In uniting by the convergency of the optic axes two dissimilar pictures, as shewn in Fig. 18, the solid cone MN ought to appear at MN much nearer the observer than the pictures which compose it. I found, however, that it never took its right position in absolute space, the base MN of the solid seeming to rest on the same plane with its constituent pictures AB, _ab_, whether it was seen by converging the axes as in Fig. 18 or in Fig. 22. Upon inquiring into the reason of this I found that the disturbing cause was simply the simultaneous perception of other objects in the same field of view whose distance was known to the observer. In order to avoid all such influences I made experiments on large surfaces covered with similar plane figures, such as flowers or geometrical patterns upon paper-hangings and carpets. These figures being always at equal distances from each other, and almost perfectly equal and similar, the coalescence of any pair of them, effected by directing the optic axes to a point between the paper-hanging and the eye, is accompanied by the instantaneous coalescence of them all. If we, therefore, look at a papered wall without pictures, or doors, or windows, or even at a considerable portion of a wall, at the distance of three feet, and unite two of the figures,—two flowers, for example, at the distance of twelve inches from each other horizontally, the whole wall or visible portion of it will appear covered with flowers as before, but as each flower is now composed of two flowers united at the point of convergence of the optic axes, _the whole papered wall with all its flowers will be seen suspended in the air at the distance of six inches from the observer_! At first the observer does not decide upon the distance of the suspended wall from himself. It generally advances slowly to its new position, and when it has taken its place it has a very singular character. The surface of it seems slightly curved. It has a silvery transparent aspect. It is more beautiful than the real paper, which is no longer seen, and it moves with the slightest motion of the head. If the observer, who is now three feet from the wall, retires from it, the suspended wall of flowers will follow him, moving farther and farther from the real wall, and also, but very slightly, farther and farther from the observer. When he stands still, he may stretch out his hand and place it on the other side of the suspended wall, and even hold a candle on the other side of it to satisfy himself that the ghost of the wall stands between the candle and himself.