of educational games, including those teaching morals and behaviour, even though they retained the element of gambling and chance? Quite simply they were exciting to play. Astute publishers could use this characteristic to great advantage to encourage learning and reading skills. The Game of Goose is generally regarded as the prototype of the modern race game. Devised in Italy and taken from much early formats of games played in the Middle and Far East, it was first noted in England by John Wolfe in 1597 as “the Newe and Most Pleasant Game of the Goose”. There were usually 61 or 63 squares or compartments which stressed good and bad behaviour. Of these squares, a number were plain and a number decorated with either a scene or a goose. Landing on a goose was a good move and rewarded, often with the words “double his chance forward”, while if landing on a bad square such as the Ale House a double penalty was paid usually in the form of a counter to the pool and waiting until all others had taken a turn. There were also very severe penalties such as death or overthrowing the end of the game, which required the player to either start again or withdraw from the game completely. One of the earliest versions of this game was published about 1725 by John Bowls & Son and one of the latest during the 1980s. In general the format was a spiral or a flattened spiral but occasionally a new design was made, for example a one published by Richard Holmes Laurie, November 22, 1831. It shows a huge goose with three golden eggs set against a country scene. Variations of a theme were numerous. Laurie & Whittle, successors to Robert Sayers (they in turn were succeeded by Richard Holmes Laurie) continued to publish The Royal Pastime of Cupid Or Entertaining Game of The Snake which was based on the ancient Egyptian Game of the Snake, however, possibly in design only and not in rules. The reissuing of existing and popular games, often by successors to a business, was common. In many cases, no changes were made; in other case’s additions were included to update a game, particular ones on history or geography. All that a publisher needed to do was change the name and date of publication. Perhaps one of the best games of a goose was The New and Favourite Game of Mother Goose and The Golden Egg. It shows episodes and characters from the pantomime of the same title and includes Clown and Harlequin and places in London. It was published at the height of the career of Grimaldi the Clown, in September 1808, by John Wallis. Many of the first publishers of games were in fact cartographers and they quickly included the race game idea into game of Geography. The spiral format was not used; it was replaced by a map – of England and Wales, Scotland and Ireland (collectively or individually), of Europe or of the world. One of the first publishers was Robert Sayers, working from 53 Fleet Street. He published much for children including puzzles and other games. Having started in 1745, he was succeeded in 1794 by Laurie and Whittle. The ideas for geographical games are summed up in a statement in the booklet of Geographical Recreations or A Voyage around the Habitable Globe, 1809. “The game, consisting of 116 little prints of the most interesting objects in Geography, is designed to familiarise youth with the names and relative situations of places, together with the manners, customs and dresses of the different nations in the habitable globe; and, as curiousity will naturally be excited by the scenes which present themselves, and the observations likely to occur, it is presumed that these, with an occasional reference to the Synopsis herewith given, will prove a continual source of amusement to young people of both sexes, and will furnish such a fund of geographical knowledge, as may prove equally beneficial in reading and conversation.” This statement shows the high hopes that many publishers had for their games. The geographical ones could be boring to look at, they were simply maps, often surrounded with vast texts. One wonders now as we play these games, were the youths of both sexes excited, amused or entertained by any of them. Often the titles were more exciting than the games. There were The Tours of Europe, England and Wales by John Wallis, The Royal Geographical Amusement of The Safe and Expedious Traveller, The Royal Geographical Pastime. By the mid-19th century, many geographical games were devised on a pictorial note rather than simply maps. The historical and geographical games are quite illuminating when studying them for the context. To the modern reader, one may be surprised to see how well informed many of the comments could be. For example in A Tour Through The British Colonies and Foreign Possessions, published by John Betts, there is expressed disapproval in the selling of alcohol and weapons to North American Indians and the accepted fact that Sebastian Cabot rediscovered Newfoundland in 1496. William Darton, on the other hand, with his beautiful game The Noble Game of The Elephant and Castle, Or Travelling in Asia, 1822, seemed quite mystified by the strange ways and creatures found there for which there was no ‘rational’ explanation; this included a woolly mammoth. The games of geography essentially looked at the world from a British viewpoint but the publishers did acknowledge that other places and people might be interesting. The history based games, however, were altogether more inward looking and usually strictly based on events as they affected the British Isles. During the period under discussion, King George III was on the throne for most of the time, from 1760 to 1820. He and his son became the focal points for the games whether or not the events actually happened during their lifetimes. The second rather amazing fact is that for many of the history games, nothing happened before 1066 and the invasion of William the Conqueror. There are a few exceptions. One was The New Game of Universal History and Chronology, published in 1814 by John Wallis. This game starts with Adam and Eve, Anno Mundi 1. All the dates are given with great conviction, for example the Universal Deluge occurred in AM 1636. One now wonders how this knowledge was lost between then and today. The games of history had many squares, often more than 150, and of course by reducing the period of history covered more details could be included. The games were often re-issued and reworked with changes being added in or adapted, especially with the death of the kings. George the Third reigned for so long, that a game was published by John Harris to celebrate his Jubilee in 1810. The squares showed events of his lifetime and the text in the accompanying booklet was very flowery when in praise of the king but was equally robust when describing some of the more disagreeable events. Included also were scientific and geographical discoveries. Ten years later John Harris reworked The Jubilee as The Sun of Brunswick to celebrate the new king, George IV. The last 20 odd compartments were redone to include the deaths of Queen Charlotte, wife of George III, Charlotte Augusta the daughter of George IV, who was in a fact heir to the throne and known as Princess of Wales, and of George III himself. By the 1840s, Queen Victoria was on the throne and one of the most important new inventions was the railway, both were added to reissue games. Gradually both history and geography-based games were replaced by other forms of games and of course, methods of learning. But these subjects were not the only ones to be treated in this way. Mathematics, natural history and languages were also subjected to the race game format though generally these games were not as attractive to look at. However, if played correctly, they were enjoyable ways of learning. An Arithmetical Pastime was published in 1791 by C. Taylor. It had 100 circles, some of which contained illustrations while others had directions and forfeits to be paid. The forfeits were repeating tables, some of which were obvious such as the times tables, others were less so, for example the wine measures. Other tables are not now used – the avoirdupois, for example, measured pounds and ounces. If a player could not meet the forfeit, he had the choice of missing turns or moving backwards. A later version, with the same title, had quite different rules and used two teetotums for the moves and to learn the mathematical disciplines. The players had to subtract, multiply or divide the two numbers given by the teetotums and the result formed the move. Used to accompany the game was a set of verses to be read out and a list of further rewards or forfeits. This version was the ultimate teacher as it taught everything - morals, history, geography and arithmetic. inked to mathematical games were those of astronomy. Science in Sport or The Pleasures of Astronomy, published 1804 by John Wallis, had 35 compartments with the portraits of astronomers and representations of astronomical phenomena. At the time nine planets and their movements around the sun were known, however, these were added to with fictional representations, for example The Man in the Moon. Often behaviour traits, The Studious Boy and the Blockhead, signs of the zodiac, comets, rainbows and even known astrologers were shown. The Circle of Knowledge, published about 1845 by John Passmore, included the zodiac around the central compartment. Unlike many games of the time, it was arranged in four concentric circles. As well as the zodiac and the four cardinal compass points, Europe, Asia, America and Africa were shown, together with the four seasons, the four houses of the zodiac and the four sciences - electricity, chemistry, optics and astronomy. The illustrations too were unusual, for example fire was illustrated by a volcano, a burning farm and a pit explosion while optics were shown as a giant telescope, a magic lantern show and the perspective of a tunnel. One of the best games of natural history was William Darton’s 1820 version of British and Foreign Animals. The subtitle again gave graphic details about the aims of the publisher with “A New Game, Moral, Instructive and Amusing, designed to allure the Minds of Youth to an Acquaintance with the Wonders of Nature.” Both domestic and wild animals were included, even the Australian kangaroo. A companion game published by Darton in 1822 had the wonderful title The Delicious Game of The Fruit Basket or The Novel and Elegant Game of The Basket of Fruit. Sadly only the design and title were delicious as the game dwelt mainly on penitentiaries and trial by jury, the Royal Academy, hospitals, national schools and the School for the Blind, sciences and religion. Both games while following the principles of rewards and forfeits were very much a teaching tool. William Darton’s games seemed to have a sombre side as many were very moral and rather disagreeable in tone yet beautifully executed. He later produced one which should have cheered everyone up, called A Voyage of Discovery or The Five Navigators, 1836. However, it dealt with the dangers and incidents likely to befall sailors. We have touched on the games teaching history, geography and so on but the final main group was that of morals; these games were extended forms of the original Game of the Goose. Within many of the previously mentioned games, morals were included, however, the publishers devised many more which were very strict. Often they had good titles and possibly the best was The New Game of Virtue Rewarded and Vice Punished for The Amusement of Youth of Both Sexes, published in 1820 by William Darton. A generation earlier, a similar subtitle was “Designed for the Amusement of Youth of Both Sexes and Calculated to Inspire their Minds with an Abhorrence of Vice and a Love of Virtue.” Taken from The New Game of Emulation, published by John Harris in 1804, this game actually showed many images a child would actually come across, a shepherd with his flock, a church, school, even a rocking horse while the almost cryptic words “cheerfully exert themselves to obtain an honorary prize” while being “perfectly aware of the consequences of disgrace and naturally dread it” rather deadened the pleasing illustrations. Two methods of teaching morals or behaviour were produced, though both used the same games format. One method was based on the passage of life from infancy to old age and death and showed the temptations one might meet along the way. These tended to have straight formal titles such as The Game of Human Life and more often than not were based on the male life to the exclusion of females. However, the games were not restricted to boys playing them, as the subtitle to The Game of Human Life states “...most Agreeable and Rational Recreation ever Invented for Youth of Both Sexes.” Parents were encouraged to instruct their children on each of the characters, usually 84, with “a few moral and judicious observations... and contrast the happiness of a virtuous and well spent life with the fatal consequences arising from vicious and immoral pursuits”. Most of the characters have the same meanings today although some of the pursuits would not now draw penalties, for example The Romance Writer must pay two and move back to the Mischievous Child and the Dramatist must pay four and begin again. The Tragic Author has the harshest as he advances to the Immortal Man and dies but to compensate him he actually wins the pool or kitty by finishing first. The game quoted was published in 1790 by John Wallis and Elizabeth Newbery. (While we are discussing only English games of this period, there are some very fine French and German examples of The Game of Human Life, often far more intricate in design.) The second method, developed slightly later, was stricter and based on the fundamental principles that if you behave properly all bodes well, but if you slip from the straight and narrow the penalties are severe. These titles were much more lucid with The Cottage of Content or Right Road and Wrong Ways, The Journey, The Mansion of Bliss and The Mansion of Happiness. (This latter one is also the title of one of the first American board games, published by W & S B Ives in 1843.) Penalties were paid for often routine bad traits – straying, boasting, wasting time, idleness, self-indolence, obstinacy, ignorance, pride, conceit and forgetfulness; other traits were considered very bad - theft, lying, drunkenness, cheating. In most of the games there were more bad than good traits – recollection, repentance, patience, kindness, exertion and diligence. Snakes & Ladders was the game which took over the teaching of morals, and it was a version of a game introduced from India. Like the earlier versions, there were more snakes, the baddies, than ladders, generally 12 to 8. By the middle of the 19th century new processes were being introduced, lithography had been developed which was cheaper than the engraving and etching processes, even though the publishers had been one of the first groups to involve themselves in new technology – the use of static steam presses instead of hand operated ones. Many of the original group had died. The men and women who developed these early teaching games seemed to be inspired and that inspiration seemed to die with them. New publishers, new methods of production, new methods of teaching and new games formats changed the look of the board games and the very reasons for their existence. As we study them today, however, the games remain excellent teaching tools. We learn from these games the history and social life of the people, what they felt was important and how they regarded themselves in relationship to the rest of the world and other cultures. Publishers Mentioned John Wallis, with sons John and Edward; one of the most prolific publishers of games and dissected puzzles between 1775 and 1847. Also worked with John Harris and Elizabeth Newbery. Elizabeth Newbery, part of the leading publishing family of children’s literature during the 18th century; John Harris managed her establishment. Worked with John Wallis John Harris, took over Elizabeth Newbery’s business in 1801 and worked until it was sold in 1843. Robert Sayer, one of the earliest publishers of children’s games, 1745-1794. Laurie & Whittle, Robert Laurie and James Whittle; acquired the business of Robert Sayer in 1794. Richard Holmes Laurie succeeded Robert on his death in 1812 and James Whittle on his death in 1818. Also worked with other publishers including William Darton. William Darton, established 1787 and under went many name changes depending on the partners and sons. The William referred to here was the son who opened his own establishment in 1804. John Betts, leading 19th century publisher between 1827 and 1874. John Passmore, published from 1840 to 1869.
		"Tradition and Variation in the Game of Goose" (A. Seville)
		This paper is an extension of that given at the colloquium Board Games in Academia: Firenze, April 1999. The title recalls with great respect a presentation to the society "Le Vieux Papier" given in 1982 by the late Pierre Dietsch, that unsurpassed collector of the Jeu de l'Oie. 1.Origins and basic rules The Game of Goose (Jeu de l'Oie, Gioco dell'Oca) has its roots in the Italy of Francesco de' Medici (1574-87), who, it is said [Carrera 1617], sent it as a present to King Philip II of Spain. The game then took hold there and elsewhere in continental Europe, where it is still played. It is a spiral race game, played with double dice and the usual tokens, the aim being to arrive (exactly) at the final space, numbered 63. The moves are entirely determined by the throw of the dice and by the rules – no judgment is required of, or available to, the player. In the standard form of the game [Murray 1952] the favourable spaces are denoted by geese. The thrower goes beyond the goose by the amount of the throw, and continues thus until no goose is encountered. The geese are disposed in two interleaved sequences, each with a spacing of nine: 5,14,23,32,41,50,59 9,18,27,36,45,54,[finish, 63] A special rule is needed to cover the initial throw of nine, otherwise the fortunate player would simply hop by nines forward from goose to goose until the winning end space was reached. The rule is that an initial throw of 6,3 means 'go straight to 26'; an initial throw of 5,4 means 'go straight to 53'. From 53, the player can win outright on the next throw. However, since 63 must be reached exactly, such a win is by no means certain. Overthrows are completed by counting the excess points backwards from 63. Complexities near the finish, including the possibility of having to start again (see below) add greatly to the playing excitement. Landing on another player's counter involves changing places and (in most versions) paying to the pool. Landing on certain hazard points also involves paying to the pool and has other consequences: n. 6, a bridge, go on to 12; n.19, an inn, lose two moves n.31, a well, wait until another reaches the place then exchange places n.42, a maze, go back to 39 (or, in some versions, to 30) n.52, a prison, wait as for the well n.58, a death's head, go back and start again An additional hazard, the goblet, is occasionally found, on 62. The placement of the death space is particularly interesting. If a player were allowed to throw from space 58 and happened to throw 9, then because of the reverse overthrow rule, he or she would land on 59. But this is a goose space and the player would continue to move retrograde by 9, landing successively on 50, 41 etc until 5 was reached and the next move would go off the board into negative territory. To avoid this ‘bug in the program’ it is necessary for space 58 to have a hazard that directs the player elsewhere. The fact that the direction is ‘start again’ is entirely consistent with the bug that is being avoided and shows considerable elegance of thought. 2.Cabalistic significance and numerological scheme The numbers in this complex game are not arbitrary. The number 63 is highly significant in Cabalistic systems of thought. The Cabala, a system of Jewish mystical theology developed in Spain in the 12th - 13th centuries, though based on an earlier manuscript, was adapted for Christian use in the Renaissance. Italian scholars such as Pico della Mirandola [d. 1494] were especially significant in this adaptation, though it was a pan-European phenomenon. [Blau 1944]. The Cabala drew on complex symbolism to assign numerical values to words and hence to associate particular significance to the numbers themselves. The number 63, the product of 7 and 9, represents the Great (or Grand) Climacteric [Browne 1650]: "And so perhaps hath it happened unto the number 7. and 9. which multiplyed into themselves doe make up 63. commonly esteemed the great Climactericall of our lives; for the dayes of men are usually cast up by septenaries, and every seventh yeare conceived to carry some altering character with it, either in the temper of body, minde, or both; but among all other, three are most remarkable, that is 7. times 7. or forty nine, 9. times 9. or eighty one, and 7. time 9. or the year of sixty three; which is conceived to carry with it, the most considerable fatality, and consisting of both the other numbers was apprehended to comprise the vertue of either, is therefore expected and entertained with feare, and esteemed a favour of fate to passe it over which notwithstanding many suspect to be but a Panick terrour, and men to feare they justify know not what; and to speake indifferently, I finde no satisfaction, nor any sufficiency in the received grounds to establish a rationall feare." In its original form, Goose is clearly a game of human life, with favourable spaces (geese) that have the effect of doubling the dice-throw forward, and with hazards, such as the prison, labyrinth and death. Mascheroni and Tinti [1981 - translation by the present author] have commented on the Cabalistic numerology of the game. "The course, earthly and spiritual, is laid out in nine sequences, according to the mediaeval belief that the human metamorphoses from infancy to old age will occur every seven years; the 63, called "grand climacteric" will conclude the cycle of life. There are also seven perils distributed along the course interspersed with the geese, those beneficent dispensers of points. The presence of 9 x 7, cabalistic numbers laden with superstition and esoteric value, seems to constitute the magic/symbolic fabric of the game." It is not clear from the above passage why in the game the geese are disposed every nine spaces, rather than every seven, nor why there are two interleaved sequences of geese. Nevertheless, the association with Cabalistic numerology is clearly very suggestive. Mascheroni and Tinti continue: "There are those who have interpreted as an allegoric key the rules, misfortunes and losses associated with the numbers of the points where the perils are found- see Duchaussay, "La Bestiare Divin, ou la symbolique des animaux" Paris 1958- 31 the well: indicates grave error: 3+1=4, the "material" number, retarding spiritual advancement until another comes to liberate (redemption); 42 the labyrinth: initiation, choice of path: made up of 6x7, it is the number of Justice, of Osiris and of the justices of life; 58 death: 5+8=13, renewal: not physical death, it is a liberation, but that of the soul". However, other interpretations are possible. The purpose of referring to this analysis is not to accept it in detail but rather to emphasise that the placement of the geese and of the hazards in the original game was not accidental, nor was it entirely governed by the mechanistic constraints of play. Instead, it was governed by considerations that we would now call 'occult' but which in Francesco de Medici's time would have been regarded as at the forefront of philosophical knowledge. Indeed, the high purpose of the Christian Cabalists was to achieve no less than a universal synthetic system of thought. Probably, the game was seen as a means of foretelling the future, or even of influencing it, analogous to the use of 'judicial' astrology. It was thus a suitably potent gift for a powerful royal ally who was, like Francesco, interested in numerology. It is not known with any certainty what the symbol of the goose itself signifies. The goose is, in various cultures, associated with divination; with fertility; and (more simply) with the pleasures of food and prosperity. Donatino Domini [1999] supports this latter hypothesis, pointing out that the iconographic evidence of the ‘popular’ tradition of goose games is unequivocally materialistic. However, reliable contemporary evidence of the significance of the goose to the game’s inventors is lacking. It is also possible that they borrowed the goose symbol from an earlier game, now lost. 3.Developments of the game - an overview Many variations on the game have been developed using the basic structure of the Game of Goose. Indeed, in many countries, the phrase is used to mean any race game played with dice- whether or not descended from the original game. For the present study, however, the key feature is the doubling forward of the throw upon landing on one of the favourable spaces. This common feature serves to identify goose games descended from the original, differentiating them from other spiral race games. In other respects, these 'goose games' may be very diverse, often having no overt reference to geese, but using themes with political, educational, moral or historical significance - or having no significance at all, as when the geese are simply replaced by another device (e.g. by monkeys). They may also depart from the original form by extending or truncating the spiral track or by otherwise altering the numerical relationships. New variants of the game are still being produced for advertising purposes. A feature of these games is that almost all include printed statements of the detailed rules of play. The variations in these rules seem to have been little studied yet they provide an interesting means of probing the diffusion and development of goose games in Europe. As will be indicated below, in Italy, the strength of tradition has been such as to keep rule variations to a minimum. By comparison, in France - where the game had its most spectacular development - there is somewhat more freedom. In Germany, though, the variations are so widespread that games of the strict traditional form are in a minority. As we shall see, the rule variations indicate that the numerical and symbolic aspects of the game were not fully understood. This is still more true of England, where in some cases there are also capricious features, indicating that the playing principles themselves were not fully assimilated. It is hoped that the following brief treatment of this subject will, though incomplete and impressionistic, suggest lines and techniques for further study. There is no attempt to claim that is the result of an exhaustive study of all known goose-type games: there are several thousand, at least. 4.The Italian Tradition Mascheroni and Tinti [op cit] give many diverse examples of the game of goose in Italy. Published examples of the game of goose in traditional form, with exactly original rules and disposition of the favourable and unfavourable spaces, can be found in all epochs. However, the iconography and decoration is quite various, often moving with contemporary fashion. Sometimes, however, even where a contemporary style of letterpress is used, the playing area may appear anachronistic, because of the use of old blocks or plates by the printer. In almost all examples, great care is taken to show by a representation of a pair of dice in the appropriate spaces how to play the initial throw of nine: so, space 26 shows explicitly the throw of 6,3 and space 53 shows 5,4. A frequent variation is to extend the track to 90, reflecting the great popular interest in the Italian State Lottery, where the extraction is from 90 balls and 90 is a ‘lucky’ number. The sequences of geese are then extended in a regular way and additional hazards (the fountain at 71, the tower at 82) are introduced. The arrangements made for the initial throw are extended by making it possible to win on the next throw from a throw of 6,6. By prior agreement, the game can still terminate at 63. Non-standard games do exist (e.g. where elements of another race game, Il Barone, are introduced) but are uncommon before the 1900s, when more variety begins to be shown. However, even in a late and considerably debased example, such as the Cristoforo Colombo game, used to promote political links with the United States of America in 1948, the goose-game structure is quite evident. Here, though, the favourable spaces are the Statue of Liberty! 5.France - many themes and several variations In France, the basic game of goose - albeit with iconographic and decorative developments - may be seen in all periods, just as we observed for Italy. There is slightly less rigidity in the presentation. For example, though pairs of dice are shown at spaces 26 and 53, they often do not explicitly show the particular throws: they have become partially decorative elements. France, though, is most remarkable for the great proliferation of goose-based games with different themes [D’Allemagne 1950;Girard and Quétel 1982] including especially educational games, a development which began as early as the middle of the 17th century. Though all are based more or less on the goose structure, there is considerable variation. A distinct sub-class of game results when only a single sequence of favourable spaces is provided, invariably on 9,18,27, 63, omitting the sequence beginning on 5, 14. This may be because of the difficulty of providing sufficient iconographic ideas to fill both sequences when the favourable spaces are not filled by a repeated element. For example, in the Jeu des Guerriers Francais (Basset, Paris c. 1820) the favourable spaces are Napoleon's victories (Marengo, Austerlitz, Jena, Friedland, Esling, Wagram) ending at 63 with the French star of victory. However, this procedure was not always adopted. A contemporaneous game by the same publisher, the Jeu Instructif des Peuples, has the double sequence of favourable spaces. Here, they are the countries of Europe (5 Angleterre, 9 Russie etc) culminating in 63 France. Space 58 (death) is occupied by Nouvelle Zelande, and shows a traveller 'ready to be eaten by the anthropophagi'. There is the usual rule for 58, start again. However, in the former game, although space 58 shows a military execution (consistent with the death idea), the rule for this space says 'stay until someone comes to release you'. Evidently, if such variations were permitted, the full symbolic significance of the game was not appreciated. Nevertheless, it is remarkable that the basic structure of the game survived as strongly as it did, given that the themes had nothing overtly to do with the original game. 6.Britain: a tradition lost It is remarkable that the game of goose came to England from Italy so soon after its invention. It was duly registered by John Wolfe at Stationers Hall in London as 'the Newe and Most Pleasant Game of the Goose' on 16 June 1597. Much is known about Wolfe: he was apprenticed to train as a printer in London, became a master printer in Florence but returned to England to become a high official of the Stationers' Company and, in 1593, Printer to the City of London [Huffmann 1988]. However, we do not have the registered copy of the imported game itself. The version bearing John Overton's mark is the earliest English example known to the present author: it was dated as c. 1660 in the Sotheby's catalogue of the sale of the Linda Hannas collection in 1984. It is a pure original goose game, with all rules and features. Interestingly, certain of the iconographic elements are taken directly from Italian examples of the game: the antique- clad figure at the start, the figures drinking in comfort sitting on a barrel at the finish. It is possible that this form of the game, with its distinctive ‘tavern’ iconography, was modelled on that imported by Wolfe. If so, it could be significant that it bears the phrase: "Invented at the Consistory in Rome" - for John Wolfe was certainly in a position to know something of the origins of the game. Some later examples from the early 1700s repeat these features. However, a significant variation occurs in examples printed by John Bowles (c. 1725) and later by Robert Sayer (c. 1750). Here, the geese normally on spaces 5 and 9 are altogether missing. There is thus no need for a rule governing the initial throw of nine. Interestingly, the pairs of dice are still pictured - but for a different purpose. They appear at space 9 (showing 5,4) and at space 11 (showing 6,5) and attention is called to them in the rules as showing how to move one's counter. It is surprising that such elucidation should have been thought necessary, given the fact that goose was a popular game. The true explanation may be that the publishers wished to vary their game so as to be able register it as a new design at Stationers' Hall. Other variations were more considerable, such as the 'Royall Pastime of Cupid, or the New and Most Pleasant Game of the Snake' published by John Garrett and others. Here, though the fundamental feature of doubling the throw on the favourable spaces (cupids) remained, the numerical relationships were lost, apart from the finishing space on 63. An interesting and uncommon variant is Courtship and Matrimony (c.1800) The example in the present author's collection has words and music in two parts for the 'bride' and 'groom' to sing. The favourable spaces include goose-type sequences but contain initial lines of favourite songs of the day. Most interesting, though, is the arrangement made to avoid the use of dice, if this is desired for moral reasons. A circle for a central spinner is provided, divided into 18 equal divisions. This enables the exact simulation of the 36 chances upon double dice, by introducing the rule that doublets are counted as blanks, resulting in no move. In this way, three blank divisions will suffice for the chances 1,1 2,2 3,3 4,4 5,5, 6,6 and each of the other 15 divisions can do duty for a double chance such as 6,5 5,6. (Of course, a twelve-sided teetotum, which might appear an obvious solution to the problem of avoiding a pair of dice, will not give the chances correctly). The Game of the Monkey [Whitehouse], though not a 'goose game' because it lacks the doubling element, is designed to be played with a single teetotum. Interestingly, a teetotum is depicted at spaces 26 and 53, instead of dice, even though these spaces have no playing significance. This illustrates how an iconographic element can, if not fully understood, transmute into a purely decorative feature. Thus, despite the close links with Florence that brought the game first into England, there was evidently no significant re-checking with the strict Italian tradition, or even with the less strict development elsewhere in continental Europe. Where exceptions occur, they are found to be direct copies of games, rather than new creations based on Goose rules. An example is the New Game of Human Life published by John Wallis and E Newbery in 1790, which has the Goose structure but based on 12 rather than 9, corresponding to modern ideas on the seven ages of man. However, this game is a close copy of a game published by Crepy in Paris in 1775: "Le Nouveau Jeu de la Vie Humaine". Several of the personages shown are changed for the British market: for example, the winning space at 84, ‘The Immortal Man’, shows Isaac Newton, rather than Voltaire [Hannas 1972] both of whom died at the age of 84 years. Later attempts to reintroduce the game, which has fallen from popularity by the end of the 18th century era, were also not based on the strict tradition and 'goose' was effectively lost. In the 1800s, examples of the game in the outline form of a goose (or perhaps a duck) were produced. Some of these follow the pattern of the original, with blanks at 5 and 9. Others, though, are quite bizarre: one example includes spaces with sailing boats, at which one is required to whisper 'sail ahoy' to one's neighbour! 7.The Low countries – tavern iconography The development of the game in the Low Countries shows interesting connections with both Britain and France. The woodcut form of the game most typical of Holland in the 18th century is almost identical to the earlier British form, with ‘tavern’ iconography much in evidence. The game was regarded with disapproval by the Church until the beginning of the 19th century, when attitudes softened and versions ‘for the Youth of the Netherlands’ began to appear – identical in playing terms but with decorative iconography showing children playing instead of tavern scenes.Thus Goose progressed into a game for the family and, by the early 20th century, into a game for children, a progress clearly shown by the changing iconography [Buijnsters 2005]. This early disapproval of the game may account for the fact that, unlike in France where educational variants of Goose were present from an early date, the educational spiral race games in Holland in the 18th century developed separately from Goose. Only in the 19th century do educational Goose variants appear – though this may instead be due to the direct influence of French Goose-type games, which were often republished in Dutch language versions. During the 19th and 20th century, Goose based games were highly popular throughout the region, with advertising games being an important genre – a tradition that continues to the present day. 8.Germany and Austria – a ‘flexible corset’ In Germany and Austria, the traditional rules of Goose formed a ‘flexible corset’ [Zollinger 2003]. In Graz, the Landesmuseum Johanneum houses perhaps the earliest surviving dated Goose board: "Das khurtzweillige Fortuna-Spill", dated 1589, carved on stone by Michael Holzbecher for the children of Archduke Karl. Here, the geese symbols are replaced by a stylised figure of Fortune but otherwise the game is a standard game of Goose. A striking impression of the Goose and related games found in German museum collections e.g. that of the Bayerischen Nationalmuseums Muenchen [Himmelheber 1972] is the frequent arbitrary variation in track length, as opposed to the length of 63 that predominates in France and Italy. This impression is reinforced by a statistical analysis of the 19th century collection of race games made by Henry Carrington Bolton (and now in the University of Pennsylvania Museum) as listed by Culin [1895]. His collection assembles substantial numbers of games from France, Italy and Germany, (together with a few from other countries, not included in the analysis below). The analysis shows the proportion of games that have the traditional 63-space track. For Italy, the 90-space track has been included in the count as if it were 63. The ‘expected’ numbers of games have been estimated from the ‘all’ percentage and on this basis the deficiency in the number of German games with traditional track length is statistically very significant. German games of the race type exhibit considerably more variability than their French or Italian equivalents, even when they are labelled as Goose games or are simple substitute variations like Affenspiel. (Monkey game). However, many of the German race games represent a journey (as in Post- und Reisnspiele) and probably come from a source unconnected with Goose. Germany, too, seems to have been the source [von Wilckens 1985] of the rule (sometimes also played as a ‘local’ rule in the Low Countries) that if a player encounters a goose whose image faces backwards, then he or she must double his throw backwards, instead of forwards. This rule, of course, destroys the elegance of the original Italian formula. 9.Spain – a different ending The Goose game in Spain still flourishes as a game for children, available in toyshops as a modern production, rather than a reproduction of a game from an earlier period. A curiosity of the Spanish Goose games is that the end rule differs from that of other countries: from space 60, the player must use a single dice. To win requires an exact throw for the 63 space but the reverse overthrow rule is absent. The Spanish game thus lacks the excitement of landing by reverse overthrows on the death space. 10.Conclusion The goose-game tradition that survived in Italy for 400 years did so as a 'popular' tradition, rather than something derived from learned philosophical thought. The Christian interpretation of the Cabala was a dead-end, not taken seriously by scholars after perhaps 1650, though the Cabala still survives both as a Jewish subject of study and as a general term for the occult. Even though historians at a later date may have appreciated the link between the game and the Cabala [Menestrier 1704], it was regarded merely a curiosity. Popular traditions are never easy to study from the historical viewpoint: documentation is usually poor or absent. The historical study of rule variations in the game of goose is therefore not without interest - at least there is the documentation afforded by the printed games themselves. However, it is not easy to systematise. So few games have survived. Dates are not easy to assign - the appearance of a printed sheet may be misleading in this respect. Place of publication is often absent - and there is much plagiarism. The present study is therefore offered merely as a contribution rather than as any definitive attempt to resolve all these difficulties. City University, London 6 November 2005 REFERENCES Blau, J.L., 1944, The Christian Interpretation of the Cabala in the Renaissance, Columbia University Press Browne, Sir Thomas, 1650, Pseudodoxia Epidemica, ChXII Buijnsters, P.J. and Buijnsters-Smets,L., 2005, Papertoys, Zwolle, Waanders Carrera, P., 1617, Il Gioco degli Scacchi, Militello, page 25 Culin, S.,1895, Chess and Playing Cards, University of Pennsylvania, pages 843-848 D’Allemagne,H.R.1950, Le Noble Jeu de l’Oie, Paris, Libraire Gruend Domini, D., 1999, (in) La Vite e il Vino (exhibition catalogue), Fondazione Lungarotti, pages 37-38. Girard A.R.and Quétel, C., 1982, L'histoire de France racontée par le jeu de l'oie, Paris, Balland/Massin Hannas, L., 1972, The English Jigsaw Puzzle, London, Wayland, page 115 Himmelheber, G., 1972, Spiele – Gesellschaftspiele aus einem Jahrtausend,Deutscher Kunstverlag Huffman C.C., 1988, Elizabethan Impressions: John Wolfe and His Press, New York, AMS Press Mascheroni S. and Tinti, B., 1981, Il Gioco dell'Oca, Milano, Bompiani Menestrier, C.F., 1704, Bibliotheque Curieuse et Instructive, Trevoux, page 196 Murray H J R, 1952, A History of Board Games Other Than Chess', Oxford University Press, pp 142-143 Von Wilckens, L., 1985, Spiel, Spiele, Kinderspiel (exhibition catalogue), Germanisches Nationalmuseums, Nuernberg, page 18 Whitehouse, F.R.B., 1951, Table Games of Georgian and Victorian Days, London, Peter Garnett Zollinger, M.,2003, Zwei Unbekannte Regeln des Gansespiels, Board Game Studies 6, Leiden University

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