ample treatment from English artists. Their games and their pastimes and their environment were not neglected by eighteenth-century artists. The cupids and idealized representation of children in the foreign schools became realistic under English masters as real children. In the Bartolozzi Angelica Kauffmann period there is the tendency to idealize these juveniles and make them disport themselves in a Watteau-like world, but by other painters they come into their own, and in Sir Joshua's portraits childhood receives due recognition.

Cupid was in great evidence in the eighteenth century, but the cottager's children came in for attention when the Rev. W. Peters portrayed the "Visit to the Country," and Morland gave us his cottage interiors.

The games of the children of the people provide considerable interest for the student. The chalked pavement in a slum where Phil May's "gutter snipes" play "hopscotch" has, in common with other traditional games, a long history. The urchin who bestrides a companion and sits as though on a horse, crying, "Buck, buck, how many horns do I hold up," is echoing the lines of Petronius Arbiter written in the time of Nero. To quote Dr. Taylor, the learned authority on this branch of folk-lore: " Trimalchio, not to seem moved by the loss, kissed the boy, and bade him get on his back. Without delay the boy climbed on horseback on him, and slapped him on the

shoulders with his hand, laughing and calling out Bucca, bucca, quot sunt hic?'"

The counting-out games of children are oldhow old none can say. Many of the nursery tales were woven long ages ago by those child-like men who invented so many pretty fancies when the world was young. "These earthly godfathers of heaven's lights" speculated upon the stars and poetically expressed their notions of that vast unknown moving host. These old-world legends that set men thinking once upon a time have been handed down and fill the audience that now hears them with an ever new delight and wonderment.

"

In regard to the record of games French artists have found pleasing subjects in childhood's sports and pastimes. Lancret has his Le jeu des quatre coins. The child's love of blowing the dandelion seeds with accompanying rhymes is depicted by Madelaine Carpentier. That little whirligig, the teetotum, finds itself immortalized in Chardin's picture Le toton, showing a young aristocrat spinning this toy. Les bulles de savon have attracted Dutch artists such as Mieris and Gaspar Netcher, and Millais had his "Bubbles." Gravelot has a series of engravings illustrating games. There is pegtop, Le jeu de la toupie; and whippingtop, Le jeu de sabot. The manipulation of the hoop has found many painters. The illustration (p. 267) shows late eighteenth-century English children in fanciful costume playing hoop. This

Jeugd, gy ziet u zelve hier. Leer by deze print, Welke spelen 't nutite zyn voor een Neerlands kind.

From old copper-plate engraving, eighteenth century.