On the door of the Museum was a paper label, on which was emblazoned in large letters tinted with water-colour, “Museum. Private.” The privacy was part of the joy of it. Occasionally we asked my mother to have tea with us there, and she came in her hat formally. This very proper behaviour was duly appreciated. Indeed that was a good house for children with its attics and its winding-stairs, and its multitude of passages. Judging the virtue of a house by the standards of hide-and-seek, than which there is no more authentic rule, I never saw so laudable a habitation. Endless were the dark places for the concealment of hiders, endless also the various routes by which the seekers might get back uncaught to the sanctuary where Beth sat with her sewing over the fire and said, “Eh now, you’ll be falling down and hurting yourselves.” There was the route up the kitchen stairs, the route through my father’s dressing-room and study, only practicable (as on the days when the Khyber Pass is open to caravans) when he was away: there were the stairs up from the hall into the lobby; there were the winding-stairs communicating through the Rialto with the nursery passage, at the other end of which were the nursery stairs. How rare again was the cul-de-sac, that infernal invention of degraded architects and the ruin of all good hide-and-seek, which makes capture inevitable, when once you are in the trap. For magnificence of design, judging by these standards, I unhesitatingly allot the palm to the Chancery house in the Close at Lincoln.