In C. S. Lewis’s The Magician’s Nephew, two British children, Polly Plummer and Digory Kirke, fly over the newly created fantastical world of Narnia on the back of a winged horse, looking down at the territory below. Within the internal chronology of The Chronicles of Narnia, this is only the first of several instances in which the British child characters—and the implied child reader—are invited to gaze on the landscape from a great height. Drawing on Mary Louise Pratt’s work on the imperial gaze in travel narratives, as well as Elleke Boehmer’s observations about the “high vantage point or knowledgeable position” traditionally taken by the European observer of a colonial landscape, and situating the series within the context of the end of the British empire, this article will examine the presentation of Narnia in these scenes as a claimable and colonizable space.