Giochi dell'Oca e di percorso (by Luigi Ciompi & Adrian Seville)

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	primo autore:	Anonimo
	secondo autore:	Antigua Casa Felip Guasp
	anno:	1650/1700
	luogo:	Spagna-Mallorca
	periodo:	XVII secolo ?/4
	percorso:	Percorso di 129 caselle numerate
	materiale:	carta (paper) (papier)
	dimensioni:	000X000
	stampa:	Stampa su legno (bois gravé) (woodcut)
	luogo acquisto:
	data acquisto:
	dimensioni confezione:
	numero caselle:	129
	categoria:	Oca
	tipo di gioco:	Gioco con oca
	editore:	Antigua Casa Guasp
	stampatore:	Antigua Casa Guasp
	proprietario:	Collezione A. Seville
	autore delle foto:	A. Seville
	numero di catalogo:	2582
	descrizione:	Gioco di 129 caselle numerate, spirale (rettangolare), antiorario, centripeto. REGOLE: non riportate sul tavoliere. CASELLE: mute. REFERENZA 1 The Game of the Goose (Juego de la Oca) came to Spain towards the end of the 16th century, as a royal gift to Philip II, giving rise to the variant game of the Filosofia Cortesana invented by Alonso de Barros. It is not known whether the game that came to the Spanish Court was of the classic form, though the fact that the de Barros game is of 63 spaces arranged as an anticlockwise spiral in vertical format strongly suggests that it was, although the placement of hazards does not conform to the classic model. Also, only some but not all of the earliest surviving Spanish games dating from the 17th century that show the image of the goose on the favourable spaces are of the classic form. However, the classic game survives to the present day as a game for children that can be bought in Spanish toyshops, often printed in bold colours on a wooden board of square format, frequently having a version of Ludo for six players printed on the other side. The "reverse overthrow" rule is usually replaced by the rule that, beyond space 60, a single die is used. This greatly diminishes the excitement of the game since there is no possibility of reaching the death space and being required to start again. Spain does not seem to have shared in the transformation to thematic variants that occurred so remarkably in France from the middle of the 17th century, nor in the introduction of "monkey" games and "journey" games that became so popular in Germany from the end of the 18th century onwards. In Portugal a distinctive form of the game is the "Joco de Gloria", which employs an anticlockwise spiral track of 90 spaces, with the favourable spaces on 9, 18, 27 etc. The track length suggests that this is based on the Italian variants from the second half of the 19th century and indeed the earliest examples appear to date from that period. The Portuguese firm Majora, established in 1939, continues to supply modern versions of these games. Both Spain and Portugal are significant in the spread of games of the Goose type to the countries of Latin America, where they continue to be played. The earliest Spanish Games of the Goose Amades gives as the earliest Spanish Game of the Goose known to him a 17th-century Catalan example in the Municipal Museum of Barcelona (Arch. n°1440). It is a rather crude wood-cut, with a rectangular spiral track of 141 numbered spaces plus the final un-numbered arch of the winning space. The geese are on two sequences of spaces numbered 5, 14, 23 etc to 131 and 9, 18, 27 etc to 126. No rules are given, so that it is not possible to interpret the hazard spaces definitively, though some of the traditional hazards are recognisable: the well, at 82; stylised labyrinth at 98; and a death's head at 138. There are however further hazards, such as a barrel at 51, a decanter and glass at 64 and a wine jar and glass at 127, suggesting that this was a drinking game. Dice spaces appear at 52 (for the 6, 3 throw of nine) and at 133 (for the 5, 4 throw). The final five spaces before the winning arch all have images and appear below a stylised garden with four trees. Amades notes that the ladder at space 119 leads to a space (140) that he interprets as Hell next to Purgatory (space 141 showing rudimentary human faces) which in turn is next to the sky (presumably the blank arch) which leads to the garden. He notes the figure hanging from a gibbet at space 135 and connects this with the path to Hell. A more plausible interpretation is to consider the final spaces as providing a connected narrative: prison (space 137), death, burning of a heretic, Hell, Purgatory, then Heaven as symbolised by the Paradise Garden. A fascinating comparison is possible with another 17th-century game also noted by Amades, of which he remarks that the central space is decorated with dancing figures that have nothing to do with the game: he speculates that the reward of the winner might be to dance with the girls or ladies of the party, though he gives no evidence for this. The final spaces correspond to those of the earlier game, except that spaces 127 and 128 reverse the order of the images. By contrast, a second 17th-century woodblock conserved at the Impresa Guasp (Arch. n°2662) is in fact a classic Game of the Goose in all respects save one: the prison space at 52 shows a barrel, indicating that this too was a drinking game. The centre space shows coins, indicating gambling, and also a walled garden. This is a clear representation of the Garden of Eden, as indicated by the four-fold division symbolising the mystic four rivers; the Tree of Life occupies one quarter. Amades shows another 63-spaces Game of the Goose, this being a Catalan woodcut by Michael Homs of Gerona dating from the end of the 17th century; the block is conserved at the Imprenta Carreres. This is an absolutely classic game as far the arrangement and iconography of the active spaces are concerned; the rules are given in letterpress in the centre, under the heading "Declaration" and include the rule that from space 60 a single die is to be used. The incidental iconography is interesting: the winning space shows a portal internally studded with threatening spikes. The corner decorations include one showing a hooded figure with a sword in one hand fending off a large dog using a staff held in the other. Stylised birds, a dog evidently crawling through a barrel, and a drummer complete the remaining corners. This decorative scheme is essentially the same as that found in an 18th-century French woodcut "jeu de l'oie", by Leblond, rue de la Bonneterie, Avignon, though in this version the second dog appears to be wearing a cloth round his middle. The iconography of the active spaces does not correspond exactly with that of the Spanish version: for example, the bridge at spaces 6 has three piers instead of two, so these are not exact copies. The French print also gives rules, which include the usual reverse overthrow provision. (Adrian Seville) Exhibitions:
	bibliografia:	1) BLAU, J.L. : "The Christian Interpretation of the Cabala in the Renaissance, Columbia University Press,1944. 2) BROWNE, Sir Thomas: "Pseudodoxia Epidemica, ChXII", 1650. 3) BUIJNSTERS, P.J. and Buijnsters-Smets,L. : "Papertoys", Zwolle, Waanders, 2005. 4) CARRERA, P. : "Il Gioco degli Scacchi", Militello, page 25, 1617. 5) CULIN, S. : "Chess and Playing Cards", University of Pennsylvania, pages 843-848, 1895. 6) D’ALLEMAGNE,H. R. : "Le Noble Jeu de l’Oie", Paris, Libraire Gruend, 1950. 7) DOMINI, D. : (in) "La Vite e il Vino" (exhibition catalogue), Fondazione Lungarotti, pages 37-38, 1999. 8) GIRARD A. R. and QUETEL, C. : "L'histoire de France racontée par le jeu de l'oie", Paris, Balland/Massin, 1982. 9) HANNAS, L. : "The English Jigsaw Puzzle", London, Wayland, page 115, 1972. 10) HIMMELHEBER, G. : "Spiele – Gesellschaftspiele aus einem Jahrtausend",Deutscher Kunstverlag, 1972. 11) HUFMANN C.C. :"Elizabethan Impressions: John Wolfe and His Press, New York, AMS Press; 1988. 12) MASCHERONI S. and TINTI, B. : "Il Gioco dell'Oca", Milano, Bompiani, 1981. 13) MENESTRIER, C. F. : "Bibliotheque Curieuse et Instructive", Trevoux, page 196, 1704. 14) MURRAY H. J. R. : "A History of Board Games Other Than Chess", Oxford University Press, pp 142-143, 1952. 15) SEVILLE, Adrian:"Tradition and Variation in the Game of Goose", in: "Board Games in Academia III", Firenze, Aprile 1999. (aggiornamento del 2005). 16) SEVILLE, Adrian: "The sociable Game of the Goose", in "Board Games Studies Colloquia XI", 23-26 Aprile 2008, Lisbona - Portogallo. 2008. 17) 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. 18) VON WILCKENS, L. : "Spiel, Spiele, Kinderspiel (exhibition catalogue)", Germanisches Nationalmuseums, Nuernberg, page 17, 1985. 19) WHITEHAUSE, F. R. B. : "Table Games of Georgian and Victorian Days", London, Peter Garnett, 1951. 20) ZOLLINGER, M. : "Zwei Unbekannte Regeln des Gansespiels", Board Game Studies 6, Leiden University, 2003. 21)Catalogo Mostra: “Le jeu de l’oie au musée du jouet”, Ville de Poissy 2000. 22) SEVILLE, Adrian: "The Cultural Legacy of the Royal Game of the Goose". Amsterdam University Press, 2019. 23) AMADES, Joan: "El Juego de la Oca", Bibliofilia Vol.III, Editorial Castalia, Valencia, 1950.
		La familia Guasp
		Una vieja imprenta y más de 1.500 matrices xilográficas resumen en La Cartuja de Valldemossa la historia de los Guasp. Una colección - aseguran que de las más antiguas y valiosas que existen - legado de la saga de impresores más prolífica de Europa con cinco siglos de actividad. La familia Guasp no pudo gozar del mérito de ser impresores pioneros en Mallorca. Ese honor correspondía a Bartolomé Caldentey y Nicolás Calafat que crearon la primera imprenta en Miramar hacia 1485. Su negocio, sin embargo, no vería el nuevo siglo. Una desaparición prematura que subrayaría aún más los cinco siglos en activo de la saga mallorquina. La dinastía arranca con el matrimonio del librero Miquel Navarro y Joana Guasp quienes, ante la falta de descendencia, se hicieron cargo del sobrino de ésta, Gabriel. Poco se sabe sobre cómo ese iniciador pasó de la librería a la imprenta. Según algunos estudios, Gabriel Guasp adquirió los instrumentos y máquinas de estampar fuera de la Isla para comenzar el negocio. Una carta solicitando a los jurados la exclusiva para editar la Doctrina cristiana del Pare Ledesma, indica que la imprenta ya estaba instalada en 1576. El local se situaba entonces cerca de la parroquia de Santa Eulalia, el barrio por excelencia de los negocios de librería. Su primera obra impresa fue Syntaxi nova etimologicae novae respondens de Antoni Bellver publicada en 1583. La Imprenta Guasp se convirtió pronto en la más solicitada. La decadencia de la de Cansoles - su principal rival - y su prestigio le hicieron tener el favor de la Universidad y la diócesis de Mallorca. La competencia fue tal que llegó a un pleito por la impresión de tesis doctorales y de las imágenes de cofradías. La muerte de su fundador a finales del siglo XVI no consiguió acabar con la empresa. A mediados del siglo XVII, los Guasp ya tenían tres máquinas y prensas y más de 600 moldes xilográficos, en su mayoría religiosos. El alto nivel cultural de Jaume Guasp Esplugues, nuevo propietario, la convertiría en una imprenta modélica. El crecimiento continuó durante el resto de siglo hasta que Pedro Guasp Miquel inició la proliferación de imprentas bajo el nombre de los Guasp. Su lista de clientes incluía ya al virrey, el Real Patrimonio o la Inquisición de Mallorca. La fama de la empresa crecía por la calidad de sus folletos, calendarios y gramáticas. A finales del siglo XVIII funcionaban varias imprentas de los Guasp. Lo que podía parecer el apogeo, sería el periodo más crítico en la historia de la saga. Los historiadores recogen que en 1807 la imprenta estaba prácticamente derruida y abandonada por la falta de infraestructuras. La creación de una sociedad liderada por Melchor Guasp para la modernización del negocio, y la reunificación de las imprentas bajo la tutela de Felipe Guasp, iniciaron la edad de oro de la dinastía. Sita en la actual sede del Consell de Mallorca, la empresa invirtió en la compra de nuevos tipos y prensas y elevó la tipografía a arte. La renovación convirtió a la Imprenta Guasp en una de las más importantes de su tiempo. Un dato que subrayaron incluso Melchor Gaspar de Jovellanos o el Cardenal Despuig, quienes reseñaron su importancia. La actividad editorial alcanzó cifras inéditas hasta entonces. Las trece obras que se cree que se imprimieron en el siglo XVI se convirtieron en 55 sólo en 1814. En la primera mitad del siglo XX la imprenta se trasladó al número 8 de la calle Morey. Su gran labor tipográfica se complementó entonces con la revalorización de la riqueza artística. En 1931 la colocación de una placa en dicha fachada sería el primer homenaje a la saga mallorquina. Los Guasp pasaron entonces de impresores en activo a artesanos centenarios dignos de tributo. En 1950 el Ayuntamiento de Palma inauguró un museo que custodió la imprenta primitiva y los tesoros xilográficos. En 1958 la adquisición de los fondos por un coleccionista madrileño, llevó el legado de los Guasp a la capital. A finales del mismo año, Bartolomé Romaguera recuperó las piezas y éstas se expusieron durante un tiempo en el claustro de la catedral. Al Museo Municipal de Valldemossa - situado en La Cartuja - llegaron en 1960 gracias a su adquisición por parte de Ana Mª Boutroux, la misma que salvó la salida de los fondos de la farmacia cartuja. La colección se considera hoy una de las más valiosas existentes no sólo por su cantidad sino también por la calidad del legado. Un tesoro que incluye matrices de otras imprentas que los Guasp adquirieron de otras imprentas mallorquinas. Sus más de 1.500 piezas son hoy fundamentales para componer el puzzle de la imprenta en Mallorca.

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