In the centuries intervening, up to a hundred years ago, the men of pen and the men of brush give us a few touches now and then suggestive of childhood. However, they are observers rather than interpreters of childhood and its meaning. In the works of the great master painters, the dominant note is that of maternity, or the motive is devotional purely. Milton's great ode on the Nativity bears no message other than this. In the graphic tale that Chaucer tells about Hugh of Lincoln, race hatred is the underlying sentiment, and the innocence of the unfortunate widow's son appears merely to heighten the evil of his captors and not as typical of boyhood. Of the goodly company known collectively as the Elizabethan writers, silence as to the element of childhood is profound. In all the comedies and the tragedies of the greatest dramatist of all, children play but minor parts. In none of them save in King John, where historic necessity precludes the absence of the princes in the Tower, they might be wholly omitted without impairment of the structure. In the Merry Wives of Windsor, Mistress Anne Page's son is briefly introduced, and is there made the vehicle for conversation which in this age might be regarded as gross suggestiveness. True, that is a rarely tender passage in the Winter's Tale wherein Hermione speaks with her beloved boy, and the pathos of Arthur's plea as he asks Hubert to spare his eyes is of course a masterpiece of literature; these, however, the sum total of the great dramatist's significant references to childhood. In the great works on canvas, save where the Christ-child is depicted, may be noted that same absence of the spirit of childhood. Wealthy and royal patrons, indeed, encouraged great artists to add favorite sons and daughters to the array of portraits in their family galleries. In time, the artists gave to the progeny of the nobility and the aristocracy generally, such creations as to them seemed appropriate to their years. These poses are but the caricature of childhood. Morland, Gainsborough, Sir Joshua Reynolds and other artists of their day represented the children of their wealthy patrons in attitudes which savor somewhat of burlesque, though it may have been intended quite seriously to hedge them about with spontaneity.