The use of reflecting surfaces to unscramble distorted pictures has been apparent over the past three centuries, at least, in an art form known as anamorphic (ana = back again, morphe = form) art. Of course, working in the opposite sense, the mirrors in fun parlours give distorted images from an undistorted (!) object. A famous portrait of “Bonnie Prince Charlie” in the West Highland Museum, Fort William, Scotland, appears as a series of incomplete concentric circular streaks of colour, but when a cylindrical reflecting surface (the anamorphoscope) is placed at the centre of the painting a recognisable image is seen on looking into it. Niceron and DuBreuil both wrote treatises in the seventeenth century on the techniques of producing anamorphograms, and Gardner has given a recent discussion of the general topic. DuBreuil described a method for generating a distorted object (drawing) that will be transformed into an undistorted image by the use of a conical reflecting surface whose base sits on the plane of the object. The drawings are very easily done by following simple rules of geometry.