The magical years refer to the early childhood stage of a person's life, typically from birth to around the age of seven. During these years, children undergo immense growth and development, both physically and mentally. It is a time when their minds are most receptive to learning and their imaginations run wild. These years are filled with wonder and curiosity as children explore the world around them, discovering new things and developing their own unique personalities. One of the key aspects of the magical years is the rapid brain development that occurs during this time. The brain undergoes significant changes, forming new neural connections and pathways that lay the foundation for future learning and development.
The rest of the house featured textiles, furniture and information on life in the 17th century. Everything from how people ate without utensils to how children would drink beer as it was safer than water.
With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival along with that of the adjacent Bowditch House became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House. The home eventually became the parsonage of the First Church of Danvers and remained as such until about 1970, when the home was acquired as a private home.
The brain undergoes significant changes, forming new neural connections and pathways that lay the foundation for future learning and development. It is essential to provide children with a stimulating environment during these years to support their cognitive growth. Imagination and play are essential components of the magical years.
Which Witch House?
One reason that I’ve been an ardent preservationist for most of my life is my belief that buildings hold extraordinary power–even more power, I think, than unbuilt spaces, no matter how beautiful. I can’t imagine a better example than Salem’s “Witch House” (more formally and accurately known as the Jonathan Corwin House), a structure that represents both the most tangible connection to the Witch Trials of 1692 as well as a symbol (and vessel) of Salem’s modern transformation into the “Witch City”. The Witch House seems to reflect the evolving aspirations and perceptions of the city that surrounds it: for much of the nineteenth century, it was referred to as the “Roger Williams House”, a designation that tied it to the seventeenth-century minister who left intolerant Salem for free Rhode Island rather than the witch-trial Judge Corwin from a generation later. Freedom of conscience versus irrational jurisprudence.
The Witch House today and in an 1886 card by Edwin Whitefield, author/illustrator of Homes of our Forefathers. Whitefield’s images seems to be based on that of Samuel Bartoll’s 1819 painting, in the collection of the Peabody Essex Museum.
The early architectural history of the Witch House is a bit mysterious (a study has been commissioned by the city, but I haven’t seen the results yet), but most experts believe that it dates from much later in the seventeenth century than Roger Williams’ time in Salem. All of the above images, those from the nineteenth century and just yesterday, might be idealized images of this fabled house. We do know that Jonathan Corwin acquired a structure in this location in 1675, and that he served on the Court of Oyer and Terminer which tried the accused “witches” of 1692. That fact alone seems sufficient for the house’s transformation into the “Witch House” much later, after it left the possession of the Corwin family in the mid-nineteenth century. More than anyone, the person responsible for this identification was George Farrington, an entrepreneurial Salem apothecary who definitely emphasized the witchcraft (rather than Williams) associations of his new place of business: Farrington grafted a box-like shop onto the house and sold medicines in bottles with a flying witch insignia, anticipating the marketing strategies of Daniel Low decades later and many Salem businesses today. He also published images of the “old witch house”, effectively establishing that identity.
The Witch House in the mid-nineteenth century: very influential photographs by Frank Cousins of the front and rear of the house just prior to Farrington’s purchase in 1856 (the house had acquired a gambrel roof in the mid-eighteenth century), a Deloss Barnum photograph from the 1860s, after Farrington’s pharmacy had been attached to the house, an “Old Witch House” stereoview published by Farrington, and a Farrington medicine bottle from the 1880s as pictured in a recent ebay auction. All photographs from the Robert Dennis Collection, New York Public Library.
For nearly a century, the Witch House was configured as a strange (maybe not for Salem) combination of business and tourist attraction and thousands (maybe more) of postcards were issued, fixing and broadcasting its identity. In the decades before and after World War I, when Daniel Low was marketing its witch spoon and other witch wares nationally, there seems to have been a marked increase in the number and variety of Witch House cards. There are also some interesting private photographs of the house from this era, confirming its conspicuous place in Salem’s urban streetscape.
Two photographs of the Witch House in the 1890s from the Schlesinger Library at Harvard, and postcards from 1900, 1901, 1906, 1908, 1911 & 1922. Just a random sampling of many on the market!
The 1940s was a decade of transformation for the Witch House, when it came to represent preservation–but also profits: change and continuity. With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival (along with that of the adjacent Bowditch House) became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb (who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House). Moved to a more secure northwestern position on its lot, its shop detached and gables rebuilt, the Witch House was opened to the public in 1948 by the City of Salem, and it has been doing steady business ever since.
The Witch House in 1940 (HABS photograph by Frank Branzetti, Library of Congress), 1945 & 1948.
For more on the evolving perception, and structural history of the Witch House, see Salem’s Witch House: a Touchstone to Antiquity (The History Press, 2012) by Salem architectural historian John Goff.
Children engage in imaginative play, creating fantastical scenarios and playing make-believe. This type of play helps children develop their creativity, problem-solving skills, and emotional intelligence. Through play, children learn to communicate, cooperate, and negotiate with others, fostering their social and emotional development. The magical years are also a critical period for language development. During this time, children learn to communicate and express themselves through words, gestures, and body language. Reading to young children enhances their language skills and instills a love for books and storytelling. By exposing children to a rich vocabulary and a variety of language experiences, parents and caregivers can help foster their language development. Nurturing relationships and a supportive environment are crucial during the magical years. Children thrive in an environment where they feel loved, cared for, and encouraged. Positive relationships with parents, caregivers, and peers lay the groundwork for healthy emotional development. These relationships provide children with a sense of security and help build their self-esteem and confidence. The magical years is a time of incredible growth and development. It is a period where children's minds are like sponges, absorbing information and experiences. By providing a stimulating environment, promoting imaginative play, supporting language development, and nurturing relationships, we can help children make the most of these magical years and set them on a path for lifelong success and happiness..
Reviews for "Embracing Wonder: Creating Enchanting Environments for Young Learners"
1. Jessica - 2/5 - I found "The Magical Years" to be incredibly disappointing. The plot was weak and predictable, and the characters were one-dimensional and unrelatable. The writing style was lackluster, lacking any sense of depth or emotion. Overall, I felt like I wasted my time reading this book and I would not recommend it to others.
2. Mark - 1/5 - I couldn't finish "The Magical Years". The story was slow, boring, and failed to captivate my interest. The dialogue felt forced and unnatural, making it difficult for me to connect with the characters. I found myself skimming through the pages, hoping for something to grab my attention, but nothing ever did. I was left feeling completely unsatisfied and unimpressed.
3. Michelle - 2/5 - "The Magical Years" fell short of my expectations. The pacing was too slow, and the plot lacked originality. The characters were shallow and their motivations were poorly developed. I was hoping for a captivating story but instead, I found myself disinterested and detached. I wouldn't recommend this book to anyone looking for an engaging and thought-provoking read.
4. Robert - 2/5 - I really wanted to enjoy "The Magical Years" but unfortunately, it failed to deliver. The writing style was uninspiring and the story felt cliché. The characters lacked depth, making it difficult for me to feel invested in their journey. The pacing was inconsistent, with some parts dragging on unnecessarily while others felt rushed. Overall, I was left disappointed by this book and would not recommend it to others.
5. Sarah - 1/5 - I found "The Magical Years" to be poorly written and uninteresting. The plot was predictable and offered no surprises. The characters were cookie-cutter, lacking any real depth or development. The dialogue felt unnatural and forced. I had high hopes for this book but it fell short in every aspect. I would advise others to save their time and pick up a more captivating read.