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

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Juego (El) Real de Cupido, otramente llamado el Passa Tiempo de Amor

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	primo autore:	Anonimo
	secondo autore:	De Jode Pieter
	anno:	1620ca
	luogo:	Olanda-Anversa
	periodo:	XVII secolo (1°/4)
	percorso:	Percorso di 63 caselle numerate
	materiale:	carta (paper) (papier)
	dimensioni:	377X494
	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:	De Jode Pieter
	stampatore:	De Jode Pieter
	proprietario:	Collezione British Library of London
	autore delle foto:	Collezione British Library of London
	numero di catalogo:	2342
	descrizione:	Gioco di 63 caselle numerate, spirale, orario, centripeto che ha la forma di un serpente incoronato. Questo gioco anticipa per grafica un gioco della metà del XVIII secolo realizzato da Robert Sayer, mercante di carte e di stampe a cui successero nel 1794 Robert Laurie&James Whittle e nel 1813 Richard H. Laurie. L'antico gioco egiziano del serpente, di forma spirale, può aver ispirato molti giochi di società, ma le regole rimangono ancora sconosciute. Al centro del gioco (cas. 63) giardino con tre coppie galanti di amanti e tre Cupidi armati di arco fra le nuvole. Di solito nel gioco del serpente alla casella 63 si trova: - 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). A differenza degli altri Giochi del Serpente la casella 4 rappresenta una sorta di fortezza. 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. 4) Fortezza; 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. 25) 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) Balaustra; Cas. 56) Cupido; Cas. 59) Sepolcro; Cas. 63) Tre coppie di amanti e tre Cupidi armati di arco fra le nuvole in un giardino. NOTA: vedi esemplari Arch. n°862, Arch. n°1240, Arch. n°1309, Arch. n°2341, Arch. n°2354, Arch. n°2487, Arch. n°2488, Arch. n°2489, Arch. n°2490, Arch. n°2518, Arch. n°2519. REFERENZA 1 One of the most classic board games, played since the Middle Ages throughout Europe, is the Game of the Goose. Known today as a children’s game, originally this game of a journey of chance and pursuit was played by adults with monetary stakes and fines, and even hazards such as having to offer a round of drinks. In the early 17th-century a variant was developed, in which the geese were replaced by cupids, making it into an entirely different game of pursuit! The British Library holds a unique print of this Game of Cupid, published in Antwerp about 1620 by the Flemish engraver, designer and print publisher Pieter de Jode I (1573-1634). Early impressions of board games are extremely rare since they were objects of use, paper pasted on board, to be discarded when worn out. The present print is even more remarkable for the fact that all inscriptions, the title, the rules, and even the Antwerp address of the publisher, are in Spanish. (British Library)
	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) ANDREWS, Jeanmarie: "Early Board Games.The Game of Education." In: "Early American Life". Volume 48, Christmas. Ohio November 2-5, 2017. 2017.
		The Royal Pastime of Cupid or Entertaining Game of the Snake
		The symbolic significance of the number seven (Marjolein Leesberg)
		In the Game of Cupid the spiral shape of the Game of the Goose was transformed into that of a coiled snake. This feature is explained at lower left, above the ‘Rules’: It is to be noted that this game is represented in the shape of a snake, because Love guised as a snake sneaks into the heart of those who possess it, and poisons them with its venim, and for several other attractive reasons, which the lack of space on this piece of paper does not allow to explain here. Similar to the Game of the Goose, the Game of Cupid has 63 circular spaces. In the latter, cupids replace the geese in spaces with regular intervals. Whereas the geese appear in every fifth and fourth space, the nine cupids occupy every seventh circle. It is a unique feature of the Game of Cupid that it starts, at top left, with an explanation of the philosophy of the numbers used: ‘This game is composed of the number 7 multiplied nine times, of which the product gives 63 because Love is pleased by this number, being very perfect’. This philosophy was based on medieval numerology. Lost to the present gamer, the symbolic significance of numbers was apparent to 16th- and 17th-century minds. The number seven and its multiplications correspond with the so-called climacterics, every seventh year marking a turning point in a person’s life, with 9 x 7 = 63 being the ‘grand climacteric’. Once having passed this critical age of 63 – the number of the winning space of the game – man could enjoy peace and wisdom. As such, both the Game of the Goose and the Game of Cupid represent the course of life, with icons symbolising advantages and hazards, a metaphor of the fortunes and fates during the path of life.

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