The ingredients having been thus properly prepared, and the spirit, according to the magician's declaration, having associated itself lovingly with these mixed articles, they and it are put into the cavity of the selected horn or other hollow thing (a gourd, a nut-shell, and so forth). They are packed in firmly. A black resin is plastered over the opening. Perhaps also a twine is netted tightly on the top of it. A red paint--triturated red-wood mixed with palm or other oil--is daubed on it. While the resin is still soft, the red tail-feathers of the gray African parrot are stuck into it. This description is typical. It would be equally true if the chosen material object had no cavity, _e. g._, if it were a pebble or a piece of bark; in which case the sacred ingredients plastered on it would be held _in situ_ by the twine netting. A hole is bored in the apex of the horn, and it is hung by a string from the neck, arm, waist, or ankle of the purchaser, or from his door, roof, or garden fence; or from the prow of his canoe; or from any one of a hundred other points, according to the convenience of the owner or the object to be obtained by its use. Those objects may be, all of them, not only desirable, but commendable, even from a Christian point of view. In the exercise of the white art there is no ill-will to or malice against any other known person. The owner of the fetich amulet is only using, from his point of view, one of the known means of success in life,--somewhat as a business man in civilized lands uses his signs and tricks of trade to attract and influence customers. It is true that our native convert, in abjuring fetich and refraining from the white art, is at a disadvantage, humanly speaking, alongside of his heathen fellow, just as the honest grocer who does not adulterate his foods is somewhat at a disadvantage with the man who does.