"Schoolboy, where did you go from earliest days?"
"I went to school."
"What did you do in school?"
"I read my tablet, ate my lunch,
prepared my tablet, wrote it, finished it; then
my prepared lines were prepared for me
(and in) the afternoon, my hand copies were prepared for me.
Upon the school's dismissal, I went home,
Entered the house, (there) was my father sitting.

I spoke to my father of my hand copies, then
Read the tablet to him, (and) my father was pleased;
Truly I found favor with my father.
"I am thirsty, give me drink,
I am hungry, give me bread,
Wash my feet, set up the bed, I want to go to sleep;
Wake me early in the morning,
I must not be late, (or) my teacher will cane me."
When I awoke early in the morning,
I faced my mother, and
Said to her: "Give me my lunch, I want to go to school."
My mother gave me two "rolls," I left her;
My mother gave me two "rolls," I went to school.
In the tablet-house, the monitor said to me: "Why are you late?" I was
afraid, my heart beat fast.
I entered before my teacher, took (my) place.
My "school-father" read my tablet to me,
(said) "The. . . is cut off," caned me.
I. . . d to him lunch. . . lunch.
The teacher in supervising the school duties,
Looked into house and street in order to pounce upon some one, (said) "Your. . . is not. . .," caned me.

My "school-father" brought me my tablet.
What was in charge of the courtyard said "Write," . . . a peaceful place.
I took my tablet,. . .
I write my tablet,. . . my. . .
Its unexamined part my. . . does not know.
Who was in charge of . . . (said) "Why when I was not here did you talk?" caned me. Who was in charge of the. . . (said) "Why when I was not here did you not keep your head high?"
caned me.
Who was in charge of drawing (said) "Why when I was not here did you stand up?" caned me.
Who was in charge of the gate (said) "Why when I was not here did you go out?" caned me.
Who was in charge of the. . . (said) "Why when I was not here did you take the. . .?" caned me.

Who was in charge of the Sumerian (said) "You spoke. . .," caned me.
My teacher (said) "Your hand is not good," caned me.
I neglected the scribal art, [I forsook] the scribal art,
My teacher did not. . .,
… d me his skill in the scribal art.
The. . . of words, the art of being a young scribe,
the. . . of the art of being a big brother, let no one. . . to school."
"Give me his gift, let him direct the way to you,
let him put aside counting and accounting;
the current school affairs

the schoolboys will. . ., verily they will. . . me."
To that which the schoolboy said, his father gave heed.
The teacher was brought from school;
having entered the house, he was seated in the seat of honor.
The schoolboy took the … , sat down before him;
whatever he had learned of the scribal art,
he unfolded to his father.
His father, with joyful heart
says joyfully to his "school-father":
"You 'open the hand' of my young one, you make of him an expert,

show him all the fine points of the scribal art.
You have shown him all the more obvious details of the tablet-craft, of counting and accounting,
You have clarified for him all the more recondite details of the. . ."
"Pour out for him … like good wine, bring him a stand,
make flow the good oil in his. . .-vessel like water,
I will dress him in a (new) garment, present him a gift, put a band [a ring] about his hand."
They pour out for him. . . like good date-wine, brought him a stand,
made flow the good oil in his. . .-vessel like water,
he dressed him in a (new) garment, gave him a gift, put a band about his hand.
The teacher with joyful heart gave speech to him:

"Young man, because you did not neglect my word, did not forsake it,
May you reach the pinnacle of the scribal art, achieve it completely.
Because you gave me that which you were by no means obliged (to give),
you presented me with a gift over and above my earnings, have shown me great honor,
may Nidaba, the queen of the guardian deities, be your guardian deity,
may she show favor to your fashioned reed,
may she take all evil from your hand copies.
Of your brothers, may you be their leader,
Of your companions, may you be their chief,
May you rank the highest of (all) the schoolboys,

. . . who come from the royal house.
Young man, you "know" a father, I am second to him,
I will give speech to you, will decree (your) fate:
Verily your father and [mother] will support you in this matter,
As [that] which is Nidaba's, as that which is thy god's, they will present offerings and prayers to her;
the teacher, as that which is your father's verily will pay homage to you;
in the … of the teacher, in the … of the big brother,
your … whom you have established,
your manly [kinfolk] verily will show you favor.
You have carried out well the school duties, have become a man of learning.

Nidaba, the queen of the place of learning, you have exalted."
O Nidaba, praise!

The World Images site, a project of California State University, is designed for simplicity of use if not aesthetic elegance. It is a utilitarian database well suited to teachers, professors, or students looking for presentation images licensed for educational use on a comprehensive range of subjects including photography, painting, illustration, and material culture with global geographic representation.

The image collections are arranged as thumbnail panes on the home page, each hyperlinked to a list of portfolios that indicate how many images each contains. The site holds an archive of 72,000 images organized into 867 portfolios, and a tutorial shows how to create Community Portfolios. Users can browse the collection using keywords, artists, topics, titles, regions, or periods in quick or advanced search modes. Search results can be viewed as titles with hyperlinked acquisition numbers, as thumbnail images with titles, or as small or zoomable images with their metadata.

Categories include institutional collections in the database, faculty collections, course materials, and a collection of image portfolios correlated to required history topics in the California Educational Standards for grades 4–10. Since these curricular requirements are fairly common across the U.S., and in world history beyond the U.S., this is a valuable resource for teachers.

World Images is rich in images related to children and youth. The "People and Portraits" portfolio contains three sub-categories on children with a total of 1,094 images, some overlapping. They include Children to 1500 (234), Children 1500-2000 (544), and Children of the World (316).

The first is fairly inclusive geographically, but includes many images from Western traditions. The second is almost entirely European and American, and the third includes North and South American, African, Asian, and European children's photos and a few artworks and artifacts. Much of the third collection is the work of photographer Kathleen Cohen.

The following search terms returned images on children and youth: "children" (1000), "childhood" (80), "girl" (382), "boy" (555 items), "infant" (119), and "family" (858). The metadata provided with each image includes title, artist or maker, historical period, region or country of origin, copyright holder of the image, and/or museum holding the object. The individual object view also shows what other collections include the object, and links to other objects by the same artist or unknown generic maker from that culture. The photographs are labeled with title, year, location, and photographer, but nothing further, though some of the titles are very descriptive.

The information associated with World Images is thus limited, providing no further contextualization, nor are there links to descriptive information on museum sites where some are housed, for example. For this reason, the works of art found through this website are starting points for research about children in history rather than destinations. Some images, however interesting, remain mysterious.

Teachers wanting to illustrate already researched lectures or activities with licensed images will find this site a rich resource, especially if the lack of detailed information on the images is not a problem. Interesting objects from the collection can stimulate fruitful discoveries of available research on the web or from books and articles. For example, an image of an ancient baby bottle led to a trove of online information about infant feeding through the centuries.

Teachers can also create thematic collections that can be used for primary source investigations. A number of art images show punishment of children's misbehavior, for example, and children at play, as well as infant equipment from various times and places. These images can be used as exercises in examining primary sources as if they were "found objects" at a site or in an archive.

World History Sources at the Center for History and New Media has extensive lessons, exercises, and scholarly models for analyzing primary sources, including photographs, that could provide tools for working with the rich sources available on this website. A feature called "You be the Historian" could be adapted to interrogating the images from the World Images collections, and would reveal much about childhood by investigating questions to ask, and suggesting how to find answers.

The vast collection of the Metropolitan Museum is effectively arranged and integrated on the www.metmuseum.org website. Navigation of the site is straightforward, enabling efficient browsing or research. Although no specific essays or exhibits on children and youth are found on the site, several hundred artworks relevant to the topic can be located by searching the Collection Database or the Timeline of Art History (TOAH)—more than sites dedicated to the subject.

The Collection Database of 129,022 objects can be searched as a whole, by subject, by curatorial department, or by exhibit. The collection database search is comprehensive, and returned 3629 entries under "children." Childe Hassam is a distracter in this keyword search, but the search "Children NOT Childe" reduced the return to 319 items. "Boy" returned many distracters, but "girl" returned 954 items, and "infant" returned 252 items. "Toys" returned only 21 items, indicating a limitation of the museum's collection in that area. "Youth" returned 186 works and "young" 1741 items. The biggest drawback of the collection search was that many of the works are associated with placeholder images, although the metadata may help locate images elsewhere. As digitization of the collection proceeds, this may improve.

The TOAH is an unmatched resource for educators. The 6,000 included artworks are organized by three integrated elements: maps, timelines, and thematic essays. World and regional maps correlate artwork to eleven world eras and locate it in ten world regions. Timelines place the artworks in historical context, and include key events, political, stylistic and technological periodization. Eight hundred thematic essays provide historical context for groups of artwork and discuss characteristics, techniques, and significance. The essays reveal connections among civilizations and regions, and provide material for comparative study.

Educators searching for information on children in art can locate artworks featuring children and youth by a search of the TOAH, which seems more rewarding than the database search because all of the works are associated with images, and they are easily placed in context by TOAH's features. The searches are conveniently shown by category, so the user can bring up all relevant artworks, essays, timelines or other occurrences with one click.

A TOAH search of "children" found the term in 23 timelines, 153 thematic essays, and 396 works of art. "Figure, Child" in the Subject Index returned 21 essays and 80 works of art, each shown as a thumbnail image with titles. On the subject of childbirth, 15 artworks can be viewed. Terms such as "girl" (97 works), "boy" (9) and "young" or "youth" (4) returned artworks from across the globe and the eras.

An activity using the 97 artworks under "girl" might compare the relative age connoted by the term in various cultures and periods. Some depict small children, while others are clearly young women. A selection of western European drawings and paintings could focus on the changing definition of girlhood over time or explore symbols and objects associated with girlhood. Some of the artworks show girls in active social roles, playing sports and games, fulfilling ritual roles, or being mourned in funerary works. Some of the works are expressions of girls' work in various societies, such as needlework, preparation of trousseaus, or manual labor at home. In short, the collection can be used to gather ideas about girlhood over time and across cultures. Similar explorations about youth and boys could be made. Educators will find many ways to place childhood in historical context using this website.

When the child was able to take its own food, it was taught to use the right hand. When it was able to speak, a boy was taught to respond boldly and clearly; a girl, submissively and low. The former was fitted with a belt of leather; the latter, with one of silk.

At six years, they were taught the numbers and the names of the cardinal points; at the age of seven, boys and girls did not occupy the same mat nor eat together; at eight, when going out or coming in at a gate or door, and going to their mats to eat and drink, they were required to follow their elders: the teaching of yielding to others was now begun; at nine, they were taught how to number the days. At ten, the boy went to a master outside, and stayed with him even over the night. He learned the different classes of characters and calculation; he did not wear his jacket or trousers of silk; in his manners he followed his early lessons; morning and evening he learned the behavior of a youth; he would ask to be exercised in reading the tablets, and in the forms of polite conversation.

At thirteen, he learned music, and to repeat the odes, and to dance the civil dance of the Duke of Zhou.1 When a full-grown lad, he performed the martial dance of King Wu and learned archery and chariot-driving. At twenty, he was capped, and first learned the different classes of ceremonies and might wear furs and silk. He performed the Great Xia dance, and attended sedulously to filial and fraternal duties. He might become very learned, but did not teach others, his object being still to receive and not to give out. At thirty, he had a wife, and began to attend to the business proper to a man. . . .

A girl at the age of ten ceased to go out from the women's apartments. Her governess taught her the arts of pleasing speech and manners, to be docile and obedient, to handle the hempen fibers, to deal with the cocoons, to weave silks and form fillets, to learn all woman's work, how to furnish garments, to watch the sacrifices, to supply the liquors and sauces, to fill the various stands and dishes with pickles and brine, and to assist in setting forth the appurtenances for the ceremonies.

At fifteen, she assumed the hair-pin; at twenty, she was married, or, if there were occasion for the delay, at twenty-three. If there were the betrothal rites, she became a wife; and if she went without these, a concubine.