Cross and circle is a board game design used for race games played throughout the world.
The basic design comprises a circle divided into four equa...
Cross and circle is a board game design used for race games played throughout the world.
The basic design comprises a circle divided into four equal portions by a cross inscribed inside it like four spokes in a wheel; the classic example of this design is Yut. However, the term "cross and circle game" is also applied to boards that replace the circle with a square, and cruciform boards that collapse the circle onto the cross; all three types are topologically equivalent. Ludo and Parcheesi (both descendants of Pachisi) are examples of frequently played cruciform games.
The category may also be expanded to include circular or square boards without a cross which are nevertheless quartered (Zohn Ahl), and boards that have more than four spokes (Aggravation, Trivial Pursuit). The game board for the Aztec game Patolli consists of a collapsed circle without an interior cross and thus has the distinction of being a cross that is a circle (topologically), without being a cross plus circle.
Tokens are moved around spaces drawn on the circle and on the cross, with the goal of being the first player to move all tokens all the way around the board. Generally the circle of the cross and circle forms the primary circuit followed by the players' pieces. The function of the cross is more variable; for example, in Yut the cross forms shortcuts to the finish, whereas in Pachisi the four spokes are used as player-specific exits and entrances to the pieces' home. In non-race games (like Coppit and Trivial Pursuit) all paths may be undifferentiated in function.
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RITHMOMACHY
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is...
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is a highly complex, early European mathematical board game. The earliest known description of it dates from the eleventh century. A literal translation of the name is "The Battle of the Numbers". The game is much like chess, except most methods of capture depend on the numbers inscribed on each piece.
It has been argued that between the twelfth and sixteenth centuries, "rithmomachia served as a practical exemplar for teaching the contemplative values of Boethian mathematical philosophy, which emphasized the natural harmony and perfection of number and proportion. The game, Moyer argues, was used both as a mnemonic drill for the study of Boethian number theory and, more importantly, as a vehicle for moral education, by reminding players of the mathematical harmony of creation."
Very little, if anything, is known about the origin of the game. Medieval writers attributed it to Pythagoras, but no trace of it has been discovered in Greek literature, and the earliest mention of it is from the time of Hermannus Contractus (1013–1054).
The name, which appears in a variety of forms, points to a Greek origin, the more so because Greek was little known at the time when the game first appeared in literature. Based upon the Greek theory of numbers, and having a Greek name, it is still speculated by some that the game originated in Greek civilization, perhaps in the later schools of Byzantium or Alexandria.
The first written evidence of Rithmomachia dates to around 1030, when a monk named Asilo created a game that illustrated the number theory of Boëthius' De institutione arithmetica, for the students of monastery schools. The rules of the game were improved shortly thereafter by another monk, Hermannus Contractus from Reichenau, and in the school of Liège. In the following centuries, Rithmomachia spread quickly through schools and monasteries in the southern parts of Germany and France. It was used mainly as a teaching aid, but gradually intellectuals started to play it for pleasure. In the 13th century Rithmomachia came to England, where famous mathematician Thomas Bradwardine wrote a text about it. Even Roger Bacon recommended Rithmomachia to his students, while Sir Thomas More let the inhabitants of the fictitious Utopia play it for recreation.
The game was well enough known as to justify printed treatises in Latin, French, Italian, and German, in the sixteenth century, and to have public advertisements of the sale of the board and pieces under the shadow of the old Sorbonne.
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