Unauthorizedly to kill a child is punishable by tattooing and being made a wall builder or a grain-pounder. When a child is newly born and its body is deformed or not whole, to kill it is not to be considered a crime. If when a child is born and the child's body is whole and not deformed--merely for the reason that one has too many children and does not wish that it should live, and consequently not to lift it up but to kill it, how is this to be sentenced? This is (a case of) killing a child.

The Byron Collection at the Museum of the City of New York is an archive of 22,000 photographs taken by The Byron Company—a prominent New York photography studio—between 1890 and 1942. The Byron photographers took as its subjects all manner of social life in and around New York; the collection includes private subjects (family portraits and home photographs), but the bulk of the collection documents public life and public institutions, many of which directly involved children. The photographs here portray the lives of children from all social classes – at play, at work, in hospitals, churches, schools, and many other contexts.

While the collection extends to 1942, the majority of images are from the turn of the last century, between the 1890s and the 1910s. The finely detailed visual quality of silver gelatin prints lends a hauntingly "real" quality to the images, which does justice to the frames crowded with numerous people and objects; in their enlarged state, especially if screened in a classroom, these photos not only attract attention, they almost demand it.

By searching for "children," "boys," and "girls," one will find thousands of photographs pertinent to the study of youth history. Children's recreational activities are well represented here; one can see boys and girls playing in the water at Coney Island, Atlantic City, Rockaway Beach, and other seaside spots; ice skating in Central Park; and racing or playing ball in various New York public playgrounds. Indeed, a teacher could use these photographs to good effect in a lesson about the rise of the public playground as a social institution that has evolved over the decades. In this photograph a child dangles from the sort of equipment that was later banished from playgrounds (like monkey bars) for being "too dangerous."

Children's homes are depicted in a wide variety of photographs from both the wealthy and poor positions in the social spectrum. A lesson on the daily lives of children from different economic classes could juxtapose "Social functions; children's party," in which a number of well-dressed children sit at the splendidly appointed dining table of a wealthy home, with "Slum interior, 1896." The collection boasts numerous images of wealthy children posed in and around their homes; a smaller number show children from the lower classes playing on street corners throughout New York City, from the Lower East Side up to Harlem.

One of this collection's strengths is its documentation of institutions created during the Progressive Era to serve children. An abundance of photographs portray scenes at the Children's Aid Society, the Emanuel Lehman Foundation for crippled children, the New York Foundling Hospital, the New York Association for the Blind, and various other schools, hospitals, and orphanages. Viewers can see interior images demonstrating the daily activities of the children in these institutions. Even the titles of these organizations are sometimes worthy tools in the study of history: "The School For Feeble-Minded Children" is a noteworthy relic of a time before Americans became concerned with sensitive language.

Another strength of the Byron Collection is its images of children at a variety of schools – exercising, studying, performing in theatrical events, and going on field trips. These photos include religious as well as secular schools. Besides the many neatly-posed photos of Sunday School classes from both Catholic and Protestant churches, there are some more candid photos that attest to the role of churches in teaching life skills; one photo, for example, shows children practicing sewing at St. Thomas' Chapel. Students of youth history will find much in these photographs to prompt considerations about the history of American education.

Unfortunately, the site's navigation system leaves a lot to be desired. Viewers have the option of searching the collection for "keywords," or of browsing a pre-selected sampling of subjects categorized by the museum (each subject, in that browsing function, includes a scant 20-30 pictures). More results will surface in the search function, but there is no index or site-map to show, at a glance, all the categories of available images. This lack of an index is one factor that makes the Byron Collection far less user-friendly than the Library of Congress's photograph collections.

Nor does the Byron Collection's search function reliably include words from the titles of the photographs. One can search only by keywords, not titles. This will pose problems for a teacher who locates an image he likes and then tries to access it later, in a classroom. Such images must be bookmarked when you find them – or else you will need to conduct the general search all over again, and wade through hundreds of hits. For example, photos from the aforementioned "The School For Feeble-Minded Children" can only be found in a general search for "school." Typing "feeble-minded" into the search box – or even just "feeble" – will yield nothing, because "school" is a subject keyword, but "feeble" isn't. A feeble-minded site design, indeed.

Despite these navigational headaches, the Byron Collection – with its wealth of photos of children of all social classes in a wide variety of circumstances and activities – is a valuable resource for studying the history of childhood in one of the most dynamic times and places of modern U.S. history. With enough preparation (and bookmarking), teachers can adapt this extensive resource to any lesson on American childhood in the late 19th and early 20th centuries.

The Huntington Archive of Buddhist and Related Art offers a rich collection of images of Asian art and architecture. It is based upon the core collection created by John and Susan Huntington, professors of Asian Art History at The Ohio State University who engaged in over 35 years of field work in Asia. Nearly 300,000 images are held in the full collection, representing religious imagery and architecture (both on site and in museums) from India, Pakistan, Bangladesh, Afghanistan, Nepal, Myanmar, Thailand, Indonesia, Sri Lanka, China, and Japan. The historical range begins in 2500 B.C.E. and runs through the present day. Roughly 30,000 black and white images along with a limited number of color ones are accessible through an online "Digital Database Collection." Images are available in multiple sizes, with a zoom feature for more detailed views.

A variety of child-related features are presented at the Huntington site. A collection of links to "Online Exhibitions" currently offers valuable material from China, Japan, India, and Tibet. Exhibition themes include pictography and posters from China, modern art and devotional imagery from India, calligraphy and material arts from Japan, and the material icons and imagery of Tibet. While these collections do not address childhood directly, there are occasional iconographic images of children as well as domestic scenes of religious practice.

Other elements of the exhibit collections can be tied to a culture of childhood as well. For example, the exhibit "Literature in Line: Lianhuanhua Picture Stories from China" offers a collection of drawings from picture stories in popular print during the mid-20th century. One useful collection among these includes illustrations from Zhao Hongben and Qian Xiaodai's Monkey Beats the White-boned Demon (1962), based on the classic tale of Journey to the West. This story (available in an English-language translation by Arthur Waley) has been relished by both adults and children in China and continues to be presented globally as both theater and cinema.

The "Digital Database Collection" is another rich resource for the theme of Buddhism and Asian Art. It consists of nearly 30,000 images collected as documentation of Asian sites and architecture by John and Susan Huntington between the years of 1969-1984. Imagery related to the theme of childhood can be located through simple keyword searches. Images of children largely originate from India and include iconographic figures embracing a child as well as visual presentations of "Buddha life scenes." Such images could be usefully tied to textual sources, Buddhist themes, life-stages, allegory and iconography for research projects. Finally, the projects page at the site offers links and teaching resources related to art history, discussion outlines and presentations, as well as a "Visual Encyclopedia of Buddhist Iconography." Though not directly related to childhood as a major theme, these nevertheless offer valuable resources for those interested in exploring the broader context for the imagery of children and childhood.

Why I Taught the Sources

I use images of two Roman marble sarcophagi for topics on children and childhood in undergraduate courses on ancient society, family, gender, representations, and historiography. The sarcophagi can be used to study one period of antiquity or to examine changing notions of childhood over time.

My aim in using the sarcophagi is to increase students' awareness of the rich variety of accessible material sources about Roman society—especially archaeological resources such as art, architecture, inscriptions, and topography—that can supplement traditional literary sources. A careful analysis of images from an unfamiliar society can help students already exposed to visual material in their daily lives become more discriminating in their interpretations.

Students' present-day interest in children and childhood—in daily life and in academic studies—is a good basis on which to build. But there is a danger of applying our own modern, Western attitudes and values to other societies. Studying artifacts and texts from a different society raises questions of cultural differences. One basic question is whether childhood in pre-modern societies was recognized as a separate stage of life and children were valued; this has been debated since Ariès' book of 1962. 1 Roman society of the first two or three centuries (CE) provides material to help students to enter this debate and make their own assessments.

How I Introduce the Sources

After providing a chronological background and introducing issues such as class and status, gender, urban context, and political structure earlier in the semester, I assign: Ariès, Centuries of Childhood, at least the Introduction; and Letter 4.2 of The Letters of Pliny the Younger. My aim is provide students with the evidence to challenge Ariès' claim about the "ignorance of childhood" in pre-modern ages that relied on a small range of literary sources.

In order to do so, I provide an introductory lecture on the history of childhood studies and on available sources (including the nature of the material as well as the hazards of surviving literary, legal, archaeological sources). 2 I also provide images of materials such as epitaphs, sculptures, and wall paintings related to children and Rome to stimulate thinking about the range of representations available. Students then divide into smaller groups of 10 to 15 to examine primary sources.

Reading the Sources

In these smaller groups, we analyze Pliny's apparently unsympathetic comments on the death of Regulus' son in the context of upper-class Roman male expectations of fatherhood, emotions, and Pliny's deep hostility to Regulus. Pliny's letter also shows the independent wealth of a mother and the possibility of a young male coming into independent wealth, either by the death of his father or by the legal technicality of being freed ("sold") from the power (patria potestas) of his father. 3

The comparatively large quantity of funerary commemoration of prematurely-dead children helps put Regulus' grief into perspective. Regulus' son had survived early childhood, so his death, in his early teens, was the more tragic.

I also project images of various funerary items, including the two sarcophagi, on a screen. These raise the question of parental grief and grieving in a society of high mortality, challenging the claim sometimes made of indifference to children's deaths in societies with high rates of infant mortality. Each of the sarcophagi depicts a sequence of life-stages, and each can be dated to the first half of the 2nd century CE. 4

By contrast with simple epitaphs, these are quite expensive artifacts. On the first sarcophagus, the boy's name, M. Cornelius Statius (in the dedicatory form 'M. CORNELIO M. F. PAL. STATIO'), indicates that he is a freeborn Roman citizen.

The epitaph has been dedicated by the boy's parents ('PARENTES'). The family's dress and attributes, and the quality of the artifact, suggest a well-to-do family. The scenes depict the newborn infant, the child at play, and the child with teacher. The mother appears to be breast-feeding which raises the question about whether this was normal (in a society of wet-nurses) or whether the scene was idealized.

The father's role in the nursing scene and in holding the infant often surprises the students. In well-to-do citizen families, with a household of slave retainers, the stereotype is of more distant relationships and limited contact between parents and children in the early rearing years. (Compare, for example, stereotypes of 19th century upper-class English families.)

The scroll in the boy's hand as he recites his lesson to a teacher raises questions about many aspects of education, such as the availability of "books," importance of oral performance and memory, and existence of schools and private tutors. It also sparks discussion of children's modes of play, their engagement with animals (helping put young Regulus' pets in context), and children's place in the family.

The second sarcophagus also depicts an infant (in the arms of one of the parents in the carriage ride on the right-hand side of the stone) and play (as a toddler with a wheeled pusher or scooter, and a little older with a pet goose).

But the last scene is of death, foreshadowed by the torches, often symbols of funerals, at each end of the sarcophagus. The parents again ride in a carriage, with the slightly older child between them, and they are led by a winged Cupid foreshadowing the child's soul ascending to heaven.

Roman marble sarcophagus created to commemorate the death of a child.

Roman sarcophagus depicting a series of points in the life cycle of a child.

One of the most comprehensive online collections of Egyptian material culture, the Eternal Egypt website provides invaluable information and photos of many thousands of artifacts from all historical eras of the Egyptian past. Fortunately for scholars and educators of childhood, there is an easy-to-use portion of the website devoted to games and toys, bringing to life the leisure pursuits of children who have lived in Egypt through history.

The Games and Toys component of the Eternal Egypt website is an easy-to-navigate collection of 21 artifacts, mostly from the Pharaonic era, used as toys or games by children of the past. Visitors may click on any artifact to be taken to a new page dedicated to explaining the toy or game in question. Expert information is provided, including the era of the toy, the materials from which it was made, where it was discovered, and in which museum or collection it currently resides. Clear images are provided as well, along with descriptions of the toy in question and explanations about how it might have been used. A handy zoom feature allows viewers to explore the item up close, making small details very clear. Moreover, IBM Text-to-Speech technology has been integrated into the site, making it possible to listen to descriptions while you are exploring the zoom imagery. These are the same descriptions given to visitors of the Egyptian Museum of Cairo, giving remote viewers a similar experience to those fortunate enough to encounter these artifacts first-hand.

Each page also provides links for more information about the time during which the toy was made and enjoyed, as well as the technique used for manufacturing it and the materials from which it was created. For example, the "child's spinning toy" from the 18th Dynasty allows modern children to compare and contrast their own spinning tops by interacting with those of ancient Egyptian children. Maps and timelines are also provided, as well as key topics for further exploration of the society and history of the toy’s era. All of these features are fantastic teaching tools and will serve educators well. Students and teachers may also register to create and store their own "collections" of artifacts on the website. This allows visitors to save items most interesting to them and helps them curate their own virtual museum of Egyptian artifacts.

An interesting classroom exercise might include an examination of the popular themes of historical Egyptian toys. For example, students visiting the site will quickly notice that monkeys and other primates were popular themes for historical children's entertainment. They may compare their own society's fascination in primate-themed toys and try to determine the reasons for this similarity. Another productive exercise may be to recreate some of the popular toys of the past—such as Senet and Backgammon—in a classroom setting, giving students a hands-on experience related to the pastimes of their historical counterparts.

Beyond the section on Games and Toys, there are additional resources available through the search function. A search on "child" yields 112 results; "girl" returns 33 items and "boy" returns 23.

This site is a fantastic resource for educators who want to infuse their classrooms with a sense of humanity. Teaching the past—particularly the ancient past of a foreign country—can be a challenge, but by integrating the material culture of entertainment, and especially that of children, teachers can better humanize their subjects for their students. Eternal Egypt is a wonderful resource for those educators and scholars who would like to get "up close and personal" with the material culture of the Egyptians in the comfort of their own classrooms.

Read a review of the entire Eternal Egypt website on World History Matters, http://chnm.gmu.edu/worldhistorysources/d/241.html.