38 B OARD G AME S TUDIES 6, 2003 state and a wise reign; but also in <strong>the</strong> interpretation <strong>of</strong> chess as a reflection <strong>of</strong> war, with an army <strong>of</strong> soldiers and <strong>of</strong>ficers under <strong>the</strong> command <strong>of</strong> <strong>the</strong> king. Games tables were not only pieces <strong>of</strong> utility furniture, many <strong>of</strong> <strong>the</strong>m were representative and not for use and served as bearers <strong>of</strong> symbols <strong>of</strong> power. Considering <strong>the</strong> connotation <strong>of</strong> chess with war, it seems ra<strong>the</strong>r logical that <strong>games</strong> tables for chess were combined with allegories <strong>of</strong> war. One very splendid example is a “<strong>games</strong> table with chained-up Turks” in <strong>the</strong> Residence in Munich (plates 1 and 1a [detail]). The tabletop is <strong>from</strong> Augsburg, and dates <strong>from</strong> around 1670. The underframe was made in Munich around 1690. The table consists <strong>of</strong> a tabletop with rich marquetry and an underframe with carved sculptures, which was made later than <strong>the</strong> tabletop, but most certainly directly planned as an underframe for this tabletop. The frame <strong>of</strong> <strong>the</strong> tabletop contains a board for chess/draughts and backgammon. The tabletop is supported by silver- and goldplated statues, at <strong>the</strong> two sides by two chained-up Turks, and in <strong>the</strong> middle by two eagles and various war trophies. The tabletop itself is decorated with rich marquetry on a ground <strong>of</strong> ebony and shows ornaments as well as exotic and native animals, birds, insects and flowers. Only <strong>the</strong> cartouche in <strong>the</strong> middle depicts war trophies. One long side <strong>of</strong> <strong>the</strong> frame is divided into two halves, one being a drawer. The o<strong>the</strong>r half can be opened by spring pressure like a flap and reveals two compartments which pull out. One is a draughts/chess and backgammon board, <strong>the</strong> o<strong>the</strong>r is a tray for draughtsmen and chess pieces. Once pulled out completely, <strong>the</strong> chess/backgammon board can be used for playing. Inlaid on a ground <strong>of</strong> Macassar ebony is a field for backgammon made <strong>of</strong> <strong>of</strong> tortoiseshell and mo<strong>the</strong>r-<strong>of</strong>-pearl with ivory veins, <strong>the</strong> middle <strong>of</strong> this board contains a rhombic board for chess or draughts, inlaid with tortoiseshell and mo<strong>the</strong>r-<strong>of</strong>-pearl; each triangle is adorned by an inlaid animal <strong>of</strong> engraved mo<strong>the</strong>r-<strong>of</strong>-pearl: in <strong>the</strong> tortoiseshell spaces we find birds, in <strong>the</strong> o<strong>the</strong>r fields various animals <strong>from</strong> hares to deers. The triangles <strong>of</strong> <strong>the</strong> backgammon-board are shaped like obelisks, with turned peaks and curves. The war trophies allude to <strong>the</strong> fight <strong>of</strong> <strong>the</strong> electoral prince <strong>of</strong> Bavaria, Max Emanuel, on <strong>the</strong> side <strong>of</strong> Austria against <strong>the</strong> Turks. In this war, Max Emanuel had <strong>the</strong> only victories <strong>of</strong> his whole political life, in <strong>the</strong> years <strong>from</strong> 1683 to 1688. The tabletop was made earlier than <strong>the</strong> frame with its war symbols, already in <strong>the</strong> times <strong>of</strong> Max Emanuel’s fa<strong>the</strong>r, Ferdinand Maria. The frame was made in <strong>the</strong> studio <strong>of</strong> <strong>the</strong> court cabinet-makers in Munich, directly as part <strong>of</strong> <strong>the</strong> tabletop. At <strong>the</strong> time, it was not unusual that precious tabletops or o<strong>the</strong>r parts <strong>of</strong> furniture were ordered and made in <strong>the</strong> area which specialised in certain materials, and were <strong>the</strong>n completed in <strong>the</strong> court’s workshops. Only <strong>the</strong> war trophies on <strong>the</strong> underframe allude directly to a particular war, <strong>the</strong> trophies on <strong>the</strong> tabletop are ra<strong>the</strong>r general but prove that war allegories were combined with representative <strong>games</strong> tables. This table may seem an exception, but <strong>the</strong>re are a few more examples which combine <strong>games</strong> with war reminicences as well. A <strong>games</strong> table for chess, morris and backgammon in <strong>the</strong> Bavarian National Museum in Munich, top made in Augsburg, 1683/92, alludes to <strong>the</strong> same war, and most certainly was <strong>the</strong> property <strong>of</strong> Max Emanuel as well (plates 2 and 3). The table is rectangular and has a curved underframe which used to be foldable. The middle part <strong>of</strong> <strong>the</strong> tabletop can be turned up, on <strong>the</strong> underside are fields in marquetry for chess and morris, and in <strong>the</strong>
M. GRANADOS, REFLECTIONS ON THE ROLE OF BAROQUE GAMES TABLES 39 Plate 1: Games table with chained up Turks. Residence, Munich. Tabletop: Augsburg, c. 1670. Underframe: Munich, c. 1690. Materials: oak and coniferous wood, lindentreewood (carved works), veneered with ebony, Macassar ebony, palisander, amaranth, nutwood and cedarwood.The marquetry is mo<strong>the</strong>r-<strong>of</strong>-pearl, tortoise-shell and ivory. 81.5 cm x 153 cm x 108 cm. Inv. Nr. Res.Mü.M 143. © Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen. Plate 1a: Detail <strong>of</strong> plate 1: board for chess and backgammon. Res.Mü.M 143. © Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen.
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