Flemish painter, Pieter Bruegel the Elder, painted "Children's Games" in 1560. While many of his other paintings also portray peasant folk culture, this summer townscape that is devoid of adults is rich in detail about Medieval children—especially at play. The painting provides a window into amusements and recreations in the past in its detailed depiction of some 200 children engaged in nearly 80 different games and play activities. Many (although not all) of the outdoor activities included in this visual compendium of 16th-century children's play will be recognizably familiar.

Physically energetic and imaginatively engaged girls and boys are everywhere in Bruegel's busy painting. Some are using their bodies, others are playing with children and/or with toys (e.g., windmill; hoops). Here are some examples. Three boys mounted on a red fence are pretending to race horses. A few are playing leapfrog and others playing "horsey" and "tug of war." Another is straddling a hobbyhorse. Two girls are playing a medieval form of jacks (knucklebones) but with a bone instead of a ball. A group of children playing dress-up are staging a wedding. A small group of boys are spinning tops (a popular toy). A girl is playing musical instruments, another with a doll. A few boys are balancing on barrels. Some children are engaged in solitary play (e.g., blowing bubbles; dollmaking). While some are playing gently, there are rough bullies here as well.

In addition to this painting and additional ones by Bruegel the Elder there are other useful sources of information about children's play in medieval Europe. Illuminated manuscripts from the Netherlands include noteworthy depictions of children at play. Other kinds of evidence can be drawn from poetry, such as, The Pilgrim of the Life of Man, a French poem translated in 1426 by the English poet John Lydgate. It includes an energetic girl, named Youth, with a passion for play. She enumerates 25 different activities and games. Archeologists also have located toys and other objects for material culture analysis. A highly useful secondary source is Nicholas Orme's Medieval Children (Yale University Press, 2001). A comprehensive chapter on "play" is also lavishly illustrated with art and artifacts.

The image from the Codex Mendoza (produced ca. 1535-1550) describes the Aztec birth ritual of bathing and naming the child, which, according to accounts from the 16th century, was usually held on the fourth day after birth. It was attended by the parents and kin, who gathered in the house before sunrise to feast and observe the ceremony. The midwife who aided the birth conducted the ceremony, and she is shown holding the infant. After consulting with the tonalpouhqui, a person knowledgeable in the sacred books would determine the sign of the child based on the moment of birth.

The image is a narrative, showing a sequence of events through the use of multiple images connected by dotted lines. The midwife took the infant from the cradle near its mother and carried it to a pottery vessel filled with water, placed on a mat. The midwife's counterclockwise footprints circle the mat, where two sets of symbolic objects are placed. Male infants were given a shield and arrows, tools for wood-, feather-, and metal-work, and the scribe's implements (depicted above the mat). Female children were given domestic objects: a broom, a reed basket and a spindle (depicted below the mat). The midwife performed four rituals with the water: she invoked the goddess of water and put drops of water on the baby's mouth, telling it to receive the water it needs to live upon the earth; she touched the baby's chest with her wet hand and invoked the purifying property of water that cleans the heart; she cast drops of water on the baby's head, telling the baby to let the water enter its body to dwell there. Finally, the midwife washed the child's body to keep evil away from it. After these four rites, a boy child was presented to the sky four times, calling on the sun and the astral gods, asking that he become a warrior. A girl child was not presented to the sky—a masculine god, but after the washing the midwife spoke to the cradle asking the protection of the mother goddess. Following the ceremony, the baby was given a name, often one based on the day and time of birth.

Aztec children were valued creations. Language used in rituals compared infants to precious stones and feathers, flakes of stone, ornaments, or sprouts of plants. The duty of parents and society, however was not to indulge but to socialize the child, so that they would not become "fruitless trees," as an Aztec proverb stated. According to sources written shortly after the Spanish conquest, such as the Codex Mendoza, society placed a high value on conformity, obedience, and decorum. The section of the Codex Mendoza that depicts daily life shows gender-specific punishments used in raising children. The image seems to show a sequence of punishments, first threatening the boy and the girl with three maguey thorns, the spike of the agave plant. In the second image, the woman is administering punishment to the girl by piercing her arm with the maguey thorn; the boy is pierced more severely in the neck, flank, and hip, and he is bound at the wrists and ankles. In the third image, the punishment of striking the child with a stick or rod is being carried out. In each case the image shows the children weeping profusely as the threat or the punishment is administered.

Annotation written by Susan Douglass.

Visual images provide valuable material for the exploration of childhood, youth and history. Propaganda posters from the People’s Republic of China (1949-present) are particularly rich, offering images that are both bold and subtle, and which many students find as nicely accessible sources to explore. The posters offer a sense of the ways in which a Chinese state and the individual artists it employed sought to use the image of the child to gain a broader public investment in political movements and to define new visions of the revolutionary cause, particularly during the Great Proletarian Cultural Revolution (1966-1976). Exploration of the imagery of children in these posters provides useful sources through which to explore the ways in which images of children would come to signify broader social and political meanings and to potentially inspire both youths and adults in their own definitions of self-identity.

This image appeared following the arrival of a Chinese reform agenda and the end of the Maoist campaigns. Entitled, "Studying for the mother country, 1986," it presents a girl at the center of an image that invokes many of the official "four modernizations" (specifically, industry, technology, agriculture, and defense) that were proclaimed by a new leader, Deng Xiaoping, as the primary goals for building a strong Chinese nation. Students may explore the ways in which the busy detail of this image represents themes of industrialization, urbanization, national progress (as symbolized by a space program, among other projects), as well as the combined imagery of the flag, the doves around it, and, importantly, the tools that the girl herself thoughtfully wields.

Visual images provide valuable material for the exploration of childhood, youth and history. Propaganda posters from the People’s Republic of China (1949-present) are particularly rich, offering images that are both bold and subtle, and which many students find as nicely accessible sources to explore. The posters offer a sense of the ways in which a Chinese state and the individual artists it employed sought to use the image of the child to gain a broader public investment in political movements and to define new visions of the revolutionary cause, particularly during the Great Proletarian Cultural Revolution (1966-1976). Exploration of the imagery of children in these posters provides useful sources through which to explore the ways in which images of children would come to signify broader social and political meanings and to potentially inspire both youths and adults in their own definitions of self-identity.

In “Protect the great results of the Cultural Revolution, 1974,” a cohort of determined youth in red armbands replace adults and offer their own voices to a new definition of the revolutionary cause through the posters and slogans they paint. Gender is a theme of particular value here, both in comparison with "The happy life Chairman Mao gave us, 1954" image and "Studying for the mother country, 1986". In this poster, we find a determined teenage girl leading the way rather than serving the table.

Visual images provide valuable material for the exploration of childhood, youth and history. Propaganda posters from the People's Republic of China (1949-present) are particularly rich, offering images that are both bold and subtle, and which many students find as nicely accessible sources to explore. The posters offer a sense of the ways in which a Chinese state and the individual artists it employed sought to use the image of the child to gain a broader public investment in political movements and to define new visions of the revolutionary cause, particularly during the Great Proletarian Cultural Revolution (1966-1976). Exploration of the imagery of children in these posters provides useful sources through which to explore the ways in which images of children would come to signify broader social and political meanings and to potentially inspire both youths and adults in their own definitions of self-identity.

This image, "The happy life Chairman Mao gave us, 1954," offers a domestic scene which appears surprisingly familiar to many students in its presentation of a happy family meal. Students have commented upon the ways in which children seem to symbolize the peace and material prosperity of China after the revolution of 1949. And yet, the prominence of the image of Mao himself is also noted – indeed, one student has insightfully observed that Mao himself appears to be joining the family at its very own dinner table.

This image from a 16th-century Persian manuscript illustrates the visit of a renowned teacher to a mosque. Such visits were much anticipated, and this image demonstrates the wide range of people who attended. Seating arrangements illustrate the social organization for the event. The guest of honor sat on the seat at the top of the minbar, or pulpit, while the older men sat in the first row. Younger men sat farther away, while youth without beards sat or stood on the sides. Women and young children sat in a separate section of the mosque, possibly a raised gallery or partitioned space on the same level. The painter showed small children with their mothers, some held in arms, others sitting on the floor. Because the women are among themselves, some have taken off their face veils and the bodice of their chador is loosened to show their clothing underneath. The small children were depicted climbing on their mothers' laps, interacting with them, pulling on their mothers veils and talking to them, visiting with other women who may have been their aunts, sisters, grandmothers or neighbors. The painter's style was very natural despite the formal composition, allowing the viewer to imagine some of the children running between the rows of worshippers during the prayer, a scene that can be witnessed in any mosque today.

Italian noblewomen presented soft, absorbent, linen towels with indigo woven borders to birthing mothers during the 14th century and later. The cultural context of the towels is illustrated in Italian paintings of the period depicting childbirth customs such as presentation and use of the towels. For example, this fresco by Paolo di Giovanni Fei, Birth of the Virgin Mary (1380) displays several uses for the towels. Women used these soft, fringed cloths as head coverings, tablecloths, and for wrapping household items. The towels were originally imported from Egypt, a center for linen and indigo dye production and weaving. Weavers finished the white body of the towels with fringe and woven border designs featuring Arabic inscriptions called tiraz. Tiraz bands alternated with geometric, plant, or animal designs. Like other luxury textiles from the East, imported Egyptian towels were copied by Italian weavers, eventually becoming a specialty of Perugia and other weaving centers. In place of the tiraz, pseudo-Arabic and then Latin lettering with Christian motifs appeared in the European border designs.

In this painting of a kuttab, or primary school, boys sit on a mat or carpet huddled close together with their writing boards. Boys, and sometimes girls, learned to recite the Qur'an at an early age, as well as the basics of reading, writing, and arithmetic in schools called kuttabs. It might be held in a mosque, a building especially for the purpose, or an open courtyard, as in West Africa. This type of school was common in urban and rural settings throughout Muslim lands. The image by 13th century illustrator al-Wasiti (fl. 1237) is from the Maqamat (Assemblies) of al-Hariri (1054-1122 CE), an important figure in Arabic literature. The work is a collection of anecdotes about a picaresque hero, shown in the red robe, who perhaps having just said something outrageous, is shown disputing with the teacher. An interesting feature in several illustrations of kuttabs is the fan suspended from the ceiling, with one of the boys pulling a rope to swing it. Perhaps the boy chosen for this task was the one least proficient in his lessons.

The image by 13th–century illustrator al-Wasiti is from the Maqamat (Assemblies), a collection of stories of a picaresque hero. The author, al-Hariri (1054-1122 CE), is an important figure in Arabic literary history. The illustrations belong to the Baghdad School of miniature illustration, and depict scenes of ordinary life. The scene illustrates aspects of a village life. Al-Wasiti used a composition technique in which multiple levels show different planes of the scene, allowing him to compress many aspects of village life into the small space of the painting. A date palm, the village mosque, and the individual brick or adobe houses line the village street. Al-Wasiti portrayed the intimacy of life in the village, with each door open to show the family dynamics and work being done. A girl stands in one doorway with a woman, probably her mother. A woman in another doorway appears to call to someone, while a husband and wife nearby converse or argue. Poultry roost on the roofs of houses, a woman spins thread, and people tend domestic animals, including sheep, goats and water buffalo, often the work of women and children.