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Royal (The) Pastime of Cupid or Entertaining Game of the Snake

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	primo autore:	Non indicato
	secondo autore:	Robert Laurie - James Whittle - Richard Holmes Laurie
	anno:	1850
	luogo:	Inghilterra-Londra
	periodo:	XIX secolo (3°/4)
	percorso:	Percorso di 63 caselle numerate
	materiale:	carta (paper) (papier)
	dimensioni:	387X505
	stampa:	Acquaforte (taille-douce) (ecthing)
	luogo acquisto:
	data acquisto:
	dimensioni confezione:
	numero caselle:	63
	categoria:	Amore, matrimonio e famiglia
	tipo di gioco:	Gioco di percorso
	editore:	Laurie Richard Holmes
	stampatore:	Published by R. H. Laurie N°53 Fleet Street, London
	proprietario:	Privato
	autore delle foto:	L. Ciompi
	numero di catalogo:	862
	descrizione:	Gioco di 63 caselle numerate, spirale, orario, centripeto che ha la forma di un serpente. Questo gioco forse si ispira ad un gioco della metà del XVIII secolo realizzato da Robert Sayer, mercante di carte e di stampe a cui successero nel 1794 Robert Laurie e James Whittle e nel 1813 Richard Holmes Laurie. L'antico gioco egiziano del serpente, di forma spirale, può aver ispirato molti giochi di società, ma le regole rimangono sconosciute. Nel Gioco del Serpente alla casella 63 (“The Delightfull Garden of Cupid") si può osservare: - tre coppie di amanti con Cupidi fra le nuvole (De Jode Pieter 1620ca / Veuve Petit 1640ca); - Cupido che affila la punta della sua freccia in un giardino (Laurie&Whittle, 1794 / Lumsden, 1810-1830ca / R. H. Laurie,1850ca); - una coppia contadina che balla accompagnata da un Cupido che suona uno strumento (Visscher, 1625ca / Garrett, 1690ca / Dicey, 1736-40); - un Cupido da solo con il suo arco (Carington Bowles 1756 / Bowles&Carver 1763-1780ca); - due personaggi che giocano a tavola in presenza di un Cupido (Anonimo XVIII° secolo). In questo esemplare al centro troviamo un Cupido che affila la punta della sua freccia e una casella con i dadi è al 26 anziché al 25. In basso a sinistra: "Published by R. H. Laurie N°53 Fleet Street, London" e a destra; "Where may be had the Royal and Entertaining Game of the Goose". Non esiste una versione italiana di questo gioco ad esclusione de "Il Novo et Piacevol Gioco del Giardin d’Amore (Arch. n°1105) che a parità di tema si gioca però come il gioco della civetta. REGOLE: ai lati del tavoliere. CASELLE: mute. Cas. 1) Porta; Cas. 5) Ponte; Cas. 7) Cupido; Cas. 12) Sedia; Cas. 14) Cupido; Cas. 16) Tavolo con dadi (6+1); Cas. 18) Cupido; Cas. 21) Cupido; Cas. 26) Tavolo con dadi (5+2); Cas. 28) Cupido; Cas. 30) Fontana; Cas. 35) Cupido; Cas. 38) Cupido; Cas. 42) Cupido; Cas. 43) Tavolo con dadi (3+4); Cas. 46) Labirinto; Cas. 49) Cupido; Cas. 54) Bosco; Cas. 56) Cupido; Cas. 59) Sepolcro; Cas. 63) Cupido che affila la punta di una freccia. NOTA: vedi esemplari Arch. n°1240, Arch. n°1309, Arch. n°2341, Arch. n°2342, Arch. n°2354, Arch. n°2487, Arch. n°2488, Arch. n°2489, Arch. n°2490. REFERENZA 1 The game begins at the head of the coiled snake and finishes at centre, where Cupid is depicted in the gardens of love. Players move through sixty three places with each throw of the dice. The places are illustrated with cupids and obstacles symbolic of the rewards and risks of love. Instructions are printed at either side of the snake. The Royal Pastime of Cupid (a version of the older Game of Goose) was published in around 1750 by the London print seller Robert Sayer (1725-94). Richard Holmes Laurie, the publisher of this impression, is believed to have inherited the original plate from his father Richard Laurie who succeeded Sayer’s firm. (British Library) REFERENZA 2 "The Royal Pastime of Cupid or Entertaining Game of the Snake". (V&A Museum) The Game of the Snake is an adaptation of the Game of the Goose. It is known to have been first published in about 1750. It is likely that this particular version is an impression from the original engraving plate with some of the lettering altered. The game begins near the head of the snake and finishes at its tail. Instead of having a separate rule booklet, the instructions for playing the game are printed on either side of the snake. Physical description Design: engraving, uncoloured; designed as a coiled snake; numbered in a clockwise direction from the top right hand corner by the head of the snake. N°of squares: 63 Squares illustrated: cupids and hazards Square numbering: 1 to 63 Squares titled: some Subject of starting square: castle Subject of ending square: oval, Garden of Cupid Place of Origin: London Date: ca. 1850 Artist/maker: R. H. Laurie Materials and Techniques: Engraving on paper with linen backing Dimensions: Height: 15.25 in; width: 19.9 in Object history note: An edition of the Game of the Snake (an adaptation of the Game of the Goose) is known to have been issued by Robert Sayer about 1750. Robert Laurie and James Whittle succeeded Sayer at his premises at 53 Fleet Street in 1794 and were in turn succeeded by R. H. Laurie in 1813; it would appear that the above is an impression from the original plate with altered lettering. R. H. Laurie, 53 Fleet Street, 1813-59 Historical context note Rewards: receipt of counters, forward movement and extra turns Forfeits: payment of counters, backward movement, missing turns N°of Players: any Equipment required: dice, markers, counters Rules: Directions, how to play: 1. Having a pair of dice, it must be first agreed upon what to play for, which is to be lay'd down and then you must throw who shall play first. 2. He that throws first of all seven must take notice of what he hath thrown for if it be 1 and 6 he goes forward to 16, if it be 2 and 5 to 25, if it be 4 and 3 he goes to 43. 3. He that throws upon Cupid, must not rest there but go as many forward as he hath thrown. 4. He that throws upon 5 where the Bridge is, must pay passage, that is, lay down as much as he staked at first, and so he must go forward to rest on the chair at 12, till all the rest have played once more. 5. He that throws upon 18, must pay Beverage to Cupid and stay with him till the rest have play'd twice about or some body release him. 6. He that throws upon 30, must wash himself so long in the Fountain, till he be displac'd by some other, in whose place he must go back again. 7. He that throws upon 38, must feast with Cupid paying his share, that is as much as he stak'd down at first, and must remain there till his companions have played once about. 8. He that throws in the Labyrinth at 46 must go back to 23 and then play again in his turn. 9. He that comes in the Wood upon 54, is catcht in the net, till he be delivered by some other in whose place he must go back paying his ransom. 10. He that throws upon 59, where the coffin stands must give way to the corpse, pay for the grave and begin the game again in his turn. 11. If some person throws were any body else stands, then the first must give way to the last going back into the other's place and paying his fine. 12. He that comes first into the delightful Garden of Cupid where 63 is, he hath won the Game and is to begin the new game again, but if he throws above the Number 63, then he must go so far backward, as he hath exceeded the number. The ancient Egyptian game of the snake, also a spiral pattern, may have inspired many race games, but the rules of this game are not knwon and they are unlikely to have been the same, although the aim of the game was to the same-to win. The reissuing of existing and popular games was, often by different publishers, common practice. Often the only changes made were to the names and dates, but occasionally extra compartments were added, such as the updating of an historical game from King George III's period to include Queen Victoria. Rules placement: engraved each side of the snake Descriptive line: Engraved game, The Royal Pastime of Cupid, published in England by R. H. Laurie about 1850. REFERENZA 3 WHITEHOUSE, Francis Reginald Beaman, (pag. 56): THE ROYALL PASS-TYME OF CUPID, or the New & Most Pleasant Game of The Snake. Printed and sould by John Garrett at his Shop next ye Stayres of ye Royall Exchange in Cornhill. An engraving on laid paper uncut and uncoloured, size 18 in X 14 ¾ in, representing a coiled snake wearing a crown on his head, upon the coils are 62 circles, No. 63, the central panel, is termed “The Delightfull Garden of Cupid". The complete "Directions how to play” are as follows: 1 “Haveing a pare of dice, it must be first agreed upon, what to play for, which is to be layd downe, & then you must throw - who shall play first. 2 “He that throws first of all Seven, must take notice what he hath throwne, for if it be 1 & 6, he goes forward to 16, if it be 2 & 5, to 25, if it be 4 and 3, he goeth to 43. 3 “He that throws upon cupid must not rest there, but goe as many forward as he hath throwne. 4 "'He that throws upon 5 where the bridge is, must pay passage: that is, lay downe as much as he stake at ye first, and so he must goe forward to rest on ye chayre at 12 till all the rest have played once about. 5 “He that throws upon 18, must pay beveridge to Cupid, & stay with him till ye rest have played twice about or some body releace him. 6 “He that throws upon 30 must wash him self so long in ye fountayne till he be displaced by some other in whose place he must goe back agin. 7, "He that throws upon 38 must feast with Cupid, paying his share that is as much as he stakt downe at first, & must remayne there till his Companions have played once about. 8 “He that throws in ye labyrinth which is 46, must goe back to 23, & then play agin in his turne. 9 “He that comes in ye wood upon 54, is catcht in ye net, till he be delivered by sum other, in whose place he must goe back, paying his ransome. 10 "He that throws 59, where ye coffin stands, must give way to ye corps, pay for ye grave, & begin ye game again in his turne. 11 “If some person throws where any body else stands, then the first must give way to ye last going back into ye others place, paying his fine. 12 “He that comes first into the delightfull garden of Cupid, where 63 is he hath wun ye game: & is to begin ye new game againe, but if in case he throws above ye number of 63, then he must goe so far back ward, as he hath exceeded ye number.” This game is so similar both in appearance and operation to The Royall & Most Pleasant Game of the Goose-both tracks are of 63 numbers: No 58 "Where Death ls” (Goose), 59 “Where Ye Coffin Stands” (Snake)-that in all probability the popularity of the former inspired the publication of the latter. These two games are very rare; the reason is obvious-being uncut and not mounted on linen, they became creased or torn and ultimately would be thrown away. These two games were engraved half a century before Trafalgar and Waterloo were fought, whilst the Second George sat on the English Throne, and America was an English Colony. REFERENZA 4 "Les variations sur le thème de l'oie sont nombreuses, meme sans compter les jeux éducatifs. The Royal Pastime of Cupid (Le jeu de Cupidon) ou le Entertaining Game of the Snake (Jeu amusant du serpent) ont des règles similaires et furent édités par Richard Holmes Laurie vers 1850. Cette gravure non colorée est peut-etre inspirée d'un plateau de jeu de la moitié du XVIIIe siècle, produit pour Robert Sayer, marchand de cartes et d'imprimés ayant pignon sur rue, à qui Robert Laurie et James Whittle succédèrent en 1794, puis Richard H. Laurie en 1813. L'antique jeu égyptien du serpent un modèle aussi en forme de spirale, peut avoir inspiré de nombreux jeux de societé, mais les règles nous en sont toujours inconnues et elles ne furent surement pas similaires, meme si le but du jeu était toujours de gagner. La réédition de jeux déja existants et populaires par différents éditeurs était une pratique corante. Très souvent, les changements ne concernaient que les noms et les dates, mais il arrivait que des cases soient rajoutées par exemple dans le cas d'un jeu historique de l'époque du roi George III que l'on remit au gout du jour pour y inclure la reine Victoria." (GOODFELLOW Caroline) REFERENZA 5 "Variations on the theme of the goose are numerous, even without including educational games. The Royal Pastime of Cupid, or Entertaining Game of the Snake, has similar rules and was published by Richard H. Laurie in about 1850. This uncoloured engraving may have been taken from a mid-18th century plate produced for Robert Sayer, a well-established map and print seller, who as succeded by Robert Laurie and James Whittle in 1794 and by Richard H. Laurie in 1813. The ancient Egyptian Game of the Snake, also a spiral pattern, may have inspired many race games, but the rules of this game are not known and they are unlikely to have been the same, although the aim of the game was the same-to win. The reissuing of existing and popular games was, often by different publishers common practice. Often the only changes made were to the names and dates, but occasionally extra compartments were added, such as the updating of an historical game from King George III's period to include Queen Victoria." (GOODFELLOW Caroline) REFERENZA 6 The Royal Pastime of Cupid or Entertaining Game of the Snake The Game of the Snake is an adaptation of the Game of the Goose Game of Goose. It is a simple roll and move game played with two dice, with spaces that cause you to move back, lose a turn, etc. If one reads the rules which are printed on the game board, there is also an element of gambling as well as elements of an early party or drinking game. The game starts by the players agreeing on "what to play for," "which is to be lay'd down and then you must throw who shall play first." Some spaces require the player to put up an additional wager: "He that throws upon 38 must feast with Cupid paying his share, that is, as much as he stak'd down first, and must remain there till his Companions have play'd once about." If you land on space 30 you have to wash yourself in the fountain "until dispac'd by some other." If you land on 59, the bottle space, the player is "to drink a Glass and pay a stake till his turn comes to throw again." The earliest known version was published in Antwerp, ca. 1620, by Pieter de Jode as "El Juego Real de Cupido" (Ciompi&Seville n°2342). A copy of this version, published for the Spanish market, can be seen in the British Library ("British Library, Maps * 999.(1.)"). A French translation was published in Paris, ca. 1640, by the widow of Charles Petit as "Jeu Royal de Cupidon" (Ciompi&Seville n°1240) and a version was published in Amsterdam, ca. 1625-1640, by Claes Jansz. Visscher (Ciompi&Seville n°2341). This version, "Het Nieuw slange Spel anders Genaemt Koninclycke Tytkorting van Cupido" ("The New Snake Game, otherwise known as the Royal Pastime of Cupid"), introduced the peasant dance as the central motif, which was reproduced in some later English editions. A copy can be seen in the Rijksmuseum Amsterdam. The earliest known British edition was published ca. 1690-1700 by John Garrett at his shop "next the stayres of the Royal Exchange in Cornhill", London, with the peasant dance motif (Ciompi&Seville n°2354). A copy of the Garrett edition is included in the George Clarke print collection, Worcester College, Oxford (George Clarke print collection). William Dicey published an edition ca. 1736-40 from his press in Bow Churchyard, London, using the same design (Ciompi&Seville n°2487). An example of the Dicey edition can be found in the John Johnson Collection of Printed Ephemera, Bodleian Library [where it is incorrectly dated "1794"]: (Bodleian Library). A different design was employed in the edition published by Laurie & Whittle, 53 Fleet Street, London, in 1794 (Ciompi&Seville n°2488). The central motif shows cupid sharpening his arrow. A copy of the Laurie & Whittle edition is included in the John Johnson Collection of Printed Ephemera, Bodleian Library (Bodleian Library). This edition was published in a later state by R. H. Laurie (Laurie's son) ca. 1850 (Ciompi&Seville n°862). An example can be found in the Victoria & Albert Museum (V&A E.1747-1754). James Lumsden & Son of Glasgow also used this design in an edition published ca. 1810-1830 (Ciompi&Seville n°1309). A copy of the Lumsden edition is also included in the John Johnson ephemera collection (John Johnson ephemera collection). A third design was used by the Bowles family. The first Bowles edition was published by Carington Bowles, St Paul's Churchyard, London. The game is included in Carington Bowles's "New & Enlarged Catalogue" published in 1784, so we can estimate a similar publication date for the game (it is not included in the earlier Bowles catalogue, published by John Bowles & Son, in 1753). A later state of this edition was issued Carington Bowles's son, Henry Carington Bowles, who traded from the St Paul's Churchyard address as Bowles & Carver between 1793 and 1830 (Ciompi&Seville n°2489). While the coiled serpent design is reminiscent of the ancient Egytptian game Mehen, there is no evidence of any relation between the two other than the spiral track. The same can be said of the relation between this game, as well as of Mehen and the Game of Goose being related to the Phaistos Disk, which dates to about 1600 BCE and which some have theorized may be an ancient board game. We are sure, however, that "The Royal Pastime of Cupid, or Entertaining Game of the Snake" is an adaptation of "The Game of the Goose". (The Royal Pastime of Cupid or Entertaining Game of the Snake 1747)
	bibliografia:	1) ALLEMAGNE, Henry-René D’: "Le noble jeu de l’oie en France, de 1640 à 1950", Ed. Grund, Parigi 1950. 2) BECKER, Udo: "The Continuum Encyclopedia of Symbols", New York, Bloomsbury Publishing, 2000. 3) WHITEHAUSE, F.R.B.: "Table Games of Georgian and Victorian Days", London, Peter Garnett, 1951. 4) GOODFELLOW, Caroline: "A Collector's Guide to Games and Puzzles" Secaucus, New Jersey, Chartwell Books-London, Quintet Publishing Limited 1991. 5) GOODFELLOW, Caroline: "The Development of the English Board Game, 1770-1850", in Board Games Studies 1, 1998. 6) GOODFELLOW, Caroline: "Jeux de société. Le guide du collectionneur des jeux de société depuis le XVIIIe siècle jusqu’à nos jours", (Edizione francese) Carrousel MS, 2001. 7) BUIJNSTERS, P. J. - BUIJNSTERS-SMETS, Leontine: "PAPERTOYS. Speelprenten en papieren speelgoed in Nederland (1640-1920)". Waanders Uitgevers-Zwolle, 2005. 8) DEPAULIS, Thierry:“Trois jeux imprimés du début du XVIIe siècle par la veuve Petit à Paris.” Arbeitskreis Bild Druck Papier, Vol. 16 (Muenster: Waxmann Verlag, 2012). 9) LEESBERG, Marjolein: "El Juego Real de Cupido: a Spanish board game published in Antwerp, c. 1620." In: "Delineavit et Sculpsit" n°39, 2015. 10) 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. 11) DUGGAN, Eddie: "The Royal Pastime of Cupid: three early printed board games in the Bodleian Library's, John Johnson Collection of Printed Ephemera". University of Suffolk Department of Science and Technology, 2017.(Duggan Eddie). 12) DUGGAN, Eddie: "Chasing Geese: “The Royal Pastime of Cupid or Entertaining Game of the Snake” (SFHEA University of Suffolk, UK), Board Game Studies Colloquium XX. University of Copenhagen 17-20 May 2017.(Duggan Eddie). 13) LIMAN, Ellen: "Georgian and Victorian Board Games: The Liman Collection", Pointed Leaf Press, 2017. 14) NORCIA, Megan A.: "Gaming Empire in Children's British Board Games, 1836-1860". Studies in Childhood, 1700 to the Present. Routledge, 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.
		Games of Amusement. "Table Games of Georgian and Victorian Days". (Francis Reginald Beaman, Whitehause)
		The symbolic significance of the number seven (Marjolein Leesberg)

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