It is interesting to experiment with various ornamental objects lighted from various directions. For example, a Corinthian capital lighted from below may produce an unpleasant impression upon the observer. We do not like to have the dominant light from below, perhaps because it is annoying to the eyes. Possibly this is an instinct acquired by experience in snow-fields or on the desert, or it may be a heritage of ancestral experience gained under these glaring conditions. This dislike manifests itself when we appraise shadow-effects and therefore our final impression is tempered by it. All sculptured objects depend for their appearance upon the lighting, and they are greatly influenced by it. In sculpture, in a strict sense, illusions play a lesser part than in other arts. Perhaps in those of very large proportions various corrections have been applied. A minor detail of interest is the small cavity in the eye, corresponding to a reversed cornea. This depression catches a shadow which gives considerable expression to the eye. XIV MIRROR MAGIC Strictly speaking there are fewer illusions found in the practice of the magician than is generally supposed; that is, the eye usually delivers correctly to the intellect, but the judgment errs for various reasons. The "illusion" is due to false assumptions, to the distracting words, to unduly accented superfluous movements of the magician; or in general to downright trickery. Much of the magician's success is due to glibness of tongue and deftness of fingers, but many of the more notable "tricks" were those involving the use of mirrors and the control of light. Black curtains, blackened assistants, and controlled light have played prominent parts in the older magic, but the principles of these are easily understood. However, the mirror perhaps has done more to astound the audience than any other device employed by the magician. For this reason, and because its effects are commonly termed illusions, some representative examples will be presented.