"Sure I like Little Caesar and Jim Cagney but dat's de boloney dey give you in de pitchers. Dey always die or get canned. Dat ain't true. Looka Joe Citro, Pedro Salami, and Tony Vendatta. Look at de ol' man."

His father was in the recent Department of Street Cleaning scandal. . . At one time he owned a cafe and ran a string of brothels. Now he has interests in an undertaking establishment, a job with the city, a political boss, and runs a joint. . . . "Dose guys in de pitchers oughta be able to get away. If my ol' man had de dough he'd run de city."

He prefers pictures "dat show lotta action wid gangsters, bootleggers, and high-jackers. I ain't going get in Dutch wid de law 'cause I'm gonna get protection before I do anything. An' I ain't havin' no broads aroun' while dere's work to do. You can’t trust em' and dey get you in trouble. If it wasn’t for a broad dey never would get Little Caesar."

He dresses Cagney style. Soft green hat, tight fitting suit, puff shoulder coat, leather heeled shoes.

A young, tousled-haired boy about the age of seven is slumbering away in his bed, ensconced in a non-descript, middle class bedroom (fig. 1). He is jarred awake by the revelation that his bed is levitating, and slowly floating out his window and into space. So begins an episode of Winsor McCay's epic comic strip adventure, Little Nemo in Slumberland, which appeared in newspapers across the country between 1905 and 1914. Featured on the cover of the New York Herald's Sunday comic supplement (and syndicated nationwide), the comic presented the bedtime adventures of a small boy called Nemo. In the serial's debut, and in the weeks to follow, Nemo repeatedly attempted to reach the enchanted kingdom of Slumberland, only to have the journey preempted when he awakened and found himself safely at home in his bed. It was an ideal subject for a weekly comic in that the curtailed narrative induced readers to purchase the next installment. Such literature also taught its young readers an appreciation for the pleasures of both fantasy and delayed gratification.

A visit to an exotic world followed by a return to reality was a common trope in children's magazines and books, as evidenced by the widespread popularity of Lewis Carroll's Alice in Wonderland, L. Frank Baum's Wizard of Oz, and J.M. Barrie's Peter Pan. The cultural preoccupation with fantastic subjects did not go unnoticed. The writer Brian Hooker wrote in the October 1908 edition of Forum, "The present day is exhibiting a curiously vivid interest in fairy tales," and later pondered, "perhaps our very materialism is responsible for this new hunger after fancy." By the first decade of the 20th century images celebrating wonder and fantasy appeared in everything from picture books and comic strips, to department stores and amusement parks.

Little Nemo's bold visual style and epic story arc distinguished the comic from its competitors. Its ambitions included broadening the audience for comic strips by self-consciously referencing pictorial forms from an expansive range of high and low cultural sources. McCay's comic strips redefined the nascent medium and made an important contribution to the proliferation of fantastic imagery at the dawn of the 20th century. To best understand his cultural contributions it is useful to examine his aesthetic innovations, as well as the social and historical context in which his work found its audience.

Visual Analysis

McCay's work was characterized by its vivid use of color, skillful draftsmanship, intricate detail, and imaginative architectural forms. In this episode dated December 3, 1905, we can see how McCay expanded the narrative possibilities of the comic strip through his embrace of full-page design. Here he creates visual interest and momentum by varying the size and shape of the panels, culminating in the central circular panel, while unifying the entire page through symmetry and repetition. His graceful line work and use of flat areas of color are reminiscent of art nouveau poster art. It is also important to recognize that his fantastic imagery is rooted in the spectacular world of commerce and popular entertainment that ushered in the 20th century. For example, the emphasis on primary colors and the typographical flourishes found in the title panel are reminiscent of circus poster art. The comic's narrative, an imagined trip to the moon, was also the subject of an amusement park ride at Coney Island, a serialized novel published in St. Nicholas, and a 1902 film by Georges Méliès. McCay's comic strips produced a dream world shaped by the visual language of modern urban experience.

As the students read the comic strip, ask them to think about how words and images are combined to create the narrative. Talk about the essential components of a comic strip: the header/title, the panels, the gutters (the space between the panels), and the captions and/or speech balloons. How do these components divide time and space? How do the elements combine to advance plotlines? What is more instrumental to the flow of this narrative, the words or the pictures? Do either contradict or work against one another? How do text and image compliment, or complicate, the story? How are the different visual elements combined to create a unified, full-page design? Why does McCay vary the size and shape of the panels? How does this affect the flow of time within the comic strip? Emphasize scale, which will not be apparent from viewing the image online. Bring in a copy of the New York Times as a visual aid and explain that one Little Nemo comic strip took up the full page of a broadsheet newspaper (about 16 x 22 inches), as compared to newspaper comic strips today, which are compressed in size so as to fit as much content onto the page as possible. How does the size of the image affect the reading experience? The large scale of McCay's fantastical designs contributed to their transportive quality, as children could immerse themselves in scenes of faraway lands and magic kingdoms.

Historical Context

Weekly funny pages, directed at both children and adults, first appeared in newspapers in the 1890s, when the publishing barons Joseph Pulitzer and William Randolph Hearst vigorously competed with each other for readers. They soon discovered that the colorful comic supplements boosted circulation. The initial audiences for comics were urban, working class immigrants and the content of the newspapers reflected their readership. R. F. Outcault's The Yellow Kid and Rudolph Dirks' The Katzenjammer Kids drew inspiration from the various ethnic communities who populated the tenements of the lower east side. Common elements of such comics include urban settings, crowded frames, and the use of anti-authoritarian, anarchic humor similar to that found in the slapstick comedy of vaudeville routines, with an emphasis on the child as a trickster figure.

As newspapers became nationally syndicated the content of the comics became less urban and culturally specific so as to appeal to a wider audience. By 1903 comics transitioned from being an urban phenomenon to a national craze. Little Nemo attempted to bridge the gap between the serialized adventure stories found in high-brow illustrated magazines like St. Nicholas, and the low brow humor of the Sunday supplements. This was undoubtedly a strategic move on the part of McCay's employer, James Gordon Bennett Jr., who wished to distinguish the New York Herald as a middle-class alternative to its more sensational counterparts like Pulitzer's New York World and Hearst's New York Journal.

Images glorifying childhood as period of unfettered creativity dominated the visual landscape of early 20th-century American fiction, magazines, and comics. Concurrent with the rapid expansion of mass culture, these dreamscapes directed viewers to revel in fantasy and delight in ungratified longing, thereby inciting the pleasures of consumer desire in its audience of young dreamers. This contributed to a shared visual culture that celebrated fantasy and the imagination. For McCay, Slumberland was a retreat from modernity; yet his spectacular landscapes were peppered with allusions to popular culture. References to circus posters, Coney Island thrill rides, and show window displays abound in his designs. McCay's use of the medium was highly self-reflexive and ambivalent: his work articulated the complex ways in which fantasy and mass culture were entangled at the turn-of-the-century.

Teaching the Source

This striking image is a potential jumping off point for further discussion of the rapid rise of a mass popular culture in American cities in the early 20th century. In my art history course, after dividing into groups to talk about how the visual design and narrative work together, I will ask students to research and write a short report on another example of 20th century visual culture that explores some of the same themes. Examples can take the form of children's literature, early film, amusement parks, poster art, advertising, or illustration. Students present short papers on any number of topics, including L. Frank Baum's The Wonderful Wizard of Oz, Georges Méliès' film A Trip to the Moon, the architecture of Coney Island's Luna Park and Dreamland, Barnum & Bailey circus posters, and the commercial illustrations of Maxfield Parrish. Students found commonalities in themes, visual motifs, and subject matter, pointing to the many ways that popular art forms intersected and influenced one another at the dawn of mass culture.

The Picture Archive of The Illustrated London News (ILN) is most readily accessed through the website of the Mary Evans Picture Library. In principle, the Archive still has its own website, but in practice it is likely to prove inaccessible. Since 2007, following a change of ownership of the ILN Publishing Group, the archive has been housed at Mary Evans. This transfer is unfortunate in some respects, since Mary Evans is a commercial rather than an educational organization and it charges fees to download images. The original site also had extensive background material on the history and printing processes of the ILN that does not appear in the new setting. Nonetheless, one can browse the watermarked images of the Mary Evans Picture Library for research purposes – and its ILN section now has more material than the original site, as new pictures are scanned into it. And of course one can always move from the ILN to scan the whole Mary Evans collection.

The story goes that Herbert Ingram, who founded the ILN in 1842, noticed as a newsagent in Nottingham that when newspapers included pictures, their sales increased. Most journals at this point were still grudging in their resort to illustrations, so when Ingram moved to London and founded a paper committed to lavish use of images, he was immediately successful.

Pictures of dramatic events such as the 1848 Revolution in France and the Crimean War (1853-6) helped its reputation for exciting journalism. By the 1860s, the ILN was selling 300,000 copies per week, far outstripping the circulation of conventional newspapers. To begin with Ingram printed only black-and-white wood engravings, but the ILN later made use of color, and, especially from the 1920s, photographs. Ingram also started a policy of hiring famous illustrators and top writers, including Robert Louis Stevenson, Wilkie Collins, and Arthur Conan Doyle. The archive has pictures from issues running from 1842 to 1971, including those from other journals in the "Great Eight" that came together in the 1920s, the best known apart from the ILN being The Tatler.

The search facility allows users to opt for ILN images only. Each of the 10,000 or so in the archive is well referenced with a number, date, description and further details. Searching under children brings up an eclectic collection of 282 images. Some only incidentally concern this heading, for example when King George V appears because there is a mention in the text to his six children.

Others are on the whimsical side: "Caught!" (ref. 10216446) shows children discovered by their parents in the larder scoffing jam from a huge jar. The text informs us that "sentimental or humorous scenes such as these were a popular addition to the ILN, especially over the Christmas period."

The royal families of Europe feature prominently as well as novelties, such as "Children being treated with ultra-violet light" (ref . 10216701). However Ingram, a Liberal MP, had some sympathy with the poor. Hence there are little clusters of pictures depicting children during such events as the Irish potato famine of the 1840s, the United States Civil War, and Jewish migration to London during the 1900s. "Children searching for potatoes" during the Irish famine (ref. 10220183), for example, conveys the desperation of their situation effectively.

More cheerful images from everyday life include "Audience of Children at a London Music Hall, 1882" (ref. 102216500) and "Children at the Circus, 1948," (ref. 10219941). There are also pictures of school strikes, somehow always with a portly-looking policeman in attendance (e.g. from 1889, demanding "shorter hours" and "no cane," (ref. 10219381), a Montessori school (ref. 10215457) and London youth clubs during the 1880s (e.g. 10220713).

In sum, the archive has a variety of delights for the historian of childhood, and a well-organized website, though no great depth of coverage or supporting material.

The best path to civilization is the education, training of girls. The first necessity of moral refinement for girls is to be educated, trained, and cultured. Every nation that wants to become civilized has to begin educating and training girls from an early age. Each nation, according to their own religious laws and practices, should provide it [education] for them with any means possible.

Indeed, these girls will become mothers themselves, and their children will socialize with one another and their habits and disposition will spread among each other. But if they have all been educated in a good manner and with moral refinement, then there can be established in that nation a higher civilization. In this manner, the nation will develop and complete its march of progress by becoming civilized.

On the other hand, if the girls [children] are trained and raised by an uneducated mother, then the bad moods, habits, and disposition will have a bad affect on the children. Along with the growth and mental maturity, an indecent manner will be formed and become a habit; and it will also spread among the children. Therefore, barbarism will develop among the people and they will never become a civilized nation. . .

The British Parliamentary Papers of 1900 contain a chart on the proportion of Muslims and Christians in government schools in Egypt. The report following the chart reads:

"These figures would appear to show that the Mohamedan population generally are less fully alive than the Copts to the advantages of education."

American Centuries displays items from the collection of the Memorial Hall Museum and Library in Deerfield, Massachusetts. This museum specializes in 17th-20th century artifacts of the East Coast, and its online exhibits contain many materials about children's and adolescents' lives from the Colonial period onward.

The website makes its primary appeal to teachers and young students. In addition to the usual elements of internet archives (images, texts, maps), the site offers interactive activities where kids can learn more about historical clothing, how to read old manuscripts, and other topics that draw from the museum's holdings. A section of the site called "In the Classroom" offers numerous lesson plans for elementary and middle-school teachers, some written by museum employees and some by schoolteachers themselves, using materials in the online exhibits.

The exhibits cover multiple aspects of historical New England. Finding materials specific to the histories of youth and childhood is much easier here than in some online archives. Using the "site search" box, which appears on every page, is not the most efficient approach; better, more focused results come from choosing the "Search the Collection" item off the main-page menu. There, typing "children" will yield 488 results that specifically pertain to children's histories, mainly from the 18th and 19th centuries.

Even more directly helpful for the young (or old, but impatient) site visitor is the "Highlights" page, which offers artifacts in neatly arranged categories and sub-categories. The "Children" category is the obvious place to start; here, one can find images and information in the sub-categories of children's toys, clothing, furniture, schoolbooks, and even children's own handiwork. The individual pages for each artifact all include an icon called "Look closer"; once clicked, this icon opens a second window with a sophisticated zoom feature, offering several different degrees of close-up views for the artifact. This smart device allows site-visitors an even more detailed inspection of the artifacts than they could glean in an actual museum, where exhibits are separated from visitors by glass and several feet of space. Many of these artifacts are so exceptionally well-preserved that the zoom feature is especially pleasurable; we can revel in the joy of inspecting the hand-painted decoration on an 1835 baby carriage, or the careful stitching on a hand-made cloth doll from 1887.

Artifacts like the antique clothing and dolls are immediately charming; others can be either a bit disturbing, or darkly amusing. The 19th century "baby tender," for example, looks more like a packing crate for produce than a modern play-pen, while the hand-made "Twin Potty-Chair" makes us wonder: should twins really do everything together?

The most intriguingly named sub-category, "Children's creations," shows the woodworking and needleworking products of young people. One item—a stitched sampler—was made by a nine-year-old girl. The other displayed items appear to have been fashioned by people in their late teens, who might not have been considered "children" at the time (1790s-1810s). Still, the degree of skill demonstrated in these creations suggests the many hours of practice that these young artisans must have logged in their earlier years; the images therefore attest to the activities of childhood at the turn of the 19th century.

Do not, however, restrict yourself to the "Children" category of the "Highlights" page; the other categories there also include materials about children, mixed-in with the larger collections of artifacts. As just one example, the "Documents" category offers many texts used in children's schools (different selections from the ones displayed in the Children category). "Learning by Doing at Hampton" allows viewers to see sixteen pages from a 1900 pamphlet about the The Hampton Institute in Virginia, a school where freed African-American and Native American children were taught the customs and values of White society as a means of acculturation. There you can also see pages of a teenage boy's "copy book," with his penmanship, scholarship, and artistic skills displayed, as well as many other documents about children's lives as young scholars. The Documents category also features a "Journals and Diaries" sub-category, which contains several pages of text from the 1859-1860 diary of a twelve-year-old girl. The "Women's Lives" subcategory contains some other material relevant to the study of teenage girls, like the few pages scanned from a girls' 1830 instruction book: The Young Ladies Book: A Manual of Elegant Recreations, Exercises, and Pursuits, with rules for proper sitting, dancing, standing, and curtseying.

Nearly every section of the "American Centuries" site contains materials about children and youth, including photographs of children in school, at play, and among their families from the late 19th to early 20th centuries (this one shows a family in 1895 playing croquet on their front lawn).

With its easy navigability, superb detail in images and texts, and rich resources for students and teachers, this site is one of the best internet collections available for the study of childhood and youth in Eastern US history.