Amades reproduced some of the verses written under the vignettes.
As Don Quixote was actually welcomed when he entered Barcelona in the second part of the romance, Amades believes that this auca demonstrates that sometimes the authors were not familiar with the original novel.
Amades described it from a genuinely contemporary narratological perspective:
Amades was really surprised because the publisher (Joan Baptista Batlle) and the production director (Josep Sunyer) were specialists in Don Quixote; Sunyer had even published a book about the mistakes in the different editions of Cervantes' most famous novel.
Amades also described a couple of auques also produced by Bosch for children's games: Loteria de los Setenta y Dos (Lottery of the Seventy-Two) and Juego y Loteria Alfabeticos (Alphabetic Game and Lottery) (Figure 5).
Although Amades described many other popular formats--postcards, playing cards, ceramics, and so on--the analysis here will be limited to the auques.
As Amades put it in the 1940s, "the image is one of the factors that contributes to the cultural formation of illiterate people.
El Quixot dels ignorants: Joan Amades i la popularitzacio del Quixot [The Don Quixote of uneducated people: Joan Amades and the popularization of the Quixote].