Its publication marked a major commercial and cultural turning point in the history of children’s literature, as it was among the first books created specifically for children’s enjoyment as well as their instruction.

One of the first to do this was Charles Perrault, whose book Tales of Mother Goose, including classics like Little Red Riding Hood, Sleeping Beauty, and Cinderella, was first translated into English by Robert Samber and published in 1729. Although these tales were not written only for children, they started to be linked with childhood because of their simple structure, fantastic elements, and moral lessons.

Over time, these stories became not only entertainment but also symbols of cultural identity and useful educational tools, especially as they were adapted to fit the social and educational needs of each time.

Thanks to the efficiency of the printing press, the book, which was originally printed in Latin and German, was later translated into multiple languages, allowing the children of Europe to learn through visual association (multilingual editions). And not only to the privileged, the printing press allowed this book to have a wide audience from different social sectors (mass production).

His playful style marked a big shift in how children’s books were written and read.

But with color printing, artists started to see how fun and creative children’s stories could be. Walter Crane and George Cruikshank were some of the first to explore this.

Although medieval children didn’t have books like today, stories about heroes like King Arthur were part of the culture and were often told to young people to teach values like bravery, loyalty, and honor.

It was designed to facilítate writing and transcribing documents, and became an essential tool for both the business and personal Words.

With the invention of the printing press, Esopo’s fables could be distributed more easily, reaching a broader audience. Esopo’s fables, with their moral lessons, were used as tools to educate children and young people. They became a required text in universities and were widely used in the teaching of the Latin language.

Children experienced literature in the Middle Ages in two ways: orally and in written form. The oral tradition was probably way more extensive and was accessible to every child, no matter their social status. Not every child could read, but most children could listen to stories, songs, and rhymes told to them by parents and nurses.

Though originally penned in ancient Greece, Aesop’s fables (The Fox and the Grapes, The Ant and the Grasshopper) were preserved by medieval scribes and adapted into Latin and vernacular languages. Their brevity and clear morals made them ideal for teaching both language and virtue in monastic schools.

Beyond Aesop, medieval Europe nurtured storytelling traditions that later influenced children’s literature:

• Bestiaries blended natural history with fantasy, describing creatures like dragons and unicorns.

• Arthurian legends, though intended for adults, were simplified into chivalric tales for younger audiences.

• Oral folktales (Jack the Giant Killer) circulated among peasants, later refined into literary fairy tales.

These medieval innovations, moral instruction, wonder, and oral storytelling shaped the bases of children’s literature, bridging ancient wisdom and the printed books of the Renaissance.

They represent the roots of didactic children´s literature because the animal characters, and moral messages influenced children’s books for centuries.

Pauline Baynes was the original illustrator of the editions of The Chronicles of Narnia (1950-1956), and her work helped bring to life the worlds created by C. S. Lewis.

Baynes captured the magic and mystery of Narnia, from the wardrobe to the final battle, with images that show bravery and hope. Each book includes illustrations and maps that reflect the unique atmosphere of Narnia.

This visual work not only went with the texts but also made the reading experience richer, making Baynes a key figure for the classic image of Narnia.

During the 19th century, various works on this theme appeared. On January 8, 1877, La Ilustración de la Infancia (The Illustration of Children) began publication, a magazine designed to encourage children to read, providing them with pastime and entertainment while providing them with moral education and instruction.

Her ability to blend visual charm with engaging storytelling not only delighted young readers but also helped elevate the artistic and literary standards of children’s books, setting a precedent that would influence the genre for generations to come.

Emakis began appearing in Japan during the Heian period (794–1185 CE) and flourished in medieval times.

• Typically, an emaki scroll is long and narrow—unrolled horizontally from right to left.

• As you unroll the scroll, you see a sequence of images and text, like an early form of a graphic novel or comic strip.

While emakis were primarily created for nobility and educated adults, they played a vital role in children’s learning and cultural education, especially among aristocratic families.

Early Visual Literacy and Storytelling:

• Emakis combined images and text which helped children, even those still learning to read, follow complex stories.

• The sequential art and vivid colors made stories engaging and memorable.

• This combination supported early literacy development, as kids learned the connection between pictures and words.

What made this era so special?

• Government Support: The Soviet state actively supported the development of children's books. They established dedicated publishing houses like Detgiz (Children's State Publishing House) and attracted talented writers and artists to the field. This created an environment where children's literature was taken seriously.

• Focus on Education and Development: The books aimed to educate children about science, technology, different cultures, and the principles of the Soviet ideology in an accessible and engaging way. They often featured themes of collectivism, hard work, and progress.

• Innovation in Art and Design: This period saw a remarkable flourishing of illustration. Artists experimented with bold colors, dynamic compositions, and various artistic styles, including constructivism and avant-garde techniques.

• Talented Writers and Illustrators: A constellation of brilliant writers and illustrators dedicated themselves to creating high-quality books for children. Names like Kornei Chukovsky (think of his whimsical and rhythmic poems), Samuil Marshak (known for his playful verses and educational stories), and illustrators like Vladimir Lebedev and Yuri Vasnetsov became legends. Their work was often characterized by clever rhymes, engaging narratives, and unforgettable characters.

• Accessibility: Efforts were made to make these books widely available to children across the vast Soviet Union through libraries and affordable pricing.

This is another example of the great influence of religion on the advances of society at that time, aiming to the spread of religious values and knowledge.

Around 180-200 copies of this bible were printed in Latin as it was the church's official language. It featured innovative typography and design.

Only about 48 complete and partial copies exist in libraries and museums worldwide, making it one of the rarest and most valuable printed works in history.