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

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Juego de la Oca

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	primo autore:	Non indicato
	secondo autore:	De Paluzie F.
	anno:	1857/1927
	luogo:	Spagna-Barcellona
	periodo:	XIX secolo (3°-4°/4)
	percorso:	Percorso di 63 caselle numerate
	materiale:	carta (paper) (papier)
	dimensioni:	280X387
	stampa:	Cromolitografia
	luogo acquisto:	Spagna-Barcellona
	data acquisto:	27-12-2007
	dimensioni confezione:
	numero caselle:	63
	categoria:	Oca
	tipo di gioco:	Gioco Oca Classico (63 caselle) Orizzontale
	editore:	Lith. H. de Paluzie, Barcelona n°923
	stampatore:	Lith. H. de Paluzie, Barcelona n°923
	proprietario:	Collezione L. Ciompi
	autore delle foto:	L. Ciompi
	numero di catalogo:	441
	descrizione:	Gioco di 63 caselle numerate, spirale, antiorario, centripeto. REGOLE: al centro. CASELLE: mute. NOTA: Altro esemplare identico con in alto scritta: "Estamperia economica Paluzie"; in basso: "Imprenta Elzeviriana y Libreria Cami S. A., Calle Joaquin Costa 64 Barcelona". 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 (Arch. n°2582), 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. Amades notes that the first known example from Valencia is much later than the early Catalan examples. It dates from the middle of the 18th century and is an engraving by Laborde, Montpiè and Villalba (Arch. n°1439). It is a classic Game of the Goose; the rules, engraved in the centre, specify the use of a single die from space 60 onwards. The decorative scheme is much more refined than in the earlier woodcuts, including sprays of flowers and a goose holding a flower in its beak. The plate is very similar that used at the beginning of the 19th century by Casa Piferrer in Barcelona with the addition of their Plaza del Angel imprint at the foot, with minor differences in detail indicating that it was re-drawn. The games noted so far have had no decoration of non-active spaces in the track itself. The earliest exception is noted by Amades as a mid-19th-century print by Juan B(autista) Vidal of Reus (Arch. n°1071). The track decorations show figures undertaking a remarkably-wide range of human activities: fishing, hunting with the rifle, walking in the countryside, a soldier marching with his rifle, playing cards and playing dice, harvesting, juggling and acrobatics, girls playing games (skipping, shuttlecock), a knight in armour, tending the vines, bird scaring, kneeling in church, etc. The rules are given in letterpress in the centre; interestingly, although there is a decanter and glass at space 10, the rules do not refer to it: perhaps it was allowed as a "drink" hazard only by agreement among the players. A dog's head at space 11 is similary not explained. However, the general decorative scheme indeed suggests a pubblication intended for young people: in one corner of the sheet, a boy and a girl are shown playing the Game of the Goose. In the second half of the 19th century, lithographed games coloured by stencil became highly popular. Amades gives a fold-out plate reproducing a game by the Barcelona firm of F. Paluzie, bearing the publisher's catalogue number 923 (The publishing house Paluzie was founded in Barcelona in 1857 by Esteban Paluzie Cantalozella, and sold by his heirs around 1926 to the Elzeviriana Press, which kept the name of Estamperia Paluzie until the 1940s). It is a classic Game of the Goose of horizontal format, decorated along the track with a similar but not identical range of human activities as noted above and, in the lower left corner, two Commedia dell'Arte figures playing the game. The rules in the centre make specific reference to reverse overthrows, and no mention of using a single die. However, the rule on landing at a goose appears to be that the player continues casting the dice until a space other than a goose is reached, rather than the normal take your points again rule. This game of horizontal format is very much in the style of lithographed French games of the period, including a central decoration of a goose swimming in a garden, though it is not an exact copy of a French original. Paluzie's games in horizontal formats of different sizes, always with bright colours, and with newly-drawn figures decorating the track, continued well into the 20thcentury. A competitor was Olivier Pinot, of Epinal, France, who produced a Spanish-language version of his jeu de l'oie, which was sold through the print shop of P. Vidal in Barcelona. Amades says, however, that this did not reach the level of popularity of the Paluzie games. (Adrian Seville)
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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)

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