by Edith Nesbit
When your wood is all smooth you mix your stain. And here I make a present to all housewives of the best floor stain in the world. Get a tin of Brunswick black — the kind you put on stoves — and some turpentine. Mix a little of the black and a little of the turpentine in a pot and try it on the wood with a smooth brush — a flat brush is the best — till you have the colour you want, always remembering that it will be a little lighter when it is dry. When you have decided on the colour, paint your bricks and boxes on five out of their six sides lightly and smoothly, keeping to the grain of the wood, and not going over the same surface twice if you can help it. This is why a flat brush is the best: it will go right down the side of a brick and colour it at one sweep. Then stand each brick up on end to dry. When it is dry you can paint the under bit on which it has been standing. While you have stains and colours going it is well to colour some of your arches, and also such things as cotton-reels, and the little wooden pill-boxes that you get at the chemist’s. Before colouring these boxes fill them with sand or stones and stick the lids on with glue. Otherwise they will not be heavy enough to build with happily.
This painting or colouring should be done out of doors, or in an out-house, if possible. If you have to do it in the house spread several thicknesses of newspaper before you begin, and make a calm resting place for your painted things where they can dry at leisure and not be scarred with the finger-marks of her who “clears away.”
The earnest builder will keep a watchful eye on any carpentering that may go on in the house, and annex the smaller blocks of wood cut off the end of things, which, to an alien eye, are so much rubbish, but which are to the builder stores of price.
If there are a few shillings to spare, the carpenter will, for those few shillings, cut you certain shapes which you cannot buy in shops — arches of a comfortable thickness and of satisfying curves, and slabs of board for building steps. These should be of varying lengths and thicknesses and made in sets of twelve steps, with two boards to each step, twenty-four slabs to a set. The biggest might be 1 in. thick and the bottom and largest slabs 12 by 6 in., lessening to 6 by 1 in. The next set might be ¾ in., and of corresponding proportions, then ½ in., then ¼ in. The two basic slabs of the ¾ in. would be 9 by 4½ in., and those of the ½ in. would be 6 by 3 in. A set with ¼ in. steps (the basic slabs 3 by 1½ in.) would complete the set. Flights of steps of many varying heights and sizes could be built with these slabs. Ask the carpenter — if the shillings are forthcoming — to save for you the curved pieces of wood which come out of the arches. They are very useful for the bases of pillars, for towers and for the pedestals of statues or vases. Some of the arches, steps, and blocks should be coloured to match the red, white, and brown bricks.
ARCHES AND PILLARS.
Some of the boxes, particularly the larger ones, should have doorways sawn in them on opposite sides — it is pleasant to look through a building and see the light beyond; and if you are a thorough builder you can make a pillared interior which will delight the eyes of those who stoop down and peer through the doorway. A few narrow, oblong windows, high up, will also be useful. You need not show them unless you wish: you can always conceal them by a façade of bricks.
PILLARED COURT.
Another pleasant use of a big box is to cut out the top and sides and make a columned court of it, which, when cream-washed, dignifies your city with almost all the glory that was Greece and the grandeur that was Rome. The columns are cut from broom-handles — twopence each at the oil-shop, or, in the case of smaller boxes, from those nice round smooth wooden sticks which cost a penny and are used in ordinary life to thread window-blinds on.
If you are going to make a city which is to stand for some time, a little thin glue is a good help to stability. If it is only a here-to-day-and-gone-to-morrow city, Plasticine is good — the least touch of it seeming to make things safe which otherwise might totter to their ruin. But except as mortar Plasticine should be shunned. It is not good as a building material.
Having now your bricks, boxes, arches, steps, and rounds, you may begin to block out your building. Quite soon you will begin to find that everything is too rectilinear. Even the arches and the rounds and the pillars and the pill-boxes cannot satisfy your desire for curves. This is the moment when you will begin to look about you for domes. And the domes, on the instant of their imposition in your building, will call out for minarets. It is then that you will wander about the house seeking eagerly for things that are like other things. Your search will be magnificently successful, if only the lady of the house has given you a free hand, and you have been so fortunate as to secure the sympathies of the kitchen queen.
CHAPTER IV. The Magic City
The only magic in the city is the magic of imagination, which is, after all, the best magic in the world. The idea of it came to me when I was dissatisfied with the materials provided for children to build with, and I think it must be a really true idea, because wherever I have applied it, it has worked, and that, I am told, is in accordance with the philosophy of pragmatism and a characteristic of all great discoveries. You may build magic cities in homes of modest comfort, using all the pretty things you can lay your hands on. You may build them in the mansions of the rich, if the rich are nice people and love cities, and if the butler will let you have the silver candlesticks for pillars, and the silver-gilt rose-bowls for domes; and you could build one in the houses of the very poor, if the very poor had any space for building — build them there and not use a single thing that could not be begged or borrowed by an intelligent child, no matter how poor.
Children love to build. I still think with fond affection, and I am afraid speak with tiresome repetition, of those big oak bricks which we had when we were children. They disappeared when we left the old London house where I was born. It was in Kennington, that house — and it had a big garden and a meadow and a cottage and a laundry, stables and cow-house and pig-styes, elm-trees and vines, tiger lilies and flags in the garden, and chrysanthemums that smelt like earth and hyacinths that smelt like heaven. Our nursery was at the top of the house, a big room with a pillar in the middle to support the roof. “The post,” we called it: it was excellent for playing mulberry bush, or for being martyrs at. The skipping rope did to bind the martyrs to the stake. When we left that house we went to Brighton, where there was a small and gritty garden, where nothing grew but geraniums and calceolarias. And we did not have our bricks any more. Perhaps they were too heavy to move. Perhaps the Brighton house was too small for the chest. I think I must have clamoured for the old bricks, for I remember very well the advent of a small box of deal bricks made in Germany, which had indeed two arches and four pillars, and a square of glass framed in wood daubed with heavy, ugly body colour, and called a window. But you could not build with those bricks. So there was no building at Brighton except on the beach. Sand is as good as anything in the world to build with — but there is no sand on the beach at Brighton, only sandiness. There are stones — pebbles you call them, but they are too round to be piled up into buildings. The only thing you can play with them is dolls’ dinner parties. There are plenty of oyster shells and flat bits of slate and tile for dishes and plates — and it is quite easy to find stones the proper shape and colour for boiled fowls and hams and roast legs of mutton, German sausages, ribs of beef, mince pies, pork pies, roast hare or calf’s head. But building is impossible.
In the courtyard of our house in France there was an out-house with a sloping roof and a flat parapet about four feet high. We used to build little clay huts along this, and roof them with slates, leaving a hole for a chimney. The huts had holes for windows and doors, and we used to collect bits of candle and put them in our huts after dark and enjoy the lovely spectacle of our illuminated buildings till some one remembered us and caught us, and sent us to bed. That was the curse of our hut-building — the very splendour of the result attracted the attention one most wished to avoid. But clay was our only building material, and after the big bricks we
re lost I never had any more bricks till I had children of my own who had bricks of their own. And then I played with them and theirs. And even then I never thought of building magic cities till the Indian soldiers came.
They were very fine soldiers with turbans and swords and eyes that gleamed in quite a lifelike way, riding on horses of a violently active appearance: they came to my little son when he was getting well after measles or some such sorrow, and he wanted a fort built for them. So we rattled all the bricks out of their boxes on to the long cutting-out table in the work-room and began to build. But do what we would our fort would not look like a fort — at any rate not like an Eastern fort. We pulled it down and tried again, and then again, but no: regardless of our patient energy our fort quietly but persistently refused to look like anything but a factory — a building wholly unworthy of those military heroes with the prancing steeds and the coloured turbans, and the eyes with so much white in them. So then I wondered what was needed to give a hint of the gorgeous East to the fort, and I perceived that what was wanted was a dome — domes.
So I fetched some brass finger-bowls and lustre basins off the dresser in the dining-room and inverted one on the chief tower of our fort, and behold! the East began to sparkle and beckon. Domes called for minarets, and chessmen on pillars supplied the need. One thing led to another, and before the day was over the Indian horsemen were in full charge across a sanded plain where palm trees grew — a sanded plain bounded only by the edges of the table, along three sides of which were buildings that never rose beside the banks of Thames, but seemed quite suitable piles to reflect their fair proportions in the Ganges or the Sutlej, especially when viewed by eyes which had not had the privilege of gazing on those fair and distant streams.
I learned a great deal in that my first day of what I may term romantic building, but what I learned was the merest shadow-sketch of the possibilities of my discovery. My little son, for his part, learned that a bowl one way up is a bowl, a thing for a little boy to eat bread and milk out of; the other way up it is a dome for a king’s palace. That books are not only things to read, but that they will make marble slabs for the building of temples. That chessmen are not only useful for playing that difficult and tedious game on which grown-ups are so slowly and silently intent, or even for playing all those other games, of soldiers, which will naturally occur to any one with command of the pleasant turned pieces. Chessmen, he learned, had other and less simple uses. As minarets of delicate carved work they lightened the mass of buildings and conferred elegance and distinction, converting what had been a block of bricks into a pavilion for a sultan or a tomb for a sultan’s bride.
MATERIALS FOR THE GUARD-ROOM.
There was a little guard-room, I remember, at the corner of our first city, and there has been a little guard-room at the corner of every city we have built since. In simple beauty, that little guard-room seemed to us then to touch perfection. And really, you know, I have not yet been able to improve on it. The material was simplicity itself: six books, five chessmen, and a basin; and you see here how the guard-room looked when it was done.
THE GUARD ROOM.
THE DOMINO DOOR.
LARGE PALM.
There was a black box, I remember, standing on another box, with domino steps. It needed a door, and we made it a door of ivory with the double blank of the dominoes, and a portico of three cigarettes — two for pillars and one to lie on the top of the pillars and complete the portico. You have no idea how fine the whole thing looked — like a strong little house of ebony and ivory — a little sombre in appearance perhaps, and like a house that has a secret to keep, but quite fine. The palm trees we made out of pieces of larch and yew fastened by Plasticine to the tops of elder twigs — and elder twigs have a graceful carriage, not too upright and yet not drooping. They look very like the trunks of tropical trees. But if you have not elders and larches and yew trees to command, you can make trees for your city in other ways. For little trees in tubs we had southernwood stuck in cotton reels — these make enchanting tubs, and there are a good many different shapes, so that your flower tubs are pleasantly varied. Fir cones we found useful, too; they made magnificent chevaux de frise.
On the first day of building what we soon came to call magic cities we trusted to inspiration; there was no time for thought. And this day was perhaps the most interesting day of all — for we had everything to learn. One of the things which I learned was that this magic city game was an excellent training for eye and hand, as well as for the imagination and the more soothing of the domestic virtues. The eye is trained to perceive likenesses and differences in the shapes and colours of things — to notice, as I said, that a bowl is a dome wrong way up, and that cigarettes are like white pillars. A beautiful yet sinister temple might be built with cigars for pillars and cigar-boxes for pediments, if cigars were the sort of things you were ever allowed to play with. You see that yew and larch and elder can be made to look like palm trees, and that shrubs in tubs are really like sprigs of southernwood in cotton reels. You go about with eyes newly opened to form and colour: you look at every object in a new light, trying to see whether it is or is not like something else — something that can be used in your magic city. You notice that a door is much the same shape as auntie’s mother-of-pearl card-case, and your architectural instinct, already beginning to develop, assures you that a pearly door would be a beautiful thing for a temple, if only auntie sees things in the same light as you do. You perceive that a cribbage board is straight and narrow, as a path leading to such a door might be, and that if you stick tiny tufts of southernwood or veronica into the holes along the ivory sides of your path, your path will run between two little green hedges. You will notice that books make colonnades darkly mysterious if the lids of the brick boxes are laid along the back and along the top, and that based on these solidly built colonnades your bricks and arches will rise in galleries of unexpected dignity and charm. The building
itself, the placing of bricks and dominoes, and books and chessmen and bowls, with exactness and neatness, is in itself a lesson in firm and delicate handling, such a lesson as is impossible if you are building with bricks alone. The call on the imagination is strong and clear. A house — the meanest hut — cannot be built without a plan or without an architect, though the architect may be only a little child and the plan may be only a little child’s dream. To build without a plan is to heap bricks one on another, to make a cairn, not a house. The plan for the magic city, then, gets itself dreamed — the child’s imagination learns to know what the bowl will look like when it is upside down, and, presently, what sort of bowls and books and bricks are needed to give to the cloud-capped palace of its desire some shadow in solid fact perceptible to the senses. To create in the image of his dream is the hope and the despair of every artist. And even though the image be distorted — as in all works of art, even the greatest, it always must be — yet it is joy even to have created the poorest image of a dream.
THE MAGIC CITY.
And in the labour of creation will blossom those domestic virtues which best adorn the home; patience — for it is not often that for the young architect dream and image even vaguely coincide at the first effort, or the second or the third; good temper, for no one can build anything in a rage. The spirit of anger is the enemy of the spirit of architecture. And besides, being angry may make your hand shake, and then nothing is any good. Perseverance too, without which patience is a mere passive endurance. All these grow strong while you build your cities and try to make visible your dream.
I do not mean that a child building a city sees all of it at once — in every detail; I don’t suppose even the heaviest of architects does that. But I mean that he sees the masses of it with the eye of the mind and arrives by experiment at the details that best suit those masses. If the glass ash-tray will not do, the tea-cup without a handle will — or perhaps the flower-pot saucer, or the lid of a cocoa-tin.... One must look about, and find something that will do, something which when
it is put in its place will seem the only possible thing. I don’t know how real architects work, but this is how you work with magic cities.
CHAPTER V. Materials
You wander round the house seeking beautiful things which look like other beautiful things. Let us suppose that you have the run of a house where beautiful things are. I will tell you afterwards what to do in the house where beautiful — or at any rate costly — things are not. It is best when the owner of the house is an enthusiastic member of the building party; then she will grudge nothing.
In the drawing-room you will find silver candlesticks and a silver inkstand. The candlesticks are like pillars. Put the inkstand across the pillars and you have a gateway of unexampled splendour. If there be a silver-backed blotting-book, take it. It will make the great door of your greatest temple. Silver bowls should not be passed by, nor bronzes. A vase of Japanese bronze set up between two ebony elephants crowns a flat pillared building with splendour. There may be Chinese dragons or Egyptian gods that have lain a thousand years safe in their bronze amid the sands of the desert, cast aside by the foot of the camel, unseen in the shadow of the tent, and now decking the mantelpiece of the room you are looting. Little silver figures of knights in armour and what not — take them if you get the chance. Chessmen, too, as many as you can get, the carved ivory ones, of red and white, and the black and brown kind where the heads of the kings and queens are so like marbles and those of the pawns like boot-buttons; draughts too, and spillikins, and those little metal animals, heavy and coloured life-like, which you see on glass shelves in the fancy shop: take them too. They will serve other uses than those to which you will dedicate your Noah’s Ark animals. Card counters, especially the golden and mother-of-pearl kinds, and dominoes, and the willow-pattern pots and a blue cup or so from the glass-fronted cupboard. Take all these, always giving preference to the things that you will not be asked to put back the same day. Little Japanese cabinets, tea-caddies of tortoiseshell or wood or silver, silver boxes — and boxes of all beautiful kinds. Do not take the playing cards that people play bridge with: these are never quite the same after they have been used in magic cities, and the Queen of Hearts always gets lost. You can usually acquire odd packs of cards that nobody wants. Those with black and gold backs are the best. They make gorgeous pagodas, and a touch of Plasticine keeps each card where it should be.