Mask

This chapter begins with a wooden doll from the seventeenth century that is juxtaposed with the statues from Audley End considered in the previous chapter on the basis of their equally fixed, impassive visages. This feature is used to consider the way in which children, especially when at play, have been seen as troublingly masked, inscrutable, alien beings. It discusses accounts from the sixteenth century, notably John Harington’s, that recognize in play periods of vacant, blank, neutral time. It then proceeds to an extended reading of Bruegel’s painting Children’s Games, and especially a consideration of the reading of this work by the Nazi art historian Hans Sedlmayr. This painting, and Sedlmayr’s remarkable and deeply disquieting account, are seen as encapsulating the ways in which child’s play’s resistance to interpretation can provoke fear and horror--a possibility linked to the periodic association of children with witchcraft and demonic possession.