Full text of "The unmasking of Robert-Houdin"

See other formats

This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project
to make the world's books discoverable online.

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject
to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books
are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover.

Marks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book's long journey from the
publisher to a library and finally to you.

Usage guidelines

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to
prevent abuse by commercial parties, including placing technical restrictions on automated querying.

We also ask that you:

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for
personal, non-commercial purposes.

+ Refrain from automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the
use of public domain materials for these purposes and may be able to help.

+ Maintain attribution The Google "watermark" you see on each file is essential for informing people about this project and helping them find
additional materials through Google Book Search. Please do not remove it.

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner
anywhere in the world. Copyright infringement liability can be quite severe.

About Google Book Search

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web

at |http : //books . google . com/

KOBLK

'■ M

'. \ '<

THE UNMASKING

ROBERT- HOUDIN

Br
HARRY HOUDINI

NEPT rORK
THE PUBLISHERS PRINTING CO.

ipoS

313341

Copyrighty jgo6
Copyright, Kpoy
Copyright, jgo8

By HJRRr HOUDINI

EnUrtdat Stationer^ s Hail, London, England
A II rights rtserved

OompoBition, Electrotjpins and Printing by

The Publishen Printing Oompany

NewYork«N.Y..U.&A.

De&ication

This Book is affectionately dedicated to the memory of
my father,

Rev. M. S. Weiss, Ph.D., LL.D.,

who instilled in me love of study and patience in research

CONTENTS

PAGE

Introduction, 7

CHAPTER

I. Significant Events in the Life of Robert-

HOUDIN, ss

II. The Orange-tree Trick, 51

III. The Writing and Drawing Figure, .... 83

IV. The Pastry Cook of the Palais Royal, . .116

V. The Obedient Cards — The Cabalistic Clock — The

Trapeze Automaton, 141

VI. The Inexhaustible Bottle, 176

VII. Second Sight, 200

VIII. The Suspension Trick, 222

IX. The Disappearing Handkerchief, . . . .245

X. ROBERT-HOUDIN^S IGNORANCE OF MaGIC AS BE-

TRAYED BY His Own Pen, .... 264

XI. The Narrowness of Robert-Houdin's "Memoirs," 295

[5]

INTRODUCTION

THIS book is the natural result of the moulding,
dominating influence which the spirit and wri-
tings of Robert-Houdin have exerted over my
professional career. My interest in conjur-
ing and magic and my enthusiasm for Robert-Houdin
came into existence simultaneously. From the moment
that I began to study the art, he became my guide and hero.
I accepted his writings as my text-book and my gospel.
What Blackstone is to the strugghng lawyer, Hardee's
"Tactics" to the would-be officer, or Bismarck's life and
writings to the coming statesman, Robert-Houdin's books
were to me.

To my unsophisticated mind, his "Memoirs" gave to
the profession a dignity worth attaining at the cost of
earnest, life-long effort. When it became necessary for
me to take a stage-name, and a fellow-player, possessing
a veneer of culture, told me that if I would add the letter
"i" to Houdin's name, it would mean, in the French
language, "like Houdin," I adopted the suggestion with
enthusiasm. I asked nothing more of life than to become
in my profession "like Robert-Houdin."

By this time I had re-read his works until I could re-
cite passage after passage from memory. Then, when
Fate turned kind and the golden pathway of success
led me into broader avenues of work, I determined that
my first tour abroad should be dedicated to adding new

[7]

INTRODUCTION

laurels to the fame of Robert-Houdin. By research and
study I would unearth history yet unwritten, and record
unsung triumphs of this great inventor and artiste. The
pen of his most devoted student and follower would
awaken new interest in his history.
Alas for my golden dreams! My investigations brought

forth only bitterest dis-
appointment and sad-
dest of disillusionment.
Stripped of his self-
woven veil of romance,
Robert-Houdin stood
forth, in the uncom-
promising light of cold
historical facts, a mere
pretender, a man who
waxed great on the
brainwork of others, a
mechanician who had
boldly filched the in-
ventions of the master
craftsmen among his
predecessors.

''Memoirs of Robert-
Houdin, Ambassador,
Author and Conjurer,
Written by Himself,"
proved to have been
the penwork of a brilliant Parisian journalist, em-
ployed by Robert-Houdin to write his so-called auto-
biography. In the course of his "Memoirs," Robert-

[8]

Robert-Houdin in his prime, immedi-
ately after his retirement. From the
Harry Houdini Collection.

INTRODUCTION

Houdin, over his own signature, claimed credit for the
invention of many tricks and automata which may be
said to have marked the golden age in magic. My in-
vestigations disproved each claim in order. He had
announced himself as jthe first magician to appear in
regulation evening clothes, discarding flowing sleeves and
heavily draped stage apparatus. The credit for this revo-
lution in conjuring belonged to Wiljalba Frikell. Robert-
Houdin's explanation of tricks performed by other
magicians and not included in his repertoire, proved so
incorrect and inaccurate as to brand him an ignoramus
in certain lines of conjuring. Yet to the great charm of
his diction and the romantic development of his personal
reminiscences later writers have yielded unquestioningly
and have built upon the historically weak foundations of
his statements all the later so-called histories of magic.

For a time the disappointment killed all. creative
power. With no laurel wreath to carve, my tools lay idle.
The spirit of investigation languished. Then came the
reaction. There was work to be done. Those who had
wrought honestly deserved the credit that had been taken
from them. In justice to the living as well as the dead
the history of the magic must be revised. The book,
accepted for more than half a century as an authority
on our craft, must stand forth for what it is, a clever
romance, a well-written volume of fiction.

That is why to-day I offer to the profession of magic,
to the world of laymen readers to whom its history has
always appealed, and to the literary savants who dip into
it as a recreation, the results of my investigations. These,
I believe, will show Robert-Houdin's true place in the

[9]

mTRODUCTION

history of magic and give to his predecessors, in a pro-
fession which in each generation becomes more serious
and more dignified, the credit they deserve.

My investigations cover nearly twenty years of a busy

Frontispiece of "Hocus Pocus," Second Edition, 1635, one of the earliest
works on magic. From the Harry Houdini Collection.

professional career. Every hour which I could spare
from my professional work was given over to study in
libraries, to interviews with retired magicians and col-
lectors, and to browsing in old bookstores and antique

[lo]

INTRODUCTION

shops where rare collections of programs, newspapers,
and prints might be found.

In order to conduct my researches intelligently, I was
compelled to pick up a smattering of the language of

^ ^ JOM BAPr POJITA^

John Baptist Porta, the Neapolitan writer on magic. From an old woodcut
in the Harry Houdini Collection.

each country in which I played. The average collector
or proprietor of an old bookshop is a canny, suspicious
individual who must' accept you as a friend before he
will uncover his choicest treasures.

As authorities, books on magic and kindred arts are
practically worthless. The earliest books, like the magi-
cian stories written by Sir John Mandeville in 1356, read
like prototypes of to-day's dime novels. They are thrill-

[II]

INTRODUCTION

ing tales of travellers who witnessed magical performances,
but they are not authentic records of performers and
their work.

One of the oldest books in my collection is ** Natural
and Unnatural Magic'' by Gantziony, dated 1489. It
is the author's script, exquisite in its German chirography,
artistic in its illuminated illustrations, but worthless as an
historical record, though many of the writer's descriptions
and explanations of old-time tricks arc most interesting.

Early in the seventeenth century appeared "Hocus
Pocus," the most widely copied book in the literature of
magic. The second edition, dated 1635, I have in my
library. I have never been able to find a copy of the
first edition or to ascertain the date at which it was
published.

A few years later, in 1658, came a very important con-
tribution to the history of magic in ''Natural Magick in
XX. Bookes," by John Baptist Porta, a Neapolitan.
This has been translated into nearly every language.
It was the first really important and exhaustive work on
the subject, but, unfortunately, it gives the explanation
of tricks, rather than an authentic record of their in-
vention.

In 1682, Simon Witgeest of Amsterdam, Holland,
wrote an admirable work, whose title reads '*Book of
Natural Magic." This work was translated into German,
ran through many an edition, and had an enormous sale
in both Holland and Germany.

In 1715, John White, an Englishman, published a
work entitled *^ Art's Treasury and Hocus Pocus; or a
Rich Cabinet of Legerdemain Curiosities." This is

[12]

INTRODUCTION

Frontispiece from Simon Witgeest's "Book of Natural Magic" (1682),
showing the early Dutch conception of conjuring. From the Harry Houdini
Collection.

[13]

INTRODUCTION

fully as reliable a book as the earlier ''Hocus Pocus"
books, but it is not so generally known.

Richard Neve, who was a popular English conjurer
just before the time of Fawkes, published a book on
somewhat similar lines in 1715.

Germany contributed the next notable works on magic.
First came Johann Samuel Halle's ''Magic or the Magical
Power of Nature,'' printed in Berlin, in 1784. One of
his compatriots, Johann Christian Wiegleb, wrote eighteen
books on "The Natural Magic" and while I shall
always contend that the German books are the most
complete, yet they cannot be accepted as authorities save
that, in describing early tricks, they prove the existence
of inventions and working methods claimed later as
original by men like Robcrt-Houdin.

English books on magic were not accepted seriously
until the early part of the nineteenth century. In Vol.
III. of John Bcckmann's ''History of Inventions and
and Discoveries," published in 1797, will be found a
chapter on "Jugglers" which presents interesting matter
regarding magicians and mysterious entertainers. I
quote from this book in disproving Robert-Houdin's
claims to the invention of automata and second-sight.

About 1840, J. H. Anderson, a popular magician,
brought out a series of inexpensive, paper-bound vol-
umes, entitled "A Shilling's Worth of Magic," "Parlor
Magic," etc., which are valuable only as giving a glimpse
of the tricks contemporary with his personal successes.
In 1859 came Robert-Houdin's "Memoirs," magic's
classic. Signor Blitz, in 1872, published his reminis-
cences, "Fifty Years in the Magic Circle," but here

[14]

INTRODUCTION

John White, Author of
Art's Treafury, and Hoeus
Pocus^ or « Rich Cabinet cf
Legerdemain Curiofities,

John White, an English writer on magic and kindred arts in the early part
of the eighteenth century. Only portrait in existence and published for the
first time since his book was issued in 1715. From the Harry Houdini Col-
lection.

INTRODUCTION

again we have a purely local and personal history, without
general value.

Thomas Frost wrote three books relating to the history
of magic, commencing about 1870. This list included
'Xircus Life and Circus Celebrities," **The Old Show-
men and the Old London Fairs/' and '^ Lives of the
Conjurers/' These were the Ix'st lx)oks of their kind up
to the time of their publication, but they are marked by
glaring errors, showing that Frost compiled rather than
investigated, or, more i)roixTly sjxaking, that his in-
vestigations never went much further than Morley's
''Memoirs of Bartholomew Fair/'

Charles Bertram who wrote ''Isn't it Wonderful?"
closed the nineteenth-century list of P^nglish writers on
magic, l)ut his work is marred by mis-statements which
even the humblest of magicians could refute, and, like
Frost, he drew heavily on writers who i)receded him.

So far, in th? twentieth century, the most notable con-
tribution to the literature of magic is Henry Ridgely
Evans' "The Old and the New Magic," but Mr. Evans
falls into the error of his predecessors in accepting as
authoritative the history of magic and magicians fur-
nished by Robert Houdin. He has made no effort
whatever to verify or refute the statements made by
Robert-Houdin, but has merely compiled and re-written
them to suit his twentieth-century readers.

The true historian does not compile. He delves for
facts and proofs, and having found these he arrays his
indisputable facts, his uncontrovertible proofs, to refute
the statements of those who have merely compiled. That
is what I have done to prove my case against Robert-

[16]

INTRODUCTION

Frontispiece from Richard Neve's work on magic, showing him performing
the egg and bag trick about 1715. Photographed from the origmal in the
British Museum by the author.

[17]

INTRODUCTION

Houdin. I have not borrowed from the books of other
writers on magic. I have gone to the very fountain head
of information, records of contemporary Hterature, news-
papers, programmes and advertisements of magicians who

Signor Antonio Blitz, author of "Fifty Years in the Magic Circle" (1872).
Original negative of this photograph is in the Hariy Houdini Collection.

preceded Robert-Houdin, sometimes by a century. It
would cost fully a million dollars to forge the collection
of evidence now in my hands. Men who lived a hundred
years before Robert-Houdin was bom did not invent

[i8]

INTRODUCTION

posters or write advertisements in order to refute the
claims of those who were to follow in the profession of
magic. . These programmes, advertisements, newspaper
notices, and crude cuts trace the true history of magic as

Philip AsUey, EsqT

Jhd>. ^ Alex. Soj^. tr C° Ju^ f j.-jdod.

Philip Astley, Esq., an historical circus director, a famous c
Bartholomew Fair days, and author of '*Natural Magic" (1784).
Harry Houdini Collection.

character of
From the

no romancer, no historian of a single generation possibly
could. They are the ghosts of dead and gone magicians,
rising in this century of research and progress to claim
the credit due them.

[19]

INTRODUCTION

Often when the bookshops and auction sales did not
yield fruit worth plucking, I had the good fortune to
meet a private collector or a retired performer whose
assistance proved invaluable, and the histories of

Charles Bertram (James Bassett), the English author and conjurer, who
wrote *' Isn't it Wonderful?" Born 1853, died Feb. 28th, 1907. From the
Harry Houdini Collection.

these meetings read almost like romances, so skilfully
did the Fates seem to juggle with my efforts to secure
credible proof.
To the late Henry Evans Evanion I am indebted for

[20]

INTRODUCTION

many of the most important additions to my collection
of conjuring curios and my library of magic, recog-
nized by fellow-artistes and litterateurs as the most
complete in the world.

Evanion was an Englishman, by profession a parlor
magician, by choice and habit a collector and savant.
He was an entertainer from 1849 to the year of his death.
For fifty years he spent every spare hour at the British
Museum collecting data bearing on his marvellous col-
lection, and his interest in the history of magic was shared
by his excellent wife who conducted a "sweet shop"
near one of London's public schools.

While playing at the London Hippodrome in 1904 I
was confined to my room by orders of my physician.
During this illness I was interviewed by a reporter who,
noticing the clippings and bills with which my room was
strewn, made some reference to my collection in the
course of his article. The very day on which this inter-
view appeared, I received from Henry Evanion a mere
scrawl stating that he, too, collected programmes, bills,
etc., in which I might be interested.

I wrote at once asking him to call at one o'clock the
next afternoon, but as the hour passed and he did not
appear, I decided that, like many others who asked for
interviews, he had felt but a passing whim. That after-
noon about four o'clock my physician suggested that, as
the day was mild, I walk once around the block. As I
stepped from the lift, the hotel porter informed me that
since one o'clock an old man had been waiting to see
me, but so shabby was his appearance, they had not dared
send him up to my room. He pointed to a bent figure,

[21]

J/Sx,

^(^^c^-y-^

:^>^y..^^V^(54.

Last photoffraph of Henry Evans Evanion, conjuror and collector, taken
especially for this l)ook in which he was deeply interested. Died June 17tb.
1905. iJ'rom tlie Uarry Iloudini Collection.

[22]

INTRODUCTION

clad in rusty raiment. When I approached the old man
he rose and informed me that he had brought some
clippings, bills, etc., for me to see. I asked him to be
as expeditious as possible, for I was too weak to stand
long and my head was a-whirl from the effects of
la grippe.

With some hesitancy of speech but the loving touch of
a collector he opened his parcel.

"I have brought you, sir, only a few of my treasures,
sir, but if you will call ''

I heard no more. I remember only raising my hands
before my eyes, as if I had been dazzled by a sudden
shower of diamonds. In his trembling hands lay price-
less treasures for which I had sought in vain — original
programmes and bills of Robert-Houdin, Phillippe, Ander-
son, Breslaw, Pinetti, Katterfelto, Boaz, in fact all the
conjuring celebrities of the eighteenth century, together
with lithographs long considered unobtainable, and news-
papers to be found only m the files of national libraries.
I felt as if the King of England stood before me and I
must do him homage.

Physician or no physician, I made an engagement
with him for the next morning, when I was bundled into
a cab and went as fast as the driver could urge his horse
to Evanion's home, a musty room in the basement of
No. 12 Methley Street, Kennington Park Road, S.E.

In the presence of his collection I lost all track of
time. Occasionally we paused in our work to drink tea
which he made for us on his pathetically small stove.
The drops of the first tea which we drank together can
yet be found on certain papers in my collection. - His

[23]

TXTRODITTIOX

Very rare and extraordinarily fine litlH)<rraph of Rol)ert-Houdin, wliieli lie
^ave only to his friends. It depicts him anionj: his so-called inventions. His
son, Emile, doin^ second sijrht, Ls Ix'hhid him. 'J'he writing and drawing
figure is on his left. On his right imrler the clcK-kwork is a drawing whicli,
on close examination of the original, shows the suspension trick. From the
llarry Houdini Collection.

[24]

INTRODUCTION

wife, a most sympathetic soul, did not offer to disturb
us, and it was 3:30 the next morning, or very nearly
twenty-four hours after my arrival at his home, when my
brother, Theodore Weiss (Hardeen), and a thoroughly
disgusted physician appeared on the scene and dragged
me, an unwilling victim, back to my hotel and medical
care.

Such was the beginning of my friendship with Evanion.
In time I learned that some of his collection had been left
to him by James Savren, an English barber, who was so
interested in magic that at frequent intervals he dropped
his trade to work without pay for famous magicians,
including Dobler, Anderson, Compars Herrmann, De
Liska, Wellington Young, Cornillot, and Gyngell. From
these men he had secured a marvellous collection, which
was the envy of his friendly rival, Evanion. Savren be-
queathed his collection to Evanion, and bit by bit I
bought it from the latter, now poverty stricken, too old
to work and physically failing. These purchases I made
at intervals whenever I played in London, and on June
7th, 1905, while playing at Wigan, I received word that
Evanion was dying at Lambeth Infirmary.

After the show, I jumped to London, only to find that
cancer of the throat made it almost impossible for him
to speak intelligibly. I soon discovered, however, that
his chief anxiety was for the future of his wife and then
for his own decent burial. When these sad offices had
been provided for, he became more peaceful, and when
I rose to leave him, knowing that we had met probably
for the last time, he drew forth his chiefest treasure, a
superb book of Robert-Houdin's programmes, his one

[25]

INTRODUCTION

MilDEII DISTIim ilsmD PATBOIUftL

THEBAMD

rr uoiT iwf 4iiTav

miiiTiA

MfW aMcnd em cwb Wnaum k; ike Una x

• of Cd Str TWm. M. Wiltoa. Bwt.

SOIRE ES MYSTERlE tSES ! !

MR. J. SATREN,

•artitt in Eamerimenttil Philowphy, and
ffatural Magic,

Sm hnMa «*■ Abmmm If *. »<>lnk; mjC m i ■ i •> iW C>r««wM. TW MTtTICAL
ILLIVTBrTfoil mil i«bM *• « <«*t> W

IfOnTfeRM

BIAGIC

1k« muiMUUT of

i SdMM. Imtian HyatHy, tha 1
tha gnatait iMuiotM la th« Worl

Tb* Crrxil Tonta, IM Diifanlina. oi iltr Onrb

of r«Mb Dmii
Tb* VA-tdAL or *

Tbi «*ieh Muvam. ot ilw Voodtn of MiRinl

• tr«kt n «f PALACE of NANKIM. « • IVonl
lUprMMUIimi af Ike Wofidrr WarkiB|i
MMie or iko HtU Celniul Enpra oT

ciilvA

« Lk^nd MfttiBCTphan iat nfndaakn tt iht

rnd laptrerptibl* Joqrwy to Um Cr}>ul

Tko Bunra of I'lAr, •■ |..1*b «< lUii.
biow PradiMMi hi CowMMnto oTiko
ALLIES

The Exownn Pmn oT Im
Flon-< Tra* n Miiwlara Hd Mntal OONI
U Cluumu EimoRfiHin. t« Boobei im kUm
Th- CHINESE CREATION. iW BoM BtilliMi
..«l lonptioOri. T(i<n-^|*«i«4 fm

'nrciS^

Poster used by James Savren. From
the Harry Houdini Collection.

[26]

legacy, which is now the
central jewel in my col-
lection. Evanion died
ten days later, June 1 7th,
and within a short time
his good wife followed
him into the Great Un-
known.

Even more dramatic
was my meeting with the
widow of Frikell, the
great German conjurer.

I had heard that Frikell
and not Robert-Houdin
was the first magician
to discard cumbersome,
draped stage apparatus,
and to don evening
clothes, and I was most
anxious to verify this
rumor, as well as to in-
terview him regarding
equally important data
bearing on the history of
magic. Having heard
that he lived in Kotchen-
broda, a suburb of Dres-
den, I wrote to him from
Cologne, asking for an
interview. I received
in reply a curt note:

INTRODUCTION

''HeiT verreist," meaning ''The master is on tour."
This, I knew, from his age, could not be true, so
I took a week off for personal investigation. I ar-
rived at Kotchenbroda on the morning of April 8th,
1903, at 4 o'clock, and was directed to his home, known
as ''Villa Frikell." Having found my bearings and
studied well the exterior of the house, I returned to the
depot to await daylight. At 8:30 I reappeared at his
door, and was told by his wife that Herr Frikell had
gone away.

I then sought the police department from which I
secured the following information: "Dr." Wiljalba Frikell
was indeed the retired magician whom I was so anxious
to meet. He was eighty-seven years old, and in 1884 had
celebrated his golden anniversary as a conjurer. Living in
the same town was an adopted daughter, but she could not
or would not assist me. The venerable magician had suf-
fered from domestic disappointments and had made a vow
that he would see no one. In fact he was leading a
hermit-like life.

Armed with this information, I employed a photog-
rapher, giving him instructions to post himself opposite
the house and make a §nap shot of the magician, should
he appear in the doorway. But I had counted without
my host. All morning the photographer lounged across
the street and all morning I stood bareheaded before
the door of Herr Frikell, pleading with his wife who leaned
from the window overhead. With that peculiar fervency
which comes only when the heart's desire is at stake, I
begged that the past master of magic would lend a help-
ing hand to one ready to sit at his feet and learn. I urged

[27]

■'^"^^

^^ii

j^K ^^^^^ ^Jkl^^^^^^^^^^^^^^B^

^^^^^^^I^^^B^^^^I'

'. ^^H

'^^r^M|L

•ill

'If

1J2

C .

*^1

[28]

INTRODUCTION

the debt which he owed to the literature of magic and
which he could pay by giving me such direct information
as I needed for my book.

Frau Frikell heard my pleadings with tears running
down her cheeks, and later I learned that Herr Frikell
also listened. to them, lying grimly on the other side of
the shuttered window.

At length, yielding to physical exhaustion, I went away,
but I was still undaunted. I continued to bombard Herr
Frikell with letters, press clippings regarding my work,
etc., and finally in Russia I received a letter from him.
I might send him a package containing a certain brand
of Russian tea of which he was particularly fond. You
may be sure I lost no time in shipping the little gift, and
shortly I was rewarded by the letter for which I longed.
Having decided that I cared more for him than did some
of his relatives, he would receive me when next I played
near Kotchenbroda.

With this interview in prospect, I made the earliest
engagement obtainable in Dresden, intending to give
every possible moment to my hardly-won acquaintance.
But Fate interfered. One business problem after another
arose, concerning my forthcoming engagement in Eng-
land, and I had to postpone my visit to Herr Frikell
until the latter part of the week. In the mean time, he
had agreed to visit a Dresden photographer, as I wanted
an up-to-date photograph of him and he had only pictures
taken in his more youthful days. On the day when he
came to Dresden for his sitting, he called at the theatre,
but the attaches, without informing me, refused to give
him the name of the hotel where I was stopping.

[29]

[3o]

INTRODUCTION

After the performance I dropped into the Konig Kaffe
and was much annoyed by the staring and gesticulations
of an elderly couple at a distant table. It was Frikell
with his wife, but I did not recognize them and, not being
certain on his side, he failed to make himself krio\\Ti.
That was mid-week, and for Saturday, which fell on
October 8th, 1903, I had an engagement to call at the
Villa Frikell. On Thursday, the Central Theatre being
sold out to Cleo de Merode, who was playing special
engagements in Germany with her own company, I
made a flying business trip to Berlin, and on my return I
passed through Kotchenbroda. As the train pulled into
the station I hesitated. Should I drop off and see Herr
Frikell, or wait for my appointment on the morrow?
Fate turned the wheel by a mere thread and I went on to
Dresden. So does she often dash our fondest hopes!

My appointment for Saturday was at 2 p.m., and as my
train landed me in Kotchenbroda a trifle too early I
walked slowly from the depot to the Villa Frikell, not
wishing to disturb my aged host by arriving ahead of time.

I rang the bell. It echoed through the house with pe-
culiar shrillness. The air seemed charged with a quality
which I presumed was the intense pleasure of realizing
my long cherished hope of meeting the great magician.
A lady opened the door and greeted me with the words:
"You are being waited for."

I entered. He was waiting-for me indeed, this man
who had consented to meet me, after vowing that he would
never again look into the face of a stranger. And Fate
had forced him to keep that vow. . Wiljalba Frikell was
dead. The body, clad in the best his wardrobe afforded,

[31]

INTRODUCTION

all of which had been donned in honor of his expected
guest, was not yet cold. Heart failure had come suddenly
and unannounced. The day before he had cleaned up his
souvenirs in readiness for my coming and arranged a quan-
tity ot data for me. On the wall above the silent form
were all of his gold medals, photographs taken at various
stages of his Kfe, orders presented to him by royalty —
all the outward and visible signs of a vigorous, active,
and successful life, the life of which he would have told
me, had I arrived ahead of Death. And when all these
were arranged, he had forgotten his morbid dislike of
strangers. The old instincts of hospitality tugged at his
heart strings, and his wife said he was almost young and
happy once more, when suddenly he grasped at his heart,
crying, "My heart! What is the matter with my heart?
O '' That was all!

There we stood together, the woman who had loved
the dear old wizard for years and the young magician who
would have been so willing to love him had he been allowed
to know him. His face was still wet from the cologne she
had thrown over him in vain hope of reviving the fading
soul. On the floor lay the cloths, used so ineffectually
to bathe the pulseless face, and now laughing mockingly
at one who saw himself defeated after weary months
of writing and pleading for the much-desired meeting.

I feel sure that the personal note struck in these remi-
niscences will be forgiven. In no other way could I
prove the authoritativeness of my collection, the thorough-
ness of my research, and the incofitrovertibility of the facts
which I desire to set forth in this volume.

[32]

THE UNMASKING OF

ROBERT-1ft«>UDIN

CHAPTER I

SIGNIFICANT EVENTS IN THE LIFE OF ROBERT-HOUDIN

ROBERT-HOUDIN was born in Blois, France/'-
December 6th, 1805. His real name was
Jean-Eugene Robert, and his father was Prosper
Robert, a watchmaker in moderate circum-
stances. His mother's maiden name was Marie Catherine
Guillon. His first wife was Josephe Cecile Eglantine
Houdin, whose family name he assumed for business rea-
sons. He was married the second time to Franjoise Mar-
guerite Olympe Naconnier. His death, caused by pneu-
monia, occurred at St. Gervais, France, on June 13th, 1871.
Barring the above facts, which were gleaned from
the register of the civil authorities of St. Gervais,
all information regarding his life previous to his first
public appearance in 1844 must be drawn from his own
works, particularly from his autobigraphy, published in
the form of ^^ Memoirs." Because of his supreme egotism,
his obvious desire to make his autobiography picturesque
and interesting rather than historically correct, and his
utter indifference to dates, exact names of places, theatres,
books, etc., it is extremely hard to present logical and con-
3 [33]

THE t:nmasking of robert-houdin

sistent statements regarding his life. Such discrepancies
arise as the mention of three chiklren in one chapter and
four in another, while he does net give the names of either

Jean-Eugene Robert-IIoudin. Photograph taken al)out 1868. From the
Harry Iloudini Collection.

wife, though he admits his obligation to both good
women.

According to his autobiography, Jean-Eugene Robert
was sent to college at Orleans at the tender age of eleven,
and remained there until he was eighteen. He was then
placed in a notary's office to study law, but his mechanicaJ

[34]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

tastes led him back to his father's trade, watchmaking.
While working for his cousin at Blois, he visited a book-
shop in search of Berthoud's "Treatise on Clockmaking,"
but by mistake he was given several volumes of an old
encyclopaedia, one of which contained a dissertation on
"Scientific Amusements," or an exposition of magic.
This simple incident, he asserts, changed the entire
current of his life. At eighteen, he first turned his atten-
tion to magic. At forty, he made his first appearance
as an independent magician or public performer.

On page 44 of his " Memoirs," American edition, Robert-
Houdin refers to this book as an encyclopaedia, but several
times later he calls it "White Magic." In all probability
it was the famous work by Henri Decremps in five vol-
umes, known as "La Magie Banche Devoilee," or "White
Magic Exposed." This was written by Decremps to
injure Pinetti, and it exposed all the latter's tricks, in-
cluding the orange tree, the vaulting trapeze automaton,
and in fact the majority of the tricks later claimed by
Robert-Houdin as his own inventions.

In 1828, while working for M. Noriet, a watchmaker in
Tours, Jean-Eugene Robert was poisoned by improperly
prepared food, and in his delirium started for his old home
in Blois. He was picked up on the roadside by Torrini,
a travelling magician, who nursed him back to health
in his portable theatre. Just as young Jean recovered
Torrini was injured in an accident, and his erstwhile
patient remained to nurse his benefactor and later to help
Torrini's assistant present the programme of magic by
which they made their living. His first public appearance
as the representative of Torrini was made at Aubusson.

[35]

THE UNMASKI\(; OF ROBERT-HOUDIN

JfttiSt ^Representation

C|)e jpantagtic Soirees;

Automata, Sleigh t-of- Hand, Magic.

The Performance will be composed of entirely
novel Experiments invented by

M. ROBERT-HOUDIN,

Among them being:

The Cabalistic Clock Obedient Cards

Auriol and Debureau The Miraculous Fish

The Orange-Tree The Fascinating Owl

The Mysterious Boquet The Pastrycook of the
Pierrot in the Egg Palais Royal

Co Commence at c^igl^t o'clocfi^

)lBopoffice open at l^alf^pasft ^el)m«

Price of Places: Upper Boxes ^ i fr, 50 c; Stalls^ jfr.;
Boxes y ^ fr. ; Dress Circle^ 5 fr.

Programme for the opening of Robert-Houdin's theatre in Paris. Repro-
duced from the American edition of his " Memoirs.**

[37]

THE UNMASKING OF ROBERT-HOUDIN

Torrini was an Italian whose real name was Count
Edmond de Grisy. He was a contemporary of Pinetti.
In all probability, during the long summer of their inti-
mate companionship, Torrini not only initiated his fas-
cinated young guest into his own methods of performing

■

II.I.VSI01VS.

^^^Mh ^K^^^^^^Ld^B^^^^^^^Sui^^^^^^^HL^^^^^^^K.

<»

^KoimBBHIU^^^K^^SSKBKtKii^^^k

B^Wr^llB^I^^^HifflllH^b

^^^^^^SMkh^^^^S^I

xj^^gp^

1*1 A « I E.

-j

Robert-Houdin's favorite lithojjraph for advertising purposes. Used on
the majority of his posters and in the original edition of his "Memoirs." From
the Harry Houdini Collection.

tricks, but also into the secrets of Pinetti's tricks. In
his *^ Memoirs," Robert-Houdin makes no secret of the
fact that both Comus and Pinetti, together with their
tricks, were topics of conversation between himself and
Torrini.
When Torrini was able to resume his performances,

[38]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

9Uan i|r *tftr»» p«traMgr <

TBB QVBBV,

HIS ROYAL HIOKN'ESS THE PRINCB ALBERT.

HCR ROYA.L HIGHNESS THE DUCBESS OF KENT.

TMErR ROVAL HtGU.VESSES THE DUKE * 0UCKSS5 Of CAMftRtOOfi.

HER ROYAL HIGHNESS THE DUCHESS OP OLOUCESTEk

A GRAND

tvoMaira

A CONCERT & DANCING,
Satl)0 ann mieafts^onstB (or tt^e iUtiouring CUsscf,,

Om WEDNESDAY. JULY the lOra.

Tbf RMidcM* of AKTBi-a WsurtK, £i^.
WUtk hat kn MM* ki^lg flani al tkt HtptMl rf iht Ladiu HlfMtuu.

U crabtnr (^ mtaini ittthn •< iti t«U>«(n( Ortlun. ato tatr aou MUflnflf

MADAMS OBXSI, MADAMS CASTBLLAH.

MADt'I' ALBONI.

no. MARIO, M. SOOSR. SIO. TAMBUIUNI« A SIO. LABLACHC.

ooNOuoToit • aiONOM oorr*.

A TENT WILL BE ERECIED IN THE GROUNDS,

BOBSRTUOODIN.

|;NX tl^JiiSS 7Ai-i7aS70£l»£.
Tb* OreaaAi will b* ep«D fron Oa* arOevk, unu) Stffet.

TZOSBTS FOR TBB FETB,

TMf NVMItIi OP WMirH •rllk •£ lIMtTtO.

Cta esUj b* precund os th* prrwuittion ol Vouchtrt from <b« (oUswiMf

CoriTtuof^atlnftnivD. I v«Kee»T«M io«ii»».

CcviTrM I>»«40«> Of Cmh. I ViMO«*Ti»» ••■m

CcrrttM or Jimst. | Ccfoiiw »• FLuiuik

CervTiu o» ratlrro*. ■ L*>« Cooitr •■!:».

Corniu Of ro»:ticn. | Ua* hctitt C»«*>Maa.

1 l4i>T wiii«r«Kat aa Cl

0\catM or BtMitrea.
Utcatn or AmoLu
Utchu* or Mosrraoaa.
Urcntta ot tvrnnvmrtk

aftacaioyiM et Wtitarmr.

>i*MMU-«m ot u-*it»roiuv
NocaioriM at P*oonid».
MkHcaiOKtM or Cxmit.
M«»csiortM or AitiMrar.
aiAMHiorau or CLtiiaioraa.
HtataioraM or ■*iAi,<ia«n.
MaiicaH»rB»i or Bwrrroaa.

Co7.»ii>t ar OitA»7.
CorriiMor C»4*ia.
CorriiM 01 U'utoa.
Coc*Ti«« Out.
CorirmM or MOBitr.
CoroT^H or Ou>».i^

CoryriM CacvTiuBi
CftrifTMi Barra,
l^M Ji>«a Rrwtik
Viicor<atM irort*.
V|*c«tiiTt»l r&i.»UCT«ir,
TiKorrttM Carriro.

dUtttamat TieJktu,fir MMurried Som and Daufitttn t/th» tame Pamity, Jti U. «mA.
V JtmOmn wttl b* «iclua(«« »* Mr. MiTCHSt.i.-» moyU Ubmr, 33» OM BoM MtmI

OH 1N( ina. ■«». Aaa l»n JULV.

T> i^ JS^ ^f-^/ *i^^ possibly the only, programme in existence, chronicling
Kobert-Houdm s first appearance before Queen Victoria, July 19th, 1848
&4enT°RoS'lf *^ ^^^ Houdini CoUection, was presented to James

[39]

THE UNMASKING OF ROBERT-HOUDIN

Jean-Eugene returned to his family in Blois. During
the next few years he mixed amateur acting with his
daily labor, leaning more and more toward the profes-
sion of public entertainer. But his ambitions along this

line were nipped in the bud by

wv jAM Etpg TH KATBB. marHagc. Mademoiselle Houdin,

£ri £SSr^£ rm2L wliose father was a celebrated

•k/t'fiieW^^^ walclmiaker in Paris, visited old

— "s;.*-"^ friends in Blois, their native town,

.^%"_r!ff^4y cind became the fiancee of young

""llvw*"* ^ Rol)ert. As the new son-in-law

§was to share the elder Houdin's
business and naturally wished to
^f^ secure such benefits as might ac-
^^ffUKl^^^^ crue from so celebrated a family
"** ^"TrJIIISrSJ" ''^^ of watch and clock makers, he
.t«!::ri*:^:z.'^i::2:.«. applied to the council of state

WENES8AY 4 SATHMY MOMMS ' ' Houdin " to his name, Jean-

"-* rf^ s^-^-^*'^,— ■ " Eugene Robert, and thereafter was

■^f^^^^^^^S^Z. known only as Robert-Houdin.

*"' ==^=-r.^r~ jjjg jj£^ between 1838 and 1844

^:&n di'L'Vtte; was divided between reading every
engagement at the St. ^qj.^ obtainable on magic, and his

James Iheatre, J/ondon. ... .

From the Harry Houdini duticS -in his fathcr-in-law's shoD,

Collection. , m. ^ , , .

where ne not only made and re-
paired clocks, but built and repaired automata of various
sorts. His family shared with him many financial vicissi-
tudes, and about 1842-43 his first wife died, leaving him
with three young children to raise. Earlier in his "Mem-
oirs" he speaks of having four children, so it is more

[40]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

than likely that one died before his wife. He married
again soon, and though he gives his second wife great
credit as a helpmate he does not state her name.

By this time he had acquired more than passing fame

Robert-Houdin as he appeared to the English critics. Reproduced from the
Illustrated London News, December 23d, 1848.

as a repairer of automata, and in 1844 he mended Vau-
canson's marvellous duck, one of the most remarkable
automata ever made. Doubtless other automata found

[41]

THE UNMASKING OF ROBRRT-HOUDIN

their way to his workshop and aided him in his study of
a profession which he still hoped to follow. During these
discouraging times he was often assisted financially by

Poster used in 1848 in London by Robert-Houdin. From the Harry Houdini

Collection,

one Monsieur G , who either advanced money on

his automata or bought them outright. In the same
year, 1844, he retired to a suburb of Paris, and there,

[42]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

ST JAMES'S THEATRE.

LAST

POBinVELVTHB

OP THE SKASON .

BENEFIT OF

ROBERT

won nanvnT mask an

he asserts, he built his famous writing and drawing
figure.

The next year, 1845, he was assisted by Count de
L'Escalopier, a devotee of conjuring and automata, who
advanced the money to fit up
and furnish a small theatre
in the Palais Royal. Robert-
Houdin went about the work
of decorating and furnishing this
theatre with a view to securing
the most dramatic and brilliant
effects, surrounding his simple
tricks with a setting that made
them vastly different from the
same offerings by his predeces-
sors. He was what is called to-
day an original producer of old
ideas. On June 25th, 1845, he
gave his first private perform-
ance before a few friends. On
July 3d of the same year his
theatre of magic was opened
formally to the public. The
programme of this performance
is shown on page 37.

It will be noted that the famous
writing and drawing figure was not then included in Robert-
Houdin's repertoire, nor does it ever appear on any of his
programmes. He exhibited it at the quinquennial exhibi-
tion in 1844, received a silver medal for it, and very soon
sold it to the late P. T. Barnum, who exported it to America.

[431

hst AneiruM li Lmtai

AkIvdNI

I
EXPMOnS&i

ESQAM^TACE EXTRAORDINAIRE.

BT kMILK-ll'iUDIN

. a». OAt. tnUAM. u. M.

Poster for theEmile-Houdin
benefit at St. James's Thea-
tre in 1848. From the Harry
Houdini Collection.

THE UNMASKING OF ROBERT-HOUDIN

This question naturally arises: If Robert-Houdin built
the original writing and drawing figure, why could he not
make a duplicate and include it in his programme ? Surely

ToSnT

BWEEKHU ^aglM gWrM

SERIES of MAGICAL

t^Wwm

WeMCIr«le. • ••. BaxM, - Sa.

niTAVB BBSMt M> lii MJ^ 4L Bk M.

Poster used by Robert-Houdin when he pbyed at Sadler's Wells, London,
in 1853. He never refers to this engagement m his writings because he was
not proud of having appeared in a second-class theatre, while his rival, Anderson,
held the fashionable audiences at the St. James's, where Robert-Houdin had
worn out his welcome. From the Harry Houdini Collection.

it was one of the most remarkable of the automata which
he claims as the creations of his brain and hands.

[44]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

In 1846 he claims to have invented second sight, and
at the opening of the season in 1847 he presented as his
own creation the suspension trick. During the interim
he played an engagement in Brussels which was a finan-
cial failure.

In 1848 the Revolution closed the doors of Parisian
theatres, Robert-Houdin's among the rest, and he re-
turned to clockmaking and automata building, until he
received from John Mitchell, who had met with great
success in managing Ludwig Dobler and Phillippe, an
offer to appear in London at the St. James's Theatre.
This engagement was a brilliant success and for the first
time in his career Robert-Houdin reaped big financial
returns.

Later Robert-Hcudin toured the English provinces
under his own management and made return trips to
London, but his tour under Mitchell was the most notable
engagement of his career.

In 1850, while playing in Paris, he decided to retire,
and to turn over his theatre and tricks to one Hamilton.
A contemporary clipping, taken from an English news-
paper of 1848, goes to prove that Hamilton was an
Englishman who entered Robert-Houdin's employ. Ham-
ilton signed a dual contract, agreeing to produce Robert-
Houdin's tricks as his acknowledged successor and to
marry Robert-Houdin's sister, thus keeping the tricks
and the theatre in the family. During the next two years
Robert-Houdin spent part of his time instructing his
brother-in-law in all the mysteries of his art. In July,
1852, he played a few engagements in Germany, including
Berlin and various bathing resorts, and then formally

[45]

THE UNMASKING OF ROBERT HOUDIN

retired to his home at St. Gervais. Here he continued
to work along mechanical and electrical lines, and in 1855
he again came into public notice, winning awards at the
Exhibition for electrical power as applied to mechanical
uses. In 1856, according to his autobiography, he* was

Robert-Houdin's grave, in the cemetery at Blois, France. From a photo-

Saph taken by the autlior, especially for tliis work, and now in the Harry
oudini Collection.

summoned from his retirement by the Government to
make a trip to Algeria and there intimidate revolting
Arabs by the exhibition of his sleight-of-hand tricks. These
were greatly superior to the work of the Marabouts or
Arabian magicians, whose influence was often held re-
sponsible for revolts. What Robert-Houdin received for

[46]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

performing this service is not set forth in any of his works.
He spent the fall of 1856 in Algeria.

From the date of his return to St. Gervais to the time
of his death, June 13th, 187 1, Robert-Houdin devoted
his energies to improving his inventions and writing his

Bas-relief on Robert-Houdin tombstone. From a photograph taken by the
author, especially for this work, and now in the Harry Houdini Collection.

books, though, as stated before, it was generally believed
by contemporary magicians that in the latter task he
entrusted most of the real work to a Parisian journalist
whose name was never known.

He was survived by a wife, a son named Emile, and
a step-daughter. Emile Houdin managed his father's
theatre until his death in 1883, when the theatre was

[47]

THE UNMASKING OF ROBERT-HOUDIN

sold for 35,000 francs. The historic temple of magic
still stands under the title of "Theatre Robert-Houdin,"
under the management of M. Melies, a maker of mo-
tion picture films.
During my investigations in Paris, I was shocked to

The last photograph taken of Robert-Hoiidin and used as the frontispiese for
the original French edition of liis "Memoirs," published in 1868.

find how little the memory of Robert-Houdin was revered
and how little w^as known of France's greatest magician.
In fact, I was more than once informed that Robert-
Houdin was still alive and giving performances at the
theatre which bears his name.

L48]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

Contemporary magicians of Robert-Houdin and men
of high repute in other walks of life seem to agree that
Robert-Houdin was an entertainer of only average merit.
Among the men who advanced this theory were the late
Henry Evanion of whose deep interest in magic I wrote
in the introduction, Sir William Clayton who was Robert-
Houdin's personal friend in London, Ernest Basch who
saw Robert-Houdin in Berlin, and T. Bolin of Moscow,
Russia, who bought all his tricks in Paris and there saw
Robert-Houdin and studied his work as a conjurer.

Robert-Houdin's contributions to literature, all of
which are eulogistic of his own talents, are as follows:

"Confidence et Revelations," published in Paris in
1858 and translated into English by I^ascelles Wraxall,
with an introduction by R. Shelton Mackenzie.

"Les Tricheries des Grecs" (Card-Sharping Exposed),
published in Paris in 1861.

"Secrets de la Prestidigitation" (Secrets of Magic),
published in Paris in 1868.

"Le Prieure" (The Priory, being an account of his
electrically equipped house), published in Paris in 1867.

"Les Radiations Lumineuses," published in Blois in
1869.

"Exploration de la Retinue," published in Blois, 1869.

"Magic et Physique Amusante" (ceuvre posthume),
published in Paris in 1877, six years after Robert-Houdin's
death.

In his autobiography, Robert-Houdin makes specific

claim to the honor of having invented the following

tricks: The Orange Tree, Second Sight, Suspension,

The Cabalistic Clock. The Inexhaustible Bottle, The

4 [49]

THE UNMASKING OF ROBERT-HOUDIN

Pastry Cook of the Palais Royal, The Vaulting Trapeze
Automaton, and the Writing and Drawing Figure.

His fame, which has been sung by writers of magic
without number since his death, rests principally on the
invention of second sight, suspension, and the writing and
drawing automaton. It is my intention to trace the true
history of each of these tricks and of all others to which
he laid claim as inventor, and show just how small a
proportion of the credit was due to Robert-Houdin and
how much he owed to magicians who preceded him
and whose brain-work he claimed as his own.

[so]

CHAPTER II

THE ORANGE-TREE TRICK

ROBERT-HOUDIN, on page 179 of the American
edition of his ^^ Memoirs," thus describes the
orange-tree trick, which he claims as his inven-
tion : " The next was a mysterious orange-tree,
on wnich flowers and fruit burst into life at the request of
the ladies. As the finale, a handkerchief I borrowed
was conveyed into an orange purposely left on the tree.
This opened and displayed the handkerchief, which two
butterflies took by the comers and unfolded before the
spectators."

On page 245 of the same volume he presents the
programme given at the first public performance in the
Theatre Robert-Houdin, stating:

"The performance will be composed of entirely novel
Experiments invented by M. Robert-Houdin. Among
them being The Orange-Tree, etc."

Now to retrace our steps in the history of magic as set
forth in handbills and advertisements of earlier and con-
temporaneous newspaper clippings describing their in-
ventions.

Under the title of "The Apple-Tree" this mechanical
trick appeared on a Fawkes programme dated 1730. This
was 115 years before Robert-Houdin claimed it as his
invention. In 1732, just before Pinchbeck's death, it

[51]

THE ITN^f ASKING OP ROBERT-HOUDIK

appeared on a programme used by Christopher Pinchbeck,
Sr., and the youngLT Fawkes, In 1784 it was included in
the report oirc of the Italian conjurer, Pinetti, in the guise'
of ''Lc Bouquet philosophiquc," In 1822 the same
trickj but this time called ''An Enchant^ Garden,"

was featured by M- Comillo^. ^
who appeared in England as thfe
pupil and successor of Pinetti-

I1ae trick was first explained
in jmblic print by Henri
crrmps in 1784 when his famoi
cxi>()se of Pinetti was publish
under the title of *'La Maj
Blanche Devoilee/'and in 17;
87 both Halle and Wiegleb ea^
posed the trick completely
their res]iective works on maj
That Rolx^rt-Houdin was
omniA^orous reader is proven
his own MTitings. That he kn&
the history and tricks of Pinetti
is proven by his own words, for in Chapter VI. of his
^* Memoirs'* he devoted fourteen pages to Pinetti and the
latter's relations with Torrini.

Now to pro^^c that thr tree tricks offered by Fawki
Pinchbeck, Pinetti, Coriiillot, and Roljert-Koudin were,
practically one and the same, and to tell something rf
the history of the four magicians who featured the trick
before Robert-Houdin had been heard of:

Unquestionably, the real inventor of the mysterious
tree was Christopher Pinchbeckj who was England*s

fS^l

Diagfmni of tlie oriin>^*-tn'0
trick, f rs i rn \\ u ^^ itA i * w " Tl it^
NatufiU Miigic/' pubiisfwd in

pher Pinchbeck, Sr. ^ This is the oldest and rarest authentic mezzotint in the
orld. pertaining to the history of magic. From the Harry Houdini Collection.

[S3]

THE UNMASKING OF ROBERT-HOUDIN

leading mechanical genius at the close of the seventeenth
century and the beginning of the eighteenth. He was a
man of high repute, whose history is not that of the
charlatan, compiled largely from tradition, but it can be

M41, /fff Rf tit Haf^Mfttk/f, h t« Iff Utm tS^
G« A N n 1 HI A T n 4i <if lUe M U i £s, /a|I
it*iV^{ ^ ^J^ IM N C H tn , C K ^
THli wD«t*trfol M^cbliii? h iHr Aft<jntfli."

Ktttii H 4^ ih«r (tc it. the Migii}(icrnr«f)l ill tiM4«*

lilifif l^Mice f«f All ih*t JiiA «ve- y«i tfiJ^r^r'^ ill EttroM^
'Jiutfvsn 8 Ididfcj^^ with u viie« rl- »he lei. i»viw>
qfMfoiSt>|| i(i 4fin l>itti&i:tT Willi ^inpi r«itip|, flyii^g

L>iichHijii h|_t« fcHc^i«B, »« gjtit t<ul«iy
'4idP» Li:lttii.f« •ao'ihcFhumtftit yiHtiKi »t*

ifiiriiDftEtdiiadcornpelFibjftietiivt twmf ni'hh H«E»i

If i!(«ipciioinTioii UvitMl lBftrLmeiu«|rri4 Tdtircf of hhR JJ

Cic«JJent Pieces of MuJiLk rdnn^oi'd bj ^tr. ^A»it>»« Cd-^ vf

mtkhiiKh atot^dfiiiii h&*an^<t tJt«T Ictftic nof ffind eiq V
cqxaj. Li lU^vae imiuirt the f*efi Hi(ni9«3T of A^-y aH-

Kj)''t4^^^J0dkrkjCud(Oo» &c- uc pfi^grnied id fo giftt 4. f^
^frfcftid-s ii( not ro tMdiiMo|(Qiaf«^ fr«n Mnurc ii felf,
WU h Icvfrnl oituif grand t'cifornijuctt i p-^ '< dU^in ia nv«f* ^
tlou, fitcn f-i. a, 6i. «nd ] i, Ta ^r l<ru tn^ |a ^

iufi if Tmit 1^

D«ys at AX itii-in b-^a oce to iJic Lx^ TArcm U Fkeiftjeia,%^

Clipping from the London Daily Post of Noveml)er 30th, 1728. Used by
Christopher Pinchbeck before he joined Fawkes. From the Hany Houdini
Collection.

corroborated by court records, biographical works, and
encyclopaedias, as well as by contemporaneous newspaper
clippings.

According to Vol. XLV. of the " Dictionary of National
Biography," edited by Sidney Lee and published in 1896
by Smith, Elder & Co., 15 Waterloo Place, London:
"Christopher Pinchbeck was bom about 1670, possibly

[54]

THE ORANGE-TREE TRICK

in Clerkenwell, London. He was a clockmaker and
inventor of the copper and zinc alloy called after his name.
He invented and made the famous astronomico-musical
clock. In Appleby's Weekly Journal of July 8th, 1721,

j^/ FAWKFS's Theatre,

j hf mhfteJ th^ fcih'm'ms Kfiifrtdmfk'T/is :
» FirftiOlS Diieitins and Ininsmparabla

1 N* Hk lu jtirtiraliT Jw ciufci i Tree r^ Errw ^^ in i Timnsf^ ,

■ EiIp irJfTioi '^*^ I'Jv* iua htiT ripe Fftut ij^ »

■ &cftr»di Hii FiiiK^ji lit' le Pn 4 f u a t*M a t v e a* i

■ It^ird, Th* %iu_f lUAL Ct&ejt, wltii iwo nM^Tdfi PtftuiM

f H WorfcMi*ttiljip 111 tfjt WorJiU r^tf maiNiis ^^iummi «fc« .

1 OlT>i:'<'ktiC;. tjf

I ^i/tlH "fbff AuriUCrAt Vrtw cjf ihe \Voii»ii. nv^f«rft \

I of^in: The 'hiO'-^vn Imrcin: tnct Titcteafc l clif f'lwn of Dst -

the Hi^niyi n tiH l-tfitrtni.. sn in a fine ^ftintf f tvttii r, 5 rhe '

! 1^1 k> l^^flLincP- ^i hen t^s ncif >W tkpJr tl. *J. ......_ ^"^*? '

KiJtt, Evtrj M^V iHlii>.ti tM> VV.clt^,fl[3c [H f fMlftt d>f L H

i^Jl wiihCuldt nxfe 1

Advertisement from the London DaUp Post during 1730, showing the orange
tree as oflFered by the senior Fawkes, just previous to his death. From the
Harry Houdini Collection,

it was announced that ^ Christopher Pinchbeck, inventor
and maker of the astronomico-musical clock, is removed,
from St. George's Court (now Albion Place) to the sign
of the '^ Astronomico-Musical Clock" in Fleet Street, near
the Leg Tavern. He maketh and selleth watches of all
sorts and clocks as well for the exact indication of the

[55]

THE T NMASKIXCi OF ROBERT-IIOUDIN

time only as astronomical, for showing the various
motions and phenomena of j)lanets' and fixed stars.!
Mention is also made of musical automata in imitation
singing birds and barrel organs for churches, as amot
Pinchlx'ck's manufactures.

'^Pinchlx'ck was in the habit of exhibiting collections^
of his automata at fairs, sometimes in conjunction with .
juggler named Fawkes, and he entitled his stall
Temple of the Muses/ * Grand Theatre of the Muses,*]
or ^^lultum in Parvo.' The Daily Journal of AugiLst
27th, 3729, announced that tlie Prince and Princess of^
Wales went to the liartliolomew Fair to see his exhibition,
and there were brief advertisements in The Daily Post of
June 12th, 1729, and the Daily Journal of August 22d
and 23d, 1729. There is still a large broadside in the
British Museum (1CS50 c. 30-17) headed 'Multum in
Parvo/ relating to Pinchbeck's exhibition, with a blank
left for ])lace and date, evidently intended for use as
poster. lie died November ] 8th, 1732; was buried Nl
vember 2jst, in St. Denison's Church, Fleet Street.

''In a copy of ihc Gentlemen's ^faiJ;azinc, printed J73^J
page 1083, there is an engraved ])()rtrait by L Faber,/
after a jxiinting by Isaac Wood, a rei)roduction of whidiil
ai)pears in 'Britten's Clock and Watch ^Nlaker/ page 122,^
His will, dated November loth, 1732, was proved in
London on November ]8th/'

During one of his engagements at the Bartholomew
Fair, Pinchbeck ])robably met P^iwkes, the cleverest
sleight-of-hand performer that magic has ever known,
and the two joined forces. Pinchbeck made all the auto-
mata and apparatus thereafter used by Fawkes, and, in

[56]

A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work
of Cunningham, the greatest designer, and William Humphrey, the greatest
portrait etdier of his day. From the Harry Houdini Collection.

[57]

THE UNMASKING OF ROBERT>HOUDIN

sold for 35,000 francs. The historic temple of magic
still stands under the title of ''Theatre Robert-Houdin,"
under the management of M. Melies, a maker of mo-
tion picture films.
During my investigations in Paris, I was shocked to

The last photograph taken of Robert-Houdin and used as the frontispiese for
the original French edition of his *' Memoirs," published in 1868.

find how little the memory of Robert-Houdin was revered
and how little was known of France's greatest magician.
In fact, I was more than once informed that Robert-
Houdin was still alive and giving performances at the
theatre which bears his name.

[48]

EVENTS IN THE LIFE OF ROBERT-HOUDIN

Contemporary magicians of Robert-Houdin and men
of high repute in other walks of life seem to agree that
Robcrt-Houdin was an entertainer of only average merit.
Among the men who advanced this theory were the late
Henry Evanion of whose deep interest in magic I wrote
in the introduction, Sir William Clayton who was Robert-
Houdin's personal friend in London, Ernest Basch who
saw Robert-Houdin in Berlin, and T. Bolin of Moscow,
Russia, who bought all his tricks in Paris and there saw
Robert-Houdin and studied his work as a conjurer.

Robert-Houdin's contributions to literature, all of
which are eulogistic of his own talents, are as follows:

"Confidence et Revelations," pubhshed in Paris in
1858 and translated into English by Lascelles Wraxall,
with an introduction by R. Shelton Mackenzie.

"Les Tricheries des Grecs" (Card-Sharping Exposed),
published in Paris in 1861.

"Secrets de la Prestidigitation" (Secrets of Magic),
published in Paris in 1868.

"Le Prieure" (The Priory, being an account of his
electrically equipped house), pubhshed in Paris in 1867.

"Les Radiations Lumineuses," pubhshed in Blois in
1869.

"Exploration de la Retinue," published in Blois, 1869.

"Magic ct Physique Amusante" (oeuvre posthume),
published in Paris in 1877, six years after Robert-Houdin's
death.

In his autobiography, Robcrt-Houdin makes specific

claim to the honor of having invented the following

tricks: The Orange Tree, Second Sight, Suspension,

The CabaKstic Clock. The Inexhaustible Bottle, The

4 [49]

THE UNMASKING OF ROBERT>HOUDIN

Pastry Cook of the Palais Royal, The Vaulting Trapeze
Automaton, and the Writing and Drawing Figure.

[50]

CHAPTER II

THE ORANGE-TREE TRICK

ROBERT-HOUDIN, on page 179 of the American
edition of his "Memoirs," thus describes the
orange-tree trick, which he claims as his inven-
tion: "The next was a mysterious orange-tree,
on wnich flowers and fruit burst into life at the request of
the ladies. As the finale, a handkerchief I borrowed
was conveyed into an orange purposely left on the tree.
This opened and displayed the handkerchief, which two
butterflies took by the comers and unfolded before the
spectators."

On page 245 of the same volume he presents the
programme given at the first public performance in the
Theatre Robert-Houdin, stating:

"The performance will be composed of entirely novel
Experiments invented by M. Robert-Houdin. Among
them being The Orange-Tree, etc."

Now to retrace our steps in the history of magic as set
forth in handbills and advertisements of earlier and con-
temporaneous newspaper clippings describing their in-
ventions.

[51]

THE UNMASKING OF ROBERT-HOUDIN

appeared on a programme used by Christopher Pinchbedt,,
Sr., and the younger Fawkcs. In 1784 it was included iftH
the repertoire of the Italian conjurer, Pinetti, in the guise .
of '*Le Bouquet philosophique.'* In 1822 the same
trick, but this time called "An Enchanted Garden,"

was featured by M, Comillot,
who appeared in England as the
pupil and successor of Pinetti-

The trick was first explained '
in jmblic print by Henri De*
crcmps in 1784 when his famous
cxpf)se of Pinctti was published
undur the title of ''La Magie
Blanche Devoilee/' and in 1786-
87 b(Jth Halle and Wieglcb ex-
posed the trick completely
their resfK'ctive works on magic,

That Robert-Houdin was
omnivorous reader is proven
his own writings. That he knew
the history and tricks of Pinetti
is proven by his own words, for in Chapter VI- of his
"Memoirs" he devoted fourteen pages to Pinetti and the
latter's relations with Torrini.

Now to prove that the tree tricks ofTcred by Fawk^
Pinchbeck, Pinetti, ComiUot, and Robert-Houdin werei
practically one and the same, and to tell something of
the history of the four magicians who featured the trick
before Robert-Houdin had been heard of:

Unquestionably, the real inventor of the mysterioi
tree was Christopher Pinchbeck, who was England

[52]

Diag:nitn of tlie tminpt'-tnt^
trick, f nun Wit^gU^b'ti " The
Natural Magic/' publislu-d in
1704.

Christopher Pinchbeck, Sr. ^ This is the oldest and rarest authentic mezzotint in the
^orld. pertaining to the history of magic. From the Harry Houdini Collection.

[S3]

THE UNMASKING OF ROBERT-HOUDIN

Mall, fjiotif th H«y*Maika, h it k pin The

0ai'^\ii^ >fr FINCH B)-CK,

tPtm 4>t nM lb Mr fteit. tf^e MAfiiific#«t« n| Hfti«<-

lWl3«lLc^)E of the (^iBil4| «^d Kulpuie, mb4 ihc

rv^iiir ftt ni*j»Uig f\g\ntt in«li-i ii ibe nv, It r^i-

lit ri«c« rf Ajt thsL |i«i K*«^ |«i fpoett'^ in Europe^

re th< Tttv T tei« »i «tU u Uftitcii vicfren i« ma^t^

i( ii^tnuM jiiiif LCKi«p4:N i^ tbt iij^mc^d^ oj hit hil>p^

li iU Q p>r [ ' «mvi od f < v ztii iKftnJBCnti |h« fvi i^i f of pih^ V

nKcUcnr r;<irc3 of Wii!itl» cPinpotM fcj Mi. MAHT>]it,€o J^

mtf> lucb x^ndfihil t,x4AiKriLi tttv {{^rce uttf H«ad Ckq ^

■fy tif Riid i« « tirreiii t ht rtlpc^ vr N oiei ^^^ ibr Kj|,him-^ ^
l^ilf,W0{Mil'iik/v'UL'lroo> 6cj^ iic p^tottptd to fu (;,fii « ^^
i'rifcifiii^'s M not co bc^Uid|iiia«d fromNjiurc ii f^t\ ^
Wi ► t? If erml ethti giAnd 1^ « f&f m-iui* * o > r iliuit to mea- *
tiOTT. fiicn f I. »*, 1(4 *nd n, Ta bs t«CQ l^rocn la '^
lA'rbe Morm»^ tilt ic Ki|hi» bj rw(»^ cr nkore, wiitiouc '''•.
Wt (f Unit. «^ '

Nttft tHi* r^noiu Huhiae vlU be cnnovEd id • frw , ^
Djyi otu Pu3i bit dcE to ihCi^fiTivctJilBFkctlliarJ^^

Clipping from the London Daily Post of Noveml)er 30th, 1728. Used bf
Christopher Pinchbeck before he joined Fawkes. From the Hany Houdim
Collection.

corroborated by court records, biographical works, and
encyclopaedias, as well as by contemporaneous newspaper
clippings.

[54]

THE ORANGE-TREE TRICK

/ft;FA\VKFS's Theatre,

In Jamei^htd^ mar th Haf^mmktu

he pnf^medth foilm'mg EMermimn^ms A

Fidijtf I^^ DivertiiiE and Incomparulja

^ ,A^ I>Eit¥*iiTT oTHjimij, in which EC Ast;»ria

; P« vipift iHe Tabrti wliich aOI b!uw M btir rfK Fmae io^
c MirtusciF Tune, -^

TjitrJ* "The Muiia^t Ciocit, wnb srv^) miivlng Piaurt*

NwT^h* file Vfijri; jTiAjr MAem*E, te^qi T?ic gutft pftcc
pf WtjrlimiuQiip jn p^c WoilJ, for n»o¥in^ pAurtijiud otbct

chtliyi Liiffi(ri«Kij<»VJ«t*ta[ iHJmlrj^*, ilie beaut tful RrJflcivV

the UoTfi.ni »T li« ^C4:ttnj'. ax tii a N;;t ^fm;r.rr t^CmiJ? rtte
Octti n »P fo .fpmfci re J, hv-di SJ , , ■ . . , . t^o , " f--v-ri t

rJiq ^ ViT*r, a J « lhc> pi r, br a, , ; " ' ^*- ' '"

J,\^p, E wry Nkibt nn: p i „ ■ ...... .. L. , ^.1 f feot &! the f.

J. T[»c Clrlf D^f G«'« Ittihe £)n1arJiin of ?i;ir|;^ Ifi Ccrtiwti*, ,
U, rhrf^-r^oF .Vjf^ii^TrBln PuJutiriii BijiJEji, ■ i

: Siin, the J- f^llHB-

■Of lu* ic.

IVTHc<

1 ; fin, ^

Advertisement from the London Daily Post during 1730, showing the orange
tree as oflFered by the senior Fawkes, just previous to his death. From the
Harry Houdini Collection,

[55]

THE rXRUSKINc; OF ROBERT-HOUDIN

time only as astronomical, for showing the various
motions and phenomena of planets' and fixed stars.'
Mention is also made of musical automata in imitation of
singing lairds and Ixirrel organs for churches, as among
Pinchlxxk's manufactures.

'^Pinchlxrk was in the habit of exhibiting collections
of his automata at fairs, sometimes in conjunction with a
juggler named Fawkes, and he entitled his stall ^The
Temple of the Pluses,' *(lrand Theatre of the Muses/
or *^Iultum in Parvo.' The Daily Journal of August
27th, 1729, announced that the Prince and Princess of
Wales went to the Bartholomew Fair to see hisexhibitioi]
and there were brief advertisements in Tlu Daily Post
June 12th, 1729, and tlie Daily Journal of August 23^
and 23d, 1729. I'here is still a large broadside in the
British Museum (1850 c. 10-17) headed 'Multum in
Parvo/ relating to Pinchbeck's exhibition, with a bL
left for i)lace and date, evidently intended for use as
poster. He died November 18th, 1732; was buried Nt
vember 21st, in St. Denison's Church, Fleet Street.

'^In a copy of the Gn///(';;/nz\v Magazine, printed 1732J
page 1083, there is an engraved portrait by I. FabefJ
after a painting by Isaac Wood, a reproduction of whicl
appears in 'Britten's Clock and Watch Maker,* page 122."'
His will, dated November loth, 1732, was proved in
London on November T8th/'

During one of his engagements at the Bartholomew
Fair, Pinchbeck probably met Fawkes, the cleverest
sleight-of-hand performer that magic has ever known,
and the two joined forces. Pinchbeck made all the auto-
mata and apparatus thereafter used by Fawkes, and, in

[56]

A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work
Gunningjham, the greatest designer, and William Humphrey, the greatest
trait etdier of his day. From the Harry Houdini Collection.

[S7]

THE UNMASKING OF ROBERT-HOUDIN

Fawkes, he had a master-producer of his tricks. Christo-
pher Pinchbeck never appeared on the program used by
Fawkes, save as the maker of the automata or apparatus,
but directly after the death of the elder Fawkes, and
a few months before his own, the elder Pinchbeck ap-
peared with the son of his deceased partner, and was
advertised as doing "the Dexterity of Hand'' performance.
This indicates that he was inducting young Fawkes into
all the mysteries of the profession at which the two elder
men, as friends and business partners, had done so well.

Christopher Pinchbeck was survived by two sons,
Edward and Christopher, Jr. Edward, the elder, suc-
ceeded to his father's shop and regular business. He was
born about 1703, and was well along in years when he
entered into his patrimony, which he advertised in The
^Daily Post of November 27th, 1732, as follows: "The
toys made of the late Mr. Pinchbeck's curious metal are
now sold only by his son and sole executor, Mr. Edward
Pinchbeck."

This announcement settles forever the oft-disputed
question as to whether the alloy of copper and zinc which
bears the name of Pinchbeck was invented by Christopher
Pinchbeck, Sr., or by his son Christopher, Jr.

All newspaper and magazine descriptions of the auto-
mata invented by the elder Pinchbeck indicate that his
hand was as cunning as his brain was inventive, for they
showed the most delicate mechanism, and included entire
landscapes with figures of rare grace in motion.

'^ Christopher, the second son of Christopher Pinch-
beck the elder," continues the biographical sketch, **was
born about 17 10 and possessed great mechanical ingenuity.

[58]

THE ORANGE-TREE TRICK

While the elder son, Edward, was made executor and
continued his father's trade in a quiet, conservative
fashion, the younger son struck out along new lines and

The best portrait of Isaac Fawkes in existence. The original, now in the
Harry Houdini Collection, is supposed so have been engraved by Sutton
Nichols. It is said that there is only one more of these engravings extant.

became even more famous as an inventor than his brill-
iant father had been.

[59]

THE UNMASKING OF ROBERT-HOUDIN

"He was a member and at one time president of the
Smeatonian Society, the precursor of the Institution of
Civil Engineers. In 1702 he devised a self-acting pneu-
matic brake for preventing accidents to the men employed
in working wheel -cranes. In The Gentlemen^ s Magazine
for June, 1765, page 296, it is recorded that Messrs.
Pinchbeck and Norton had made a complicated astro-

' di ll« Cedt ^ni Half M^an Tmttm 'ht €^99rtt}*Um

rm. famous Mr*FAW13

1 pf . h <r^ ite^ tmjA lofivliiiM Trictt W
I r^rio^f TprJi^ ^f^ Mi^ m^mSR

perJ^rm^ii 9v tot Pfnw*Mi|Br, brW *
feur L«n, jfidbotonr tenjy, it, ,hf ^rtutfrt-^n of alt HgiOs^

An early Fawkes advertisement, clipped from a Tendon paper of 1725.

From tlie Harry Houdiiii Collection.

nomical clock for the Queen's house, some of the cal-
culations of the wheel having been made by James Fer-
guson, the astronomer. There is no proof that Pinchbeck
and Norton were ever in partnership, and there are now
two clocks answering to the description at Buckingham
Palace, one by Pinchbeck, with four dials and of a very
complicated construction, and another by Norton.

"Pinchbeck took out three patents: the first (No. 892),

granted 1768, was for an improved candlestick with a

[60]

THE ORANGE-TREE TRICK

spring socket for holding the candle firmly, and an
arrangement whereby the candle always occupied an
upright position, however the candlestick might be held.
In 1768 (patent No. 899) he patented his nocturnal
remembrancer, a series of tablets with notches, to serve
as guides for writing in the dark. His snuflFers (No. 11 19)
patented 1776, continued to be made in Birmingham

ally Poft. :»

iPAY^ January 2t, i7a&. ^

'h fame^fhret, Pt^ the ff^-Msttitt^ u u

FI R S T, his furprizuig ^t^ -
iCfi^J^ U TliB(l, fir atcftdrr^ id thii trti
^ ^^A J^tSj*"" " 1° tpi'' Ki-teJ** If!- The £k^cut

I tt^uNvki-^l t1 Lift it TcLr Aii^HFu .^(ttvCiV

i^^l

cf The PiLii«<N tijube^ H« lift ^ kJM

I <Tud^^con. PcWcini'J b> tbc nJch>±i} phU .L^r^fil% Vifnm ihsn^

W« f

IHj(u ^ hrtJ^Lrm imo lH«blc i:]i T r^i '.^ ':':>' V-*":^!^ ivi^.h aC lKf ChiLife* .rf
SftOK 1.I1^ iJKWlTiotii bchftflitins ■■ .^r 1^4 V f^ B^ St»C j(lkH:ri rfiWbc

A dipping from the QMy Post, London showing that Fawkes combined
forces with Powel, the famous Bartholomew Fair puppet man. From the
Harry Houdini Collection.

until the last forty years or so, when snuflFers began to
go out of use. In 1774 he presented to the Society of Arts
a model of a plough for mending roads. Pinchbeck's
name first appears in the London directory in 1778, when
it replaced that of Richard Pinchbeck, toyman, of whom
nothing is recorded.

"Christopher Pinchbeck, Jr., was held in considerable

esteem by George III., and he figures in Wilkes' London

[61]

THE UNMASKING OF ROBERT-HOUDIN

Museum (ii-33) in 1770 in the list of the party who
called themselves the King's friends. He died March 1 7th,
1783, aged 73, and was buried in St. Martin's-in-the-
Fields. His will, which was very curious, is printed in
full in The Horological Journal of November, 1895. O^^
of his daughters married William Hebb, who was described
as 'son-in-law and successor of the late Mr. Pinchbeck
at his shop in Cockspur Street ' (imprinted on Pinchbeck's
portrait), whose son Christopher Henry Hebb (1772-
1861) practised as a surgeon in Worcester. There is in
existence a portrait of Christopher Pinchbeck the younger,
by Cunningham, engraved by W. Humphrey."

The mezzotints of the Pinchbecks, father and son,
herewith reproduced, are extremely rare, and when I un-
earthed them in Berlin I felt myself singularly favored
in securing two such treasures of great value to the history
of magic. S. Wohl, the antiquarian and dealer from
whom they were purchased, acquired them during a tour
of old book and print shops in England, and thought them
portraits of one and the same person ; but by studying the
names of the artists and the engravers on the two pic-
tures, it will be seen that they set forth the features of
father and son, as indicated by the biographical notes
quoted above.

Of the early history of Fawkcs, whose brilliant stage

performance lent to the Pinchbeck autom.ata a new lustre,

Httle is known. It is practically impossible to trace his

family history. His Christian name was never used on

his billing nor published in papers or magazines, and

after repeated failures I was about to give up the task

of discovering it, when in 1904, aided by R. Bennett,

[62]

THE ORANGE-TREE TRICK

the clerk of St. Martin's-in-the-Fields Parish Church,
Trafalgar Square, London, England, I came upon the rec-
ord of his burial. This record, which I found after many
days' search among musty, faded parchments, showed
that his Christian name was Isaac, and that he died May
25th or 29th, 1 73 1, and was buried in St. Martin's-in-
the-Fields Parish Church.

The records further show that he was buried in the

FlRSr his Famous Pofture^Tallernliat

Mii^l TtmHc ff ^r*i, Wirb riw tiKKvhig pi6uifj» the dijci i
Conctn 8^f Mnfick, [he kKct iSe Sjcte »Ji(l Eaj of GJbnltic,
bcTncttfw fincftPico; d Cts^k^ivprk iFuhcVVorld. jd, f,uoEhet
hljcKiiK mih ihttt inrn^iii^ Piaurt*, tie fir ft i^prtfttits M Hil
tif PiTittfTMs, with A[toTK> a lit! the Niirf ^^t:fc« pJirlnj on niwds
Injtrrtincm fl^^V||f[ck, :hc itfjtr 1 bflarifii] ^Hnr t/i Hitcr* niiihi
^yfias isNiuthcr FjwIj 4^(1 Fi^T, fi^>tciufl u rtwi" Ali^^ Tri« lift I
giKE & Ptttjpeaof ihe 1^ ivPikcF y:srJj irith the whole Pro-
cil&^ij ^f iht laffi O>rnratfon<rf iKpir p»rc[it Miieftfti nurch-
big from the Hill r^ ehe Abbeys

, Note, Rilf chc Ptftonniicc cmY be P^ptdiM iti thli AilYCr-

Clipping from the London Post during 1728, showing the oldest evidence
procurable of the original "Two a Night" performance. From the Harry
Houdini Collection.

church vault, the coffin being carried by six men. Prayers
were said in the church, candles were used, and the great
bell was tolled. As the fees amounted to £6 12s., a goodly
sum for those days^ all signs indicate that the funeral was
on a scale more costly and impressive than the ordinary.

Fawkes was worth at his death ;£io,ooo, which was
considered an enormous sum in those days. Every
penny of this he made performing at the fairs.

The earliest announcements of Fawkes' performance
in my collection are dated 1702 and include advertise-

[63]

THE UNMASKING OF ROBERT-HOUDIN

ments headed "Fawkcs and Powel," "Fawkes and
Phillips/' and "Fawkes and Pinchbeck." Powel was the
famous puppet man, Phillips a famous posture master
(known to-day as contortionist), and Pinchbeck was the
greatest of mechanicians. Fawkes seems to have pos-
sessed a singular gift for picking out desirable partners.
From this mass of evidence I am producing various

'By ftrwj^^K,

Clipping from the London Post, February 7th, 1724, in which Fawkes
announces his retirement and offers to teach his tricks to all comers. Below this
announcement is the advertisement of Clench, famous as an imitator and an
instrumentalist.

clippings. By a peculiar coincidence one of these I
believe offers the most authentic and earliest record of
"two a night" performances in England.

In my collection are a number of other clippings from
the press of the same year, in April and May, 1728, but
none of them says "twice a night," therefore I judge

[64]

THE ORANGE-TREE TRICK

that the custom of giving two perfoimances in a night
was tried previously to April, 1728, and then abandoned,
or after the first of May.

In the London Post of February 7th, 1724, Fawkes
announced an exhibition *4n the Long Room over the
pmzza, at the Opera House in the Haymarket." At this
time he also advertised the fact that he was about to retire
and was exposing all his tricks. The chpping of that
date from my collection has the following foot-note:
''Likewise he designs to follow this business no longer

1' ^TT I^ is to give Notice, That the ^mous
. Mr. V*iW%S. ar ait *«jfh m Wc^fl'Stntrkfidrf. pfl-fercM th%
ft^iQWioi ioAti (u^ft^'juL T/icht. iTfef r * new W t^id^ »^j, ^- it\tt
fnrrnpt} PU)^ ti!i U On rSc Tii^ri od r^brni it ftytril Tlno in&Ar

C^uid mJ Stifirt , iHn\ 3;)tC Bw bcj^innixjl to iWf n* fcwml Scmv of

Cirdi;, «nd £Ja( ^ &'tm lo hi: liTiFig ftird* ftj^i^ ihott t^ii; RiyiTfi. g^
fXMfkt livifw: ?ejrtj, Hiftlv md otbtr CrtBrttrtrFio tppfdr spamSie T>.

Bi)T» >ti* I [ i'ein iJ ^3f. Who prfif^m ah ?v<: xe^ fiTTpTStirra A(5-

&!ll!Dtd 9 f ^KH bj^t'^. in*l IvniJa KtJiwiri uH hl# wM< fr:^f htfiagt '
h*kw liiiUiff. ■:j(i rifcijgjin viifir^c ttjjf fel^ tij hij M*rkt(, Hfc
fiiIfBl*fTnftVf^ tt>ii hcfiuctq t-wD CAjin, vtiile he p***^ upon tfce

imtiettioill irii^ t»> fc^lh live Pcrfarmcf s roo n^dlQltf hcFC tet KiPti^Tb '
ThtiV HouTi, PT^y O'.f, fitim $ fi "J^ Mijrobn tin ^ nr Jiflftht, rtt

Qippine from the London Daily Post of August, 1735, in which Fawkes
advertises his admission price as twelvepence. From the Harry Houdini
Collection.

than this season; so he promises to learn any lady or
gentleman his fancies in dexterity of hand for their own
diversion."

When Fawkes was not in partnership with some puppet
showman, he always advertised his own puppets as "A
court of the richest and largest figures ever shown in
England, being as big as men and women!" His ad-
mission charges varied, but 12 pence seemed his favorite
5 [65]

THE UNMASKING OF ROBERT-HOUDIN

figure. About six years before his death he had his own
theatre in James Street, near the Haymarket, in which
he exhibited for months at a time before and after fairs.

I reproduce a cHpping from my collection showing
Fawkes' last program. Here it will be seen that his first
trick was causing a tree to grow up in a flower-pot on the
table, and bear fruit in a minute's time. In The Gentle-
men's Magazine^ that oft-quoted and most reliable peri-
odical, of February 15th, 1731, readers were informed
that the Algerian Ambassadors witnessed Fawkes' per-

We hrar liiai yourE F^wkn arJ rindi'ici^ ire now tiL!ibj"|||
Town fraiD the Kj[K md ^niitNLiry ( vilnr? iKey hirr^ -jb v»\

tJ^Kir v<rT TwrpHftn^ rcrbemjne'!! j jcid ;a «-iuM} the Tirt TjuMhip
lAr* Fflwkait ^f^ l^i* Llir-ufne. bad (cuititiuAEcitHl aft [hoft wifiki^
!M Secrciivihkh f3ve [lidii kuni^rrfi! ^^EliJiftrst) lo all tiH 6|tm

, con; AihI w* ftfe JtJtcwUc juTumJ, ihjc every pjnkubr u jit^erv^
In u\ uiiBon Fcrh^ioii, vtiu II U Art^bf Vjrw of iKe WorU ^
till (orpriiini^ Iksi<TiTr ot UaniJ, Jn H itikh ht cj(ifti t Tuc n
fipw felt af ^ figW*F'I*ot orr ttielaLde, which M (fonH i^ be*m
r^Iriui iQ a l^lnuTc'i 1 IfTiF i \\\% tanOat link ^o^4u1:r^^fifl£^af'
Itvtn Y«r« old/ t At l4 be <^qHj4J'd in Europe, viho Itlieullc ett-
foims m the (ucli Ri^pe \o AdmiritiDti i hit cntcniiT)iag Mu^l
CkxJr, with two iKsutiFwl mjjtrtng HdutTi^ ariJ 5n Avwiy df lllr^
difiiiufzl 4J Life Hldlf I alio 3 curiiKit VertsiSan M^chir^^ltHit^^
b^ ill ArtUii to t: the Qiidi Piece of WcTkcmnHiip bn tt>B w«rJd{
lU which furprFKirf^ frttrr»lninciiii ^t b^sr v£t Ik peif -Titled Qcn
We«^ at the Jii^ Mr. ^julfci'i Thcitre. at the «ll TcfinlKOfKUt

\ injaiaghft rcci ittu_^ the Hi> mitkei, ^ /7^£ * . _ . .

Clipping from the London Post, showing that young Fawkes collaborated
with rinchbeck and together they offered the orange-tree trick in 1732. From
the Harry Houdini Collection.

formance. At their request he showed them "a prospect

of Algiers, and raised up an apple- tree which bore ripe

fruit in less than a minute's time, which several of the

company tasted of."

Fawkes, too, had a son, and thus the partnership and

the friendship which had existed between the elder

Fawkes and the elder Pinchbeck were carried on by the

second generation. All of the marvellous apparatus made

[66]

THE ORANGE-TREE TRICK

by Pinchbeck the elder, for Fawkes, may have been
bequeathed by the latter to his son, but, in 1732, Pinch-
beck the elder and Fawkes the younger were in a booth
together, and Pinchbeck was advertised as doing "the
dexterity of hand" performances. After Christopher

JnWfJI Smkbfietd.fwni the IVhtu Hart Ak-

DURING the (hart Time nf eattholomei*.
and end* 1 1? TliMrnijff.ibwiiiii, rh^ iHjl^tici iviii b-di'

y^u\ *! fuch grfat Ap^iianfrj vit

^ril, Pavi^ka's J4iw*iiij>»fii,[£ DcKWtfy of Hind, who
pcrTc^nTis ftTrtr-il Ibriiriii/iH lixlzU tncirtk- jifrt , and
vcfy ciLrifHt^

Sc^ydjjr xbi arriitzijis Mufic^ti Clqck, wkli two curium

TMuii^ tht flick fin|ic ro rtie Ar/mir4(inn of «II i tiMt li*v«
frth him, sunl riretL^dssuy ii»m;ti n Mi* Kind in f-^s/tiiiCv

m UorkiuuiiL^> in \ht VS'nTtd, iti? M-tthmery coiiliftiiig
of » *u Vificfy ftf A^ov Ui^^ figiiTt'^ »]id manv atbcr iniini-
t*t«t CiirtoJifiPit, -P

Fifthly, TSiac fine Picir tif ^rjchinfrf , rlie ArtifiLia) .
iVliW nj iljc Ufa kf, ^vbtfTiii i^c iUf^n V-*TiLr> of dJ^iaoi

- 1 lie Rii et of ti linics.

a, Thf City rirfjjriiitl Qdro k Egrr*-

|. A Pfo^i^^t qf d)i! Town, Ffln ^od Baj^ of Gibntott,

L^^jKl ic Tph u bit^lar.

A-^ M. 17 3 6

CKpping from the London "Body August 16th, 1736, when young Fawkes was
playing alone. From the Hany Houdini Collection.

Pinchbeck, Sr., died, young Fawkes started out on his
own account. In 1746, according to an advertisement in
my collection, a Fawkes and a Pinchbeck were together
again, so the son of Pinchbeck must have joined the
younger Fawkes for exhibition purposes. The accom-
panying clippings from contemporary publications trace
the history of young Fawkes, and prove that the tree

[67]

THE UNMASKING OF ROBERT-HOUDIN

which bore fruit in a minute's time was still on his pro-
gramme.

For many years it was supposed that only one portrait
of Fawkes was in existence, but it now seems that three
were made. I publish them all, something which no one
has ever before been able to do. One was taken from
a Setchels fan published about 1728, although some

Reproduction of pa^ H-iG of Hone's **Every-Day Book" in tbe Hany
Houdini Collection, l^liis Is a portniit of Fawkes, engruN-ed on a fan by
Setchels in 17^1 or 1748. Fans like these were distributed at the Barthciloinew
Fair.

authorities say 1721. It appeared in Hone's "Every-
Day Book," page 1226. Another, I believe, was en-
graved by Sutton Nicols, as Hone mentions it in his
description of Fawkes. In the fan engraving, it will be

noticed that there appears a man wearing a star on his

[68]

THE ORANGE-TREE TRICK

left breast. It is said that this is Sir Robert Walpole,
who was Prime Minister while Fawkes was at the height
of his success, and who was one of the conjurer's great
admirers. Hogarth also placed Fawkes in one of his
engravings as the frontispiece of a most diverting
brochure on "Taste," in which he belittles Burlington
Gate. This makes the third portrait from my collec-
tion herewith reproduced.

According to an article contributed by Mons. E. Ray-
naly in the Illusionniste of June, 1903, the orange tree
next appeared in the repertoire of a remarkable peasant
conjurer, whose billing Mons. Raynaly found among
^^Affiches de Paris." This performer was billed as the
Peasant of North Holland, and gave hourly performances
at the yearly fairs at Saint-Germain.

It is more than possible that he purchased this trick
from Fawkes or Pinchbeck, having seen it at the Bar-
tholomew Fair in England.

He featured the orange tree as follows: '^He has a
Philosophical Flower Pot, in which he causes to grow on
a table in the presence of the spectators trees which flower,
and then the flowers fall, and fruit appears absolutely
ripe and ready to be eaten."

His posters are dated 1746-47 and 1751.

The next programme on which the mysterious tree ap-
pears is a Pinetti handbill, dated in London, 1784, when
the following announcement was made :

"Signore Pinetti will afterwards present the assembly
with a Tree called Le Bouquet-philosophique composed
of small branches of an orange-tree, the leaves appearing
green and natural. He will put it under a bottle, and at

[69]

THE UNMASKING OF ROBERT-HOUDIN

[70]

THE ORANGE-TREE TRICK

some distance, by throwing some drops of water of his
own composition, the leaves will begin to change and
the bouquet will produce natural flowers and various
fruits."

Pinetti is one of the most fascinating and picturesque
figures in the history of magic. His full name was Joseph
Pinetti de Willedal, and, like Pinchbeck and Fawkes, he
was a man of parts and readily made friends with the
nobility. In fact, there is some question as to whether
he did not come of a noble family.

He was bom in 1750 in Orbitelle, a fortified town once
claimed by Tuscany. What can be gleaned regarding
his early history goes to prove that his family connections
were excellent and his education of the best. One of his
portraits, reproduced herewith, shows a half-crown of
laurel decorating the frame, and on one side of the bust is
a globe, while in the rear of the picture is a stack of books.
This would establish his claim that he was once a professor
of physics and geography. In fact, the legend beneath
the portrait, being translated from the French, runs:

"I. I. Pinetti Willedal de Merci, Professor and Dem-
onstrator of Physics, Chevalier of the Order of St. Philipe,
Geographical Engineer, Financial Counselor of H.R.H.
Prince of Linbourg Holstein, Bom in Orbitelle in 1750."

As it has so often happened in the history of savants
and students, there ran in Pinetti's blood a love of the mys-
terious with that peculiar strain of charalatanism which
went to make up the clever performer in old-time magic.
Evidently he resigned his duties as a professor for the
more picturesque life of the travelling magician, and he is
first heard from in this capacity in the French provinces

[71]

THE UNMASKING OF ROBERT-HOUDIN

in 1783. His fame quickly carried him to Paris, where
in 1784 he appeared before the court of Louis XVI.
His arrival was most opportune, for just then all Paris

A wood-cut used by Pinetti during his engagement at Hamburg, Grermany, in
October, 1796. From the Harry Houdini Collection.

and, for that matter, all Europe had been aroused to a
new interest in magic by the brilliant Cagliostro.

From Paris he went to London, playing at the Hay-
market and creating a sensation equal to that which he
made in France. Later he toured Germany, playing in

[72]

THE ORANGE-TREE TRICK

Berlin and Hamburg. Next he went back to his native
land, Italy, but later returned to Germany for a second
engagement. In 1789 he appeared in Russia and never

The only authentic portrait of Pinetti in existence, the only known copy
extant being in the Harry Houdini Collection.

left that country. There he married a Russian girl,
daughter of a carriage manufacturer. They had two
children. Pinetti would have left enormous wealth, but

[73]

THE UNMASKING OF ROBERT-HOUDIN

in his later years he became interested in ballooning,
the sensation of the hour, and spent his entire fortune
on balloon experiments. He died in BartichoflF, Volhinie,
aged fifty years.

Pinetti was a man of rare inventive genius and almost

^£^^^Q

Henri Decremps, the French author who exposed and endeavored to ruin
Pinetti, but succeeded only in immortalizing him.

reconstructed the art of conjuring, so numerous were his
inventions. For half a century after his death his suc-
cessors drew upon Pinetti's inventions and repertoire for
their programmes. Naturally such ability aroused bitter
jealousies, especially as Pinetti made no attempt to con-

[74]

THE ORANGE-TREE TRICK

ciliate his contemporaries, either magicians or writers on
magic. He issued one book, whose title-page reads:

"Amusements Physiques et Differentes Experiences Di-
vertissements, Composees et Executees, tant a Paris que
dans les diverses Courts de TEurope. Par M. Joseph
Pinetti de Willedal, Romain, Chevalier de TOrdre Merite
de Saint-Phillipe, Professeur de Mathematiques et de
Physiques, Protege par toute la Maison Royale de France,
Pensionnaire de la Cour de Prusse, etc., 1785."

The work, however, was not a clear and lucid explana-
tion of his methods and tricks. In fact some of his con-
temporaries claimed that he deliberately misrepresented
his methods of performing tricks. Among these writers
was Henri Decremps, a brilliant professor of mathematics
and physics in Paris, who proceeded to expose all of
Pinetti^s tricks in the book referred to in the preceding
chapter, "La Magie Blanche Devoilee." This work was
in five volumes and was so popular in its day that it was
translated into nearly every modern language. The fol-
lowing explanation of the trick is taken from page 56 of the
English translation, entitled " The Conjurer Unmasked " :

"The branches of the tree may be made of tin or
paper, so as to be hollow from one end to the other in
order that the air which enters at the bottom may find its
exit at the top of the branch. These branches are so
adjusted that at intervals there appear twigs made from
brass wire, but the whole so decorated with leaves made
from parchment that the ensemble closely resembles
nature.

"The end of each branch is dilated to contain small
pieces of gummed silk or very fine gold-beater's skin,

[75]

THE UNMASKING OF ROBERT-HOUDIN

which are to catch the figures of the flowers and fruit
when the latter expand by the air driven through the
branches to which they were fastened by a silk thread.
*^The tree or nosegay is then placed on a table, through
^ >f^ -ji which runs a glass tube to supply

^^ "^^^y^^ air from beneath the stage, where
a confederate works this end of
the trick, and causes the tree to
'grow' at the prearranged sig-
nal/'

u^l^l^r^'^^L I^ater it was described as being
page of a cony of his i)ook accomplished entirely by springs,

now in the Harry lloudini ^ j j r- o y

Library. and real oranges were first stuck

on the tree by means of pegs or
pins, and the leaves were so secured around them that at
first appearance they could not be seen. Then a piston
was used to spread all the leaves, another that forced
the blossom up through the hollow branches, etc.

Pinetti's personality was almost' as extraordinary as
his talents. A handsome man who knew how to carry
himself, acquiring the graces and the dress of the nobility,
he became rather haughty, if not arrogant, in his bearing.
He so antagonized his contemporaries in the fields of
magic and literature that he was advertised as much by
his bitter enemies as by his loving friends. Many of his
methods of attracting attention to himself were singularly
like those employed by modern press agents of theatrical
stars. He never trusted to his performances in theatres
and drawing-rooms to advertise his abilities, but demon-
strated his art wherever he appeared, from barber-shops
to cafes.

[76]

THE ORANGE-TREE TRICK

Perhaps the best pen pictures of Pinetti and his methods
are furnished by E. G. Robertson in his "Memoirs."
Robertson was a contemporary of Pinetti, and, like him,
a pioneer in ballooning. His "Memoirs," written in the
French language, were published in 1831. The following
extracts from this interesting book tell much of Pinetti's
life in Russia and of his professional history as tradi-
tion and actual acquaintance had presented it to M.
Robertson:

"Pinetti had travelled a great deal and for a long time
had enjoyed a great European reputation. He had done
everything to attain it. There was never a man that
carried further the art of the ^charlatisme.' When he
arrived in a town where he intended to give a show, he
took good care to prepare his public by speeches, which
would keep it in suspense. In St. Petersburg great and
incredible examples of mystification and of prestidigi-
tation were told about him.

"One day he went to a barber-shop to get shaved, sat
down in the chair, had the towel tied around his neck,
and laid his head back ready for the lather. The barber
left him in this position to get hot water, and when he
returned, guided by force of habit, he applied the lather
where the chin should be, but he found feet, arms, hands,
and body in a coat, but no bead! Such lamentations!
No mofq head! What could it mean? He opened the
door, and, frightened to death, ran away. Pinetti then
went to the window and called the barber back. He
had put his head in his coat in such a clever way, covering
it with his handkerchief, that the surprise and the fright
of the barber were quite natural. Of course this barber

l77]

THE UNMASKING OF ROBERT-HOUDIN

Frontispiece of Pinetti's book, "Amusements Physiques," pub-
lished in Paris, 1785, one of the first treasures of the Evanion Collec-
tion purchased by the author.

[78] . '

THE ORANGE-TREE TRICK

did not fail to spread over the whole town that he had
shaved a man who could take his head off and on to his
wish.

"Pinetti met in a summer-garden a young Russian who
sold small cakes. He bought a few cakes, bit into them,
and complained of finding a hard substance. The youth
protested, but Pinetti opened the cake before him and
found inside a gold piece. The magician pocketed the
gold piece, bought another cake, then a third cake, and in

Pinetti's autograph, written by him on the back of the frontispiece, reproduced
on page 78. Original in the Harry Iloudini Collection.

each case found a new gold piece inside. He tried to buy
the rest of the cakes. The passers-by had in the mean
time come round the seller, and everybody wanted to buy
as well. The market seemed to be all right, a ducat for
a kopeck! Twelve francs for a cent! The young man
refused to sell any more, hurried away, and when alone
opened the cakes that were left. He found only the
substances of which the cakes were made — nothing else.

[79]

THE UNMASKING OF ROBERT-HOUDIN

He had two left, so he hurried back to offer these to
Pinetti. Pinetti bought them from him, opened them
and showed in each one the gold piece, which the young
man could not find in the two dozen cakes which he had
spoilt. The poor boy bit his lips and looked at Pinetti
with wondering, frightened eyes. This little adventure
was advertised here, there, and everywhere, and was told
in the clubs and in the society gatherings, and very soon
the name of Pinetti gave the key to the enigma, and
Pinetti was in demand by everybody.

"When Pinetti came on the stage, he had the knack of
attracting members of the nobility around his table, by
letting them learn some small secrets. This would render
them confederates in working his tricks. He would appear
in rich suits, embroidered in gold, which he changed
three and four times in the evening. He would not
hesitate to deck himself in a quantity of foreign decora-
tions. In Berlin it was told how Pinetti would go through
the streets, in a carriage drawn by four white horses. He
was clad in fine embroidery and decorated with medals
of all nations. Several times it happened that, as he
passed by, the soldiers would call arms and salute, taking
him for a prince. One day the King of Prussia rode out
in his modest carriage drawn by two horses. Ahead of
him drove the supposed prince. When the King witnessed
the mistake made by his soldiers, he made inquiries as
to the rank of this man to whom his men were paying
such honor, then gave the Cavalier Pinetti twenty-four
hours to get beyond Prussia's borders."

Whatever may be said of Pinetti's charlatanism, it

must be admitted that he gave to the art of conjuring a

[80]

THE ORANGE-TREE TRICK

great impetus which was felt for several generations. It
is not remarkable, therefore, that when the French magi-
cian Comillot appeared in London in 1822 he announced
himself as the pupil and successor of Pinetti. This was

Extraordinary Chemical IHiistratioiiiL
^am rmlru or LsoBnnmmMM,

M. CORNILLOT,

FCPIL AXO SUCCISSOK OF TiU FAIUD PIMBRI. ^

Every WEDNESDAY,

At the PauTs Head Caieaton Street^

And eveiy MONDAY, THURSDAY, and SATURDAY,

Jl tke Grtat itoom, m J^nimj Ganhmt^

And FEATS OF LEGERDEMAIN, '

•laiTTn MTinaHim ruiboiutf. mm* hi«« •» wm ,^|G7MkhM mt aidiw •■ mm

sae-jjLir-SiJj-i-r:^ — — — —

THE GRAND TRIUMPH OF PINETTI.

mrMTiM or tut ww. twwwi^iian. »>ht»yiiMi4iii<riHiBiiiiii>iaiiHMi^T»Ttirtfc

Tu MCMCBIVABU CULUKOB Or OOaOt. M^ •urimtiiM* imlnil •-" *n<ii1n1iiii

TWi GRAND TRIUMPH OF OOMIIS.

an^H M pHMM t, M. COKMaUT.

AMAZING PSRPORMANCB OT'oaUSINO A UVINQ PEtttOK

Bavin MtMaTlnadw w nlimllT. thM M wiU Iw tho«clrt to praoMd from the C^^

».& Itiw Brn w ■■ ti —iU V Pf i M Hii l iii rf HJn»«y. Li f.ri.wU .O IW P l—i < i ,

\>W« ■»«M»fwlirf l . H i I Ji.«M.>>—«tbwiii n i hiW fc,Ktirf>iii«««. '

^ ^ "V***^^^ r * " '■**? ' ^*' • * * '^'" J f * * •" fcl » «l " .«W Mdl ^ .Ml*

Reproduction of a handbill distributed on the streets of London in Sep-
tember, 1822. The orange-tree trick is on the bill under the name of "En-
chanted Garden." From the Harry Houdini Collection.

when Robert-Houdin was seventeen years of age,
twenty-three years before he made his professional debut,
and on Comillot's programme we find another version
of the now famous and almost familiar tree trick. As
will be seen from the accompanying reproduction of a
Comillot handbill, the tree now appears as "An En-
chanted Garden," and, if the wording of the bill is to be
6 [81]

THE UNMASKING OF ROBERT-HOUDIN

believed, Comillot had improved the trick and was using
more than one tree or plant.

Comillot remained in England for some time and is
classed among the conjurers of good repute. Another
bill in my collection shows that he played at the Theatre
of Variety, Catherine Street, Strand, in October, 1823.
He was then assisted by several singers and dancers,
including the famous Misses Hamilton and Howe, pupils
of M. Corri. In his company was also an Anglo-Chinese
juggler, who, in addition to feats of juggling, "swallows
an egg, a sword, and a stone, a la Ramo Samee."

To sum up the evidence against Robert-Houdin in
this .particular trick: Four magicians of high repute gave
public performances before Robert-Houdin knew and
operated the orange-tree trick. Three eminent writers
exposed it clearly and accurately. Robert-Houdin, as
an indefatigable student of the history of magic, must
have known of the trick and its modus operandum. He
may have purchased it from Cornillot, or as a clever
mechanician he had only to reproduce the trick invented
by his predecessors, train his confederate in its operation —
and — by his cleverly written autobiography — ^attempt to
establish his claim to its invention.

[82]

CHAPTER III

THE WRITING AND DRAWING FIGURE

IN his "Memoirs" Robert-Houdin eulogizes the vari-
ous automata which he claims to have invented. The
picturesque fashion in which he describes the tre-
mendous effort put forth ere success crowned his la- ,
bors would render his arguments most convincing — if
stem historical facts did not contradict his every statement.
One of the most extraordinary mechanical figures
which he exploits as his invention was the writing and
drawing figure, which he exhibited at the Quinquennial
Exhibition in 1844, but never used in his public perform-
ances, though he asserts that he planned to exhibit it
between performances at his own theatre. This au-
tomaton, he says, laid the foundation of his financial
success and opened the way to realizing his dream of
appearing as a magician.

On page 196 of his "Memoirs," American edition, he
starts his romantic description of its conception and
manufacture. According to this he had just planned what
promised to be the most brilliant of his mechanical in-
ventions when financial difficulties intervened. He was
obliged to raise two thousand francs to meet a pressing

debt. He applied to the ever-convenient Monsieur G ,

who had bought automata from him before. He described
.the writing and drawing figure minutely to his patron,

[83]

o
THE UNMASKING OF ROBERTHOUDIN I .

who immediately agreed to advance two thousand five
hundred francs, and if the figure was completed in eight-
een months, two thousand five hundred francs more were
to be paid iox it, making five thousand francs in all. If
the figure was never completed, then Monsieur G was

Writing and drawing figure claimed by Robert-Houdin as his invention.
From Manning's Robert-Houdin brochure.

to reimburse himself for the amount advanced by select-
ing automatic toys from Robert-Houdin's regular stock.

After liquidating his debt, Robert-Houdin retired to
Belleville, a suburb of Paris, where for eighteen months
he worked upon the figure, seeing his family only twice a
week, and living in the most frugal fashion.

He employed a wood-carver to make the head, but the
result was so unsatisfactory that in the end he was
obliged, not only to make all the complicated machinery
which operated the figure, but to carve the head itself,

[84]

THE WRITING AND DRAWING FIGURE

which, he adds, in some miraculous fashion, resembled
himself. This resemblance, however, cannot be traced
in existing cuts of the figure.

The chapter devoted to this particular automaton is
so diverting that I quote hterally from its pages, thus
giving my readers an opportunity to take the true measure
of the writer and the literary style of his "Memoirs."
Here is his description of his moment of triumph:

"I had only to press a spring in order to enjoy the
long-waited-for result. My heart beat violently, and
though I was alone I trembled at the mere thought of
this imposing trial. I had just laid the first sheet of
paper before my writer and asked him this question:
* Who is the author of your being?' I pressed the spring,
and the clockwork started — began acting. I dared hardly
breathe through fear of disturbing the operations. The
automaton bowed to me, and I could not refrain from
smiling on it as on my own son. But when I saw the eyes
fLx an attentive glance on the paper — when the arm, a
few seconds before numb and lifeless, began to move
and trace my signature in a firm hand — the tears started
in my eyes and I fervently thanked Heaven for granting
me success. And it was not alone the satisfaction I ex-
perienced as an inventor, but the certainty I had of
being able to restore some degree of comfort to my
family, that caused my deep feeling of gratitude.

"After making my Sosia repeat my signature a thou-
sand times, I gave it this question: ^What o'clock is it?'
The automaton, acting in obedience to the clock, wrote,
*It is two in the morning.' This was a timely warning.
I profited by it and went straight to bed."

[85]

THE UNMASKING OF ROBERTHOUDIN

Robert-Houdin injects a little humor into this chapter,
for he relates that as Moliere and J. J. Rousseau con-
sulted their servants, he decided to do likewise; so early

the next morning he in-
o/eZr htch^U ^chcene vited his portress and

stone-mason, to be pres-

et^ e ^Gcl^ cnt at the first perform-

/I \ .\ ^^^^ of the figure. The

c^<J Qy^tlUtCluC J mason's wife chose the

question, ^^What is the
Vl^f?f?et?t teVCit emblem of fidelity?"

/The automaton replied
^Ut* pQUJ by drawing a pretty lit-

tle greyhound, lying on

Specimens of penmanship executed by i . rpt .

the Droz writuig automaton in 1796 and <^ CUSHlOn. 1 ne StOne-

lZ/T'i:'Urof%>^''Z "^^son wished to see the

Arehffiology, Canton of Neuchatel, Switz- works, SavinSf: "I Undcr-
erland. i i i r

Stand about that sort of
thing, for I have always greased the vane on the church
steeple, and have even taken it down twice."

When the work was completed, according to page
2o8 of the American edition of his ^'Memoirs," he
returned to Paris, collected the remaining two thousand

five hundred francs due him from Monsieur G >

to whom he delivered the figure, and two thousand
francs more on an automatic nightingale made for a
rich merchant of St. Petersburg. Incidentally he men-
tions that during his absence his business had pros-
pered, but he fails to state who managed it for him,
and here is where I believe credit should be given Opre,

[86]

THE WRITING AND DRAWING FIGURE

the Dutch inventor, who was unquestionably Robert-
Houdin's assistant for years.

In 1844 he claims to have borrowed the writing and

drawing figure from the obliging Monsieur G to

exhibit it at the Quinquennial Exposition, where it
attracted the attention of Louis Philippe and his court,
thus insuring its exhibitor the silver medal.

At this point Robert-Houdin deliberately drops the
writing and drawing figure, leaving his readers to believe

that it was returned to its rightful owner, Monsieur G ,

but, unfortunately for his claims, another historian steps
in here to cast reflections on Monsieur G 's owner-
ship of the figure. This writer is the world's greatest
showman, the late P. T. Bamum, who purchased the
figure at this same exposition of 1844, paying for it a
goodly sum, and this incident is one of the significant
omissions of the Robert-Houdin "Memoirs." Either
Robert-Houdin sold the figure to Mr. Bamum for Mon-
sieur G , or such a person as Monsieur G never

existed, for in his own book Mr. Bamum writes:

*'When I was abroad in 1844 I went to Paris expressly
to attend the * Quinquennial Exposition' — an exhibition
then held every five years. I met and became well ac-
quainted with a celebrated conjurer, as he called himself,
Robert-Houdin, but who was not only a prestidigitateur
and legerdemain performer, but a mechanic of absolute
genius. I bought at the exposition the best automaton he
exhibited and for which he obtained a gold medal. I
paid a round price for this most ingenious little figure,
which was an automaton writer and artist. It sat on a
small table, pencil in hand; and, if asked, for instance,

[87]

THE UNMASKING OF ROBERT-HOUDIN

for an emblem of 'fidelity,' it would instantly draw the
picture of a handsome dog; if love was wanted, a cupid
was exquisitely pencilled. The automaton would also
answer many questions in WTiting. I took this curiosity

The late P. T. Barnum, the world's greatest showman, who bought the
writing and drawing figure from Robert-Houdin, and wrote at length of the
French conjurer is his autobiography. Born July 5, 1810. Died April 7,
1891. From the Harry lloudim Collection.

to London, where it was exhibited for some time at the

Royal Adelaide Galler}^, and then I sent it across the

Atlantic to my American Museum, where it attracted

great attention from the people and the press. During

my visit, Houdin was giving evening legerdemain per-

[88]

THE WRITING AND DRAWING FIGURE

formances, and by his pressing invitation I frequently
was present. He took great pains, too, to introduce me
to other inventors and exhibitors of moving figures,
which I Hberally purchased, making them prominent
features in the attractions of the American Museum/'

Bamum then continued to describe Robert-Houdin's
greatness and his cleverness in the use of electricity.
The showman was always a welcome guest at the magi-
cian's house, and he relates how, at luncheon time.

The fi^re of Cupid as executed by the Droz drawing figure. From the
brochure issued by the Society of History and Archajoiogy, Canton of Neu-
chatel, Switzerland.

Robert-Houdin would touch a knob and through the
floor would rise a table, laden with inviting viands. These
details in the Bamum book make it all the more inex-
plicable that Robert-Houdin should omit all mention of
the great showman's name in his "Memoirs."

Just at this time the amusement-seeking public
seemed greatly interested in automata, so it was only
natural that Bamum, great showman that he was, should
scour Europe for mechanical figures. Soon after he
purchased the writing and drawing figure claimed by

[89]

THE UNMASKING OF ROBERT-HOUDIN

Robert-Houdin, he brought to
invented by Professor Faber

PALAIS JIOTAL

Argyll Street. Oxford Cirotu, W.
VrOlSrU'EXLTJTl*

TA&KIMO

MacbiM. It i* eat oaly iBtemtiof to tb« ScMutifle m lUiiitratinc the thMn;
MMMic*. bat to lk« iviblio ia gcnrnl, -nd fiMciall} to Ibt yoang.— to
w%am it oAn an iocsktutUbl* fund o/ wonder iN ubommdI.

EXHlBITJUig DAILY- rpm U * ■
JUaiBsioD, J8. Keserred Seats, 28.

,tiU 10 p.m.
CliUdrai.6d

Hanger advertising; the Professor Faber
talking machine, exhibited by P. T. Bar-
num during 1873 in his museum de-
partment. This automaton was the first
talking figure. From the Harry Houdini
Collection.

America a talking figure
of Vienna, to which he
refers most entertainingly
in his address to the pub-
lic dated 1873:

"The Museum depart-
ment contains 100,000
curiosities, including Pro-
fessor Faber's wonderful
talking machine, costing
me $20,000 for its use
for six months; also the
National Portrait Gallery
of one hundred life-size
paintings, including all
the Presidents of the
United States, etc. ; John
Rogers' groups of historic
statuary; almost an end-
less variety of curiosities,
including numberless au-
tomaton musicians,mech-
anicians, and moving
scenes, etc., etc., made in
Paris and Geneva."

It can be imagined how
wonderful this talking
machine must have been

when Barnum gave it special emphasis, selecting it from
the hundreds of curios he had on exhibition. As this
talking machine is probably forgotten. I will reproduce

[90]

THE WRITING AND DRAWING FIGURE

the bill used at the time of its appearance in London,
England.

When Bamum was in London in 1844, with Gen. Tom
Thumb, who was then performing at the Egyptian Hall,
he first saw the automatic talking machine and engaged
it to strengthen his show. Thirty years later Prof.
Faber's nephew was the lecturer who explained to the
American public the automaton's mechanism and also
the performer who manipulated the machine.

Bamum always speaks of the talking automaton as
being a life-size figure, but the pictures used for adver-
tising purposes show that it was only a head.

The fate of both the talking automaton and the writing
and drawing figure is shrouded in mystery. If they were
in the Bamum Museum when the latter was swept by
fire in 1865, they were destroyed. If they had been taken
back to Europe, they may now be lying in some cellar or
loft, moth-eaten and dust-covered, ignominious end for
such ingenious brain-work and handicraft.

So much for the claims of Robert-Houdin. Now to
disprove them.

The earliest record of a writing figure I have found is
in the "Dictionary of Arts, Manufactures, and Mines,"
compiled by Andrew Ure, M.D., and published in New
York in 1842 by Le Roy Sunderland, 126 Fulton Street.
On page 83, under the heading of "Automaton," is this
statement:

"Frederick Von Knauss completed a writing machine
at Vienna in the year 1760. It is now in the model cabinet
of the Polytechnic Institute, and consists of a globe two
feet in diameter, containing the mechanism, upon which

[91]

THE UNMASKING OF ROBERT-HOUDIN

sits a figure seven inches high and writes, upon a sheet
of paper fixed to a frame, whatever has been placed
beforehand upon a regulating cylinder. At the end of

each line it raises and
moves its hand sideways,
in order to begin a new
line."

This does not answer the
description of the figure
which Robert-Houdin
claims, but it is inter-
esting as showing that
mechanical genius ran
along such lines almost
a hundred years before
Robert-Houdin claims to
have invented the famous
automaton.

The writing and draw-
ing figure claimed by Rob-
ert-Houdin as his original
invention can be traced
back directly to the shop
door of Switzerland's most
noted inventor, Pierre
Jacquet-Droz, who with
his son, Henri-Louis, laid
the foundation of the
famous Swiss watch- and music-box industry.

In the latter part of the eighteenth century, probably
about 1770, the Jacquet-Drozes turned out a drawing,

[92]

Portrait and autograph of Pierre
Jacquet-Droz. Born 1721, died 1790.
From the brochure issued by the
Society of History and Archaeology,
Canton of NeuchStel, Switzerland.

THE WRITING AND DRAWING FIGURE

figure which also inscribed a few set phrases or titles of
the drawings. In mechanism, appearance, and results
it tallies almost exactly with the automaton claimed by
Robert-Houdin as originating in his brain. The Jacquet-
Droz figure showed a child clad in quaint, flowing gar-
ments, seated at a desk. The Robert-Houdin figure
was modernized, and showed a court youth in knee
breeches and powdered peruque, seated at a desk. The
Jacquet-Droz figure drew a dog, a cupid, and the heads
of reigning monarchs. The Robert-Houdin figure, made
'Seventy-five years later, by some inexplicable coincidence
drew a dog as the symbol of fidelity, a cupid as the em-
blem of love, and the heads of reigning monarchs.

The history of the Jacquet-Drozes is written in the
annals of Switzerland as well as the equally reputable
annals of scientific inventions, and cannot be refuted.

Pierre Jacquet-Droz was born July 28th, 1721, in a
small village, La-Chaux-de-Fonds, near NeuchS,tel, Switz-
erland. According to some authorities, his father was
a clock-maker, but the brochure issued by ^'Societe
d'Histoire et d'Arch^ologie '' of the city of Neuchatel, which
has recently acquired many of the Jacquet-Droz auto-
mata, states that he was the son of a farmer and was sent
to a theological seminary at Basle. Here the youth's
natural talent for mechanics overbalanced his interest
in "isms" and "ologies," and he spent every spare
moment at work with his tools. On his return to his
native town he turned his attention seriously to clock-
and watch-making, constructing a marvellous clock with
two peculiar hands which, in passing each other, touched
the dial and rewound the clock.

[93]

THE UNMASKING OF ROBERT-HOUDIN

At this time his work attracted the attention of Lord
Keith, Governor of Neuchatel, then a province of Prussia,
who induced the young inventor to visit the court of
Ferdinand VI. of Spain, providing the necessary intro-
ductions. Pierre Jacquet-
Droz remained for some time
in Madrid and made a clock
of most complicated pattern.
This was a perpetual calen-
dar. For hands, he utilized
artificial sunbeams, shooting
out from the sun's face which
formed the dial, to denote
the hours, days, etc. With
the money received from the
Spanish monarch he returned
to Switzerland to find that his
son, Henri-Louis, had inher-
ited his remarkable inventive
gifts. He sent his boy to
Nancy to study music, draw-
ing, mechanics, and physics. During his son's absence
in all probability he produced the first of the marvellous
automata which made the Jacquet-Drozes famous the
modern world over, namely, the writing figure.

With the return of Henri-Louis Jacquet-Droz from
college commenced what may be termed the golden age
of mechanics in Switzerland. Associated with father
and son were the former's pupils or apprentices, Jean-
Fr6d6ric Leschot, Jean-David Maillardet, and Jean Pierre
Droz, a blood relation who afterward became director of

[94]

Henri-Louis Jacquet-Droz, son
of Pierre Jacquet-Droz, and the
superior of his father as a mecha-
nician. Bom Oct 13th, 1752, died
November 15th, 1791. From the
Jaquet-Droz brochure, issued by
the Neuchatel Society of History
and Archaeology.

THE WRITING AND DRAWING FIGURE

the mint at Paris and a mechanician of rare talent. Jean
Pierre Droz is credited with having invented a machine
for cutting, stamping, and embossing medals on the face
and on the edges at one insertion.

The output of this shop and its staff of gifted workers
included the first Swiss music
box, the singing birds which
sprang from watches and jewel
caskets, the drawing figure
which was an improvement on
the writing figure, the spinet
player, and the grotto with
its many automatic animals of
diminutive size but exquis-
ite workmanship. Years were
spent in perfecting the various
automata, and none of them
have been equalled or even
approached by later mechanicians and inventors.

Henri-Louis Jacquet-Droz was conceded to be the supe-
rior of his father, Pierre Jacquet-Droz. In a German en-
cyclopaedia which I found at the King's Library, Munich,
it is stated that when Vaucanson, celebrated as the in-
ventor of "The Flute Player," "The Mechanical Duck,"
"The Talking Machine," etc., saw the work of the
younger Droz, he cried loudly, "Why, that boy com-
mences where I left off!"

According to the brochure issued by the Society
of History and Archaeology, Canton of Neuchatel,
and an article contributed by Dr. Alfred Gradenwits
to The Scientific American of June 22d, 1907, the

[95]

Jean-Frederic Leschot.
Bom 1747, died 1824. Por-
trait published by Societe des
Arts de Greneve. Presented to
the author by Mons. Blind
(Magicus) of Geneva.

THE UNMASKING OF ROBERT-HOUDIN

writing and drawing figures are made and operated
as follows:

"The writer represented a child of about four years
of age, sitting at his little table, patiently waiting writh

the pen in his hand
until the clockwork
is started. He then
sets to work and,
after looking at the
sheet of paper before
him, lifts his hand
and moves it toward
the ink-stand, in
which he dips the
pen. The little fel-
low then throws oflF
an excess of ink and
slowly and cahnly,
like an industrious
child, begins writing
on the paper the
prescribed sentence.
His handwriting is
careful, conscien-
tiously distinguishing
between hair strokes
and ground strokes,
always observing the proper intervals between letters
and words and generally showing the sober and de-
termined character of the handwriting usual at the
time in the country of Neuchatel. In order, for in-

[96]

The Jacquet-Droz writing automaton.
From the brochure issued by the Society of
History and Archaeology, Canton of Neu-
chatel, Switzerland.

THE WRITING AND DRAWING FIGURE

stance, to write a T, the writer begins tracing the
letter at the top, and after slightly lifting his hand half-
way, swiftly traces the transversal dash, and continues
writmg the original ground stroke.

"How complicated a mechanism is required for insur-
ing these eflFects will be inferred from the illustration, in
which the automaton is shown with its back opened.
In the first place a vertical disk will be noticed having
at its circimiference as many notches as there are letters
and signs. Behind this will be seen whole columns of
cam-wheels, each of a special shape, placed one above
another, and all together forming a sort of spinal column
for the automaton.

"Whenever the little writer is to write a given letter,
a pawl is introduced into the corresponding notch of the
disk, thus lifting the wheel column and transmitting to the
hand, by the aid of a complicated lever system and Cardan
joints arranged in the elbow, the requisite movements for
tracing the letter in question. The mechanism comprises
five centres of motion connected together by chains.

"In the ^Draftsman,' the mechanism is likewise ar-
ranged in the body itself, as in the case of the * Writer.'
The broad chest thus entailed also required a large head,
which accounts for the somewhat bulky appearance of
the two automatons. With the paper in position and a
pencil in hand, the 'Draftsman' at first traces a few
dashes and then swiftly marks the shadows, and a dog
appears on the paper. The little artist knowingly ex-
amines his work, and after blowing away the dust and
putting in a few last touches, stops a moment and then
quickly signs, 'Mon Toutou ' (My pet dog). The motions
7 [97]

THE UNMASKING OF ROBERT-HOUDIN

View of the mechanism which operates the Jacquet-Droz writing automaton.
From the brochure issued by the Society of Histoiy and Archaeology, Canton of
Neuchfitel, Switzerland.

[98]

THE WRITING AND DRAWING FIGURE

of the automaton are quite natural, and the outlines of
his drawings extremely sharp. The automaton when
desired willingly draws certain crowned heads now be-
longing to history; for example, a portrait of Louis XV.,
of Louis XVI., and of Marie Antoinette."

The automata made by the Jacquet-Drozes and their
confreres were exhibited in all the large cities of Great

i^cfit r«M«ii< to bi fecA Th» Dav,

jTACLE M EC HANI

^■•^ - -^ ' y^^ o - ,

igrit I HUHbtr pblri Airtii A in on Khe HMTl^(^chaTi^
ThtTt ^t aUd 4 PtSorii S tintf in whuh a imnd^tta
» gfttt Nuio^jcT of FigvTtt I the Treat Llofl^m id 4
W Fj«it( the ajiAcp hi fit, the Djg ti*rk*, ftjij tkt"

the; CJtectd ^vcrV Ac^omit thiC (in b^ |ivsn erf tbcts,
SM «nt| f*i- tile Vaml^ buC far tbc Eiaaflcft of ihtlj-
Jfi^jftflt Opcntiorvt, Tii*ir Utcbanirm f«n>arei fVery .
Thinf iht( hn ever afiKtied^ iAfomuch ib*t it maj
III ftria^ faiJ ih<)f vfiJl fpcjlt for thtniftlwt-

tb« inal* of slewing it wi*i be fram Tv^Tf t« |
One, (romOnt to Twi>, fft»i Tpfo to Tbre^, *n4 ia <

Ui. MQpET Daor, tilt Ja*«iuor^ *1J1 lUurdi '

' rfb»or q*MU tjfl chat may eiitft mj Ut luii Es.Ki*
■*t*lter if'c Hmir of Tia. .

4dmilUiice f i¥« 1 hllicigt. ''^

CUppinff from the Loudon Post, 1776, advertising the writing and drawing
&;iii«9p ezoibited by their inventor, Mr. Jacquet-Droz. From the Harry
BM>iidim Collection.

Britain and Continental Europe. According to the pro-
grammes and newspaper notices in my collection, Henri-
Louis Jacquet-Droz acted as their first exhibitor. As
proof I am reproducing a Droz programme from the
London Post, dated 1776.

[99]

THE UNMASKING OF ROBERT-HOUDIN

In support of this advertisement, note what the same
paper says in what is probably a criticism of current
amusements:

"This entertainment consists of three capital mechan-
ical figures and a pastoral scene, with figures of an inferior
size. The figure on the left-hand side, a beautiful boy
as large as life, writes anything that is dictated to him, in
a very fine hand. The second on the right hand, of the
same size, draws various landscapes, etc., etc., which he

Heads of King Geoi^ge and Queen Charlotte, executed in their presence by
the Jacquet-Droz drawing figure in 1774. From the brochure issued by the
Society of History and Archaeology. Canton of Neuch&tel, Switzerland.

finishes in a most accurate and masterly style. The
third figure is a beautiful young lady who plays several
elegant airs on the harpsichord, with all the bass accom-
paniments; her head gracefully moving to the tune, and
her bosom discovering a delicate respiration. During her
performance, the pastoral scene in the centre discovers
a variety of mechanical figures admirably grouped, all
of which seem endued, as it were, with animal life, to
the admiration of the spectator. The last curiosity is a
canary bird in a cage, which whistles two or three airs in

[lOO]

THE WRITING AND DRAWING FIGURE

the most natural manner imaginable. Upon the whole,
the imited collection strikes us as the most wonderful
exertion of art which ever'fijbd before so close on the
heels of nature. The ingeniou$*'&rtist is a young man,
a native of Switzerland." C--^*'^

The inventory of Jacquet-Droz, - J]Cc> dated 1786,
quotes the "Piano Player" as valued at 4,800" Uvres, the
*' Drawing Figure" at 7,200 livres, while tfie^-^\Writer"
had been ceded to him by his father for 4,800 Iiyfes, in
consideration of certain improvements and modifications
which Henri-Louis Jacquet-Droz made in the originkr
invention. This shows that while the elder Droz did not
die until 1790, his son controlled the automata previous
to this date, for exhibition and other purposes.

During his later years Henri-Louis Jacquet-Droz was
induced to take the automata to Spain. His tour was
imder the direction of an English manager, who, possibly
for the purpose of securing greater advertisement, an-
nounced the figures as possessed of supernatural power.
This brought them under the ban of the Inquisition, and
Jacquet-Droz was thrown into prison. Eventually he
managed to secure his freedom, and, breathing free air
once more, Uke the proverbial Arab, he silently folded
his tent and stole away, leaving the automata to their
fate. Henri-Louis^acquet-Droz died in Naples, Italy, in
1 791, a year after his father's death.

The English manager, however, tarried in Spain.

The figures were "tried" and as they proved motionless

the case was dropped. The Englishman then claimed the

automata as his property and sold them to a French

nobleman. Their owner did not know how to operate

[Id]

THE UNMASKING OF ROBERT-HOUDIN

■I

•I

c
CO

*3 < 2 -.a O

«j « o '^
M V o «« *^ •

O •- o tS- ^^ '

c .« X ^ — ^

-Is S3 3

e
o

S S

*« H

O e^jS

OS £ »

4-» OS - ■

S i «s

[I02]

THE WRITING AND DRAWING FIGURE

111 m

^1-1 i

^il

^ 5 e.S *'

;-«^« ^oiT) Mil ..

'^ 1 I" J "•

•2 >

111 !|| ^

^><

.g<§8|"8H I
U J .25 If * ^

§ I

00 2

[103]

THE UNMASKING OF ROBERT-HOUDIN

>IJtOSJl TBt SAXCTfOW Ot

Philipsthal and Maillardet*s

Roi/al Museum,

FBOM 'LONDON.

' ym Opw ftr PdMic iBycliua.
Jl 4kt dSS£MBLY ROOM. BRIDGWATER,
Ob FRIDAY tU 9^. .f MARCH •

■im ■■toM «'tmtU» m rat* flaci.

them, so their great value was never realized by his
family. After his death, during a voyage to America,

they lay neglected in the
castle of Mattignon,. near
Bayonne. After changing
hands many times, about
1803 they passed into the
hands of an inventor named
Martin, and were controlled
by his descendants for nearly
a hundred years. One of his
family, Henri Martin, of
Dresden, Germany, exhibit-
ed them in many large cities,
and advertised them for sale
at 15,000 marks in the
Muenchener Blaetter of May
13th, 1883. After Martin's
death, his widow succeeded
in disposing of them to Herr
Marfels, of Berlin, who had
them repaired with such
good results that in the fall
of 1906 he sold them for
75,000 francs, or about

i SUPMRB

Musical Automaton,

THC MBCRANICAL.

Droning and IVriting- Master ;

An Old Necromancer,

W>*ffM>\l.pal r..m. a

BEAUTIFUL^
THE LITTLE SPANIARD,

4L BEAUTIFUL SOURIE DCnli .

S£r M rsjKis.

ETHIOPEAN CHENILLE DOR,

KAonnaLT enamclleo.

A TARANT^^ SPIDER:

11 li iihKiW !■!■ >»— ii*<%— —Mtfc I II III i^««»*i>Mi t ^1 l»t»«fc«l

ntXitimiojki f »t<c^ji^giii^wiiii».i^

$15,000, to the Historical
Society of Neuch^tel. In
April, 1907, the writing fig-
ure, the drawing figure, and
the spinet player were on
exhibition in Le Locle, Chaux-de-Fonds, and Neuchdtel.

[104]

Poster used, March 22nd, 1811,
by de Philipsthal and Maillardet dur-
ing their partnership, on which the
writing and drawing figure is fea-
tiued. From the Harry Houdini
Collection.

THE WRITING AND DRAWING FIGURE

So far we have traced only the original writing and
drawing figure. This has been done purely to show
that even if Robert-Houdin had been capable of building
such an automaton, he would not have been its real in-
ventor, but would merely have copied the marvellous
work of the Jacquet-Drozes. Now to trace the figure
which in 1844 he claimed as his invention.

With the fame of the Neuchatel shop spreading and
the demand for Swiss watches increasing, Maillardet and
Jean Pierre Droz, apprentices or perhaps partners of
Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz,
removed to London and there set up a watch factory.
About this time Maillardet invented a combination
writing and drawing figure which was pronounced by
experts of the day slightly inferior to the work of the two
Jacquet-Drozes. However, it must have been worthy
of exhibition, for it appeared at intervals for the next
fifty years in the amusement world, particularly in Lon-
don. At first Maillardet was not its exhibitor nor was his
name ever mentioned on the programmes and newspaper
notices, but later his name appeared as part owner and ex-
hibitor. As the Swiss watches had created a veritable sen-
sation and were snatched up as fast as produced, it is quite
likely that he had no time to play the role of showman.

The figure first appeared in London in 1796, when the
London Telegraph of January 2nd carried the adver-
tisement reproduced on the next page.

Haddock had no particular standing in the world of
magic, and it is more than likely that he rented the auto-
mata which he exhibited, or merely acted as showman
for the real inventors.

[105]

r*t*ii ^"^^

J < M i , (M , d ■

An .

«'|IL I'

f ACil-.i. ...

Haddock advertisement in the London Telegraph, January, 1796, in which
he features the writing automaton as an androide. FVom the Hany Houdini
Collection.

[io6]

THE UNMASKING OF ROBERT-HOUDIN

In quite a few works on automata, notably Sir David
Brewster's "Letters on Natural Magic," CoUinson is
quoted as having interviewed Maillardet as the inventor
of the combination writing and drawing figure. The
Franklin Journal of June, 1827, pubhshed in Philadel-
phia, Pa., credits this figure to Maillardet and gives the
following description: "It was the figure of a boy kneeling
on one knee, holding a pencil in his hand, with which he
executed not only writing but drawings equal to those of

I i H H A ( S f- -. C iih^t] i>.--ii r^et^ j^ rJ^a*^di p |* rJ f ^:-^nt t^trf '

^ ' ■•■:i"ii-; 'i'- : ^'=-' ■ ' M.*! ct?n)f:a.i of a (Srci*t i?uji^ ixt^i.

^ i^i.iccf ..r s'L!.:T:/iir^ ':!i..i. the Jii|fh»i;ii,« nj.ifM at .ipji/uiji'*-
iiiar^. Y-it luf^h^r )jD:rti^u|.ii9 ire hiimJ 1)1 U; The ^^ii:

IT' -!T,-."-r=. .iiii^ r ■ ^..viuj 1& ajicolijiljiejitj FuDUe <
[Lj-;, . . ■.,.;. .., : . f.( t.+iiptriiin.Jiurc.

'V"^ -h/ar^ ^ mi ..

Clipping from the London Telegraph in March, 1812, provintr the partner-
ship of ae rhilipstiial and Maillardet in an "Automatical Theatre." The Mr.
Ix)iiis mentioned in the advertisement as assistant engineer later secured pos-
session of the writing and drawing figure. From the Harry Houdini Collection.

the masters. When the figure began to work, an attend-
ant dipped the pencil in ink, and fixed the paper, when,
on touching a spring, the figure wrote a line, carefully
dotting and stroking the letters."

The Robert-Houdin figure did not kneel, but this
change could be made by a mechanician of ordinary
ability.

The writing and drawing figure does not reappear on

amusement programmes in my collection until 1812, when

it was featured by De Philipsthal, the inventor of ''Phan-

[107]

Mr. IjouWh

ROYAL, MECHANICAL, and OPTICAL

Exhibition

the Ath, 6tl>, VKi TiJ^

AM, 1* fifttef ti Ml* ^ tptiW™ ittli Bw* -^It i^f i*r ISM* P*tf>«»r*, rt*

bcfi Tn^ la labrfa Ih**, 1k«tr !■ AiMki«7> la Ibr mhiH* 5rl>fi:IiiHi i^rrsJj

A SUPERB MECHANACAL

Peacock

AS LARGE AS LIFE,

/n Us Natural Plumage!

Vkich hnitaln, to cloMly, the CRIES, ACTIONS, and ATTITUDES of that «Uieljr«ml
besntifiil Bird, that it is not vnlireqaently (upposrd to be an absohit* living AaimaL
properly trained to act ai an Aammag Deception.

Akkaafli aw Oncripliaai cm p i«f«i l i iUaitriM ikera WmMtmi ^tcw m Air, ftt U nmr^f ft lh«
mMw h hIm af llMii tinfslttti*, iMi af tb« imiiMit < |>o«rrt viik •kM-h lb*M FifalM WMI timL *•
Mawiaf ciplaiiaitoa n HUailUtl, aaal ihrv art nb'bil«4 la lb* Miawth| auaaar:—

TWO ELLGANT AUTOMATA,

•I POUtSMSC. lir atftr a fa* BOY.

* «|.^IT ......d.i.f p.

«*f]r pl«"a| cii

""ASupa-h MUSICAL LADY,

Rtprmraiiax lh« tUXI lOXLANE. «Im pbyt vMi ik* fnMcM p ra w iia Kilw* Amw wtmy mm
fmm^ trrm ik« prasar* af ika ta|<n an4 hat, aa ibt appraprMU kap*. m a b*>^ panaa, wMb «k>Biiiiai
«r ktr b«i4. tyat, —i ajrcMi, h dinctf4 to tba kajra.— Tka iwnpact —i wall f r ip mi ail fant, apiaakla
coaniraaaic, aad awy aMaaciad air af Ikia FaaHia Fimrt, kaaa baaa fnmlj aMn^ aaJ tiaajairf bf
Ik. .«r b«M jarffn aa a k»py mkiaaiiaa titktuutt Drnft mi MackaMM. obi* /nimtmmfkt
oar Uaa ikc appa t wa c t M rMpimiaa.

THB MBCHAlflCAL

DRAWING AND WRITING MASTERp

A JD VimU AITIST. Tk« ((ara af a Bop, wba, wiik arary actwa aT raal lift •ill «MraM is pwcKt
ar Ik* caapaap. (prcuoaaa af Dnwik( aad Wriiiag, aapariar la ika baal apaciaau U ika km aailft*: tt

Cnak M«ikalafT. «k*a •paaliiaf af ifitraa faoaad aat af aanltd da/. «kwfc, M«.k«il by Pr
itartadialakr*; aa4, rBtfaardtaary u ika (ikia appMn, il i* cmalM. rf aat ■ rpwi 1 1, kj ika
■avkaitfiai af ikia kaar* ^

jrfJV Oi/» I^SCHOMANCEH,

iri^^^ brif ta Jf»«<*U^ Ibr h<lrA EtwA^Mw. fir b> aTika fakM r^a n^T'il4«f iW 4a*

ftf Hb^ TBiair rvrLiaf ™fw^ la iiiir uuiii | fi flri-dK*! la^. vlpn' Tirr -pi i M ^ r al fa-^

a»J ba^V*. -tkIJ pa bifiail ihi iMaa.itiaK ^n^ ^ 11 af It^ MH^ iiu Aii lWfm , -a-b* l+ia^Fn Ik ^av-
kiNH 4^H ifil ftwt'ai iH l|W|. ai^l. Ibr ^^inw p^^u« df -la OrK^- *i|htsl 1^4 uj b^ ib^

I^H>r, >[^^ HBT^Hl^^i ttf l ilt 1 1 1 ^ ttatv, la wWith b* tfrafX It**- vill SilnJl
>J<i ™ TM IM^IIt n *f <hj a} lbs- .'baliH^m, visa jmlB , k. a^ f»Hrl *itk

Irtaaa <iitmt<.\, Mi

!» taiiTiLj .--Tbi nirb^p i > Lt^ bf'it*, »kiF* It •**», "fit (fi d*

^b^K^^llllZ?^^]^^

** ^ ^T ^ ^^ dT Aa p_a ^ H ' 1 . II B^ katti, ^^^^{^l^dij'la ^^tfMU^. mt

PROSPECTS oftiieELySlAN FIELDS.

mJiSt^.^'^'^^ ''*• •'^ >■»< " ■«. « if li<k n ai l ky *• Maw. ia <alMh diflkMI AllAL
Sram lad SlUIItt aT «M aaa •ill aMtr Mi irr^vrWH ■ ^a»-pM* aTika !

Fire-'Works^

A Louis programme of April 8rd, 1815, in which the writinjg and drawii
figure is advertised as a juvenile artist. It also features a b£rd of paradi
automaton which Robert-Houdin claimed to have invented thirty years late
From the Harry Houdini Collection.

[io8]

THE WRITING AND DRAWING FIGURE

tasmagoria." The nature of the inventions grouped under
this title can t)est be judged from the reproduction of a
De Phihpsthal programme, dated 1803-04, and reproduced
in the course of this chapter. All evidence goes to prove,
however, that De Philipsthal did not control the writing
and drawing figure exclusively, but that it was the joint
property of himself and his partner, ^Maillardet. One
of their joint programmes is also reproduced. Wherever
De Philipsthal appears as an independent entertainer,
the writing and drawing figure is missing from his billing.
Later the writing and drawing automaton came into
the possession of a Mr. Louis, who, as it will be seen from
the biUing, acted as assistant engineer to De Philipsthal
and MaiUardet. Louis evidently controlled the wonderful
little automaton in the years 1814-15.

The last De Phihpsthal programme in my possession is
dated SummerTheatre, Hull, September isth, i6th, 17th,
1 8th and 19th, 1828, when he advertises only ^^ rope dancers
and mechanical peacock," and features ^^ special uniting fire
and water" and "firework experiments." He must have
died between that date and April, 1829, for a programme
dated at the latter time announces a benefit at the Theatre
Wakefield for the widow and children of De Philipsthal,
"the late proprietor of the Royal Mechanical and Optical
Museum." This benefit programme contains no allusion
to the writing and drawing figure, which goes to prove
that it had not been his property, or it would have been
handed down to his estate.

In May, 1826, an automaton was exhibited at 161
Strand, a bill regarding which is reproduced. This
mechanical figure, however, should not be confounded

[109]

THE UNMASKING OF ROBERT-HOUDIN

Tiwtr«» WakmMi.

ROYAL taCOAIftCAt 4> omcAt

MUSEUJIt,

MOW CAMtv <* MB TnaBmnrorrat

WIDOW and CUIiiDBEIf

or ran latm mm. patuptniAL.
Oi !»■<■. tfu. r ■ ■ - -

<M CLOSMmKid^ Mm

aiECHANICA(< PIECES.

EXSiCUTMOJr

« UMMUTATtMi or nil Ltn iwpnoii o»

Mount Vesuvius.

THE THUIIiliERIES,

wnr TMM tiUBQM ona rmm utmm tutst.

JERUSALEM,

Tho Ancient GATElt Southamptoo*

▼Aaiwio jBrggiBaattaiB<D '▼mi W j5f ifciMWMt»

I"!

• Muea sr tmi ut*

JEmmerar Alexander^

Tt r jnuttfnMmi. wr tkm ama hmta
* PIN* »«» sr mi

Suspension Bridge

FAIRIES' Mn>NIGHT^ REVEL,

The Tragic Scene of Corneliat
9tan>eltous Tomb Scene 1 1

S Cm

eg O
O cd

.dutomata

m ruu. um-Ai

HTDRalUJLMCS

htorostatic'bxperimbnts.

^'— ^-1 — ■— ■—■' ■ •- *"^> "rn

faat^mta^Am^^

='S

[no]

with the original and
genuine WTiting and
drawing figure. It
seems to have lacked
legitimacy and, from
what I can learn from
newspaper clippings,
was worked like " Zoe,"
with a concealed con-
federate, or, like the
famous "Psycho" fea-
tured by Maskelyne, it
was worked by com-
pressed air. This bill
is interesting solely be-
cause I believe that
this fake automaton
exhibited at i6i Strand
was the first figure of
the sort foisted on the
pubUc after the Baron
Von Kemplen chess-
player, which is de-
scribed in Halle's work
on magic, published in
1784.

In 1901, while in
Germany, I saw a nimi-
ber of these automaton
artists, all frauds. The
figure sat in a small

THE WRITING AND DRAWING FIGURE

chair before an easel, ready to draw portraits in short
order. The figure was shown to the audience, then re-
placed on the chair, whereupon a man under the platform

Cte Criumpl of ilteeiaHMw.

NE>y EXllIBniON
JS THE IVBSTERN EXCHANGE.

AUTOMATON
ARTIST.

TBB ENTRANCES TO THB EXHIBITION
ARP. IN

Old Bond Street .4* tit Burlington Arcades
Open from Ten o'Clock till Dusk.

Admittance to $ee the Performance, 1 Shilling.
Profile Likenesses, U. 6d. io addition.

The Pmprictara conceive that in Automaticil Figure, iccuntely fe

ing that which h^s hitherto required a powerful ment •! enertioa, ud •
correct eye. need* no farther iutioduclion of iu exUaordiuary quality, than
■B iiiliiBauoo of the fact, that it la

THE ONLY AUTOMATON

IN THE WORLD

THAT TAKES LIKENESSES.

Wtbout foftlier commenU the Proprieton mcivly add the iuformatioa, that
IhM Figure rseruie* a Prrtfile Likeneia, iu one minute, from any peraon who
chooiea lu 1.11. lite Auiomalun will, if reqiiirt-d, take the Piofilea of Buala
of Public Charactera, which are placed in the Koum, and which will enable,
peraona, who may doubt the ponibility of ajiy mechanical coatrivaoM takiBC
an accorale likcncca, to compai« them Vith the originals.

Imict, Printer, 61, Wall^at. OjiM-8t.

Handbill advertising the fake automatic artist, exhibited also at 161 Strand,
London, May 7th, 1826. From the Harry Houdini Collection.

would thrust his arm through the figure and draw all that
was required of the automaton. The fake was short-lived,
even at the yearly fairs, and now has sunk too low for them.

[Ill]

THE UNMASKING OF ROBERT-HOUDIN

During this interim, that is between 1821 and 1833,
the famous little figure seems to have been in the posses-
sion of one Schmidt, who, according to the programmes
in my collection, exhibited it regularly.

In 1833 Schmidt is programmed in London, playing
at the Surrey Theatre, when the writing and drawing
figure is one of twenty-four automatic devices. A pro-
gram, which, judging from its printing, is of a still latei
date, announces Mr. Schmidt and the famous figure at
New Gothic Hall, 7 Haymarket, for a short period pre-
vious to the removal of the exhibit to St. Petersburg.
The dates of other programmes in my collection can be
judged only from the style of printing which changed
at different periods of the art's development. Some of
these indicate that the writing and drawing figure was
on exhibition during the early 40's in London at Paul's
Head Assembly Rooms, Argyle Rooms, Regent Street,
etc.

It is more than likely, according to Robert-Houdin's
own admission regarding his study of automata and his
opportunities to repair those left at his shop, that at some
time the writing and drawing figure was brought to
Paris to be exhibited, needed repairing, and thus reached

his shop. Whether it was bought by Monsieur G ,

whose Interest in automata is featured in Robert-Houdin's
"Memoirs," and brought to Robert-Houdin to repair, or
whether Robert-Houdin bought it for a song, and repaired
it to sell to advantage to his wealthy patron, cannot be
stated, but I am morally certain that Robert-Houdin never
constructed, in eighteen months, a complicated mech-
anism on which the Jacquet-Drozes spent six years of

[112]

THE WRITING AND DRAWING FIGURE

ADMISSION REDtrCED,

Baza, Sf.— Fil, U-^GaUerg, ML
moMimm mxmxmxlFi^m omm mmiM.M.xmm mmom.

• I^PfefWMtionofthe Bight Worihipftil the Mayor.

TW WoMity, 0«rtiy. lod IriMhii—fc «f Hall — i in Yidbity «w ■ort w ii i itfaUp

MECHANICAIi AND

Mairlcal Theatre*

^(TtOM THE bOTHIC HaLL. IIAVMAMET. LONDOX.)

IS NOW OPEN EVERY DAY AND EVENING^

AMD wiu. coirriHui to roa a •■obt timb onlt,

iir THE APOIAJO SAIX)ON,

iW««^<n«Ml«y Ifp. JKtAmm^ •< <«• omcr y I Kilh ii jI w S tmt,
^0«»lt«»Tlt»»T, HPlili.

THE AUTOMATA COMPMSC THS FOLU>W|NG AUBJGCTSi

The Juvenile .Artist I

III- i-jl. M ftmH •• IW» WMMf m4 e. w «« U t W «mI|« ntf MHUbMl (TkM niMrt* m« — yllnlil ■•«• af

■i ■J^T^- "- -" —

THE MUSICAL LADT,

VW M ifcM MM •• (lafMl !•«' OIOAN, • mtiMf cTylMt^M Mn, Tk* Mi><lm< wmImm W Ut CaMtraMW^ ml
SmU| l*taM«« ky Ito lMr^M<<M?<>M7b pn4mi« k| IM kfiM^^

«tai MitrUkf Pw«NWM«n'»M. i* ^r«|. Mlta^ia. u4 (MlaUui. <w/ r««tw*> •Ok* Art > tMptaf

THE MAGICIAN,

Vk«* iMMMbMikismw ••»< Ik* tfMlut nlmrt m« «h.|I>i. k) lk« »««■•<■• •uwn k« rOaiu to ow] miMm
)ii|iiill>ki»l TW MMlrwtiM «t Ikb ■M«wftil itH.MlM| l<»n kM k.l*»f to fvaiH «ll <k« Im-wto M ii k t ri w * t tt frn .

WALKING FIGURE,

IMik ■•^taf •■•••«■; kf M* •■• r*>*"t Mttka ik* (Mclnl Mwiw, l« k%'l*| »m t-m t«M u k> * IkUi gtUrly lafimit
k> W| wn (T HukiMT). to yrWaa* *Mi(:«««<*f k«u* wf«tk -if •.»r*'*'*l •■• •■■ •< lUiknm.

'wf .nAONiFicBJrr classic vasei

NAOe POR THE CMKROR NAPOLCON.

TWO SIBERIAN MICE.— AN EGYPTIAN LIZARD.
Jin Ethiopian CaterpUtar. •A Tarantnla Spider.

A BEAUTIFUL HUMMING BIRD I

1^0 IM* M* Wf in l tirM 0«M, 1..M7 l^iil. Mi «iik fM< rm-U. DXW.XI. uJ MkM pncwm IUm^ u4 !• •*•
TV fiKMH Mtf •• —t^H »| (to r-ff^f ./OMfwl Own%>n, M •

SELF-ACTING PIANO FORTE.

TBB STAGE PERFORMANCE W'lLfc COMMENCE WITH

RAMO SAMMEEy

VMlUtftflfm SI* Mrrr.1'T>*«HBIM •••;«•) Ik* Ua* kf u/ y<rwu «>Wk,-lM aill tlio 4>ri;k*f •ritilf/— k* ■(■

The' Enchanted Dutch Coffee-House,

'••««MIMU*B«MiH>** IkaTnnlbnTtifttt lk*kd< Ik* «aw •f.M-tk* Ht.Ki* >ltoi«t u4 f*!.**. kla ntk «f

THE CABINET OF SAFETY,

l»MMr'*fif««lM|4Mflfl^M«Mk>HM*<*«lk.4,mbM«rur*.«^r. ik. cealMy «■» ■■f*n«rliM; (kwf*
•kCliiiM*! >— >■■ Ik* ftk «■« i»'<fM« tkww." tm»iltm»uitUlfH%tHur.%mi;\\lmmtiiHilfnt»

The Bottle of Sobriety and Inebriety,

ftOTtaflk* ImMH;*!*.. •IB*MMm.>kM .»>••> liv'>n .t*k* rr*<»*4 k| •••.

rjr* at^aiOAi. tca caodtb,

AlU<rwOnliiwi>iH«|»«"' ' im'^V'*'* ^2!/ *'*'"*• '*'^' ** *' '* *** '^'**^- '** " 'r^'M >ki (ikw tt ith«t4

AN extraordinary'glassIpillar,
MXVEniuiSTslLN ELECTRICITY.

.V» Miflbk MtllkHit, («te wilt 4wrAaiy« • Csmm loitAmt th» tm 0/ Ounpomdirl

Ad CBtfltttiniiq; Experimeot with Two Electrical Vaaet;

1W MlliMI^ r«>w <l iMrithr .Ml ife* VtgMkl. ktafd.*. pradMl^ k Crar •( MM la fMWlkM*. Mm

TUB VNFORTVNATB^MjiajiZIJrB,

lBBrtMk«>MkM>a|«M«tail#*«(lk**a«MM . 1kM4M Cl*.4 ml ««t«M m« uk* lU iMUm «mdf ikM* Hi
»MO t*H« «> JMWiM tn »fc»t n « < H k«lt «— » .fMH.k*llk>k*M.*«l*i*gMM.4>«>llk><*M«M*rlk«,»fM*

> n » n i i ii T k— Hill n wt**nknr»* »*» « «■

>rogramiiie used by Mr. Schmidt in 1827, when he had possession of the
writing and drawing figure* From the Harry Houdini Collection.

["3l

THE UNMASKING OF ROBERT-HOUDIN

their inventive genius and eflforts. ^Modern mechanicians
agree that such a performance would have been a physical
impossibility, even had Robcrt-Houdin l^een the expert
mechanician he pictured himself.
To sum up the evidence: The writing and drawing

Bplendid ond UnrhfaUed HithMiUm!

(fm*9kmrmM.fimit m »tm m mmit»»t. 9 i t ii il )

ii m i>o o ooiiiiiii

Tke NobUitj and Public are rMpeedaUy infomed. duU
A MOST MAGNinCENT AND COSTLY COLLECTION OP

AUTOniATONS!

IS NOW EXHIBITING AT THE

N^wJQothicJBbill^T^Haymarket,

OEAMB BISPLJLT OF ANdBNT AUIOOEI

Ah» m MotM of a MAN OF WAX, </ Nm0ljf'Fom' Omu.
y\ Of tlw a<wt cKquMiU Wakxamin, ttd O i MW Batta—dl
TV VnOLk trnmin ^ MM IfMtmnif^ urf »— M&gPMWftltm ayMM te «b l li li i | l l iir

THE MECHANICAL TaBT

Of iki« traly voMnM ua M*tMiH Ai
' - -^" ■ PalrgMft. ■■ P«w» i

ti.pa»wnw;M<wMniioxiiiii i iM»).i> ii iiiiii«ftt»c>Mit.<i<>itti.

int. uJ trrrtviMt nalai •Te^rmBoas <« mt nOw M M t^iMt •( Ike UfkMt tatamlWi •«rinrll«>

TlM Hosloal Lady !

«k<>|»rft«M,ifMui>h-cntFii>(ttOIICAK.»rari*t)*f»i<«>I^AIn. IV h« •■•!<»« >«***M*>erkOTCMMniM«t
■<<i)o>rWa>*UMi>rtWKiM.anarhillaaMari*|k«AMnnl Sk*k*«t|>M«Aril) UU«>it4>Mic«,k*rknMkwn>,
»irMl*nlliia«**c«4fc]rllMlM|iii •>4ln«nM*«t*rn<<Mt4kjlktkrilliHtla<Kh«(kct(i«cn,«Uklk**a(M.

TheRopeDuicerl

«rt'iit*ruiMfTt«iUMi*tk*li«ri<<rik*iiM£Mn-

irkM Maitakt* FwtaaMm ncil* IW |n*ln< ■•hral mi4 MifhI. bi IW >Mari«<M Mmn kt ivtant I* r«m
VWrtt—ytif m ilcltiM' TW ««MlrMliM*rai« «ea4i«(W wtf-«lii« f-|«trek«MUrt( pnM*Ulktin>ral»
q«luiiM<l* Eatav*'

tVta nlnar4iun Fifirc. akn k ■o»« nlintjr kj it« owm r«««a, tai «»rj *««*«»•, ntiln Ik* r" *1 "tltl** , «
•uTiac tm k^ WM. kj Ikr M«( i*Ull.|nl sr^ kuinl ArtM*. «a k* • lkM| vttitl} imr*mMt. kj un nrt (faift.

Abo. • STBCRTAN MOUSK • wt «<<k IV«ri«.— Aa ETmOPEArt C.rTEICPnXAR ■ «t nMj •».

•-mU«I CoM.— Tke TERRANTULAR SPIDER)— A iMtaUal HUMVINU BIRD' OiM «arUn :<te

N wladio.i NoM.-Ai> EGYPTIAN LIZARD! ofM^auite mriimtadtip. in 6m C«)d. Ac

THEW^HOtE EXHIBITING J»; dkt« mki lauUbon of ANIMATED NATURE, ike mm larrr*.

lat Pe<«n oT MECHANICAL A

«in ksn lk« (nlilMlMC of iavwHai Um n

C^ti/f«a finn >>{/ ri«r. «wl>V«i Siwa till Tn im rW Emmmf. UUImmttf

ADMITTANCE, ti. CHILDREN. Ii.— TICKETS hOR THE SEASON. C*.
«r Ma StaaikT. Um ii»r««— ' Mictmuc. t» S^ wW i a ti tk« lli«ki— cy. mjum Maka
UtvCU aad C*. r>i«WtN N*.n> Nt«M»«mt C*ikr4-<lmk

Poster used by IMr. Schmidt in advertising the writing and drawing figure
in London just Wfore liis departure for St. Petersburg, Russia. From the
Harry Houdjni Collection.

figure as turned out by the Jacquet-Drozes was known
all over Europe. It is not possible that a man so well
read and posted in magic and automata as Robert-Houdin

[114]

THE WRITING AND DRAWING FIGURE

did not know of its existence and mechanism. And if
Robert-Houdin had invented the same mechanism it is
hardly possible that his design would have run in pre-
cisely the same channel as that of Jacquet-Droz and
Maillardet, in having the figure draw the dog, the cupid,
and the heads of monarchs.

In those days humble mechanicians, however well they
were known in their own trade, were not exploited by
the public press. Nor did they employ clever journalists
to write memoirs lauding their achievements. And so
it happened that for years the names of Jacquet-Droz
and Maillardet were unsung; their brainwork and handi-
craft were claimed by Robert-Houdin, who had mastered
the art of self-exploitation. To-day, after a century and
a half of neglect, the laurel wreath has been lifted from
the brow of Robert-Houdin, where it never should have
been placed, and has been laid on the graves of the real
inventors of the writing and drawing figure, Pierre
Jacquet-Droz and Henri-Louis Jacquet-Droz and Jean-
David Maillardet.

["Si

CHAPTER IV

THE PASTRY COOK OF THE PALAIS ROYAL

CONCERNING this trick, which Robert-Houdin
claims as his invention, he writes on page 79 of
his "Memoirs," American edition: "The first
was a small pastry cook, issuing from his shop .
door at the word of command, and bringing, according
to the spectator's request, patties and refreshments of
every description. At the side of the shop, assistant
pastry cooks might be seen rolling paste and putting it
in the oven."

By means of handbills, programmes, and newspaper
notices of magical and mechanical performances, this
trick in various guises can be traced back as far as 1796.
Nine reputable magicians offered it as part of their reper-
toire, and at times two men presented it simultaneously,
showing that more than one such automaton existed.
The dates of the most notable programmes or handbills
selected from my collection are as follows:
• I, Haddock, 1797. 2, Garnerin, 1815. 3, Gyngell,
1816 and 1823. 4, Bologna, 1820. 5, Henry, 1822. 6,
Schmidt, 1827. 7, Rovere, 1828. 8, Charles, 1829. 9,
Phillippe, 1841.

In 1827 Schmidt and Gyngell joined forces^ yet both
before and after this date each performer had the wonder-
ful little piece of mechanism on his programme. In 1841,

[116]

THE PASTRY COOK OF THE PALAIS ROYAL

four years before Robert-Houdin appeared as a public
performer, Phillippe created a sensation in Paris, pre-
senting among other automata "Le Confiseur Galant."
In 1845, when Robert-Houdin included "The Pastry
Cook of the Palais RoyaP' in his initial programme at his
own theatre in Paris, Phillippe was presenting precisely
the same trick at the St. James Theatre, London.

Of this goodly company, however, Rovere and Phillippe
deserve more than passing notice, as both were the con-
temporaries of Robert-Houdin, and Rovere was his
personal friend. Both also appear in Robert-Houdin's
"Memoirs."

The trick appears first, not as a confectioner's shop
with small figures at work, but as a fruitery, then again
as a Dutch CofFee-House and a Russian Inn, from which
ten sorts of liquor are served. Finally, in 1823, it is feat-
ured under the name that later made it famous, the
Confectioner's Shop.

Haddock, the Englishman who had the writing and
drawing figure in his possession for some time, featured
the fruitery on his programmes dated 1796. One of his
advertisements from the London Telegraph is reproduced
on page 106, in connection with the history of the writing
and drawing figure, but for convenience I am quoting
here Haddock's own description of the fruitery trick,
which was even more complicated than the famous Pastry
Cook of the Palais Royal:

"A model of the neat rural mansion, and contains the
following figures: First, the porter, which stands at the
gate, and on being addressed, rings the bell, when the
door opens, the fruiteress comes out, and any lady or

[117I

THE UNMASKINC; OF ROBERT-HOUDIN

gentleman may call for whatever fruit they please, and
the figure will return and bring the kind required, which
may be repeated and the fruit varied as often as the
company orders: it will likewise receive flowers, or any

«tf( the Great At$em Ug- R»om,

Three Tuns TaTern*

Hit Grand Meehmuealami Amiimaikmi

Exsauwnom

iND MSCTtuNliD aX TJl|! I.OHU CIlAMSEnL&jar,

4 rrrn'^d intk ik< ■

fiAr rii^rliiM Awn ibWI iJ « TltPiLrH^I llf ■rnpim, fc am

Thti l>rc[^Di FKIDAVp ItiBrrh 10th, Jrt^O,

I!nechan]sm C lockwork*

t.-^ C*&imet uf PffMlivr (JmrntlneiiitM.

■; *Vwih •.!■ U f.^.±.nl b Vurrij pF I>nrTjMirilll

Wjib CvJk, ^

T*— *fc'ch. ."r {■ ■■ ■■' -..-. I -.U^ Ji T.-ro,. -T^ ^Hf^jfT-

5.— Jl emruM JHeeMmHieat Frmiierer tmd CStn/MrtMcK* &l^» .
k»t bvKirr* CvMriT. wlb« will prodncv at CwbmkI. nc^ VariM/ aTFrail A SvarilMlr

OMBRES CHlNOISs or.CHIlVBSBSBAIfOWa,

' la«bicblbefcll«via(S<jMMwillWfaiiMaM^ .

l^-hi. MACJCIAN'. CAVE, »W«hi .i.»«nj TricU It M i i i— if |i fc» m wiff *!» IW.
t-JUiFREiM£NTAT10N of • FOREST, ia Whicfc wiM b« mmdno«4 A* mm W«a4«tf!

apM-in of Natural Hislcfy. To ocb «f iIm QiuiiniiM^a th* mU p«f«Mt m4 ImmKIM

AaniatioN'will b« iriTra. ^ _«w^

1U.FlSHl>Gi-GAME.KEEPERy>«a<l DtCK SHOOTING. -_«-«

4^A murli.«diuir«l TICHT-ROPh DANCER, wilfc Um UUMOVBOUS CU>Wir.
It-a COMICAL KNilFE-GRlKDER. tnt* • Sm«.

PART Ill^n* WMt u CMcW* w»h m MHma md/mtti»mtm§ Ctmrm ff

Artificfal or Mechanical Fii'e-Worka!

Inhrodmeed im an appropriate EtegmU Tempk in a ContaiSoei*, jMwfDqrf^

Innumcrubte Cnoiifre*, an luventiou aloiie sufficient to create Attnclion.
Pom ooM M 7 •04 iMsiiu I1*1HimI 7 o'Clock^-^Vval £Mt« ^ M.Seemd gnU U ••
TkkeM I* be ks4 «f Nr. TAYLuB, el Ae fief. T. lUaMjrr PnMer. I Mhft

A Bologna poster of 1820 which features an automatic distiller who draws eight
different liquors from one cask. From the Harry Houdini Collection.

small article, carry them in, and produce them again as
called for. As the fruits are brought out, they will be
given in charge of a watch-dog, which sits in front of the
house, and on any person taking or touching them will

[ii8]

THE PASTRY COOK OF THE PALAIS ROYAL

begin to bark, and continue to do so until they are re-
turned. The next figure belonging to this piece is the
little chimney-sweeper, which will be seen coming from
behind the house, will enter the door, appear at the top
of the chimney, and give the usual cry of ' Sweep ' several
times, descend the chimney, and come out with his bag
full of soot."

In 1820, Haddock's programme, including the fruitery,
appears with only a few minor changes as the repertoire
of Bologna, a very clever conjurer who afterward became
the assistant of Anderson, the Wizard of the North, and
who made most of the latter's apparatus. On the Bologna
programme, for a performance to be given at the Great
Assembly Room, Three Tuns Tavern, the shop trick is
described thus: "A curious Mechanical Fruiterer and
Confectioner's Shop, kept by Kitty Comfit, who will
produce at Command such Variety of Fruit and Sweet-
meats as may be asked for."

The marvellous little shop does not appear again on
programmes of magic until 181 5, when Gamerin features
it as " The Dutch Coff ee-House . " On the programme used
by Gamerin in that year for a benefit which he gave for
the General Hospital at Birmingham, England, it is feat-
ured as No. 10: "A Dutch Coff ee-House, a very surprising
mechanical piece, in which there is the figure of a Girl,
six inches high, which presents, at the Command of the
Spectators, ten different sorts of Liquors."

This programme is of such historical value that I repro-
duce it in full. It will show that this particular mechanical
trick is by no means the most important feature of Gar-
nerin's repertoire. In fact his fame is based on his

[119]

THE UNMASKING OF ROBERT-HOUDIN

ballooning, and he is said to have been the inventor of the

parachute. The ascen-
sion of the nocturnal
balloon, also scheduled
on this programme, is
an imitation of the one
which Gamerin arranged
in honor of Bonaparte's
coronation in 1805. On
that occasion the balloon
started at Paris and de-
scended in Rome, a dis-
tance of five hundred
miles which was covered
in twenty-two hours.

Gamerin was a con-
temporary of both Pinetti
and Robertson and was
with them in Russia
when Pinetti dissipated
his fortune in balloon ex-
periments. In their cor-
respondence, both Pinetti
and Robertson spoke
slightingly of Gamerin,
but the Frenchman's pro-
grammes all indicate that
Ta::roufcH^^w.^ooc;i£— ^c was notonly a success-

A Gamerin poster of 1815, advertising ^^^ aeronaut, but a ma-

" ADutch Coffee House,"whose automatic orician who COUld present a

hostess serves refreshments at command. ^ , , \

From the Harry Houdini Collection. diverting entertainment.

[120]

For the Benefit of the

General Hospital

Thin pre»ent TUESDAY, October 10. 1815.

EXHIBITION

WONDERS OP

Ari and Nature.

M. GARNERIPr,
AND M. nE LA ROCHE.

IN THE GREAT ROOiV. AT THE

SHA KESPE ARE JTAVEBN.

•TMK CANARY FIGLRE.
^IIE PJSEV.VIATJC TIAD&R BOX,

■I I ncBt wna vwva, ww— ' i »-•

Ascension of a Nocturnal Balloon,

Ur>-««^y.-..«r_»': ^^T"^„'^^»iL•^J• ^,f~3^-j-2j-

PJVBVM^mC MJKHLNB.

7^J rtOURK CM DiSCOPKRS Ik* THOUOHTa,

•^--Ti«"column"5J? MloNEnCAlToLAaiL

9..— AH BXUiaiTIOM (

Cbqiorr'

THE PASTRY COOK OF THE PALAIS ROYAL

In 1816 the elder Gyngell featured the trick on his
programmes as "The

Russian Inn," and in
1823 he changed it to
"The Confectioner's
Shop." These pro-
grammes are reproduced
as the most convincing
evidence against the
claims of Robert-Houdin.
The Gyngell family is
one of the most interest-
ing in the history of
magic. The Christian
name of the founder of
the family I have never
been able to ascertain,
though programmes give
the initial as G. He was
celebrated as a Barthol-
omew Fair conjurer. His
career started about
1788, and his contempo-
raries were Lane, Boaz,
Ball, Jonas, Breslaw, and
Flocton. At one time
Gyngell and Flocton
worked together, and
Thomas Frost in his
book, "The Lives of
Conjurers," claims that

THEATRE,

Catherine Street,

STRAND.

Mr. GYNGELL, Sen.

mtt pt Hfi ttg hifinuatPMictktfittimlmg IMtHwtwwh nmlumlH
t^itk$ mt itt i mUklk$mtalnplanmA ffla \\i t. waHt W t ^m t d

This PkvseQt Thursday^ Febnuuy 15di, 1816.

Oa Wiikk OccMlM Mc C. faMiMia « awi » afc Wt MHmtoMTkMtbfct
pW.Mi4 toBciii ■ f e mi BM ww tt htm PMna^*. A* a MmIm Mr. O. wM
hi ii ilM i ii BM i i i M i it Mfmt J wu J Wottkii^im r w A Ml rf lM w . bpwiteMlg

A PEDESTAL CLOCK,

•■■MhflrcMMracMd. ikMiitoolMdicMlbdMWMdaf OmmhM^IImDU
w o n i H bMMct a PttXARi which, bf thi PkMW of MtchuiM alM*. wil
■dM^fi, MdpradMtamriMidauirtcrof Bbk«idWhiii Bdh^ or bMhMMihir.

IWKmmm of which •{■
■CtMd. Thctt,

ntat»9H of a RumaH f mi,

•a mmt wUk Ml)r UMortfMi b calM lb*. mAmHm
Mg«h«wMia TnMkar MrioM CoMMciioa. eoonfariM
hcwiM toaM. Riw Bout, GhMk*. iUk. ta-ftckel

.. RiH ■««• CMdiH. MilL an. ft<

. ihuh kiwBiMhli to iif whkh h Ifca

WOKDKKFUU bdtort
■alM, 0.« WiA l> i— lnU UilirMnJigrfhi, 4»«iiirM. hf illl«| 1^ W^M

hito U Mm m« i tal • mS to ri<w>TMk. t^ aMM •• amy Uto W OOiqOIAIIOM. ii
ii Ml ITiili m l»li»<— !>■■ M ■>■ Ail mllj ■!■■

Wonde rful Pieceg of Mec hanism Ut

Mr. OniaCM> will «f«aih«r«fcwM«« ,iili M«ifc«.w«icd.fh> n «>hiw l . mt Oaww

EXPERIMENTS,

T* r«Mi>l«wi (Mr* hrt •# ihh fMfc f to W Mali tn « «•!•

«^3bW« ■• Ihmck. aickt Mm iW aCM W Rmmi mSm it wiqr. ih«r "V
. ia-,h..A»i}gS^«-S-.-^^

THE LEARNED DOGS

fa whaai iha wnimVUk iMMky afth, whaU tfd m —aw ti iii H TWf taftraaaaa

•« Mr. O. «ma>«» »Mmr. yaMwO w Haut. hr iiin l hn ih* PiaM* ^|EB.IV
Uia kj « iwOar j r /ha, Jtnt a i)M^ > yi < a W B r» l «a h« d n^na .
Jit. OnteEtX win parfm aa ihM awifillit laMtaMt kttmmttmh MllteMr W Taaa

TA« Harmonized M unca l

WMckifaillmMykMiqiMMfihaMlaiqMte. "^

OLYMPIC EXERCISES.

Bt Hr. GYNGELL, Jan.

The English EquiUbrist ! ! I

^f^julutg >f M Mf1»t la a in MMJihh^ —Mr.

The Microcosm,

Or £<r Oaiim CJUaaJi.

YOUNOCTNCEIX-kr '

A Gyngell poster of 1816, featuring the
Russian Inn, with service of various
kinds of liquor. From the Harry
Houdini Collection.

[121]

THE rXMASKING OF ROBERT-HOUDIN

[122]

THE PASTRY COOK OF THE PALAIS ROYAL

at Flocton's death Gyngell received a portion of the
former's wealth.

Associated with him in his performances were his
brother, two sons, and a daughter. The latter was not
only a clever rope-dancer but a musician of more than
ordinary ability and she often constituted the entire
"orchestra."

On Gyngell's programme offered in 1827 he proves
himself a great showman, for he features Herr Schmidt's
"Mechanical Automatons, Phantasmagoria, a laughing
sketch entitled Wholesale Blunders, his son on the
flying wire, during which he would throw a somersault
through a balloon of real fire, a broadsword dance
by Miss Louise and Master Gyngell, and Miss Louise's
performance on the tight rope, clowned by Master
Lionel."

On a programme used in Hull, October 29th, 1827, a
lottery was featured as follows: "On which occasion the
first himdred persons paying for the gallery will be
entitled by ticket to a chance of a Fat Goose, and the
same number in the pit to have the same chance for a
fat turkey. To be drawn for on the stage, in the same
manner as the State Lottery."

According to Thomas Frost, Gyngell died in 1833 and
was buried in the Parish Church, Camberwell. His
children, however, continued the work so excellently
planned by their father.

The programmes herewith reproduced I purchased from
Henry Evanion, who secured them directly from the last
of the Gyngell family, as the accompanying letter, now
a part of my collection, will show:

[123I

THE UNMASKING OF ROBERT-HOUDIN

Dover, February loth, 1867.
Mr. Ev anion:

Dear Sir — Yours of the 5 th inst. I received just as I was
leaving Folkcstown, and it was forwarded from Guilford.

I am sorry I have not one of my old bills with me, neither
do I think any of my family could find one at home. I may
have some among my old conjuring things, and when I return
to Guilford I will look them over and send you what I can
find. I was sorry I was not at home when you were in Guil-
ford, for I feel much pleasure in meeting a responsible profes-
sional. I am not certain when I shall return, but most likely
not for six weeks. I will keep your address; so should you
change your residence, write to me about that time.

I was looking over some old papers some time last sum-
mer, and found a bill of my father's, nearly 60 years ago, when
his great trick was cutting oflF the cock's head and restoring
it to life again. And a great wonder it was considered and
brought crowded rooms.

I was Master Gyngcll, the wonderful performer on the slack
wire; and now in my 71st year I am lecturer, pyrotechnist, and
high-rope walker, for I did that last summer. My life has
been a simple one of ups and downs.

lum, dear sir, yours truly,

J. D. G. Gyngell.

The signature of this letter, "J. D. G. GyngeU," clears
up considerable uncertainty regarding the names of the
two Gyngell sons. At times the clever young tight-rope
performer has been spoken of as Joseph, and at others
as Gellini. It is quite probable that the two names were
really part of one, and the full baptismal name was
"Joseph D. Gellini.'* It was as Gellini Gyngell that he
met Henry Evanion at Deal, February 20th, 1862, when
the latter was performing as a magician at the Deal and
Walmer Institute, while Gellini Gyngell gave an exhibi-
tion of fireworks and a magic-lantern display on the

[124]

THE PASTRY COOK OF THE PALAIS ROYAL

South Esplanade.

3XK nsorrma'WMaMTotmnMx rMjuts.

BOOM^ QBB TMVJBHX,

Bemondsey Square.

Om TBVMSDAY, WSJOf* •»* MONDAY XrENlUGS,
MAY Irt. toJ. fc 1h. ua».

AmasiBir & Instructinic Entertainments

AT TAIDiEBUA QABmira^

MR. GYNGELL,

MATUEBIATICAL. PllILOSOPuTcAL. It UNCOMMON.

Experiments;

«/l COJ^FBCTIOJ^JBiVS SHOP,

A TURKISH PILLAR,

au«)bSltonrope vTu^^

4f% w i M |iwi 1f i ^ * C Mi tim e TmnM,

Eraumosa on thM rtgur 90pm,

TheMuAicalGlasses

TBB UTTLB WORLD;

OC £M OUBHMS CMINOO,

One Hnndred JMoYing Flgnreit

Cbvii. vUbACairie DnM.-.BIr. Bc^mrIo.

GYMNASTIC aXERCtSBS^

A Gpgdl prognumne of 1823, adver-
tinng ''A Omfectioiier's Shop," whose
attendant will serve automatically any
8(Nt of confectioneiy demanded. From
the Hany Houdini CoUection.

[125]

A fine notice of both performances
was published in the Deal
Telegram of February 23d,
when the hope was ex-
pressed that GyngelPs col-
lection, taken among those
who enjoyed his outdoor
performance, repaid him
for his admirable enter-
tainment. Gyngell was
landlord of the BowUng
Green Tavern at this
time, and travelled as an
entertainer only at inter-
vals.

The next appearance of
the trick is in a book pub-
lished by M. Henry, a ven-
triloquist, who played Lon-
don and the provinces from
1820 to 1828. During an
engagement at the Adel-
phia Theatre, London,
which according to the pro-
gramme was about 1822,
Henry published a book
entitled ' * Conversazione ;
or, Mirth and Marvels,"
in which he interspersed
witty conversation with
descriptions of his various

THE UNMASKING OF ROBERT-HOUDIN

tricks. On page 1 1 he thus describes the automaton un-
der consideration:

"Illusion Third. A curious mechanical trick; an inn,

Reproduction of a rare old colored litlicgraph in three sectioiis. This secticm
represents Gyngell. From the Harry Houdini Collection.

from which issues the hostess for orders, upon receiving

which, she returns into the inn and brings out the various

liquors as called for by the audience, and at last waiting

[126]

THE PASTRY COOK OF THE PALAIS ROYAL

for the money, which, having received, goes in and shuts
the door. Mr. Henry says he has produced the inn in
preference to palaces, though more stupendous and mag-
nificent, thinking, as a certain author wrote, the heartiest
welcome is to. be found at the inn."

In the same year Henry issued a challenge open to
the whole world, defying any performer to equal his
manipulation of the cup and ball trick. He also employed
as an adjunct of his conjuring performances Signor de
Fedori of Rome, an armless wonder, who used his feet
to play the drum, violin, and triangle.

A contemporary of Henry was Charles, the great ven-
triloquist, who varied his performance as did all ventrilo-
quists of his day, by presenting "Philosophical and
Mechanical Experiments'' to make up a two-hour-and-a-
half performance. Charles made several tours of the
English provinces, and played in London at intervals.
On a London programme which is undated, but which
annoimces M. Charles as playing at Mr. Wigley's Large
Room, Spring Gardens, the second automaton on his
list is described as "The Russian Inn, out of which comes
a little Woman and brings the Liquor demanded for."
Two of his programmes dated Theatre Royal, Hull, April,
1829, now in my collection, carry a pathetic foot-note
written in the handwriting of the collector through whom
they came into my possession: "The audiences on both
the evenings were extremely small, and the money was
refunded.'^

By referring to the chapter on the writing and drawing
figure, Chapter III, Page 113, a Schmidt programme of
1827 will be found, in which he features **The En-

[127]

THE UNMASKING OF ROBERT-HOUDIN

mCHAIIICAL SCIENCES,

AMD

FIRST VENTRILOQUIST,

^OM tk* Qcmlimtmi:

trKPiB.T ii« F KITILBOl AMD PATtOM^Af <^

HIS MAJESTY THE KING OP PRUSSIA,
Aad Duke of Meekknburg Schmerin i

Hm Um Rm«ai'l«- w^aaint Utc N«bilii]r, Gentry, tttd ll^ PvUic M Iwml
tiMt ht ha* jwit ^m*cd frMi tbc CMUBtBl, aod win pcrfann imnmm, ttia
•ad lk« 9tuuiii( Hum Maath* tfJmniMrf, Ftk m mp , and JbrrA, u

w of /aHMfy. Ftkmmf, •ai JferrA, tT

Ma. WIGLEYS LARGE ROOM.

SPRING GARDENS.

cUdj «l Turtw lu- 1: --. ^ , ^1 1- r ,-. imi h'gki li'Clv kt

Br«|il OrMms^Mf ■■id ^pv^j^

rmitOiuni J*,— S^kUlirSikl*, 1..— t/ppvr SmE*, I^
N. IL, Tb* Hha I* Inrlkalirhf WARM b^a ■«■ WTctilrd |ir#n^

TO 'THE~Pti uE

Vkiii iIm ^uikk Jlutvi If VEPFl ^ILQUDIIM, ■/■kiriiic triu> tb^ ii riHuT

chanted Dutch CoflFee -House, an elegant little building.
On the traveller ringing the bell, the door opens, the host-
ess attends and provides
VENTR^QmSM. ^i^ ^j^^ any liquor he

£j. CH^^RLiM^^ may call for."

Schmidt seems to have
confined his exhibitions
to London and the prov-
inces and was often con-
nected with other magi-
cians, including Gyngell
and Buck. The latter
was an English conjurer,
best known as the man
who was horribly injured
when presenting "The
Gun Delusion." . This
consisted of having a
marked bullet shot at the
performer, who caught
it between his teeth on
a plate, or on the point
of a needle or knife.
Some miscreant loaded
the gun with metal after
Buck had it prepared for

the trick, and the unfortunate performer's right cheek was

literally shot away.
In 1828 Jules de Rovere, a French conjurer, whose

fame rests principally on the fact that he coined the new

title "prestidigitator," appeared at the Haymarket Thea-

[128]

Tk* SJEVR pffARLES will perform the folhmimg Sctntt,

Pm. I. Tk ■edcrk PkHoMphw ; or i Disl«g«« bctwcM Ivo Mm of Iriwii

•ad Iketr !«*«•• , « TymVt^m.

II. IN«locwbcl-«««KckMu. bi.nifHci.1.. .Prwii4,UMia«r.M fW »W

III. Tb« WiM Hcrch*M aad bw Scrrul, wbot. voice »UI b* b*«4 kom th*

bMMnofa&ltor IW FWtm

iV. A INalaciM him a trialow, with ■ pcnoa' ia tba Str«« ; whia tbc viadav k aaaa.

THE VENTRILOQUISM will be prec«d«d by lereral very unatijg PeA
formanccs, and Mechanical and Scientific Gaiiiet,hiKhly intereatinir: aiiiaa*
which •III b« a / -8. ««iii»

i; A MECHANICAL AND SCIENTIFIC CLOCK,
.t. The RuMiaR Inn, sot of w.hicb come* a little Woaun wd brian tb«
liquor demanded for.

4. A mort. wondaiAil Mechanical Chett of Draircn.

5. 'a curious TrarclAaK Trunk.

6. Three Bell*, a U«c|ianical Game, which will

And tereral tourt d'addrcMc.

nwli4l>yW.CI(fir|*. Hfrikai

A Charles poster dated about 1829 in
which the Russian Inn and its obedient
little figure are featured. From the
Harry Houdini Collection.

THE PASTRY COOK OF THE PALAIS ROYAL

tre, London, and also toured the English provinces. A
clipping from the Oxford Herald of that year includes
this description of his automaton: ^^One of the clowns
vanishes from the box, and instantly at the top of the
hall a little lady, in a little hotel brilliantly illuminated,
gives out wines and liquors to them who ask for them,
without any apparent communication with the artiste,
and yet the lady is only six inches high."

In the late 30's Rovere made his headquarters in
Paris, and there he and Robert-Houdin met. The latter
refers to this meeting on page 153 of his "Memoirs,''
when writing of the misfortunes which had overtaken
Father Roujol, whose shop had once been headquarters
for conjurers: "Still I had the luck to form here the
acquaintance of Jules de Rovere, the first to emplov a
title now generally given to fashionable conjurers."

And after Rovere, Phillippe, who is by far the most
important presenter of the Pastry Cook of the Palais
Royal, as bearing upon Robert-Houdin's claims.

For Phillippe's early history we must depend largely
upon Robert-Houdin's "Memoirs." According to these,
Phillippe started life as a confectioner or maker of sweets,
and his real name was Phillippe Talon. According to
an article published in U Illusionniste in January, 1902,
he was bom in Alias, near Ntmcs, December 25th, 1802,
and died in Bokhara, Turkey, June 27th, 1878.

Like many a genius and successful man, his early
history was written in a minor key. According to Robert-
Houdin his sweets did not catch the Parisian fancy, and
he went to London, where at that time French bonbons
were in high favor. But for some reason he failed in
9 [129]

THE UNMASKIXC; OF ROBERT-HOUDIN

London, and went on to Aberdeen, Scotland, where he
was very soon reduced to sore straits. In his hour of

Reproduction of pastel nortrait of l*lnllipi)e. Only known likeness of the
conjurer in existence. -Maae for him by a Vienna artist. Original now in the
Harrj' Iloudini Collection.

extremity his cleverness saved the day. In Aberdeen at
the same time was a company of actors almost as unfortu-
nate as himself. They w^ere presenting a pantomime

[130]

THE PASTRY COOK OF THE PALAIS ROYAL

which the public refused to patronize. The young con-
fectioner approached the manager of the pantomime and
suggested that they join forces. In addition to the
regular admission to the pantomime each patron was to
pay sixpence and receive in return a paper of mixed
sugar plums and a lottery ticket by which he might gain
the first prize of the value of five pounds. In addition,
Talon promised not only to provide the sweets free of
cost to the management, but to present a new and start-
ling feature at the close of the performance.

The novel announcement crowded the house, the
pantomime and the bonbons alike found favor, but the
significant feature of the performance was young Talon's
appearance in the finale in the role of "Punch," for which
he was admirably made up. He executed an eccentric
dance, at the finish of which he pretended to fall and
injure himself. In a faint voice he demanded pills to
relieve his pain, and a fellow-actor brought on pills of
such enormous size that the audience stopped sympathiz-
ing with the actor and began to laugh. But the pills all
disappeared down the dancer's throat, for Talon was
not only an able confectioner and an agile dancer, but a
sleight-of-hand performer. From that hour he exchanged
the spoon of the confectioner for the wand of the magician.
The fortunes of both the pantomime and Phillippe, as he
now called himself, improved. Quite probably he re-
mained with the pantomime company until the close of
the season and then struck out as an independent per-
former.

Another story which is gleaned from a biography of
John Henry Anderson, the Wizard of the North, tells

[131]

THE UNMASKING OF ROBERT-HOUDIN

how PhiUippe started his career as a pastry cook in the
household of one Lord Panmure, and I quote this Hterally
from the Anderson book, because I beHeve it to be truth-

STRAID THEilTRfi,

OPBIf ETBmT BVENUfO.

MODERN WIBACLES.

MAGICAI. JDEIiVfitlOIVS :
mUOMOSES 'MD'lsfMfSHnG DECEPTIOIS.

TV rint Pmrt iit/f nil m w,n
'n0F>r^ymM\^UrmMt,mMatAJminJO,t,mmi nluhd ik,

BRAND DUTRIBU TION OP TUB NA TIONAL FLAG III

km latortal m€ *•■ Mlaitlva tectovMi •••!• r^rt.
PART II.

nrHB IV BIT. BALLirr DlYEB^riSSBMBW*

RICHE D'AMOUR.

rurintPmrt

Tk* M«UBO<j>kMM ^ or, ilw CwV»««l Ckmiim— Tte lonfan Hu Miiktr iii
Tk« OalbM CwrfwttoMt I or, Toa niiab't Ri<«l. ud Uw LUhiMMa Bw

•IbM CwitMtooMti or, Tom n<iab't Ri<«l. ud Uw LUhsoiua Bw M>>J-1t1w LMTMd Vaamk— A* ThSt^il
Ootm .« llM SM-Tk. .j^n cr P.P* Ur»-A Km l,i»am U ■Mkwf S.mimui . k«i kxi l«t tltVllMiir

Itii<>lu4, (■• KahO ANUELO CHI VRIM.

lini>.w.rt..riA>B«BK.»<gfaMfrWiKr< LB BINUET OP LOUIS XV.

PART III— THB EKTRAORDISARY "

AMiSBICAJN BROTHERS

A NIGHT IN THE PALACE OF PEKINi

U • hick M. nullippt • ill pwfocm lOKM of ik« ow« C>tr<0f4iMfy Tour> d' Admw. tMl.d«( kit mm bnUUol ••d |MMkM

ii\Duni km eniNESE feats!

i<ad cewViof V (A« Mi( —rfrUini Full ntr lUmflrd ty my E*nf4*m, —lUUd
•ft.. EnckMtod On>io-Tk. M.Mio Sapr Uif niul Fliioj Hi»dktrckirfi-ll*owit Hoc ud iko Rm* af KacJMd. ftw

Xh ..II ^ff- • »«><>'«k ck.wk..7 •• wi c<.«.«.r-ko »«i du« Ik. H.,ki«a Ft?«-^i.?fcr' ■?&•'

P.r.[>huK>»M I or, Tk« Cook Boucktd-— Tk. Hm of Good Fortya.— E»ilc« >ad lat.k..«ibUP n hiiM> McMnf

' " ^ Ik. Ofaad Earoi,... Baiaat tad Piodigwa. D««iifc««i. of FloraS Odta. _^

Tk. E"ltrtM~"i -ll eo.cl«d. -.Ik, EACH EVEMNO, ika Arto«aAa£*aJ Surpwa. !««.■•. M;5l«i__

LES BASSINS DE NEPTUNE ^OI§SilNS VOR

AIVD VHB eBAWD IMElVAGEBlEtt

1} prMwand la k lk« bom iMiplieabU Toua. oa P»t««u« tt.r .t.on.d, aiid .kKk hato Nifktir bMa

Doon t« b* •paaod at a Qvaitafpaat 7. PatfeiDianca to commeae* Oaaitai (o 3-

■• nt .loK Pr*.r(»« u«UaiW< A,ml EUtrttimmnl im Um*%. tod mtt t< m» f tt tthneii H* PMt€ Fnm

0r ntatofl PrtfTtmm, a ikt mnl ^■ytl Buti

TtrMj, <ni ha/la M dttrtifUf.

M. PUIlXIPre wVL h D-m, aad >■ aoaaMtaM. af Ik. imKau sifla.a vkwk kai. lll M dld ka
m. rauMrr. -». 1 ^^,„q pwfljiuijMceS, (ha . ORAWD

Jfuveniie Bntertainment,

BVBBY VHVBSDAW IllOBlVIA«,

C OMVI^ENCIWO AT TW O O CLOCK.

rl!?Sf»!i?^iTS»SSw^^^ M *• »«-4» rf •«- Tk-w. .i«k ■ f.' «~- '•«■"»*■•» i -J « "ircmeu*

'"••"* •'^' ll.jJUbna.WUS''^*""'- . . ..,»..« ^.

— -^ *. iokrfoa, •■>aHaa (WW rrm^" C*. t>. Hutmt Um,

Poster used by Phillippe during his engagement at the Strand Theatre, Londcm,
1845-46. From the Harry Houdini Collection.

ful, as material gathered from Anderson literature has
proved to be:

[132]

THE PASTRY COOK OF THE PALAIS ROYAL

"It was at this time that he came in contact with a
person who afterward, under the designation of M.
Phillippe, became celebrated in France as a magician.
Phillipee (for so was he named in Scotland) was origi-
nally a cook in the services of the late Lord Panmure.
Leaving that employment, he settled down and remained
for a number of years in Aberdeen. He heard of the
fame of the youthful magician, was induced to visit his
^temple/ and was struck with his performances; and
having made the acquaintance of Mr. Anderson, he
solicited from him and obtained an insight into his pro-
fession, and fac-similes of his then humble apparatus.
Phillippe improved to such a degree upon the knowledge
he thus acquired that, leaving England for France, he
earned the reputation of being one of the most accom-
plished magicians ever seen in the country."

The date of his initial performance is not known, but
he must have remained in Scotland, perfecting his act,
for the earliest Phillippe programme in my collection is
dated February 3d, 1837, when he opened at Waterloo
Rooms, Edinburgh, and announced:

"The high character which Mons. Phillippe has ob-
tained from the Aberdeen, Glasgow, Greenock and Paisley
Press, being the only four towns in Britain where he has
made his appearance, is a sufficient guarantee to procure
him a visit from the inhabitants of this enlightened
Metropolis, where talent had always been supported when
actually deserved."

Evidently, however, Phillippe made rapid progress, for
a programme dated Saturday, April 21st, 1838, shows that
his last daytime or matinee performance in Waterloo

[^33]

THE UNMASKING OF ROBERT-HOUDIN

Rooms was given under the patronage of such members
of the nobility as the Right Honorable Lady Gifford, the
Right Honorable Lady H. Stuart Forbes, etc. In an

PhilHppe and his Scotch assistant, Domingo. The latter became famous
as a magician under the name of Macallister, introducing in America Pbil<
lippe's gut show. From a lithograph in the Harry Houdini Collection.

[ml

THE PASTRY COOK OF THE PALAIS ROYAL

Edinburgh programme, dated probably 1837, he ^s shown
as performing his tricks, clad in peculiar evening clothes,
knickerbockers and waistcoat matching, with a mere
suggestion of the swallow-tail coat. In his 1838 bill
he is shown clad in the flowing robes of the old-time
magician, and he advertises the Chinese tricks, notably
the gold-fish trick, which demanded voluminous dra-
peries.

According to Robert-Houdin, Phillippe built a small
wooden theatre in Glasgow. Humble as this building
was, however, it brought a significant factor into Phil-
lippe's life. This was a young bricklayer named Andrew
MacaUister who had a natural genius for tricks and
models, and who became Phillippe's apprentice, later
appearing as Domingo, his assistant on the stage, wearing
black make up.

In either Edinburgh or Dublin Phillippe met the
Chinese juggler or conjurer who taught him the goldfish
trick and the secret of the Chinese rings.

Armed with these two striking tricks, Phillippe deter-
mined to satisfy his yearning to return to his native land,
and in 1841 he appeared at the Salle Montesquieu, Paris.
Later, the Bonne-Nouvelle, a temple of magic, was
opened for Phillippe in Paris, and there he enjoyed the
brilliant run to which Robert-Houdin refers in his
"Memoirs."

Phillippe was an indefatigable worker and traveller,
and one brilliant engagement followed another. During
the 40's he appeared, according to my collection of pro-
grammes, all over Continental Europe, and in most of his
programmes this paragraph is featured:

[135]

THE UNMASKING OF ROBERT-HOUDIN

'' Part III.

"An unexpected present at once gratuitous and laugh-
able, composed of twelve prizes, nine lucky and three
unfortunate, in which the general public will participate."

He also continued to distribute bonbons from an in-
exhaustible source, probably a cornucopia, calling this
trick "a new system of making sweetmeats, or Le
Confiseur Modeme."

During his first engagement in Vienna he had painted
for advertising purposes a pastel portrait, showing him
clad in his magician's robes at the finale of the goldfish
trick. From this picture his later cuts were made. By
some mistake he left the original pastel in Vienna, where
I bought it at a special sale for my collection. It re-
mains an exquisite piece of color work, even at this day.
So far it is the only real likeness of Phillippe I have
been able to unearth.

In 1845-46 he was at the height of his popularity in
London, where he had a tremendous run. In June, 1845,
we find him playing at the St. James Theatre, under
Mitchell's direction, and on September 29th, under his
own management, he moves to the Strand, where he is
still found in January of 1846. During all this time he
featured The Pastry Cook of the Palais Royal under the
title of "Le Confiseur Galant."

As proofs that Phillippe used the pastry-cook trick both
before and during Robert-Houdin's career as a magician,
I offer several programmes containing accurate descrip-
tions of the automaton, and also a page illustration from
a current publication dated Paris, 1843, which shows the

[136]

THE PASTRY COOK OF THE PALAIS ROYAL

confectioner or pastry-cook standing in the doorway of
his house, while the key explaining the various tricks

c a

•s *

cd O

• s

5 a

flj"-^

^HH

^-: L

^^ r**

•So'

tC od

-'i

^ ■ at

.«

-Z^.

B? ^

x'i

-^ 2

= t^

.fe ^

^1*

c;q*

= T^

[± =

33 «

*^a

'flj »^

J^t
^^-

1^^

■7^'V

Ssi

^'S-

n
£^i

t-2^
^*a

32'

?1J

f: -S Ji

piFl

-fc.

,.^l

EP .

6 "3

^»

r ^

ce."

h-^

J!:^

III

^ ^

Si 3

^s^

p.«

reads: "No. 9.
impromptu."

Le Confiseur galant et le Liquoriste
[137I

THE UNMASKING OF ROBERT-HOUDIN

Robert-Houdin devotes nearly an entire chapter to the
history of Phillippe and a description of his tricks and
automata, yet curiously forgets to mention the pastry
cook, which he later claims as his own invention.

Ernest Basch, formerly of Basch Brothers, conjurers,
and the richest manufacturer of illusions in the world,
claims that the original trick is now in his possession.
Herr Basch is located in Hanover, Germany, where he
builds large illusions only. The wonderful mechanical
house passed to Basch by a bequest on the death of
Baron von Sandhovel, a wealthy resident of Amsterdam,
Holland. Von Sandhovel had bought the trick from
the heirs of Robert-Houdin on the death of the latter,
because he believed it to be the brain and handwork of
Opre, a Dutch mechanician of great talent. Ernest Basch
shares this belief, and with other well-read conjurers
thinks that Opre was Robert-Houdin's assistant and built
most of his automata, including The Pastry Cook of the
Palais Royal, The Windmill or Dutch Inn, Auriel and
Debureau, The French Gymnasts, The Harlequin, and
The Chausseur.

Opre was a man of ability, but lacked presence and
personality properly to present his inventions. So far
I have found his name in three places only: On the
frontispiece of a Dutch book on magic, published in
Amsterdam; in Ernest Basch's correspondence about
conjurers; and on page 77 of Robert-Houdin's "Mem-
oirs," when he speaks of Opre as the maker of the
Harlequin figure which Torrini asked Robert-Houdin
to repair during their travels.

With such convincing proof, some of which was con-

[138]

THE PASTRY COOK OF THE PALAIS ROYAL

temporary, that other men had exhibited The Pastry Cook
of the Palais Royal in its identical or slightly different

^Tm^p

■^\

H^«>*'^^TT

If ^''

^lIj

fi^

. ..

.'■ — ^ 1

^g»%'

Ernest Basch and "Le Confiseur Galant," which he claims is the original
Robert-Houdin "Pastry Cook of the Palais Royal.*' From a photograph in
the Harry Houdini Collection.

guise, it was daring indeed of Robert-Houdin to claim
it as his own invention.

The most direct information regarding Opre comes

[139]

THE UNMASKING OF ROBERT-HOUDIN

through that eminent family of conjurers known as the
Bambergs of Holland. At this writing, ''Papa" (David)
Bamberg, of the fourth generation, is prominent on the
Dutch stage, and his son Tobias David, known as Okito,

of the fifth generation, is a
cosmopolitan magician, pre-
senting a Chinese act.

According to the family
history, traceable by means
of handbills, programmes,
and personal correspond-
ence, the original Bamberg
(Eliazar) had a vaulting fig-
ure in his collection of au-
tomata in 1790, fifty years
before Robert-Houdin be-
^ ^^^^^^^ came a professional enter-

M ^^^^^^ I tainer. This figure was

made by Opre, to whom
all conjurers of that time
looked for automata and
apparatus. David Leendert
Bamberg, of the second gen-
eration, who also had the vaulting figure, was the inti-
mate friend and confidant of Opre and was authority
for the statement that Opre's son sold in Paris the
various automata made by his father, which later Robert-
Houdin claimed as his own invention. It may be noted
that Robert-Houdin never invented a single automaton
after he went on the stage in 1845, and as Opre died in
1846, the coincidence is nothing if not significant.

[140]

second generation of the Bamberg
family. Born 1786; died 1869. The
above daguerrotyne was presented to
the author by Herr Ernest Basch,
and is the only one in existence.

CHAPTER V

THE OBEDIENT CARDS — THE CABALISTIC CLOCK — THE
TRAPEZE AUTOMATON

The Obedient Cards,

TO trace here the history of three very com-
mon tricks claimed by Robert-Houdin as his
own inventions would be sheer waste of time,
if the exposure did not prove beyond doubt
that in announcing the various tricks of his repertoire as
the output of his own brain he was not only flagrant and
unscrupulous, but he did not even give his readers credit
for enough intelligence to recognize tricks performed re-
peatedly by his predecessors whom they had seen. Not
satisfied with purloining tricks so important that one or
two would have been sufficient to establish the reputation
of any conjurer or inventor, he must needs lay claim to
having invented tricks long the property of mountebanks
as well as reputable magicians.

The tricks referred to are the obedient card, the
cabalistic clock, and the automaton known as Diavolo
Antonio or Le Voltigeur au Trapeze.

The obedient-card trick, mentioned on page 245 of
the American edition of his '^Memoirs," as **a novel ex-
periment invented by M. Robert-Houdin," can be found
on the programme of every magician who ever laid claim
to dexterity of hand. Whether they accomplished the effect

[141]

THE UNMASKING OF ROBERT-HOUDIN

by clock-work or with a black silk thread or a human
hair, the result was one and the same. It has also been
worked by using a fine thread with a piece of wax at the
end. The wax is fastened to the card, and the thread draws
it up. The simplest method of all is to place the thread

Card trick as featured by Anderson in 1836-37. From a poster in the Harry
Houdini Collection.

over and under the cards, weaving it in and out as it were,
and then, by pulling the thread, to bring the different
cards selected into view.

So common was the trick that its description was
written in every work on magic published' fi'Om 1784 to
the date of Robert-Houdin's first appearance, and in at
least one volume printed as early as 1635. The majority

[142]

THE OBEDIENT CARDS

of French encyclopaedias described the trick and exposed it
according to one method or another, and Robert-Houdin
admits having been a great reader of encyclopaedias.

The trick first appears in print in various editions of
^* Hocus Pocus," twenty in all, starting with 1635. The
majority contain feats with cards, showing how to bring
them up or out of a pack with a black thread, a hair
spring, or an elastic.

In 1772 the rising-card trick was shown in Guyot's
"Physical and Mathematical Recreations,'' also in the
Dutch or Holland translations of the same work. In
1 791 it was minutely explained by Hofrath von Eck-
artshausen, who wrote five different books on the sub-
ject of magic. The fourth, being devoted principally
to the art of the conjurer, was entitled *^Dic Gauckel-
tasche, oder yoUstandiger Unterricht in Taschenspieler u.
s. w.," which translated means "The Conjurer's Pocket
or Thorough Instructions in the Art of Conjuring."
The title was due to the fact that in olden days conjurers
worked with the aid of a large outside pocket. The five
books, published under the general title of " Aufschliisse
zur Magie," bear date of Munich, Germany.

On page 138 of the third edition of Gale's "Cabinet of
Knowledge," published in London in 1800, will be found
a description of the rising-card trick as done with pin and
thread, and the same book shows how it is accomplished with
wax and a hair. This book seems to have been compiled
from Philip Breslaw's work on magic, "The Last Legacy,"
published in r782. Benton, who published the English edi-
tion of Decremps' famous work on magic, exposing Pinetti's
repertoire, also described the trick. "Natural Magic," by

[143]

THE UNMASKING OF ROBERT-HOUDIN

Conjurer Unmasked

Reproduction of frontispiece in Breslaw's book on magic, "The Last Legacy,"
published in 1782. Original in tiie Harry Houdini Collection.

[144]

THE OBEDIENT CARDS

Astley, the circus man, and Hooper's "Recreations," in
four volumes, published in 1784, expose the same trick.

As to magicians who performed the trick, their names
are legion, and only a few of the most prominent conjurers
will be mentioned in this connection.

The man who obtained the best effects with this trick
was John Henry Anderson, who startled the world of
magic and amusements by his audacity, in 1836, nine

J. H. Anderson's birth place as drawn by him from memory. The follow-
ing is written under the sketch in his own handwriting: *' A rough sketch of
the farm house called *Red Stanes,' on the estate of Graigmyle, Parish of
Kincardine 0*Neil, Aberdeenshire. The house was built by my grandfather,
Jc^n Robertson, in the year 1796» and in it I was born on the 15tli day of
July, 1814. John Henry Anderson." Photographed from the original now
in the possession of Mrs. Leona A. Anderson, by the author.

years before Robert-Houdin trod the stage as a pro-
fessional entertainer.

Anderson was bom in Kincardine, Scotland, in 1814,
and started his professional career as an actor. He must
have been a very poor one, too, for he states that he
was once complimented by a manager for having brought
bad acting to the height of perfection.

Anderson was first known as the Caledonian magician,
then assiimed the title of the Wizard of the North, which
10 [ 145 1

THE UNMASKING OF ROBERT-HOUDIN

John Henry Anderson, wife and son, from a rare photograph taken in
1847 or 1848. Said to be an especially good likeness of Mrs. Anderson and the
only one extant. Photograph loaned by Mrs. Leona A. [Anderson, daughter-in-
law of the '* Wizard of the North."

[146]

THE OBEDIENT CARDS

he said was bestowed on him by Sir Walter Scott. Thomas
Frost belittles this statement, on the grounds that Scott
was stricken with paralysis in 1830. However, Anderson
became famous in 1829, so he should be given the benefit
of the doubt. He was the greatest advertiser that the

VlC TOttlAHOOMa, HP LIo

UkST.WEEK

CRE AT MA CICIAIU

• WBKFOtlmOK0 Df HULL*

•k<MlSMli«rik«fclM%lh| BMk Dilto, 1«.| GaJlery.SlzpcaMMlf

O H 9u:m or Tin amts ■▼gMiMol

« aP LBWB lB CHABfGBgf NBCROMANCTl

^MYSTERVAWIHACICt

mmmBMBBB-sor t9w m^mt twBBKa.

•■««|M«iMBirClHfti "' ■ ^k;^.-»^»..H| .. — J -.-;-■ ,^.-^ ....— - ,^

kMj ■■ Iter lilk (raiatiB n KvHUf BBows.Mk Uii*>Ta]

■ Veiy Mueposter of 1838 in which Jolin Henry Anderson is billed as "The
Cneat Mercian." From tlie Harry Houdini Collection.

world of magic has ever known, and he left nothing
undone that might boom attendance at his performances.
He started newspapers, gave masked balls, and donated
thousands of dollars to charities. He was known in every

[147]

or?

"S
a
es

e.
n

[148]

THE OBEDIENT CARDS

city of the world, and, when so inclined, built his own
theatres. He sold books on magic during his own per-
formances, and would sell any trick he presented for a
nominal sum. His most unique advertising dodge was
to offer $500 in gold as prizes for the best conundrums
written by spectators during his performances. To
make this scheme more effective, he carried with him his
own printing-press and set it up back of the scenes.
While the performance was under way, the conundrums
handed in by the spectators were printed, and, after the
performance, any one might buy a sheet of the questions
and puns at the door. As every one naturally wanted to
see his conundrum in print, Anderson sold millions of these
bits of paper. In 1852, while playing at Metropolitan
Hall, New York City, he advertised his conundrum con-
test and sold his book of tricks, etc., and such notables as
Jenny Lind and General Kossuth entered conundrums.

He was among the first performers to expose the Daven-
port Brothers, whose spiritualistic tricks and rope-tying
had astonished America. Directly on witnessing a per-
formance and solving their methods, Anderson hurried
back to England and exposed the tricks.
' To sum up his history, he stands unique in the annals
of magic as a doer of daring things. He rushed into print
on the slightest pretext, was a hard fighter with his rivals
and aired his quarrels in the press, and he was a game
loser when trouble came his way. Not a brilliant actor
or performer, he yet had the gift of securing excellent
eflFects in his mise en scene. He made and lost several
fortunes, generally recouping as quickly as he lost. He
was burned out several times, the most notable fire being

[149]

THE OREAT MAGICIAN,

y* Mr**^'c tramlfn.^ tSAurr Jim «i^,

IN TH E VICTORIA BOOMS, HULL,

MB. J. H. ANDKBSON, '

THE GREAT CALEDONIAN MABICIANI!!

FnVi Ika OMBj kn^ta

1 U| WaMct inrtt.

' |tn*M <MidMHU«w i A^ t hm K ^■-^— '■- b wjpf^&tf
*■ ^ PJUOtVBt"

- T« Mr J . fl. JLaiiUML,' IlJUUT, BirUMAM lit, J«$7,

Mr. J. K. A^dfnw ]4clJ5«*tii*4 lb* p*t| Whn «li«n ki ^HbrBid kN Nn^tnutui Fat*, ^ U^*^ Cbl^«- Hir kP tkr
■r «f lit An J U«f« >« PIT ftv J uri ^ b Hpiw «r bfk *dwMtk4 ^i^r Lk lalcBf^ ud tkM^ lip 1e^
tiimuutil'llukelij', J-B. MnhhET, tw.

(iFJietdt CLlFFUko, Tj^.
QEiJRak JikKhY, Cal^tlVB dwriiL

i*T^—amw party bv> lUl »i«M^ wteHferl JVOT pvrfcn
»• kr cl^ uj iriWr flii Mm mtW lU 1 r<vt ■«, nOHf M 1
-TiMr.J.F- *--"—-

on mOMIlAY EVENIMG, ^RIL 30, 1838, 4t CVfERY EVEMING DURING THE WCilL

Hi M*g;lriu> EatcriHBJiBm- trill iruqmip^rr *r tjf hi a'ckifV fr«<?^j.

DYING AND LiyiNC BOW,

Jp^l^ i:kE UlfL-ii Slirdi -Hill W |i1V>J 'in ■- >'i

*«^ n>J;r, "^n *b* 4i«f*ci^ u rl i iTni »n- '-r rir« -™ ?-t mnm m»^.

jf— rtrlirHiST-^nm C l i II I l€k **" 1 1 !' II fkfljhr '!'>!::!'

n. UuHlu *<U nSS^ hr Wm*rtMrm<-^ *f IKWCD HCUT t
^^ X^ttlftlC lAPHItTI

ft^Ciiwii. HU' rLBiUMm — vIK *t ^ rkwhff" IW II^H'-Crt-^i wifl rhiiff Ibeji

■MWpiliiii ii»»*M*1«^^ l-Mh mtfwltk ki. MjMta ir«4, »<1ES tJvU
WAEHUIULr CIWjWn MVL he mi->,n [H THI HEJhllT Of AM
^J'hXKUE I

CAnO EXPERIfflENTS.

THE M\ ^^Tir r AllGET.

Hlt'Ell^ A HEBri£;TE'

NAPOLEOIfft TRICK !

« l^irb >■■ l..il* ■uaiJntklHlh r™rfT4l-V llri -i™* =1^1 li» ^rmnmiMTT. TWj

^,',:-,-^*i,rc^-4i wiijrj:*ci,jr riw: AAetB-/ fcHH*«,fr

« If At ESI

!]>(]r UDNHoti.

tl* £b^ i^^v If bat* MJibB «**(>■ UF J d>i, tW ~>r ^ ' '. ^ iW

i:^ J U-i n.pwPt itaDHV Ika 9h3iU rri .11 k»* . Ji;Lt. «. .« k* .^ri^ ki Ik*

M^ h i^t iskbv 1^1 lb» tb iMJEAV^L>l !:< UJ tfM.

!4'<xn^iain"viia 11,1*4 HiU| IfiMIi-hmb. ■i.bh m. . Tunl. wicbf4 ri^p^^

JvBf Ifai n ilrfL ft (k T.rdi rtiibMo.

FLVmc HANDKERCHIEFS.

Hwkim mJQ ^f LABii liJt N OKtUlHIE^ tQ FLY 1-^ >

lUCTHmO EfiCSL

T\t kTi«kl« >4 bwe* t«a «MWf k Mk «r l^itvTkfs i^VliI kt « !■ Ibi ' tn«
E^ ■•in k. TmUfteFL 4U IB Ik HaAtel uTib UMi^dfeD Ik* .Ib^ !■ lb iWM ;

41 4b« ^ lb U<j< In iPkldi rf Or ^ig. bt i^bFFB ibS .flAK, .^ ik.7

lftdc«I Ik lb £n rfcscl lb Unj P*->f ,

.. J^ WATC^JN A LOAF. ,_^_,

£aj^«l»VT If .t H EK'» FHOr 1N TEIE TWKH.

THE TWO LEARNED HALF-CROWNS.

Iirk»1| I.IU u^n IHf BWtMkik pU 10 tkim^ wmi <J>rt M lb I'^r* ri I MMI l
^1j w^^ b> bM^ bU, Tu I.T* U nki In lb UtltCtHb, vUk

Tliii ^Cif^iliii >fl komv Tkfu Huifbwkuk, <m Ahs • [hhIt ^^ tw« tmm

i-^tiwmrvi IkHLHHDHptf ib *^irtF «.te« PU PtJS t* tPHApi^J : lb
MAK[>KUr»IE7 EUinCES AT Tiin^ CaUMUTCT II THE HtlirldAPf
tSrfU THE ?il4Jj lb m»pV- Am*t,*r4 wW .*j>br U. Eb^ liENUl^E

-^^ _vi>- HKXk Itr UbOBibkh *!■ afiBa 1 1

ii..dkori^& w JI h. kw.n<ri A-p» An* (WkH™™. Tt KU,k>b hD bd b.
SlyHt llui^ IS .b.ir\ te wfll dlwrlte JiMi I ^^U . k^ *iiJ Err ^ b BuOk n«.
4f[^^^ sht tt4iat wll W kn^ bl Ik hK^«fc.n4w<• «rpv

■ n[?(G T PKRroiiMAKC* tnj ttmiriii'liE *iTh

AX ORANGF. CHANfiED TO A LABT.

MJ^f frwilmiB irid. I IIhI pf ^-^ lli^

l«li«f«fitf«i*>#n*i-

■wiiiTimnitwriiir

Anderson billing of 1838, featuring obedient cards as "Napoleon's Tridt."
From the Harry Houdini Collection.

[ISO]

THE OBEDIENT CARDS

JfWr Stroma TtuMtref

"^"""TFOmA SBOlSr IBAflOir OHITI

ihlfUyami

,nB.

KOMDAT, tVB. 8, 1841,

AWirKVBRY BVBWINQ DURING THE WBBK,

]I1<^1I. JACOBS^

TUJmTLT CBJDUUTKD

ttoytH VbniHMomUBtf
nilDEBN HACaCIAN,

M IB mrOLM H IMPBOTZSATOBE,

■»tiMW<«WMtW«Mi l l<llli t « ^7a.JJ hUtt.ujyrwifc»l«MMS^*y>S'i»llt»«I.C

fg»lti lW."TW r iiiwiii. i 11 ^ y iMtat M. »y itew .1 Im h«». m < fc m ■JJT. liJiL. Ina^M^

Tb Av> uJUkd ly «e»tt ^mf XmAmt;

^B ArVABATTO inCMTjLV^JJiB^«OBea*V«,

■■■ I ji ^ T^ ii. n ii» ■iii<rfi»»*»»«wJSi.itiJg^iJt» I5 i|ih i ..iM.*.*i,..iSfl

"^ _____ PART I— IfTia THK OY W tT PMt _

■ TSAVBlUUrO CaSubT IHaTBIM" of VAmABUB.

— — ^i^n^ — »>■»■■ t»m » w

TMBIUOICreOESTAU QIC AN TIC D ICE.
etKCMSUM CAKa. UaONAPARTrS FBATHUt,

_ ..I BOLL AND HANDKERCHIEF. MYSTERIOUS WALNUTS.
C^mrm Otm mmd CkrA. 1%$ Rum mmd tFmUu^ Ruif.

PJtItT IL-- pyEBTL^lC

T8I: LANIII.ORD AT HOMBf

I tknlly C

^sExu

1, ^-^ in. _r f^K i>« fa ..^ ilTiiM ta ^HM- >ta ii ^

a^gtta ^Ni-4r^ y:'

M ■»■ at aiilM^Hs h. kr *. «*iM. i*. *. _

iffWiT— «^F'"

Jacobs poster, featurinfi; **TheTravellin|j
Card." From the Harry Iloudini Collcc-
tioa.

[151]

that of Covent Garden,
London, in 1 856. He was
liked in spite of his eccen-
tricities, but when he died,
February 3d, 1874, his
fortune was small.

Anderson had numer-
ous imitators, including
M. Jacobs, "Barney"
Eagle, and E. W. Young,
all of whom used the
rising- or obedient-card
trick. They copied not
only his tricks, but the
very names he had used
and the style of his billing.
All three of these men
were professional magi-
cians before Robert-Hou-
din appeared, and Ander-
son was his very active
contemporary.

A Jacobs bill is here
reproduced, showing the
card trick featured among
other attractions. The
lithograph of Jacobs used
in this connection is an
actual likeness and I be-
lieve it to be as rare as it
is timely.

^ T"F''M^

5
= « *

1 153]

THE OBEDIENT CARDS

MR. BARNARDO EACLE, THE ROYAL WIZARD OF THE SOUTH.

Frontispiece from Eagle's lxx)k, in which he exposes Anderson's ^n de-
ision. Said by Heniy Evanion, who knew Eagle, to be a fine likeness.
rom the Harry Houdmi Collection.

[153]

THE UNMASKING OF ROBERT-HOUDIN

Young's name has been handed down in history be-
cause he made money on Anderson's reputation, by the
boldest of imitations, assuming the title of Wizard of the
North with his own name in small type. One of his bills

is also reproduced.
8UK8nUBIMH8» Bamedo or ''Bar-

ney Eagle is the man
of the trio of the imi-
tators who deserves
more than passing no-
tice. He became An-
derson's bitterest ene-
my, and their rivalry
made money for th^
printers.

Eagle could neither"
read nor write, but hav-
ing a quick brain he
hired a clever writer to
indite his speeches and
duplicated Anderson's
show so closely that An-
derson's pride was hurt .
He therefore decided
to expose Eagle, and
thousands of bills, con-
stituting a virulent
attack upon his imitator, were distributed. One of these
is reproduced. It is so rare that I doubt whether another
is in existence.
As Eagle had advertised that he was patronized by

[IS4]

BEHOLD THE

flBEAT BDUUDO'S SRTEI OF IDOSmOl

ihU HypKti-mitr lliiniltu^ uji ^^1' i'4ii>'kiiTi4 the UiSf and
AiHrrtl^mpDiii. nf J. II. AM>E]KnO\, iJie [nvent4)r

of A BittiftPTlf 'ruuH I'fi-Hl itli|HtBtutn . wdll ^1 Lh^ HkC of Uk:
Gfi*Pt H izard nt ibr ^orlh 4 pcfiiliar ff^rhnk'B] |iiTvnj«>A.
¥lhkh lli:K\ADOtJiJj]biU in hh [liJU, ijLh iit^nal) yet

¥lhkh lli:K\ADOtJiJj]biU in hh IliJU, U'^ iit%in"<> J^'^
CMS iwUhrr ^^tnuUHHJV t*itr tiitfffrMianff the juti^jii]
ike tmint hj w Lii-ll tu- iniiLt f !h<^ Jill bl jr . .H n Ai\ D K R

r*B iwUhrr fit^Fmumtt t*<tr tmderntanft the tHeamttff iif
Ikif tei-m4 hj vv Lii^li tu- tmJL* i !h> »ii bl ir . H n A\ b K R Hf ft V
willtHi UCRI^AaO mn> huid. (Von, & KhiUiiMrta£tf4^ tti«i

he cannul rtad ifav AdvcTliM4-iiHijt in ih?

AflvertipicT,' of 11

Ulie A AiKhrr hct,

rwpir^ fnmi l]LK*(.nr. A'*) Bilk rircnkti'it in jl| utdH^ter,

va jnni»dBj. Nuf pmbfT JAnb.

BARNEY, when we last ntsty 1 merely nilM jomt

ifav AdvcTliM4-iiHiit in ih? " Hinninfffaun
TliHnicLij, l**Ui SfoT«nlirr. ^r A < will

. m plnck yop clean, not one ahall be left

thee to spread thy (Eagle) wings of impodtion.

Should Barney accept thb ehalleiure, the Msaey
win be spent at CHARLEY CHESHIRE'S.

An Anderson poster, exposing "Bamey"
Eagle's tricks. Only bill of this sort in exist-
ence. From the Harry Houdini Collection.

THE OBEDIENT CARDS

royalty, Anderson had another bill printed, showing
Eagle playing before the King at the Ascot race-track,
and an assistant passing the hat in mountebank fashion.
In revenge, Eagle had a book published, in which he
exposed Anderson's best drawing trick, The Gun Delusion,
in which the magician allowed any one from the audience

"BARNEValias the impostor WIZARD

OBTAINING ROYAL PATRONAGE ON ASCOT HEATH RACE COVRSt,

Wiiidow poster issued by Anderson to belittle his imitator "Barney" Eagle
and show how the latter secured royal i)ationage. From the Harry Houdini
Collection.

to shoot a gun at him using marked bullets. These
bullets were caught in his mouth or on the point of a
knife. This trick became as common as the obedient-
card trick.

In the face of such overwhelming evidence, Robert-
Houdin's claim to having invented the obedient-card

[155I

THE UNMASKING OF ROBERT-HOUDIN

FOR THE BBNEFTT OP

Miff. B,JBagle

Liut \igM of hU Engagement!
irUKtrf. «l«iiftltl»»

Tk« iolkmiit »:nnc« n »«■ A* !>•>« CmmW at Urakm ». ItM-

IJir.i^*l!17f^>i ••'•*• H%M!!i^

On FRIDAY E^eiiiog. Nov 9th. 1838.

Will k* iMwnic-t ik« Pmiw CMonly "( iW

CHreen-Eyed
JJUfonsler.

Signior Bernardo Ela^le

WILL ( OMMKNl K HIS ^rCOxO

GRAND DISPLAY OP ILLUSIONS-
IMRT FIRST.

Th> FnrluM.'d rtnlt-Th' Tanl ol Di«u.ii...<-Thr L«J>i Th.-wtlii. .1.«n,rrrJ »;

The Walking Carrfn,

IU*inpl>rr»P<rk»r(iH<>c>t' 't'.r»IMMj ..•■■and Uu^i. ■.< n« .(. Pfii«Kluul.r>
•w b« oM lo a ,ui>nd< r»Ur k. ighi iki< ■• («».J. r. J u. be aiw of ikr bra kii. < . .1 .iirufW^

TVie Enchanied Orange.

TMB MAOIO WINS BOTTLB.

THC EXTRAOROtNARV COW.CT OF tACCHUt WITH THK

CNCHANTCD WATER.

THE VtSIBLE AND INVISIBLE PIC.

Wkick ■» •rpeu M (lit Tiklr wkI .ntunii) ••n..h krfm ib< t}r. «( <h. AuJxbm
' any Gmilnnan't

Will

A LADV^ lUNOKF.HCHIEI^ *

rA«ii«f a QmOKlily 0) Copprr, taken <ml of My Gt
Petkrt, into Silitr. lie real Cnn of tkt Retlm

»M)Kf.KtHIEf •■II Uloiiiiac<m.»H "•"'""•"' '

TUJE CUEi^T

ur.LCMOM

OF DOCTOH MICHaKL NOSTKADAMIS. THE KRE.VCH WIZARD:

Th« mwdrHiil INnwa tnkxvti oik tki< I k.-<i ikum k/ mtii m k* kdxfxl.

THIS FAHI WILL CO.N'tl.lUE WITH

A Grand CHINESE EXPERIMENT.

NIMB MblD BTBBL .BINO*; , ^.„^...

BeWM Ik. Pa-tt •! .h' IH-.WM lu .."1 f«i» •>■ luh... T.W. ninM GINEVRA
0O.NATI;l.kt-i» • huk.kU Siijr. u r«i»a ky k.« on K«r.l 0(c»k.o. >■ ik.
PICKWICK CLl B. in U»J«i. »JA ii«i ifpUu". •k»»iiij ikr •d.rnium and >un<i«.
n oimt ikM k.pp.li.<l ID » CwilwrU ibw ««. irowblwl .llk m impKliiMnl in hi. .pwtk

PART SECOND.

Ht "ill pl»»l« trnworfumnr Tww ba • GnUra>in> W.icb. nnd ik>n h« mil ckuf*. kf
'i^STirfM— «hJ. .fc» W»fc i.b> . PIEBALD MOUSE. ALIVE. ^

THE ENCHANTED EGGS.

H< mil tMDnuia Sii dmIwI Em la dm Km tkt mtii>t o( ikr Rvsa. lk«* <kM(«

UMBMlm »io>EAuflFi:L WHITi: MICE.
H< -ai liknte wk< OM (f .ck« e£p due* • WtlM. ind ik«i Jl'MP JIM TROW,
Cnmct to Mum. k« «ill ikm ialndiMi bii tack«iiud Ind* Mw. >k* nil pk/ atajr
huy iMilt iiicki mik tka l«di«.

TRB ART OF GARDENING.

H« ■ill M* (onMB Pwiity SMd tn • tour pot ud rainiand u 10 (n» l> •• nnllni

Cnp k>«a«« lk« Eyn cf ik* AndMKt.
Ra •ill koXM « U4T'i Htadkmki<r. ud «i It HI pwm, kwiiii u ukM. •nd ib« fMMi
H I. kabodia Ika cabMaf^La^fia •■;?««>' >^ Tan tkaCaopui) cbaaaiMMaM

Supper far Mt^

H* ■m *7 PianhM to • PtiM't kai nikaw A* aid (T in. to til iboM •»• ckaaa a
TW MbfMMa nil aaMlaJ* •!*

THB GUN TRICK

A **Baniey" Eagle poster ou
which the obedient-card trick is fea-
tured as "The Walking Cards."
From the Harry Houdini Collec-
tion.

trick is nothing short of far-
cical.

The Cabalistic or Obedient
Clock

There might be said to exist
a very reasonable doubt as to
the exact date at which Rob-
ert-Houdin produced the caba-
listic clock which he included
among his other doubtful
claims to inventions.

On page 250 of the Ameri-
can edition of his /^Memoirs"
he has the Cabalistic Clock on
his opening programme for
July 3d, 1845, but in the ap-
pendix of the French edition
he states that the clock first
made its appearance at the
opening of the season of 1847.
In nearly all his statements
he is equally inaccurate.

The mysterious clock might
be termed the obedient clock,
for the trick consists in caus-
ing the hand or hands to obey
the will of the conjurer or the
wishes of the audience.

The hands will point to
a figure, move with rapidity,
[156]

THE CABALISTIC CLOCK

or as slowly as possible, or in time to music. In fact the
performer has full control of the hands — he can make
them do his every bidding.

The mysterious clock is a trick as old as the obedient-
card trick, if not. older. It was explained according
to various methods in books before Robert-Houdin's
appearance on the stage. In fact, the majority of old-
time conjuring books explain mysterious clocks carefully.

Before electricity was introduced, magnets were em-
ployed, but the earliest method was to make use of thread
woimd about the spindle of the clock hand, and that
method is still the very best used to-day, owing to its
simplicity. The clock, on being presented to the audience,
may be hung or placed in the position best suited to the
particular method by which it is being *^ worked."

It shows a transparent clock face, such as you see in
any jewelry shop. Some magicians utilize only one hand,
which permits the easy use of electricity or magnet, while
others employ two and even three hands. When more
than one hand is used the hours and minutes are indicated
simultaneously and, if cards are pasted on the clock face,
the largest hand is used to find the chosen cards.

The clock may be placed on a pedestal, in an upright
position, or hung in midair on two ribbons or strings.
It can be hung on a stand made expressly for the purpose,
on the style of a music stand, or it can be swung in a
frame. In fact, as stated before, it is usually placed so
as to facilitate the method of working.

When the cabalistic clock is taken off the hook or the
stand on which it is placed, and handed to one of the
spectators to hold, the latter places the hand on the pin

[157]

THE UNMASKING OF ROBERT-HOUDIN

in the centre of the glass face, and revolves it. The arrow
or hand is v^orked by a counterweight, controlled by the

M. Jacobs, magician, ventriloquist, and bold imitator of John Heniy Anderson.
From a rare lithograph now in the Harry Houdini Collection.

performer, who has it fixed before he hands it to the inno-
cent spectator. The clock can be purchased from any

THE CABALISTIC CLOCK

reliable dealer of conjuring apparatus, in almost any
part of the world.

For a clock worked by counterweight the hand of thin
brass is prepared in the centre, where there is a weight
of peculiar shape which has at the thin or tapering
end a small pin. This pin is fixed permanently to the
weight and can be revolved about the small plate on
which it is riveted. Through this plate there is a hole,
exactly in the centre. This hand has all this covered
with a brass cap, and, to make the arrow point to any given
number, you simply move the weight with your thumb.
The pin clicks and allows you to feel it as it moves from
one hole to another. With very little practice you can
move this weight, while in the act of handing it to some
one to place it on the centre of the clock face ; and when
spim, the weight, of its own accord, will land on the
bottom, causing the hand to point where it is forced by
the law of gravity. The plate on which the weight is
fastened is grooved or milled, so that it answers to the
slightest movement of your thumb.

When the clock is on the stage and the hand moves
simply by the command of the performer or audience, it
is manipulated by an assistant behind the scenes, either
by the aid of electricity or by an endless thread which is
wrapped about the spindle and runs through the two
ribbons or strings that hold the clock in midair. Some
conjurers work the clock so arranged as to make a com-
bination trick; first by having it worked by the concealed
confederate; then, taking the clock off the stand and
bringing it down in the midst of the audience. But for
this trick you can use only one hand.

[159]

THE UNMASKING OF ROBERT-HOUDIN

Years ago when I introduced this trick in my per-
formance, I called a young man on my stage and asked
him to place the hand on the spindle. It would then re-
volve and stop at any number named. But first I made
him inform the audience the number he had chosen,

^fS

The above diagram exposes the magic clock trick, as offered in the time of
Hofrath von Eckartshausen, a German writer on magic in the eighteenth and
the nineteenth centuries. Fig. 15 shows the clock in position for the trick, hung
against the rear wall or "drop. " Gaily-colored ribbons hide thin leather tubes
t&ough which run two sets of stout silk thread or catgut, connecting with
the hour and minute hands. The thread then passes uirough the two iron
rings, p and o in Figures 17 and 19, which are screwed to the ceiling; thence
to the hidden confederate, who manipulates the clock hands as the nour and
minute are announced by magician or spectator. Fig. 16 shows the two faces
of the clock, with the fine connecting rcii around wmch the string is woudn
to manipulate the hands. This mechanism is hidden by a flat orass band
which encircles the edges of the two transparent faces. From Eckartshausen's
"The Conjurer's Pocket," edition of 1791.

which gave me time to fix the weight with my thumb. I

then gave him the hand, but he was a skilled mechanic,

and possibly knew the trick. Instead of holding the

clock by the ring at the top, which was there for that

[i6o]

THE CABALISTIC CLOCK

purpose, he grasped the dial at the bottom, causing the
number 6 instead of 12 to be on top. When the hand
started to turn, of course it would have stopped at the

'Crm >J70NblERS ! WOl^DEKS! WONDER?! WON-
UEI^SI and WONDERS! are now t^ be [ttt\\n a Vc y
warm Roomi at ^o, 22, Piccadilly, ThUaiid ^ery day thi»
week) from eleven ire. the raor \^g ciU four in ihef AfXAT^
noun, and prccirsly aC feven ciocki every evening this week,

MR. KATTERFELTO will Ibow a varJery
of new furpriring Exjxiriments in Natural and Expc^
rimental Philufopby and Mathematics, and his wh'>le regular
Cojife of Philolbphical L ^irts ajc ddivftr-d in Twelve
diftcrent times, a difteient Leidhue and Expsfiinfnt every
day, «nd every eveniHg at 7 o'clcnrk. His various £xperi*
ments are as follow, viz.

PHILOSOPHICAL, I PNEUVCATIC,

MATHfMATlCAL, HrDXAULIC,

OPTICAL, I HyDROSTATIC,

MAGNETICAL, I PROETIC,

KLE'CTRICAL, j STE VOGR A PHIC*^

PHYSICAL, I BLENCICAL,

CHEMICAL, JCAPRIMANTIC ART,

By hit new-improved SOLAR MICROSCOPE,

Will be feen many furi>riring infe^ in different wate s, beer,

milk J vinegar,, and bloody and other cu.ious objeiis.
Mr. KATTERFELTO
H^^f ^ >i« Jtravtb itor.xJuE^ ?i|^»rTftwv y.-aw jiaft, ';«a?! tHc *ic-
n&tir x» »4Kibit iiritK gf«at applavfe before the Em^i^fs of
Au/Imb theC^een of Hnngary, the Ki-^g of PrulTu, Den-
mark, Sweden^ and Polland, and before many other
Prineet.

And afiCr his Le^re, Mr. fLatteifelto will fhow ard dif-
cover fiveralNEW DECEPTIONS, on."

DICE, CARDS,
BILLIARDS, T£NNIS,
LETTERS, MONEY,

WATCHESf CASKETS,

SILVER and GOLD,
BOXES, MEDALS.
PYR AMIDICAL GLASES
MECHANICAL CLOCKS

Admittance, front feats y* fecpnd feats 2S. back fvats
19. for fervaKts only.

Newspaper dipping of 178S, showing that Katterfelto used the cabalistic clock.
From the Harry Houdini Collection.

wrong number. I managed to escape humiliation by
pretending I was afraid he would break the clock by
letting it fall, so took it away from him, holding it myself.
II [ 161 ]

THE UNMASKING OP ROBERT-HOUDIN

Reprodu(?tion of rare engraving of Johann Nep. Hofsdnser, who invented
the clock worked by a counter-weight, and who was one of the worid's great-
est card tricksters. Original in the Harry Houdini Collection.

...i Jt
[162]

THE CABALISTIC CLOCK

The mechanic walked off the stage winking at me in the
most roguish manner.

Robert-Houdin worked The Mystic Bell trick in con-
nection with The Clock. This was manipulated in the
same way. The bell was worked with thread, pulling
a small pin, which in turn caused the handle to fall
against the glass bell. Naturally, having electricity at
his command at that time, he made use of that force
whenever it suited his fancy.

I am positive that Robert-Houdin presented the elec-
trical clock, because T. Bolin, of Moscow, visited Paris
and bought the trick from Voisin, the French manu-
facturer of conjuring apparatus. The trick which Robert-
Houdin pfesented, according to his claims, was with the
clock hanging in midair to prove that it was not electri-
cally connected, but the truth of the matter is that the
Strings which held the clock suspended in midair con-
cealed the wires through which his electrical current ran.

In my library of old conjuring books the thread meth-
od is ably described by Hofrath von Eckartshausen,
mentioned earlier in this chapter. In fact in the pictorial
appendix of this work he gives this trick prominence by mi-
nutely illustrating the same. He makes use of two hands,
and to make the trick infallible he explains that the best
way would be to use two glass disks, have them held
together by a brass rim, and your threads will work with
absolute certainty. The spectators imagine that they are
seeing only one glass clock.

Johann Conrad Gutle, the well-known dclver after
secrets of natural magic, also explains several cabalistic
clock tricks in his book published in 1802.

[163]

THE UNMASKING OF ROBERT-HOUDIN

I am reproducing herewith a number of programmes
describing the effect of the trick and proving that it was
no novelty when Robert-Houdin "invented" it. In fact
the trick was so common that only the supreme egotism

Ills

wmSi

- ,.^?^Av\iy'rf//^j- ;s«i

miisfmnmi^'^^^^

''^- .

MfeB

K^HWlH '1 "' ii r r

iiffliii

Reproduction of a triple colored lithograph. This section features Breslaw in
stage costume. Original in the Harry Houdini Collection.

of the man can explain his having introduced it into the
pages of his book as an original trick. The mysterious
clock worked by the counterweight, which has been

[164]

THE CABALISTIC CLOCK

described, is credited as having been the invention of
Johann Nep. Hofzinser.

In an advertisement, published in the London Post of
May 23d, 1778, included in my collection, this announce-
ment, among others of much interest, will be found :

"Part II. — Breslaw will exhibit many of his newly
invented deceptions with a grand apparatus and experi-

Katterfdto, the bombastic conjurer, who is famous for having sold sulphur
matches in 1784, before the Lucifer match is supj)osed to have Ix^ii discovered.
Reproduced from a rare copy of "The European Magazine," dated June,
1783, now in the Harry Houdini Collection.

ments and particularly the Magic Clock, Sympathetic
Bell, and Pjn^amidical Glasses in a manner entirely new."
In 1 781, while showing at Greenwood's Rooms, Ilay-
market, London, Breslaw heavily advertised, ^'Particularly
an experiment on a newly invented mechanical clock

[^65]

THE UNMASKING OF ROBERT-HOUDIN

will be displayed, under the direction of Sieur Castinia,
just arrived from Naples, the like never attempted before
in this metropolis."

There is every reason to believe that Katterfelto, the
greatest of bombastic conjurers, used the electrical clock
in his performances, as he made a feature of the various
late discoveries, and in his programme of 1782 he adver-
tises "feats and experiments in Magnetical, Electrical, Op-
tical, Chymical, Philosophical, Mathematical, etc., etc."
Among implements and instruments or articles men-
tioned I found Watches, Caskets, Dice, Cards, Mechan-
ical Clocks, Pyramidical Glasses, etc., etc.

Gyngell, Sr., the celebrated Bartholomew Fair conjurer,
whose career started about 1788, had on his early pro-
grammes, "A Pedestal Clock, so singularly constructed
that it is obedient to the word of command." On the
same programme (Catherine Street Theatre, London, Feb-
ruary isth,.i8i6) I find "The Russian Inn," "The Con-
fectioner's Shop," and "The Automaton Rope Vaulter."
This programme is reproduced in full in Chapter IV.

Without devoting further space to Robert-Houdin's
absurd claim to having invented this clock, we will
proceed to discuss his claims to the automaton rope
walker, which he called a trapeze performer.

The Trapeze Automaton

Though "Diavolo Antonio" or "Le Voltigeur Trapeze ^^
was not a simple trick, but a cleverly constructed au-
tomaton, worked by a concealed confederate, it was a com-
mon feature on programmes long before Robert-Houdin

[166]

THE TRAPEZE AUTOMATON

ROBERT-HOUDIN,

ST. JAMES'S THEATRE.

LAST T HREE PERFOBM ftllCES

TlM o«l*brat0a M. ROBSKT-HOUDIN wlU give his laerediblo
Delusions and Extraordinary

FAnTTAfSTiaVES

AT THE ABOVE THEATRE ^^

H
Q

TUESBAT Ef ENIH6, HARCH «,
lABSt Day Performance
WEBHESBAT HOXNINGi Harck 7

COMMENCijra AT HALF-PAST TfVO fTCLOCK,

AND

FAREWELL REPRESENTATION,

TmSIAT EVENING, HUCI t

J>aOR8 OPEN AT EIGHT O'CLOCK.

raiVATB BOXSS^OBCHFJSTRA STALLS, AND TICKETS. >» h McmM M .

■ Ik ■tvosat.it'a KOTAi. x.ib»a»t, aa. oiiD.aoaB avmaa*.

m IMV %md Mi^ fc fcMA SMl Urn^ bn'. H«o.uilX Auaon'iv AmnV. Lum> «ri OmT^ HumaX CUmuX ««
. . .!» ■■■U^mDmlf.lhmthmM/lm/tlmt^

Copy of a poster us°d by Robert-Houdin to advertise his trapeze perfonner.
Hiifl proves how accurately he duplicated the Pinetti figure, even to the ar-
rangement of floral garlands. From the Harry Houdini Collection.

[167]

THE UNMASKING OF ROBERT-HOUDIN

claimed it as his invention. Yet with the daring of one
who beheves that all proof has been destroyed, he an-
nounces on page 312 of the American edition of his
** Memoirs" that he invented ^'The Trapeze Performer"
for his season of 1848. In the illustrated appendix of his
French edition he states that the figure made its first
appearance at his Paris theatre, October ist, 1849. He
thus describes the automaton :

'^The figure is the size of an infant, and I cany the
little artist on my arm in a box. I put him on the trapeze
and ask him questions, which he answers by moving his
head. Then he bows gracefully to the audience, turning
first this way, then that; suspends himself by his hands
and draws himself up in time to the music. He also goes
through the motions of a strong man, hangs by his head,
hands, and feet, and with his legs making the motions of
aerial telegraphy."

Decremps in his expose, ^^The Conjurer Unmasked,"
published in 1784, thus describes the automaton and its
work: ^^Our attention was next called to observe an
automaton figure, that vaulted upon a rope, performing
all the postures and evolutions of the most expert tum-
blers, keeping exact time to music. By seeing Mr. Van
Estin wind up the figures, and being shown the wheels and
levers contained in the body of the automaton, caused us
to believe it moved by its own springs, when Mr. Van
Estin thus explained the deception: *To make a figure of
this kind depends a great deal on the proportion and the
materials with which it is composed : The legs and thighs
are formed out of heavy w^ood, such as ash or oak; the

body of birch or willow, and made hollow, and the head,

[168]

R^roduction of an illustration in "Aufschlttsse zur Magie,*' by Ilofrath
von E^ckartshausen, showing the automatic rope vaulter as exhibited in 1784
by Finetti. Original in the Harry Houdini Collection.

[169]

THE UNMASKING OF ROBERT-HOUDIN

for lightness, of papier-mache. The figure is joined by its
hands to a bar of iron, that passes through a partition,
and is turned by a confederate; the arms are inflexible
at the elbows, but move freely at the shoulders by means
of a bolt that goes through the body; and the thighs and

"Mr. BOLOGNA, Jim^ ^^
Mechanical £xhibitioD/

jgi ike Sans Pareii Theatre. Strand.

ilSfewnTBteiiiiig, V H" I iiTi'rHl^t'lSig,
Automaton Rope l^teefftT

idmittf

fjUR^fift^'Consi

nmcMt or MmatS^oi. cjujlmo.

I1LLIP1JT ISLAND; -«"«a

€fr Amicmuttem Shadowa,

rtkm from the IrnAj Aifanired Onihra Cbinolk

A GNMd IMvlaj of Expcrinemtiii

■navkabafilta tki PMdMiiaa oTMr. BOLOGNA. Jufat.

A Bologna bill of 1812, featuring the automatic rope dancers. From the
Harry Houdini Collection.

legs move in the same manner at the hips and knees, and
are stayed by pieces of leather to prevent them from
bending in the wrong v^ay. The bar is covered with hollow
twisted tubes, and ornamented with artificial flowers,
so as no part of it can be seen to turn ; the confederate

[170]

THE TRAPEZE AUTOMATON

by giving the handle a quarter of a turn to the left, the
automaton, whose arms are parallel to the horizon, lift
themselves by little and little, till they become vertical
and parallel to the rest of the body; if in following the
same direction, the other part of the body moves forward ;
and by watching the motions through a hole, he seizes
the instant that a leg passes before the bar, to leave the
automaton astride; afterward he balances it by jerks,
and causes it to take a turn around, keeping time with
the music as if it was sensible of harmony.

" N.B. — Three circumstances concur here to favor the
illusion: First, by the assistance of a wire, the confederate
can separate the bar from the automaton, which, falling
to the ground, persuades one it loses itself by real machin-
ery. Secondly, in winding up the levers shown in the
body, confirms the spectators in the idea that there is
no need of a confederate. Thirdly, the tubes that are
twisted around the bar, except where the automaton is
joined to it, seem to be the rope itself, and being without
motion, as is seen by the garlands which surround them,
it cannot be suspected that the bar turns in the inside,
from whence it is concluded that the figure moves by
its own machinery."

According to one of de PhilipsthaPs advertisements,
page 103, the trapeze automaton which he featured
was six feet in height. But Pinctti programmes show
that he had a smaller figure known as the rope vaultcr.
This is probably the trick exposed in Decremps'
book.

On page 108 will be found a Louis programme of
1815, on which a figure is thus featured:

[171]

THE UNMASKING OF ROBERT-HOUDIN

''Two Elegant Automata

"As large as nature, the one representing a beautiful
PoLONNESE, the other a little boy.

"Nothing can surpass the admirable construction of
these Pieces. The large figure seems almost endowed
with human Faculties, exhibiting the usual feats of a
Rope-Dancer, in the fullest imitation of life. The small
Figure is invested with equally astonishing powers of
action. To such ladies as are spectators it must be a very
pleasing circumstance that these exertions do not excite
those disagreeable sensations which arise from the sight
of Figures fraught with life, performing feats attended
with so much danger."

By referring to page 113 the reader will find a Schmidt
programme, dated 1827, ^^ which the figure is featured
as follows:

"The Rope Dancer,

"Whose surprising performances surpass, in agility,
attitudes, and evolutions, every Professor of the art, keep-
ing correct time to the music of the machinery."

A Gyngell programme, dated 1823, which is reproduced
in the chapter devoted to "The Pastry Cook of the Palais
Royal," page 125, reads as follows: " Two automatons,
one of which will execute wonderful feats on the tight
rope, and the other dance a characteristic hornpipe."

As Gyngell figured in the amusement world from 1788

to 1844, the little figure must have been tolerably well

known to the magic-loving public of England by the

time Robert-Houdin appeared in London in 1848.

A magician named York, who appeared in London in

[172]

Hi8~ Majesty's Royal Letiere Patent^
THEATRE OF ARTS,

Newljr ereiEted in the Circus, HULL,

fh f -• ■ " - -'-' " '—'■*•"««•* -^ ■■aNwtwi MICHAKICAL WOitKS, Il3}
-■ HTPKA UUC ABWOIT ATiC. ni OPTICAL CXniUMENTS. bjr

Mr.DePhilipsthal,,

IZ fhtM. a^ *te ktr l«w M* ••<P*a>idlr « ii>CM At NobUiir. Ontnr,. lad PaMic •!
iTAM^te f(H4 ar Sw •bM rhM «r AmSimm ia M ApM MMwr. fiw «>lubitH« Ma
rTri^— •■-! *— -^•~«^- 1 ■■=•■■■■■■«■■■•— -^ AKT. avraTbdan Im ia ikit Pbae, arf
SSTpaiM aflitowhy aa< Jwatw Mt w ii M . ■tiia tlia atwado. af lU lUalu. i«l pank-
_L -f iITflMaliMi If-"- r ^ * huiMwCUtlDceavcraaKiefaMidaaaf tka

tfClrfftaa^ ani Jw Watility i« taa<aii.lceAaJrif«lMA an* hiriy i« Mwlwfcr.
TWM nmlig^ittW

On MONDAY Evening November lo, 1806^

A^lVntT tVlWINC aiB *uuUt —i. wiA dw Mlo»ii^ iaiif ilwt O^mmt
aUCT IHGBMOUS PIECES IN

MECHANISM.

rSSmSmTSk UpSi/.m* tttimlmM-rvmmwA .kich *.| ft» iavtlal. ika
Mhain W f liiiiiw ii AmSnai ■

Two Elegant Automats,

EkiM UTTLE PAfLASsC^lMfc'W^'MNaimMa.dl

Kfc, pifferau u a ROPE DAMCER >■

d ikiMglMwi Bat«pe:— the other U in

i ami fumtn of AAiaa arc eqnally aloaiOuag.

The Mechanical PEACOCK,

AwrfliMfciJPiMafAnifcialA BiMli M w Mrt iminm. C) cMtlr. the Crin. Aaieni, lad
AMiMliiar ital tedx aadbcMiM IM. tkaifa •■ mi aafreqatmlr r«»oM lobeaaabfolaMtt*
'l fliiaiTt. y iat w ly miaaJ t» aft ae aa Md & g < tMp«i« a agoa ibe Pabiic.

The Magnetic Clock,

rovRTii nccc-THC iroNOHruL *:

ndby a ckanaeriAic Kgu

The Senfative WIND-MILL,

SBLWT IXPUillBNTS W

HYDRAULICS,

A ORAND

DISPLAY OF WATER-WORKS,

.Yte «taw lifa taa te iM «f dw toM^Mi^ faiariai iaco auny deUthiM Feaui^

/7fl^ OF DIFFERENT KINDS,

^ fc W^dMj Eliw a i h ttiaEr wM wpAwr w jh, CWiatof ihelViw. theWtitr
alfeakMH M ih* 6m Mgk a URft .iih CMdIts bamiaf .

FIRE-WORKS PLAYING,

%**■" ■f *"i *r ti I g.,. •„.,.,■ .>w^.-j.«ffTnTTrrfiiiiithiMniililiciM

T» -Xu •» ba adM fMial Origiaal bfcriiaeau in ihc SeiMM «f

OPTICS,

or WHKH HE » Tm SOLE mVBNTOR. 7
AHaapaaMlf aiMMadaiiSMni af

Thunder, Ligbtniog, &c. &c.

tWiMi wMb •!* I Ma «f «HiMi a«l iMdU MECHANICALiirfOmCAI.

FIRE-WORKS,

JHrpUyedl_in the Centre of a Tranfpafcnt Arbour.

A de Philipstfaal programme of 1806 on which both the automatic tight-rope per-
Htttner and the magnetic clock were featured. PVom the Harry Houdini Collection.

, A Thiodcm bill of 18S5, in which he claims the invention of a figure that could
°p lifted on or off the stage or pole. This was twenty-five years before Robert-
Uoudin daimed the same invention. From the Harry Houdini Collection.

[173]

n« Hall ami Sealcoate* Di«rea««r)'.
J. P. THIODON'S

^^ dHntaalnl ant yutnrMqnt

The atre of A rts>

FOR A FEW MGllts ONLY

View of the JmmrulPOLE,

tWintii, III lit «»* »r'w«»a>t.»»».»..»c«n«-t>w .rfMwtt.iirt.««ttrftm».PHp>wM>

Ou Monday^ January lird, 18-25,

AND CONTINUE EVEKV EVENING OUUlNft lilE iVEEk.

11.1

• nil liK •ondrrful aiul imv.'I dL«plu> tt

Mechanical and Mathematical

PEATS OF

Dexterity.

FOR THE FIRST TIME.

THE VIEW OF THE CUV OK

Stockhotm^

APTW waica viu ■■ puawrrw tm u«uvirift ictNi or tw

Voyage of Captain Parry to tlic

North Pole:

Hw pamag* timmtgk the fVwtn Strain, mmMigti Hn

FliOATINO l€fi.

Oa Ikalkara •« he aea CMaiaMn. •ilk ihtir 8l(d(n dr«»a b; Dect-Bnn panatd ted

UM If iMlan. Al lea •al he rtfmtaM Beqaimiui W«arn lo ibcir ailitc 8«li : alto ikc

J mM H •/ «** *■***» >»*» <*« Ditntrt SUp$. F»s mud Ht tU.

THIKO PAET-THG CITY OF

Amsterdam,

Vila aAvavAifc ov ai«ikikAsiii>» -^

nb «W !• ^km »M <ta OU aaa,M TW Vi.. •( A. a,'^ m m ih. R.nr AaMtl. Tt. Tm* •
Irti epM niM Mm hM Motm I* ik« wm •» m • tiH«U npfwiuiiM tt il« M.t «• Cm ••••.

if II Aquatic Exhibiiion on the River,

A MMi, <r Mi. b wmotM ■!* Mwnl TnfMn d Vtcfwy. Ik. Akmi W .k^k he^anN. », Mw ..J. «(»m
ka rfbr iiiiriii Uhw. • PmM It •«• » |». tk« T.p, m4 k»w a*.! •kt Ptue.

AUTOMATON

On Me Flying Rope;

«iHMa«l)MMlktiM(MkM4Mlk«IU«k; ik> Hm4.'. I.k«

•■ri IMtM. Mri Ik. rifw* «UI ail ••HmiI; «Hy. m^I. • pw

riMmtMiKnn Mi'iirtiik ATmMM CwM^

TO CONCLUM WITH *

(Storm at Sea!

>— AfMiM •/ ika Wi.«— CIm4>. t , ..,

- 1I • Tia^Mi. Mnck kj ■.•iki.Mf, h4 kMiii .■(•iph.rf a ik« Dm-

THE UNMASKING OF ROBERT-HOUDIN

I am reproducing herewith a number of programmes
describing the effect of the trick and proving that it was
no novelty when Robert-Houdin ^'invented" it. In fact
the trick was so common that only the supreme egotism

Reproduction of a triple colored lithograph. This section features Breslaw in
stage costume. Original in the Harry Houdini Collection.

of the man can explain his having introduced it into the
pages of his book as an original trick. The mysterious
clock worked by the counterweight, which has been

[164]

THE CABALISTIC CLOCK

described, is credited as having been the invention of
Johann Nep. Hofzinser.

In an advertisement, published in the London Post of
May 23d, 1778, included in my collection, this announce-
ment, among others of much interest, will be found :

"Part II. — Breslaw will exhibit many of his newly
invented deceptions with a grand apparatus and experi-

Katterfelto, the bombastic conjurer, who is famous for havinpf sold sulphur
matches in 1784, before the I^ucifer match is supposed to have lx»en discovered.
Reproduced from a rare copy of "The European Magazine," dated June,
1783, now in the Harry Houdmi Collection.

ments and particularly the Magic Clock, Sympathetic
Bell, and Pyramidical Glasses in a manner entirely new."
In 1 781, while showing at Greenwood's Rooms, Ilay-
market, London, Breslaw heavily advertised, ^* Particularly
an experiment on a newly invented mechanical clock

[^65]

THE UNMASKING OF ROBERT-HOUDIN

will be displayed, under the direction of Sieur Castinia,
just arrived from Naples, the like never attempted before
in this metropolis."

There is every reason to believe that Katterfelto, the
greatest of bombastic conjurers, used the electrical clock
in his performances, as he made a feature of the various
late discoveries, and in his programme of 1782 he adver-
tises '* feats and experiments in Magnetical, Electrical, Op-
tical, Chymical, Philosophical, Mathematical, etc., etc."
Among implements and instruments or articles men-
tioned I found Watches, Caskets, Dice, Cards, Mechan-
ical Clocks, Pyramidical Glasses, etc., etc.

G}Tigell, Sr., the celebrated Bartholomew Fair conjurer,
whose career started about 1788, had on his early pro-
grammes, ^^A Pedestal Clock, so singularly constructed
that it is obedient to the word of command." On the
same programme (Catherine Street Theatre, London, Feb-
ruary isth,.i8i6) I find ^'The Russian Inn," "The Con-
fectioner's Shop," and "The Automaton Rope Vaulter."
This programme is reproduced in full in Chapter IV.

Without devoting further space to Robert-Houdin's
absurd claim to having invented this clock, we will
proceed to discuss his claims to the automaton rope
walker, which he called a trapeze performer.

The Trapeze Automaton

Though " Diavolo Antonio" or " Le Voltigeur Trapeze"
was not a simple trick, but a cleverly constructed au-
tomaton, worked by a concealed confederate, it was a com-
mon feature on programmes long before Robert-Houdin

[166]

THE TRAPEZE AUTOMATON

ROBERT-HOUDIN.

ST. JAMES'S THEATRE.

UST T HREE PEBFOBW AIICES

TIM oetobratod M. ROBXRT-HOUDIN wta give his laendlble
Detasions and Xactraordlnary

FAMTAi^TiaiJEIi

AT THE ABOVE THEATRE ^^

H
Q
O

' "OLT^Ct CLt TRft^P^^^

nSSIAT EYENIHG, HilGI C,
Mjost Hay Performmnee
WEMESIAT HnilING, Hank 7

COMMEKCilTG AT HjtLF-PAST TWO O'CLOCK,

AMD

FAREWELL REPRESENTATION,

TmSDAT EfEHING, HABd t

J>OOR8 OPEN AT EIGHT aCLOCK.

mVATB BOXSSkORCHF^TRA stalls, and TICKBT8, aiT n McmM M _

■m. MivoaiaiifcT^moTAt. biBmABT, as, oi.b sons ■*»>>«. . .. .

M Mr tqri Ui7.C teiA SM: ll>-v., «-»^. H«»»y^ *"-!?''• A«^. Wj"-"* <if«^ H-««r^ CmnuX •■« OiraA UIhH

G>py of a poster us«d by Robert-Houdin to advertise his trapeze performer.
This proves how accurately he duplicated the Pinetti figure, even to the ar-
rangement of floral garlands. From the Harry Houdini Collection.

[167]

THE UNMASKING OF ROBERT-HOUDIN

claimed it as his invention. Yet with the daring of one
who beheves that all proof has been destroyed, he an-
nounces on page 312 of the American edition of his
"Memoirs" that he invented ''The Trapeze Performer"
for his season of 1848. In the illustrated appendix of his
French edition he states that the figure made its first
appearance at his Paris theatre, October ist, 1849. He
thus describes the automaton:

''The figure is the size of an infant, and I carry the
little artist on my arm in a box. I put him on the trapeze
and ask him questions, which he answers by moving his
head. Then he bows gracefully to the audience, turning
first this way, then that; suspends himself by his hands
and draws himself up in time to the music. He also goes
through the motions of a strong man, hangs by his head,
hands, and feet, and with his legs making the motions of
aerial telegraphy."

Decremps in his expose, "The Conjurer Unmasked,"
published in 1784, thus describes the automaton and its
work: "Our attention was next called to observe an
automaton figure, that vaulted upon a rope, perforaiing
all the postures and evolutions of the most expert tum-
blers, keeping exact time to music. By seeing Mr. Van
Estin wind up the figures, and being shown the wheels and
levers contained in the body of the automaton, caused us
to believe it moved by its own springs, when Mr. Van
Estin thus explained the deception : ' To make a figure of
this kind depends a great deal on the proportion and the
materials with which it is composed : The legs and thighs
are formed out of heavy wood, such as ash or oak; the

body of birch or willow, and made hollow, and the head,

[168]

Ra>roduction of an illustration in "Aufschllisse zur Maji^ie," by Hofrath
von Eckartshaiuen, showing the automatic rope vaulter as exhibited in 1784
by FinettL Origiiial in the Harry Houdini Collection.

[169]

THE UNMASKING OF ROBERT-HOUDIN

for lightness, of papier-mach^. The figure is joined by its
hands to a bar of iron, that passes through a partition,
and is turned by a confederate; the arms are inflexible
at the elbows, but move freely at the shoulders by means
of a bolt that goes through the body; and the thighs and

^Air.BOIjOe^NA.Jiiii'ii ^
Mechanical £xhibition,

JR the Sans ^'^^ ' ^^f 'P^ Strand.
» Automaton Rope

^JUR^fL'frraa Const

MIXIPIJTIsLAND ; <i^ ^^

€fr Autamatm Shadowa,

TbkenfroatlieJa

BYDRAUL.ICS,

CkiUd Fun amd Water,

A Bologna bill of 1812, featuring the automatic rope dancers. From the
Harry Houdini Collection.

legs move in the same manner at the hips and knees, and

are stayed by pieces of leather to prevent them from

bending in the wrong way. The bar is covered with hollow

twisted tubes, and ornamented with artificial flowers,

so as no part of it can be seen to turn ; the confederate

[170]

THE TRAPEZE AUTOMATON

by giving the handle a quarter of a turn to the left, the
automaton, whose arms are parallel to the horizon, lift
themselves by Kttle and little, till they become vertical
and parallel to the rest of the body; if in following the
same direction, the other part of the body moves forward ;
and by watching the motions through a hole, he seizes
the instant that a leg passes before the bar, to leave the
automaton astride; afterward he balances it by jerks,
and causes it to take a turn around, keeping time with
the music as if it was sensible of harmony.

" N.B. — Three circumstances concur here to favor the
illusion: First, by the assistance of a wire, the confederate
can separate the bar from the automaton, which, falling
to the ground, persuades one it loses itself by real machin-
ery. Secondly, in winding up the levers shown in the
body, confirms the spectators in the idea that there is
no need of a confederate. Thirdly, the tubes that are
tvdsted around the bar, except where the automaton is
joined to it, seem to be the rope itself, and being without
motion, as is seen by the garlands which surround them,
it cannot be suspected that the bar turns in the inside,
from whence it is concluded that the figure moves by
its own machinery."

According to one of de PhilipsthaPs advertisements,
page 103, the trapeze automaton which he featured
was six feet in height. But Pinetti programmes show
that he had a smaller figure known as the rope vaulter.
This is probably the trick exposed in Decremps'
book.

On page 108 will be found a Louis programme of
1815, on which a figure is thus featured:

[171]

THE UNMASKING OF ROBERT-HOUDIN

*'Two Elegant Automata

"As large as nature, the one representing a beautiful
PoLONNESE, the other a little boy.

By referring to page 113 the reader will find a Schmidt
programme, dated 1827, ^^ which the figure is featured
as follows:

"The Rope Dancer,

"Whose surprising performances surpass, in agility,
attitudes, and evolutions, every Professor of the art, keep-
ing correct time to the music of the machinery."

A Gyngell programme, dated 1823, which is reproduced
in the chapter devoted to "The Pastry Cook of the Palais
Royal," page 125, reads as follows: '* Two automatons,
one of which will execute wonderful feats on the tight
rope, and the other dance a characteristic hornpipe."

As Gyngell figured in the amusement world from 1788

to 1844, the little figure must have been tolerably well

known to the magic-loving public of England by the

time Robert-Houdin appeared in London in 1848.

A magician named York, who appeared in London in

[172]

His Majesty's Roy&l Letters Patent^
THEATRE OF ARTS.

Newly ercAed in the Circus, HULL,

JUfa««r MMMAn APPARATUS afikt — >i. i« i8>i MBCHANtCAL WORKS, «i>
^^ HYDRA UUC AMWgT ATIC. m« OPTICAL EXPBRIMENTS. bf

Mr.DePhilipsthal,,

M M AMtSMMblM d«

Prad«aiM«f ART. Bt*e

• RecMUiea, mMu ih* mi
tcMBeti li MtepaflbteM

M«r«u

LiM fairly wMiiclwaw.

„_ „,. JucktetMMiftbjctiS

ar^t- fc. toilM* ■» 3tnb»w»liM rf A— ft— K hM Ami ■«»». fcr wMhiii^W
iTlirMSi il Ri jiilwrr^ -"* '->-="- -— ■-^— -^ ART. mntt bcfcfe fan i> ikU Pboe, ami

Mr^rCAMMn«rd»

TlwSiR iftritwiMW

On MONDAY Evening November lo, 1806^

iM IVIRT EVBNING •«» aM>4qr MU. wiik dM Mlo«ii« iaim«ii« Okj«raii
teUCT INGENIOUS PIECBS IN

MECHANISM.

Two Elegant Automats,

OM«r»ydi illiiTif • riMALt nCURR, nUigtiiliA. p«fccmt*ia ROPRDANC
■oM J i i l M i l i T'-'-^ Itt'-'- '-i-*'r cckCrmml tkmvhoM Earope:-di«oihei
Cm UTTU PAUJUS^?&<«aw>'MNM««mndP«<rn7or AMma^TcswU/tftaa

The Mechanical PEACOCK,

^HlJMl. fnfHl]rtltiM«WKIMMHMMgaCCqKM««rMIMrilHK.

The Magnetic Clocks

full iiiRiiliili wfcBpi t irfwitwoCtoyRdColiwM. tadfimMaMcdbrackanacriUkPin

The Senfative WIND-MILL,

WhM nnlMi in MiM t9;^*»««tI"H6 of • WoH fro- m« Sp(a>iar..>Ml

l— » .fcty «h» WA- iT Ih. 0q«^, b, .^^ Ci* g/ £S«.

SRUCT IXPUblSNTS IN

HYDRAULICS,

A GRAND

DISPLAY OF WATER-WORKS,

/7R^ OjP different KINDS,

FIRE-WORKS PLAYING,

%itoaMy MkTjHr kwdM Kar«i-M> •Mm Mr Ofcn m. w Ih* Mi(Uiai»
T* -Xu •» te adM fe*ml Origtad BsftriflMMi in Ike SciMcc af

OPTICS,

or WHKM Ml n THl SOLE mVINTOR. 7

Thunder* Lightning, &c. &c.

IVviHi MMft •!* tMa •TtAiMl M< iMriM MBCHANICALMipmCAL

FIRE-WORKS,

^Oirplaycd_in the Centre of a Tranfparcnt Arbour.

■Minf awBrrr OP
ne Hail and Scalcoates Dispensary.

J. F. THIobON'S

Theatre of Arts.

FOR A FEW MIGHTS ONLY.

View of the jyORTUPOLE,

On Mondaff^ ^January ttrd, 18*25,

AND CONTINUE EVEKY EVENING DUKiNO 1IIE WEEK.

l<«Tf»P«Y ClCi""«-»

M. TlUOBON will coniBmcr »iib Iik Momlrrrul «uii nor^l ivfUay of

Mechanicat and Mathematical

rSATB op

Dexterity.

UV'i'bn NMMW

FOR THE FIRST TIME.

IHE VIEW OF THE CIIY OK

Stochhotm^

■HMTU TRK •■AUTinil Wtllt OV TKS

Voyage of Captain Parrj to the

North Pole:

JKr JMM^ff tfrNy* «iW /V«m Strain, mmtmgM Ike

FliOATllVG ice.

0« *• mm* *»Umim Smmmmi, »ilb ikeir SMsm draws kjp DM.-BMn ranutd m4

MM ly luten. At Sm •iH k« nfMxaM Biqiiianus Wumra la Ikcir natin BoaH ; aba ikt

^ mMKg^AtSmUmfitm Ikt DittuMrt Skip*, nryamd Ht eta.

THIRD rART-THS CITY OP

Amisterdam,

Vila OAVBVAifc OV m«flkflkAisa>a -^

MMmn. UikitMmtriUaiibMMiM^ —

if« j§qmmHe Exhibiiion on ihe JRiver.

rouKTii nBC&— TNI woNOEaruL and vkrivalleo

AUTOMATON,

Om ike Fiying Rope;

aMaTtl tal^tS^uH^liZ^Cf^ ihI'mmI.'. bkt ^Hfn'b! J!«rnk!k.u4. Vl. «.,.«« ki to «•■
li tj ^ fci M ». wJS§ » a. 4M t * > i»* t-m , LIVING PkaFORMU. « it •...TIm •»• mm Cmim
*"^ "" TO CONCIUOI WITH *

Storm at Sea!

. A de Philipstfaal programme of 1806 on which both the automatic tight-rope per-
'oiTxier and tne magnetic clock were featured. PVom the Harry Houdmi Collection.

, A Thiodon bill of 1825, in which he claims the invention of a figure that could
5p lifted on or off the stage or pole. This was twenty-five years before Robert-
"^^din daimed the same invention. From the Harry Houdini Collection.

[173]

THE UNMASKING OF ROBERT-HOUDIN

1844, the year before Robert-Houdin made his professional
d^but, featured under date of January 29th "two autom-
atons, one of which will execute wonderful feats on the
Tight Rope, and the other dance a characteristic Horn-
pipe."

Bologna announced for his performance at the Sans
Pareil Theatre, Strand, London, under date of March
1 8th, 181 2, "The Two Automaton Rope Dancers from
St. Petersburg, whose Feats of Agility were never
equalled, and cannot be surpassed, will perform together
in a style of Excellence hitherto unknown in this country."

De Phihpsthal also featured a pair of automatic tight-
rope performers from 1804 until his death; and in the
early 30's the figures were exhibited by his widow. By
referring to Chapter III. a De-Phihpsthal programme of
1806 is reproduced as evidence.

From 1825 to 1855 J- F- Thiodon played London and
the provinces, advertising on his programmes:

"Fourth Piece. — The Wonderful and Unrivalled Au-
tomaton on the Flying Rope. The only one of this con-
struction in the Kingdom ; and forms a more extraordinary
Novelty from the circumstances of its not being fastened
on the Rope by the Hands, like others hitherto exhibited.
The Rope will be in continual Motion, and the Figure
will sit perfectly easy and in a graceful attitude while on
the Swing, and perform the most surprising Evolutions,
scarcely to be distinguished from a Living Performer,
as it moves with the utmost Correctness, without any
apparent Machinery."

From this overwhelming evidence it can be argued
beyond doubt that if Robert-Houdin even constructed the

[174]

THE TRAPEZE AUTOMATON

automaton he merely copied figures presented by both
his predecessors and his contemporaries, and he was
fully aware of the existence of several such automata
when he advertised his as an original invention. They
were made by many mechanicians.

In the illustrated appendix of the French edition of his
"Memoirs" he goes further; he dehberately misrepre-
sents the mechanism of the figure and insinuates that the
automaton is a self-working one. This is not true, as it
was worked by a concealed confederate, as described
above by Decremps.

Robert-Houdin even used the garlands of flowers to
hide the moving bars as Pinetti and others of his pred-
ecessors had done. The truth was not in him.

[I7S]

CHAPTER VI

THE INEXHAUSTIBLE BOTTLE

WHILE Robert-Houdin claims to have invented
''The Inexhaustible Bottle" for a special
programme designed to create a sensation
at the opening of his season of 1848, in
the illustrated appendix of the original French edi-
tion of his ''Memoirs " he states that it had its premier
presentation December ist, 1847. These discrepancies
occur with such frequency that it is difficult to refute
his claims in chronological order. Perhaps he adopted
this method intentionally, to confuse future historians of
magic, particularly concerning his own achievements.

In order to emphasize the brilliancy of this trick,
Robert-Houdin turned boastful in describing it. On page
348 of the American edition of his "Memoirs," he states
that the trick had created such a sensation and was so
much exploited in the London new^spapers that the fame
of his inexhaustible bottle spread to the provinces, and
on his appearance in Manchester with the bottle in his
hand the workmen who made up the audience nearly
mobbed him. In fact, the description of this scene is the
most dramatic pen-picture in his "Memoirs."

The truth, sad to state, is that the bottle trick did not
create the sensation he claims -for it in London, nor did
the press eulogize it. It was classed with other ordinary

[176 J

THE INEXHAUSTIBLE BOTTLE

tricks, and twenty London papers bear mute testimony
to this fact. In a complete collection of press clippings
regarding his first London appearance, only four of the
London papers mention the trick. The Times, the great
conservative English paper, in reviewing Robert-Houdin's
performance in its issue of May 3d, 1847, ignored the
trick entirely. The four London papers which made
mention of the bottle trick, and then only in a passing
comment, were The Chronicle, The Globe, The Lady^s
Newspaper, and The Court Journal. Any one acquainted
with the two last-named periodicals will know that they
rarely reach the haiids of the humble artisans in Man-
chester. Punch, London's great comic paper, gave the
trick some space, however.

The trick of pouring several sorts of liquors from the
same bottle has been presented in various forms and
\mder diflferent names. To prove the futility of Robert-
Houdin's claims I will explain the mystery of this trick,
>vhich is of an interesting nature.

To all intents and purposes the bottle used looks like
glass; but it is invariably made of tin, heavily japanned.
Ranged around the central space, which is free from
deception, are five compartments, each tapering to a
narrow-mouthed tube which terminates about an inch or
an inch and a half from within the neck of the bottle. A
small pinhole is drilled through the outer surface of the
bottle into each compartment, the holes being so placed
that when the bottle is grasped with the hand in the ordin-
ary way, the performer covers all but one of the pinholes
with his fingers and thumb. The centre section is left
empty, but the other compartments are filled with a fun-
12 . [177]

THE UNMASKING OF ROBERT-HOUDIN

nel which has a tapering nozzle made specially for this
purpose.

The trick is generally started by proving to the audience
that the bottle is empty. It is then filled with water, whict^
is immediately poured out again, all this time the fiv^S
pinholes being covered tightly with the hand or finger^^
which are holding the bottle. When a hquor is called for ^::^rrj
the performer raises the finger over the air-hole abov^^
that particular liquor, and the liquor will flow out. Wher
a large number of liquors may be called for, the performer"
has one compartment filled with a perfectly colorless-
liquor, which he pours into glasses previously flavored
with strong essences. Certain gins and cordials can be
simulated in this fashion.

Various improvements have been made in this bottle
trick. For instance, after the bottle has yielded its various
sorts of liquors, it is broken, and from the bottle the per-
former produces some borrowed article which has been
^'vanished" in a previous trick and then apparently for-
gotten. This may have been a ring, glove, or handker-
chief, which will be discovered tied around the neck of a
small guinea-pig or dove taken from the broken bottle.

This is accomplished by having the bottle especially
constructed. Its compartments end a few inches above
the bottom of the bottle and the portion below having
a wavy or cracked appearance, is made to slip on and off.
The conjurer goes through the motions of actually break-
ing the bottle by tapping it near the bottom with a small
hammer or wand, and the appearance of the guinea-pig
or lost article causes surprise, so that the pretended break-
ing of the bottle passes unnoticed.

THE INEXHAUSTIBLE BOTTLE

Again, this bottle can be genuine, with no loose bottom
at aU, and a small article can be inserted, but this makes
a great deal of trouble, and the efifect is not greatly in-
creased. In doing the trick thus, I was always com-
pelled to have an optician cut the bottom from the bottle,
and then at times even he would break it.

To explain further how the article is "loaded" into
the bottle, the performer borrows several articles, for
example a ring and two watches. He will place the ring
and watches into a funnel at the end of a large horse-
pistol, and shoot them at the target. The two watches
appear on the target or in a frame or any place that he
may choose. In obtaining the articles, he may have
wrapped them up in a handkerchief which he has hidden
in the front of his vest. Alexander Herrmann was excep-
tionally clever in making this exchange, his iron nerve
and perpetual smile being great aids in the trick.

The performer now places the duplicate handkerchief
on the table in full view of the audience, and walks to
another table for a gun. While reaching for this gun, he
places the original articles which he borrowed behind
his table on a servante, so that his hidden assistant may
reach for them, place the two watches on the ''turn-about
target," tie the ring on the neck of the guinea-pig, shove
Mm into the bottle, and insert the false bottom. The
trick is then ready in its entirety.

The magician calls for something to use as a target,
^rid the assistant responds with the revolving target or
fi^a^me. When the conjurer shoots, the two watches
^F>pear on the target or in the frame. This part of
tlxe trick is accomplished by having the centre of the

[179]

THE UNMASKING OF ROBERT-HOUDIN

target revolve, or, if the frame is used, by having a black
velvet curtain pulled up by rapid springs or strong
rubbers.

While all this is going on, some one has brought on the
stage the loaded bottle, and as no attention is called to
this, by the time the watches have been restored to the
owners the conjurer introduces the bottle trick, pours
out the various liquors, and eventually breaks the bottle
and reproduces the borrowed article tied about the neck
of the guinea-pig or dove.

Many names have been given to this trick. The old-
time magicians who remained for months in one theatre
had to change their programmes frequently, so for one
night they would present the bottle without breaking it,
and on the next they would break the bottle, so as to
vary the trick.

This bottle trick originated in "The Inexhaustible
Barrel." The first trace that I can find of this wonder-
ful barrel is in "Hocus Pocus, Jr., The Anatomie of
Legerdemain," written by Henry Dean in 1635 (Second
Edition). On page 21 is described a barrel with a single
spout, from which can be drawn three different kinds of
liquors. This was worked precisely on the same principle
as was the inexhaustible bottle trick centuries, later, by
shutting up the air-holes of compartments from which
liquors were not flowing.

Its first public appearance, according to the data in my

collection, clipped from London papers of 1707 and 1712,

was when the ^^ famous water- works of the late ingenious

Mr. Henry Winstanly" were exhibited by his servants

for the benefit of his widow; and the exhibition included

[180]

THE INEXHAUSTIBLE BOTTLE

a view of " the Barrel that plays so many Liquors and is
broke in pieces before the Spectators.''

In 1780 Dr. Desaguliers presented in London a per-
formance entitled "A Course of Experimental Philosophy
wherein the Principles of Mechanics, Hydrostatics, Pneu-
matics, and Optics are proved and demonstrated by more
than 300 Experiments."

In the course of these lectures he produced a sort of
barrel, worked by holding the fingers over the air-holes.
He also exposed the real source of strength of the notorious
strong man of his day, JoTin Carl von Eckeberg, who
allowed horses to pull against him, permitted heavy
stones to be broken on his bare chest, and who broke
heavy ropes simply by stretching or straightening his
knees. These lectures and exposes made Dr. Desaguliers
so famous that he has been given considerable space in
Sir David Brewster's ^'Letters on Natural Magic," pub-
lished in London in 1851, in which book the various de-
ceptions used by strong men are fully described. In fact
the book is one that should be in every conjurer's library.

The old Dutch books explain the barrel trick, and in
1803 Charles Hutton, professor of Woolwich Royal
Academy, translated four books from Ozanam and
Montucla, exposing quite a number of old conjuring
tricks. The barrel trick will be found on page 94 of
Volume 11.

The first use of "The Inexhaustible Bottle" by modern

conjurers I found in an announcement of Herr Schmidt,

a German performer, who for a time controlled the

original writing and drawing figure, as will be found by

reference to Chapter III., which is devoted to the his-

[181]

THE UNMASKING OF ROBERT-HOUDIN

tory of that automaton. The

FOB 8IX

•Ik MONOAT. «»?*•(

BTIGHTS OWLY.

TiS'JfcS M ****• *•**• '■^*' ••
Sir. Schmidt's BGMEFIT,

**LAtTinorr*i*«

MBCHANICALAOPTICAL THEATRE

M the MusicHallj

AIMon-Strcct, Leeds.

■'mi Hi TMalM. mu uHm wa^y YMw-litew W to. iD^plrti* mm AUTOMATAIf

■■■ 1 7 i U tit\u MMkniM. dig fcwwSririilltii ft4» hTWiSw iImmnS
hfl(riMpHW«^ WITHOUT THKUlC Or THEIR HANDS, AND INfTANT.
LT.OONNBCTTRXMIKLVSA WITH THE MACHINERY AGAIN

RAMO SAMMEE,

W^l*l h* •UIMm 4Mi|*tr WrtUH, MMl •■•vrr.gjTQinlioa prapoi^ to W

7%e Duteh Coffee Ilouse^

Aa«ll|MlUlitoBdMta(i«>lh.Tn**U.nriii(ki« th. ImU tto dew opw-lh. Hortw.
MiMd. mi fumitm Urn with la; Uqwr h. a.; nil for.

tNQIB (0ii!BIISiaV (Dir Oi^VIfitf7»

laaMrftPMMrtyafHvdtwtlpUoann h. ptuW oalh. dliwUai wf Ih. Conpuy: «•
—toll w«l h if WH p ll bly diM^^ ft— am J^^Wt tolo laottw, or *w hatod ll>.tlMW»

71U i^oAfe qf Sobriety and Inebriely^

P»w4iff *• IMIW^ of • Ml W DMUlin, wbM •MtoM LJ<|Mn«a h. rndand kf «Mu

THE MECHANICAL TEA CADDYS,

AayUdywOmMlMHa »«:•■(•'"'» <oMi.«w. or uTAiticlp, lock* H .p la mm Cbdd*,

imMo p — t ii t.ft»al>»ltl.h— dttwa,dtl»oH>ft»C»ddyl.l»l>» kud of uj olkw

PwHa.

AN. KXTBAOBDINABY GLASS PIIXAR,

WkM «in pmbrai luawmU. PmI..

EXPERIMENTS IN ELECTRICITT.

AH ElfTtltTAlNINtf^KXPCRIMEllf WITH TWO ELECTRICAL VAkEiL

na«toaMteaa«M*r E W cM rth r owr *a T.(.«iM. Kk^». pnidaeiaa • Ono W

fcilai IN ONK yiitirrE, k.fcw Uw i;y. af Ik. tpie>rt.7fc

* ri#« OSPOBTVNATE MAGAZINE,

MMMMM M Mag piM.d la i%kt of Ika Aadlmc • Tkodw Uoad •«! dMcorf •■< tok*
ltoMlMdbNtIj.ko<r.ll| keaij^thMof L%k«idat*'.okMn.d ■Mkk^^.dova bb«i U,
k«*aBiiUiaffkaia(pRi*l#da«k«Oaadaclorlk^prmlM*Ma.l|jUr a ikarttt^

^'*— — - ■ '^- ».d. Ik. Idgkl a l ag k i — ■awrtrM. .»» i -^ — - "

li .a4I.MMiMitoiiKk«aflk.Aa«aMa.

Tha vkala of Ika TOHkb Md U>ndli CXBIBITION af MECHANICAL m«
inillCAL AUTOMATA •W ka aikibHid a. ■■oal.-tka Maiid Ladyi TU
JaMrtaAfMi TkaRouoDMaari Miga H w l CkMria Tm. t Tba Migtcbat TkaWalk.
hi ngaiat A Twaafah taMwi Aa EnypUM Uaudi TWo Mbariaa Ukai A GoUw
■ fit A Uwiatifal Haaual^ BW i «alf.aaU^ Waao-Fatto. Aa •k8^ af tka Emrt«

OANCE^OF WITCHES,

wt^AMhrtwatyaraPMaaaf Wlkkw, »Hk wwloai Eral

A Schmidt programme of 1821, featur-
ing the ** Bottle ofSobriety and Inebriety."
From the Hany Houdim Collection.

[182]

programme published in
that chapter is dated
1827, and does not in-
clude the famous bottle,
because it was no longer a
novelty in Herr Schmidt's
repertoire; but the ad-
vertisement reproduced
herewith, dated 1821,
schedules the bottle trick
thus: "The Bottle of
Sobriety and Inebriety,
proving the inutility of a
set of decanters, when
various liquors can be
produced by one." Thus
Schmidt antedated
Houdin's offering of the
trick by more than a
quarter of a century.

Next the bottle turned
up in 1835 in London,
where it was presented by
a German who styled him-
self "Falck of Koenigs-
berg, Pupil of the
celebrated Chevalier Pin-
netty," and who intro-
duced the programme
with which Dobler made
such a sensation in 1842.

THE INEXHAUSTIBT.E BOTTLE

Mr. Falck opened at the Queen's Bazaar, Oxford
Street, London, November 8th, 1835. Before opening,
however, he gave a private performance for the press,
and received quite a number of notices. A half-column
clipping in my collection, dated November 4th, 1835,

NATURAL

I*,

Of Kooigibeiv, Papil of tlie ctlebrated Chevalier Pinetty, has
juft arriTed in jEaglamd, and will exhibit his surprising deceptions,

NOW UNRIVALLED

IN NATURAL MAGIC,

AT TKB

Queen's Bazaar, Oxford Street.

AMONG THE NUMEROUS FEATS EXHIBITED
WILL BE FOUND THE FOLLOWIXO:—

Tfce BaehMted Bread— The Walking Rice— Paying • Tavera
Kaaper— The KDchaiited Egg— The Criculaiien of Money— The
Loat Ring—The Exchange of Wine— The Enchanted Dice— The
Card in the Pocket— The Present, or Gift of Flora— The Wine and
DeeaertF-hesidea Surpriaing Deceptions with Cards, &c. &c.

The Performance to begin daily al gTinlH iiiW»yy^^iM;
•Ml at Three till half -past Four.

ADMITTANCE ONE SHILLING— CHILDREN SIXPENCE.
Geo. Nichola, Printer. Earl's Court, Cranboum Street, Sobo.

^^^sler used by Falck of Koenigsberff in 1835, featuring the trick of exchange
of wine. From the Harry Houdini CoUection.

^^^liich I think is cut from The Chronicle or The Globe^

^^^^entions the trick among other effects Hke ''Flora's

^^ift," "The Card in the Pocket/' etc., and adds that

*^lle "exchange of wine was so that if once in Mr. Falck's

Company, we should not wish to exchange it, for he poured

[183]

THE UNMASKING OF ROBERT-HOUDIN

fFVttertoo RoauM,

THIS LAS

Splendid, Brillinnt and g— hlo— Me

DAT PEBFOBMANGB

WILL TAKE rLXCE ON

SATURDAY »lst APBIE.* 19S^

PATROKAaB or

THE RIGHT HOiiOURADLS

LADY GIFFORD,

THE RIGHT HONOURABLB ^ __

Lady H. 8tuart Forbes^

4v. 4r<?- &c. ()-Uj/'y^^^(

ON WHICH ,0CCASI0N'''6IV>»'/^'^^

Dfoiis^ PHILIilPPE

WILL SELECT

The hioat INTERE8T1KG, ATTRACTITR Mid

SITRPRISIlffa VBATS

ntOM HIS EXTENSIVE STOCK OF

MCMWUme, MACWAL * MxnmcAL

DEnON-STRATIONSl

U CaiM« at U SmU da L'ame b triMM m a

i9roi^ammc«

Mrs iBvavmmfwa a«vvaai

* CUmOUt OPERATIOR.

wim mtmrm ^ rhowmmm,
r%r «Kf(rMl iMUe,

■T CWAWOBOTHIirt CAP.

»A»* ».

THK U<<P*ULLCU£0.>

cnanasn ioii«a«aiiii.

/y n/ix, cosTutte,

ON MOBillAY APRKK^SISpd
. ]llolM^ P. takes his BBIVEFIT.

Poster used by Phillippe during his
Edinburgh engagement in 1838, featuring
"The Memal Bottle." From the Harry
Houdini Collection.

[184]

three sorts of wine, Port,
Sherry, and Cham-
pagne, out of one bottle.
Then he put them to-
gether, and from such a
mixture produced sher-
ry in one glass, and port
in another."

From this notice it
will be seen that Falck
had "The Inexhaustible
Bottle," and had some
method of returning all
the liquors not drunk
back into the bottle
and then pouring out
two different kinds of
liquor.

Perhaps he resorted
to chemicals, but one
thing is evident — the
bottle was used for six
different kinds of liquors
at one and the same
time.

Phillippe from 1836 to
1838 featured "An In-
femalBottle" trick, also
"The Inexhaustible
Bottle "trick. The trick
also was seen on pro-

THE INEXHAUSTIBLE BOTTLE

grammes used by John Henry Anderson, the Wizard
of the North, in the same years. According to these
programmes PhiUippe and Anderson showed the bottle
empty, filled it with water, and then served five different
liquors.

On April 30th, 1838, Anderson thus announced the
trick on a programme used at Victoria Rooms, Hull:

"Handkerchiefs will be borrowed from three gentle-
men; the magician will load his mystic gun, in which
he will place the handkerchiefs; he will fire a bottle con-
taining wine, the bottle will be .broken and the handker-
chiefs will appear."

Programmes in my collection show that Anderson pre-
sented the trick, serving various sorts of liquors, when he
played London in 1840, but little attention was drawn to
the wonderful bottle. In 1842 Ludwig Dobler, Germany's
best-beloved magician, came to London and featured
what he termed "The Travelling Bottle."

Ludwig Leopold Dobler was bom in Vienna in 1801. He
was the best-beloved magician who ever trod the stage. He
started life as an engraver of metals, but his fancy turned
to necromancy. He gave his best performances in his na-
tive city. In 1841 he was touring Holland, and in a letter
now in my possession, which he wrote to a director and
editor in Vienna under date of March 15th, 1842, he in-
forms his friend that he has sent all his baggage to London
from Amsterdam, and is on a visit to Paris. He regrets
that he has not all of his apparatus with him, but has
given several performances, and mentions the fact that
'"to-morrow I am engaged to give a performance in the
private parlor of Rothschild and then by the Count

[185I

THE UNMASKING OF ROBERT-HOUDIN

THE GREAT WIZARD OF THE NORTH,"

POURING FOUE DlFrZRENT UQUllH FBOM OHi BOTtLL

Reproduction of a political cartoon in Punch, published durine Anderson's
London engagement, April, 1843, proving that the Inexhaustible Bottle Trick"
was used by Anderson before Robert-Houdin was a professional entertainer.'
From the Harry Houdini Collection.

[i86]

THE INEXHAUSTIBLE BOTTLE

ntaliset, minister of the King's mansions." He also
►rms his friend that he expects to visit Paris the next
>on and build his own theatre. He states a fact most
resting to all magicians, namely, that he has rented

Aidwig DObler in his prime, taken about 1839. The original of this rare
xe was discovered by the author in a small print shop in Moscow, Russia,
now a part of his Collection.

St. James Theatre in London for two thousand
ics ($400) a night, or more than $2,400 rent for one
:k. Dobler drew such big audiences and made so
ch money that he refused to give private perfomances,

[187]

THE UNMASKING OF ROBERTHOUDIN

only breaking this rule when presenting his show before
H. M. Queen Victoria and the Prince Consort.

He played the provinces, then went over to Dublin,
where, although unable to speak English, he was a ver-
itable sensation. In 1844

ftT.JAMEI'STIIElTEK,

BMB ■*■■■*. flV. J AM— F> '

SATURDAY ETGNINC,

DiiB!gj:_i|,

'natdiujL"--'

llAttIC

I ■mrr T«i

PlillAllE IT PERFPIiANOL

Dobler played a return
date at the St. James
Theatre, London, and
this time he hjad Ander-
son as a rival at the The-
atre Royal Adelphia.

Dobler amassed a for-
tune very rapidly; in fact
he retired in 1847, ^^^
never again appeared on
the stage. He always ex-
plained his early retire-
ment by saying: "The
public loves me, and I
want it to always love me.
I may return and be a
failure, so it is best to
know just when to stop."
He died in a little village
near Tunitz, on April
17th, 1864, when one of God's noblemen was laid to rest.
"The Travelling Bottle" alluded to by Dobler in his
programmes was nothing more or less than "The Inex-
haustible Bottle." The following excerpt from the
London Chronicle during Dobler's engagement at the
St. James Theatre, April, 1842, is illuminating:

[188]

THURSDAY. AP RIL 11 ; Md «a gATUR PAT. APRIL M.
■mm.^«» Wt, Si. CMtavy Miato. to. M.

I, (TAUA arf TICIUCTt a^ k. w

r. nORIIirs Uknry. Et nnf tr «B l i
- T. ■*■ ' — '

A Dobler programme from the Eva-
nion collection, dated 1842, now in the
possession of the author.

THE INEXHAUSTIBLE BOTTLE

"DObler — St. James Theatre. — ^Among the illusions
that more particularly struck our fancy was one entitled
'The Travelling Bottle,' where Herr Dobler, filKng a
common bottle with water, transformed this water into
a collection of wines of all countries, amicably assembled

,<i(ifti— ill \h'mm4^^ bm, qtewfw ttwil

;Mr I« — iww MmAml mUccMi
.jki «M» wm« ^jwifl (c«e|tc(

9Ii«iMiib Sr«(fi bo* W«r jfl^i^cC

X bw 4KMI ^ bncd^ecfo^v*^

^cn bu6 WM^ 2«6t «i»6r Att^.
9i» b» b«iiM^tm)l U%fL1^i>^v,

DftUer's farewell programme in verse, used when he played his last engage-
n^cnt in the Josephstadter Theatre, Vienna. Original given by Dftbler per-
sonally to HemyEvanion; now in the Harry Houdini Collection.

[189]

THE UNMASKING OF ROBERT-HOUDIN

-RERR DOBLER

Ludwig D5bler in his prime, offering his most popular trick, "The Creation
of Flowers." From a rare lithograph in the Harry Houdini CoUection.

[190]

THE INEXHAUSTIBLE BOTTLE

together in one receptacle, and he fills out first a glass
of sherry, then one of port, then one of champagne, and
so on."

The critic then describes how the bottle was broken, and
the borrowed handkerchief was found inside the bottle.

Probably because of the prominence which Herr Do-

UST NIGHT BUT FOUR OF

HERR IIOBIER'S

1^ mw \w um mj ■> mm
•* .NAIL HAL '

MAGIC

l!)OUer programme with illustrations of his tricks, used during his engagement
at the St James Theatre, London. From the Harry Houdini Collection.

bier gave to this trick it attracted more attention when
Anderson presented it during his London run of 1843.
He announced it as "Water vs. Wine, or Changing Water

[191]

THE UNMASKING OF ROBERT-HOUDIN

into Different Liquids — Sherry,

BOWERT THEATRE

fTfin W TWw h — f>««M««l EaWMtl— wHk tkm» tmim

NIGHTLY JAMMED I

■TIBS] OrT^^BULT "WX^LAJEIX*

UEilLUSni!

•«., is M« CM(t«u Teapit rfExImilft. Wton

§6^A]IIAZED THOUSAJfPS !,^

•Mmi of Miglity Words and Uttlo DeedsP

Wb» «Wm tiM Mi* r|M !• tht mm* •! WIZAM). trr ia mia u c«if Iim iW wtMtt
llMir fmta*wl~TlMy awjr will wriih* mtn U* txpowr* •( iWir nUB VUSIT
nriTBII, ky fUth ll>*r •Mk U obuiau toditMr, «UI* iWJail; laMmwarat •TOIV
nUOKt iwfcr mW IVAHM •hew tb« .MU I* wkUk 1W7 ■!• 4iirra r Thty kM
lniaf4t>ik«ircMl, Ikat

« f wh tisfc li witre Aigtla ft«r to itfj."

OftEAT L.IGHT FEAT

liiumlnate the Interior of the Theatre

AT A gISTW:. SHOT I

grfysfBvs disappearance

Amirs
♦' GREAT OrW .FEATr or^FBAT A LA. Wni.TELL.

10 BOTTLE

KflSOSOFUnil

Orfv or HAOALLItTBm'S

XNTBBliZNABXiS

VbaoalymulBtiMworM that Ma
r »▼• Undt oTUqMT

WodBMd^

Angut 11, U52

. Jn W glvMiik* «|ntatlM oTtto

ENCHANTEDPALACE

Programme used by Macallister at the
Bowery Theatre, August 11th, 1852, during
his second engagement in New York City.
Featuring the "Magic Bottle "from whicn
twenty-two kinds of liquor could be
drawn. Careful reading will unearth
Macallister*s ill-will toward Anderson.
From Uie Harry Houdini Collection.

[192]

Port, Champagne, Gin,
Milk, Rum, and Water."

The London Sun of
April i8th, 1843, says:

"Mr. Anderson, be-
sides the feats by which
his reputation was es-
tablished in his former
exhibitions in the metro-
polis, performed with per-
fect ease and success
some of greater difficulty
than those by which Herr
Dobler astonished the
world, such as serving
several kinds of wines
from the same bottle."

The Morning Adver-
tiser (London) of the
same date said:

"With the utmost ease
he produced from an
empty bottle wine, water,
port, sherry, and cham-
pagne, and immediately
afterward, under a blaze
of wax and gas, he broke
the same bottle and pro-
duced from it half a
dozen cambric handker-
chiefs, which had pre-

THE INEXHAUSTIBLE BOTTLE

viously been deposited under lock and key at a consider-
able distance."

Macallister, the Scotch brick-mason, who became the
pupil and assistant of Phillippe, as described in the
chapter on "The Pastry Cook of the Palais Royal," also

Andrew Macallister as he appeared during his engagement in the United States.
From tne Harry Houdini Collection.

claimed the bottle trick as his invention. I have been
unable to obtain any of the early programmes used by
Macallister, but I am reproducing the one he utilized
dxuing his engagement at the Bowery Theatre, New
York City, in 1852. This was not his first appearance in
'3 [ 193 ]

The original Compars Herrmaim, who was Robert-Houdin's very active
rival during the latter s first engagement in London. Best portrait now in
existence, and only one showing Herrmann in his prime. Originidphotograph
loaned for this work by James L. Keman. of Baltimore, Md., U. S. A.

THE INEXHAUSTIBLE BOTTLE

New York, however. In December, 1848, and January,
1849, he played at the same theatre, and announced that
he had just concluded a successful engagement at the
Grand Theatre Tacon, Havana, Cuba.

Although Macallister claims to have invented "The
Inexhaustible Bottle" trick, it is more Hkely that, having
been connected so long with Phillippe, he knew the secret
several years before Robert-Houdin appeared in public.
But as MacaUister also claimed to have invented the
peacock and the harlequin automata, both of which are
recognized as the inventions of his predecessors, his claim
cannot be given serious consideration.

He advertised to produce twenty-two kinds of liquors
from one bottle, and therefore he must have utilized the
essence glasses in connection with the bottle.

What must have been Robert-Houdin's feeling when,
on arriving in London in 1848, he found another magician,
CompaTS Herrmann, heavily advertised at the Theatre
Royaly and already offering each and every trick included
by the Frenchman in his repertoire. Even the much-
vaunted bottle was in Herrmann's Hst of tricks. No one
seems able to tell where Compars Herrmann obtained
the tricks he used, but he must be given credit for never
advertising them as his own inventions. His record in
this respect was clean throughout his life as a mysterious
entertainer.

The programme presented by Herrmann at the Theatre
Royal during Robert-Houdin's opening week at the St.
James Theatre is herewith reproduced. Herrmann re-
mained some time in London, playing at the Adelphia,
then at the Royal Princess, and finally at the Surrey

THE UNMASKING OF ROBERT-HOUDIN

Theatre. A bill used by Herrmann at the Princess is

reproduced on page 232. It evidently proved satisf actor}' to

the public and he used it without change for many years.

Probably the most notable warfare waged over the

WgAt— — T*l>

HAV-niABKBT.

FR0GRAHIH1&

rAiiEirEi.1.

MORNING

PEKJPOMUfr^XCE. is

IX CADSAR MATBUAT1CIBN: *■■ BAVI

MUGiaUE

OMMBcaeiag at Two e'Oleek.

WONDER OF THE WORLDS

SATURDAY, May Oth, 1949,

riBBT PBontnoB or HAaio im tbb woblo,

LAST

JRforntag Ferformancet

rrvvlM* !• nil «f>parlare M Ike provlaec*. »■« will hiU«<ae«

Six New Extraordinary Tricks.

amirBA Bsronii bxbibivbs i

VMtnm llM..frM; TIM ■■wrarlM Albaia.

Lm M/iim. «i p.ra : VIM My itwtH ar Parte.

LA DOUBLE VUEI

Or, SeeaiMf J5i^M«

BABAME MEEIIAHW.

iLLUsioNi^wmrcARDS

MADE. HERRMANN

« •nnwdiawy p*wtra af

okJecK that mny be iHbaiiMaA

n uiTiTisi Bi luim —

BUling used by Compars Herrmann when he plaved in opposition to Robert-
Houdin on the latter's arrival in Ix)ndon. This shows that Hemnann dupli-
cated all of Robert-Houdin's tricks. From the Harry Houdini Collection.

[196]

THE INEXHAUSTIBLE BOTTLE

honor of having invented this trick arose between Robert-
Houdin and Henri Robin, who were contemporaries.

Robin, whose right name was Dunkell, was of Holland
birth and died in Paris in 1874. He was at his prime

FROGRAHIMK

ISTeBtac. mmAm9» April W^Ou

u BorntLU nnranAKLBs

WOWBEB BF THE WORLDS ^^^^^HF-"^

mgtkUt ts::^^:

TlNnaaay4»Satiirday,

Aprti mmth -wmm wmi, m»s»»

ILIIEUIMANN.

8 V ■ TIB a ».

N^w mm* aimriUm^ Miimwi^mwr

WM^>»ltHIIBMrlM Mlllllllnawrt»M>Mli«>— ^,^

MADtRERRMAMI

LE DOUBLE VUE!

HADAHE EEKRHAHN.

ILLUSIONS WITH CARDS

mAOMB MJUniMMt

ANB

n mriTioi oi tiiibds iim

AMTt«*IWAG»|gT8SflA

, BoxM am. Pit 8«. «Bllerle> %
•«eoa« Prl«« at Wlae o>loek.

A Herrmann programme dated April, 1848, showing that Herrmann pre-
sented the inexhaustible bottle two months before Robert-IIoudin appeared
in London.

[197]

THE UNMASKING OF ROBERT-HOUDIN

about 1839-40, when he toured the Continent. He was
popular in London, Paris, and both the English and French
provinces. A polished man, famous for the elegance of
his speech and manners, he conducted his performance

Henri Robin, generally conceded to have been the most polished^ conjurer
in the history of magic. From the Harry Houdini Collection.

and all his business in a quiet, conservative fashion. In
both Paris and London, he had playhouses named tem-
porarily in his honor, Salle de Robin, and at one time in

[198]

THE INEXHAUSTIBLE BOTTLE

London he also appeared at the Egyptian Hall. He
published his own magazine, U Almanack d'Cagliostro,
an illustrated periodical which was quite pretentious.

Robin presented all the tricks and automata that
Robert-Houdin claimed as his original inventions, and in
the famous controversy, Robert-Houdin came out second
best. Robin proved that he had used the bottle trick
before Robert-Houdin did, by showing back numbers of
his magazine, whose illustrations pictured Robin perform-
ing the trick at his theatre in Milan, Italy, July 6th, 1844,
or three years before Robert-Houdin presented it in Paris.

Robin, however, never wrote an autobiography nor
any exhaustive work dealing with the history of magic,
while Robert-Houdin did. The latter set forth his claims
over other magicians so skilfully that for more than half
a century the intelligent and thoughtful reading public
has been deceived and has accepted his statements as
authoritative. According to an article published in
L'lllusionniste, scientists to this day, in explaining the
law of physics as operated by the use of air-holes in the
inexhaustible bottle, refer to it as the "Robert-Houdin
bottle," when in reahty the honor of its invention belongs
to some obscure mechanic or magician whose name must
remain forever unsung by writers on magic.

[199]

CHAPTER VII

SECOND SIGHT

EVIDENTLY second sight was the foundation-
stone of Robert-Houdin's success. Reading be-
tween the Hnes of his autobiography, one finds
that this was the trick which carried him into the
salons of fashion and royalty. Before he introduced
second sight into his repertoire, his tricks were so com-
monplace that they did not arouse the interest of the court
circle, whose approval furnished the seal of success.

This trick of second sight he claims body and soul,
as the favorite child of his brain. He even goes as far
as to relate a story to prove that the trick came to him
in the form of an inspiration. I quote directly from the
American edition of his "Memoirs," page 255:

"My two children were playing one day in the drawing-
room at a game they had invented for their own amuse-
ment; the younger had bandaged his elder brother's eyes
and made him guess the objects that he touched, and
when the latter happened to guess right they changed
places. This simple game suggested to me the most
complicated idea that ever crossed my mind. Pursued
by the notion, I ran and shut myself in my workshop,
and was fortunately in that happy state when the mind
follows easily the combinations traced by fancy. I rested
my head in my hands, and in my excitement laid down

the first principles of second sight.''

[ 200 ]

SECOND SIGHT

Then, picking up the long idle quill of Baron Mun-
chausen, he proceeds to explain the methods by which he
perfected the trick and trained his son. To the layman
these methods read most entertainingly. To the expe-
rienced conjurer or his humblest assistant they appeal
as absurd and impossible, a sheer waste of time, of which

ft if ||

Robeit-Houdin and his son Emile, presenting second sight. Here the
bell is used as it was by Henri Robin. From an illustration in the original
French edition of the Robeit-Houdin "Memoirs."

a man who reproduced the tricks of his predecessors as

rapidly as RobertrHoudin did, would not be guilty.

He claims to have trained the eye and memory of his

son, by leading the latter past shop windows, and after

allowing him one glance, demanding the names of articles

seen at this single glance. When the boy could mention

forty things after passing the window, his education was

pronounced good. Robert-Houdin also tells in his

[201]

SECOND SIGHT

"Memoirs" of spending hours with his son in poring
over an enormous collection of coins, medals, etc., which
severe lesson helped them both in future performances.
To the conjurer, this tale is farcical. Not only was there
no need of forcing the boy to become a coin expert, but
the task was one which could not be accomplished in the
brief time which Robert-Houdin allowed himself for
perfecting the trick.

The only knowledge required about coins is to recognize
a coin when you see it. Some one may hand a coin of
peculiar stamp, and the operator must signal to his medium
the metal and all he knows about it. Of course, if both
know the various coins, then they can understand each
other with less signaling than if the coins were unfamiliar
to either.

Inaudi, the French calculator, can look at a blackboard
filled with numbers for a few seconds, then turn his back
upon them and add the entire amount that he has just
seen and memorized. But let the reader understand that
Inaudi is peculiarly gifted by nature, while second sight
is a trick in which the person on the stage known as
the medium is assisted by words, signs, prearranged
movements, or articles or figures in rotation, which to
the layman have the appearance of being unprepared.
At a familiar cue, however, the operator touches articles
that have been memorized, a ring, a watch, a scarf-pin,
a lady's fan, an opera glass, all in rotation. At a snap
of the fingers the medium will know that the articles are
to be named in consecutive order, and only after the snap
of the fingers or another cue agreed upon.

Robert-Houdin presented the trick for the first time

[203]

NEW STAAND

TiiiTil

MYSTERIEUSES

ROBERT HELLER.

These elegant and oiiginal Performances will be
given at i& above Theatre

svsaiv SVSaHBTQo

ftwmwotitt at 8 o'HU^

A MORNINQ PERFORMAKCE

AT lULT-PAST S OCLOOL •

Ob Mdi e«M

PART I.

BMBtSt iBVMttcd and pwlbtflMcl

TIm CaULitie dock
Tlw ObadieBt Dov«
TIm Fuw and Caoooo Bail*

TIm PlttinM of FeatUn
ThaBadtetor.Floweta *
Iba Manndlolu Onnga l*!**'

Lea eveataib et lea boukU de

Canona
LcaiJuntea
L« corbeiUe de Flom
LXhugcr

^^ati^NaM^

Programme used by Robert Heller in 1851-52, when he was about e
years of age. Probably the only programme of this date in existence,
m the Harry Houdini Collection.

[20^ A

SECOND SIGHT

at his own theatre, February 12th, 1846. Unquestionably
at this time he employed the speaking code, wherein the
answer is contained in the question asked of the medium
by the performer. As he describes scene after scene in
which he and his son participated, it is almost possible
for a conjurer or any one interested in magic to follow
his code. Apparently the amusement-loving public be-
came familiar with his speaking code, for three years
la,ter, according to the illustrated appendix of the French
edition of his "Memoirs," he adopted a code of signals,
"^hich he states was especially arranged to confuse those
"Whom he terms his "fearless discoverers.''

A mysterious bell was used in this connection, but he
admits that it mattered not whether the bell struck or
\vas silent, his son could name the object under consid-
eration or answer the question. While Robert-Houdin
asserts that he did not employ electricity for working his
silent code, investigations make it almost certain that this
was the method used. It is known throughout the world of
conjuring that in 1850-51 Robert Heller (William Henry
Palmer) reproduced Robert-Houdin's entire repertoire of
tricks, with the exception of the suspension, and all
worked precisely by Robert-Houdin's methods. In the
second-sight trick, which he first presented with a young
man as the medium, then later with Miss Haidee Heller,
the medium was seated on a sofa fully equipped with wires
and electric batteries. Heller's second sight was worked
with both the speaking and silent codes. His confederate
was concealed behind the scenes watching Heller through
a peep-hole, or possibly he used another, seated in the au-
dience, and had the wires strung under his chair, arranging

[205]

TWO WEEKS ONLY.

MONIDA.Y, MA.Y lOTH,

KOBEKT

80HATX0 CON^ITRBR^

FIUOSOLOIST AND GAVSEIR,

365th Performance in New York,

VBriH • «u*«r « M«Ma vUA m o«ktr Oo^fttr bM tl My !!■% MMafliiM (• tttt tiiy^

S>A.ZiT X.-aiCA.OZO.

WONDSR I HELLER'S CABALISTIC CLOCK

RTONDKR II THE il^RlAL BELL

irONDER IIf,.i.IIfVWW*fe-MM4-«mB-*«l«brct«H Piitent Medicine Wan-
hottM in the AWAcrlood

WONDER IV THE. WITCHES' POLE, irith «n(^liu: dcvelopmentii in

Cartoin«ney

WONDER V ANIBIATED DOLLARS; with Life imd Intellegence MMifested

WONPER VI HELLER'S ARABESQUE RINGS

WONDER VII. ..'..^ ,.'..!..- THE DEVIL'S PUNCHBOWL

Ma I GRAND FANTASIA on Aira (Who the "Sonnambula" of Titelberg,

performed by ROBERT HELLER, on Steinway's Ofand Pienoforte.

Mo. 3 Ma HH.Ln'8 Laughable Deacnption the Piano^ractice of a Boarding

School Young Ladjr.x-IUmtnUed. The Young Lady by Robert Heller.

syuRT zzx.»2iA-sraTsxi'sr.

mU8R'8 SSGONO-StCBT MYjSTERT

iPJLBSC xv»-x»T»xaitjaTio«r.

.o«iyrt«mn the Tricki^but l-v^W/^Vho* todj tW to thOttay
may BO and eUrtoat MdN^arera for themMlveaaai aohif ve •■ grant n
fortuM M hH fidlen to the lot of Bobut, iIbabi..

Poster used by Robert Heller during his Boston engagement in 1853. From

the Harry Houdini Collection.

[206]

SECOND SIGHT

the signal button so that it could be easily reached on the
arm or front part of the seat. The receiving instrument
was attached to the sofa on which the medium was
seated. The latter would be silently informed as to what
was being shown and would answer all questions. As
proof that these statements are not mere hearsay, the
Heller sofa can now be seen in the possession of Mr.
Francis J. Martinka, of New York; and Dr. W. Golden
Mortimer, who once presented '^ Mortimer's Mysteries,"
a show on the style of Heller's performance, furnishes
the information that when Heller died in Philadelphia,
November 28th, 1878, he engaged the dead magician's
chief assistant, an expert electrician named E. J. Dale,
who had acted as secret confederate, assisting the medium.

After travelling with Mortimer some time. Dale eventu-
ally returned to England, and retired from the profession.
He opened a large shop in London under the firm name
of H. & E. J. Dale, Manufacturing Electricians, 4 Little
Britain, E.G.,. in October, 1882.

It was the easiest thing imaginable for Robert-Houdin
to have his theatre arranged with secret confederates
and wires back of the scenes, where a man with powerful
opera-glasses could stand. The place being small, he
could look all over the room and see the minutest article.

When not making use of the talking codej the simplest
method employed by second-sight artists is to have a con-
federate in the audience, with either an electrical push but-
ton or a pneumatic bulb, who gives the medium the signal.
This is received by a miniature piston, which requires
only a small hole in the stage, while the medium has a
matching hole in the sole of his shoe. This allows the

[ 207 ]

THE UNMASKING OF ROBERT-HOUDIN

piston to touch the sole of the foot whenever the con-
federate presses the bulb or pushes the button.

From this array of facts it will be seen that second sight
is and always has been a matter of well-drilled phrases
or signals, prearranged rotation of articles, well-built

..:i

1 1

>^^ 1

•%

r^MM

yr- j^

^^^1

^Bv^

The author at the long-neglected grave of Robert Heller, in Mt. Moriah
Cemetery, Philadelphia, IL S. A. From a photograph in the Harry Houdini
Collection.

apparatus or well-trained confederates, but never a feat
of actual thought-transferrence.

Some of Robert-Houdin's ardent supporters insist that
in claiming the invention or discovery of second sight,
the French conjurer was merely an unconscious plagiarist,

[208]

SECOND SIGHT

having stumbled upon, quite by accident, a trick which
he did not know that others had offered before him.

Such a statement is illogical and absurd. Books of
magic to which Robert-Houdin had access and which
he admits having read describe the trick in a more or
less crude form. Pinetti, whose tricks were fully described
to Robert-Houdin by his old friend Torrini, used the
second-sight mystification with excellent effect. Robert-
Houdin could not have been ignorant of its existence as
a trick. In making the claim to its discovery in his"
** Memoirs" he simply trusted to the ignorance of the
reading public in the history of magic.

According to programmes and newspaper clippings in
my collection, Philip Breslaw was the first conjurer to feat-
ure second sight in his performance. Breslaw was a clever
German who so established himself in the hearts of
amusement-loving Englishmen that he remained in
England for forty years, dying in Liverpool in 1803. I^
1 781, while pla)dng at Greenwood's Rooms, Haymarket,
London, he announced as Part One of his entertainment :

"Mr. Breslaw will exhibit his new magical deceptions.
Letters, Medals, Dice, Pocket pieces, Rings, etc., etc.,
and particularly communicate the thoughts of any person
to another without the assistance of speech or wTiting."

Pinetti comes next as an eminent presenter of second
sight. Between these two well-known conjurers there
may have been various unimportant, unchronicled per-
formers who made use of Breslaw's trick, but they have
no place in the history of magic.

The trick appeared on a Pinetti programme at the
Royal Haymarket, London, England, December ist, 1784,
14 '[209]

THE UNMASKING OF ROBERT-HOUDIN

almost sixty-two years before Robert-Houdin presented
it as his original invention.
The London Morning Post and Daily Advertiser of

H A V . M A R K EtS,

ftv PERMISSION of the LORD CHA>:^l9JUtt.Aiy,
' Signor and Signbra I> I N E T T I ^ s
Moft gram*^ aftonifhinK inxl mimrfiWc

N E W E X H I^ I: T I O N.

AT tlic Theatre- Royal, in thcHaY-Maiket,
TO-MORROW, l>ccmlRr i,
S >cuor PINETri, Knij^iit of the Ordf r of Merit of St,
Fhiiip, &v. ^c. \%-ith all due deference i^nfurms tuc pubiick.
tWat be U yud returned from Windier, and that he wtii, by
tlic above pcmiiflion, open again this Theatre on Thurfday
litxt, and with his Coiuoit, wilVexhtbit moft wonderful,
Atipendi:vs, and abfoluiely ininutabte, nic*chanica(, phyfical
and phiU^fophieal pieces, tvhicUhbt rciviu deep fcnitiny ^
thofc fcicnces, and :iiriJuous rxerti^ni have t^d^hlcd fiini to
in^hnt and conftruft ^ amonjj whjch Siguora Ptnvtti v,iU
Irave the l|>ei'iiil honour and l.vtisfacSion of exhibiting; varl-
ttjs experiments of new d'rfcovcry, tid lefs curious than
focmingly invretiihlc, pafticnlarly th»t nf her heinj; feated
(n one of the front boxes yrith an h^aclkerchicf over h&i
vye)(,and gucr%at cvery^ thiitg imagintd andpropc|fedfft
Kcr> by any piTfon iq the eotupuny . [. *

" Signur Pinetti Lcing moft aoxrous and ambitiouut of r.c-
ireiving t)ie countenance and An^ion of this great and dil-
terinniE: nation, ia^;hia cndcvroprs it fhiitl b& hjs conftaCit
l^udy itin to find otjT mean;' w^'ch m^y enable hun t«( ore-
teut, at inteafals/moU cafiovi% iNirpriJing. and io.firellifif
ori^nal pieect before the )uiUUck during his ihort &\y ia
Uvrkittgdiom V n^er c^pf'Mfi^ but.r^ prodiKinjg[ Mf
vrYvxt H^r 1^ own invdition and diArovvy, «iid^ m the
tliTplay •f which pieces having ^ea JMaotticd w)tb a

written teilimony of h» Brtuank t4ajcfty*s m
1^S°^d witW hi* own him^ (beride«'betog''{>oflcued oJLcqitii-
Scales of fht like nitore from fcvcral other Spvcrei^r)'
bismbiy bones »ii4iolicitsior the cobtmuance'of that p;f^
tr>ina^ttaa<!oeouragrment« 'v^hlie moft gratefully t^-
aLHomfdgtsto have already rpimpartUUyrt^oxpply ex«*
yrrxenced from the Britiih nation. ,.
. His cxcelieilt and bumoiirous ii)'ta;preter wHl tbntinue
tritb him during his /lay.

fipxes s*^ ^>( 3*« ri^ Cal. «a. Upper Gal. xk

li^QCsi'or the boxes to be takev of Mr. Rice at tht Tht atit.

Doors o))cn at Six, and Ixrgin at S«veti.

Clipping: from the London Post, December 1st, 1784, in which Pinetti
featured second sight. From the Harry Houdini Collection.

December ist, 1784, contains the above advertisement:

reproduced from my collection.

[210]

SECOND SIGHT

The talking code employed by Pinetti was not original
with him, as it dates back to the automaton worked by a
concealed confederate who controlled the piston for the
mechanical figure or pulled the strings to manipulate the
dancing coins or moving head. It was novel only in its
application to the supposed thought-transferrence by a
human being instead of an automaton.

This code is described by various reliable authors.
On page 388, Volume III. of Hooper's "Recreations,"
edition 1782, it is stated that the confederate worked the
apparatus from another room. "By certain words, previ-
ously agreed on, make it known to the confederate," is
the advice given to would-be conjurers.

Beckman in his "History of Inventions" relates that
he knew an exhibitor of a "talking figure" whose con-
cealed confederate was cued to answer certain questions,
the answers being given in the manner of putting the
question, also by different signs. These instructions will
be found on page 311 of Volume II., edition of 181 7.

Decremps undertook to expose Pinetti's method of
working the second-sight trick in his famous book, but in
this attempt he scored one of the few failures which
marked the bitter fight he waged against Pinetti. In his
book "La Magie Blanche Devoilee" (White Magic
Exposed), first edition, 1784, he offers on page 40 "Les
Cartes d6vin6es, les yeux bandes" (The Divination of
Cards with the Eyes Blindfolded). In this feat Decremps
explains that Pinetti would allow cards to be drawn, then
a lady (Signora Pinetti) would appear on the stage, would
be blindfolded, and would name all the cards that were
drawn. Decremps explains the prearranged pack of

THE UNMASKING OF ROBERT-HOUDIN

Reproduction of front and back of original handbill distributed on London
streets in 1831, to advertise Master M*Kean. From the Harry Houdini
Collection.

[212]

SECOND SIGHT

cards for this trick, also outlining the manner of giving
the medium the cue for certain phrases. For instance,
while explaining to the audience that he will not speak at
all, in the very sentences addressed to the spectators he
informs the medium which cards have been selected.

Pinetti's code must have been clever, as Decremps
was unable to explain the entire second-sight act. He has '
omitted the principal part of the mystification, that is,
naming the articles held up for the performer to see.

That the card trick was only one test of his second-sight
performance, and that Pinetti's medium did not retire
after naming the cards, are facts shown by the following
clipping from one of his announcements:

"Signora Pinetti will have the special honor and satis-
faction of exhibiting various experiments of new discovery,
no less curious than seemingly incredible, particularly
that of her being seated in one of the front boxes with
an handkerchief over her eyes, and guess at everything
imagined and proposed to her by any person in the
company."

Third on the list of second-sight performers, according
to the data in my collection, was Louis Gordon M^Kean,
who created a sensation at the Egyptian Hall Bazaar,
Piccadilly, London, in 1 831, or fifteen years before Robert-
Houdin, according to his claims, "discovered" second
sight. Young M^Kean was featured as possessing dou-
ble, not second, sight, and one of his bills is reproduced
on page 212.

Another programme in my collection, dated the Theatre
Scarboro, Friday evening, August 4th, 1837, announces
"For a limited engagement of three nights the Three

[213]

THE UNMASKING OF ROBERT-HOUDIN

Talented Highlanders and most extraordinary Second-
Sighted Young Highlanders."

These lads, I believe, were three brothers, one the
original M^Kean, or the latter working in conjunction
with two other boys trained to the tricks in order to
secure more impressive results. The trio appeared

Decoration on the broadside used to advertise a young Dutchwoman who
created a sensation in the early part of the eighteenth century. From the
Harry Houdini Collection.

eight years before Robc^t-Houdin became a professional
entertainer.

Holland also contributed a successful performer of
second-sight tricks, the medium in this case being a
Dutchwoman who created a profound sensation while

[214]

SECOND SIGHT

touring Germany in the eariy part of the eighteenth
centur}\ The biUing used at the yeariy fairs is an
enormous poster which would be uninteUigible if reduced
to a size suitable for reproduction.
It is now a part of my collection and reads as follows:
^'The Holland Maid, Twenty Years of Age, from Am-
sterdam, whose powers, both in her residence there and
in all other places to which she has gone, have excited

MYS'TlOEtlOirS

IiADY.

ty ^e peenlitr MqnirtiBent^ snd fiusoltie* of this highljr Talented
L«dy an dmwt beyoad the reach of deacription. fiy aome unknovo

'''extraordinary ENDOVMNT

Sye ia enable 1 to dedare the names of articles produced by the company*
alOMmgh ntling at a disunee of bO to 60 feet, with her face turned from
the andieneel She will also divine the whinpered wish ot any one,
althoogh aatiaAwtorily cot of hearing. She will also, describe the dreas,
orMiliKnt»» fte. of any iudiTidual who may wish it, with an accuracy
tn4y avrpffiaangs upon a eard being selected from a pack, she will
dedaw Ua name ; bat as the performance Taries and depends in a great
facMnre on th« plraanre of the company, no regnhir routine can be sped-
led, bat of this the company may rest assured that every consistent
Hiort wUl be naed to gratify apd afford them aatisfactton.

Reproduction of original billing matter used by the mysterious lady who
offer^ second sight in the United States in 1841-42-43. From the Ilarry
Houdini Collection.

great astonishment and much applause, and she will
also in this place endeavor to obtain the same tribute
of public applause. She will after the exhibition place
herself before the eyes of all the spectators on the outside
and gravely stand thereon and at all times give an answer
of assurance to any one present to whom her judgment in
all questions gives the most accurate response. She con-
trives also by her acuteness to discover and reply to the

[215]

THE UNMASKING OF ROBERT-HOUDIN

least thought, not until then explored. She guesses the
age of every one, whether they be married or not ; how-
many children they have, of what sex, and whether they
be living or dead at the present time, etc. She does the
like for any one having a chance in the lottery, as to what
is its number, and what will be its share of gains. She

tHI MTSIVKIOUS LAST*

Reproduction of the cut used on the mysterious lady's handbills, distributed in
America in 1841. From the Harry Houdini Collection.

also guesses at every one of the most different sorts of

coin, and even at the year with which they were stamped.

She guesses at every number which any one shall secretly

set down, even though it amount to upward a million.

She moreover tells exactly whether any one be in the

[216]

SECOND SIGHT

Army, under how many Monarchs he has served, in how
many battles he has been engaged, and whether he has
ever been wounded and how many wounds he has received.
By throwing the Dice, she will every time exactly tell the
very number of spots which may have been determined
on."

This wordy announcement is signed by W. Sahm, of
Holland.

In my collection there is also an interesting handbill ad-
vertising the tour of "The Mysterious Lady" who offered
second-sight tricks in the eastern part of the United States
in 1842-43. Her name was never stated on the programmes,
but the latter, together with a clipping dated Boston,
February 20th, 1843, will suffice to prove my claim that
she was offering second-sight before Robert-Houdin did,
and therefore could not be copying his trick. She also
appeared in England fully a year before Robert-Houdin
"discovered" second sight.

Henri Robin and his wife featured second sight in
Italy just when Robert-Houdin first offered it in Paris.
It is barely possible that they antedated Robert-Houdin
in the production of this trick, for I have in my collection
a brochure entitled "Album des Soirees de M. et Mme.
Robin," which contains an engraving of the couple offer-
ing second-sight, a short poem in honor of Mme. Robin's
remarkable gifts as a second-sight artist, and a poem
generally eulogistic of M. Robin's talents dated distinctly
February 7th, 1846. Robert-Houdin presented second-
sight for the first time, according to his own "Memoirs,"
on February 12th, 1846.

To prove the utter folly of Robert-Houdin's claims to

[217]

THE UNMASKING OF ROBERT-HOUDIN

1 m :

-SO

^ .
il

(5 "S.S

«4j 2

§6:3

1
111

[2l8]

SECOND SIGHT

having trained his son's eye and memory by patient effort
so as to have a mutual transferrence of thought, I will
next show that animals had been trained for years to do
tricks by secret signals before the alleged "discovery" of
second sight.

Two rare old bills in my collection advertise the mar-
vellous "mind-reading" performances of a goose and a
blindfolded dog respectively. The first, dated 1789,
Announces that a Mr. Beckett, a trunk-maker of No. 31
Ilaymarket, is exhibiting "a Learned Goose, just lately
Arrived from abroad.

"It performs the following tricks: performing upon
cards, money, and watches, telling the time of the month,
year, and date, also the value of any piece either English
or foreign, distinguishing all sorts of colors and (most
prodigiously and certainly unbelieving to those who know
the intellects of a goose) she tells the number of ladies
and gentlemen in the company or any person's thoughts;
any lady or gentleman drawing a card out of the pack,
though ever so secret, the Goose, blindfolded at the same
time, will find out the card they drew. Admittance two
shillings each person."

The second bill features Don Carlo, the Double-
Sighted dog, which gave an exhibition of his mysterious
skill at the Pavillion by special command, before King
William and the royal family on December 17th, 1831.
This dog was blindfolded and could present almost in
duplicate the second-sight tests offered by the Highland
lad who five days later gave a similar exhibition before
the royal family at the same place.
This proof regarding the use of animals as "mediums"

r «^^i

THE UNMASKING OF ROBERT-HOUDIN

is offered not to belittle the human mediums, but to prove
that from start to finish, from the day that Breslaw
offered the trick to the present moment, when a number

Tw the Public m generaij and thofc uf reaJ K-nowhige
Particularly.

- ■"■ ' L hi?i^f*rj isf liiiT FrATMrA^& CnJ **io»»
i Winynr^l lAom-ltiim l^ifrtin^, p(

ll^■J^^^t",i^\^r■t)^JD

Ub4, ftrtrrt In^ftS.) rhitllpTT'^li StkfJ ^i h1f^f*\t^

f?^

<f CV«A

-.^aiely

A^^^ ff^ivkf Ihdib

^t.- ,^

LEJtRNED GOOSE

^iir^ifBjJAl j tie i.:ru finjc 4^11 ^pi jmi the C^'j^J 1h^ Jri«^

Rare poster announcing the performance of the learned ^pose, one of the
first of the second-sight anunal artists. Traced from the origmal poster in the
British Musemn by the author.

of skilful so-called mind-readers still mystify the public,

some sort of speaking or signal code has been used. Rob-

[220]

SECOND SIGHT

ert-Houdin used both the speaking and the signal code,
but so did Breslaw, and all evidence points to the fact
that Robert-Houdin merely improved upon the trick em-
ployed by Breslaw,

Pinetti, and others THE DOUBLE-SIGHTED
among his predeces- wm£x ^ m^MiL A

sors in magic, by uti- ™ " •• »nr n»«J^ * •

lizing the newly found Egyptian Hai^JPiccadmi/,
assistant to the magi- Patronage of tJfelONO&lloyal Family.
cian, electricity. In
his tiny theatre it would
have been entirely
feasible to have had
electric wires run from
all points of the audi-
torium to the stage,
thus doing away with
both the speaking and
ordinary signal codes,
even the pneumatic
tube. For this im-
provement, and this
alone, should Robert-
Houdin be given credit.
Nearly all magicians
improve or redress
tricks or apparatus
handed down to them

by their predecessors, but Robert-Houdin was not willing
to admit that he owed anything to his predecessors.

This immUhi'g Aaimal U from Naw York, wImm Mndty tmi iaeOitf k«f*
Um the MinriM ud admintioa of til who han witn»ii>d Ua pa rf oi mt ma u , partU
enlarh atBaioiiTOV. whara Mr. HAVivoToa haathahoaowofaaUUtiaf.aatU
V^9t Dae. 1831 . Do* CARLOS' iraidarfiii aUUtiaa, by apaeU GamMidbaihi*

His nwA C^raclouB IE^ie«tjr ^VlUlaat IT.

AMD «.OTA& rAMXI>T. ■

At tba Patilioa ; on which oeeaakHi bia Majaatr and tlf -^ ^ Fhiafly mn plaMtA
to as^raaa tht approbaaon and dali«fat thay axparianoM, U hia aual wtraordiatty
M^fa£»aeaa. A vi.it to ihia half-raaaonidg Dog will aagply fnOtf tha Ww. of
Malnra'a worka. Thiavary axtraordiaanraBdhaiidaoaiacfaatankaSpaBialarth*
troa Spuiah biaad. and i« addition to hia wondarfnl ftenltiaa.iaafaoaiUandtnet*
■U»-n dkpMition.'that ha nay ba managad by a child with parfcct aaaa and mtMj.
Ria aeoalraiMnta conaiat chiefly of t^ar&nnnnGaa with Carda, wharain ho diapbw
dMKMatMtpmiaion. Ha wiU alao aalact tho handaonaat Lady U tha Rooa. ai-
mtt&m to hia Jadcmam (which ir aaldom^qaaatienad), aldaat * yooBMat Pofaon, ar
^nTjlMion ^^tha Conq^y. and tha GantUman ^

IKUr CARXiOB 18 VOW FOR 8AIA1

Hk nrica ia Ftftr Gninaaa. Thafraaaitf ownar of thiabanntifnl anlaMJ wonUbn
hMnte Ut him acGompuy Un to AmarWa. for which ba wiU ahortly ambnik^rt
d8S CARLOS' jartiCTlarobjaction to a aotToyagaiatha only raaaanfcr We jijl*.

'^'tU PMoriator of DON CARLOS, baga to inform tha Nobility and Oanlry,
that ha k in randiaw* to attand Partiaa at their own hooaaa, on modarato chaigw.
omtnaiainnana^. ^^^,„„f^^^j^

BOA COBfSTlRICirOR,

BeautlfU CuMUiry Bird* CTIposabel,

Who win patfoim a ranaty of anwain g Tnclu j lilnwi«» the M aoical Damciiio Fiovata.

•9- AdmlMlOB to tlM Whole Is.

WJl Tki Fwdmn of DON CARLOS »i« it marycttd to ptrfiMm UmiwMulM

fmnt U-ttr. i^xfrm \OmtU Uommf tUl9t Hiflf.

•■M.MM«r.*l. V«MkwMain.t, vnf.

Billing used for Don Carlos, the double-
sighted dog. From the Harry Houdini
Collection.

[221]

CHAPTER VIII

THE SUSPENSION TRICK

IN chapters XVI. and XVII. of the American edition
of his "Memoirs," Robert-Houdin states that
he closed his theatre during the months of July,
August, and September, 1847, and devoted his time
to producing new tricks for the coming season. He chron-
icles as the result of these labors the following additions
to his repertoire: "The Crystal Box,'' "The Fantastic
Portfolio," "The Trapeze Tumbler," "The Garde Fran-
9aise," "The Origin of Flowers," "The Crystal Balls,"
"The Inexhaustible Bottle," "The Ethereal Suspension,"
etc.

Had these inventions really been original with the man
who claimed them as the result of his own brain- work and
handicraft, three years would not have sufficed to bring
them to the perfection in which they were presented at
that time. It is not always the actual work that makes
a trick a success, nor the material from which it is con-
structed, but it takes time to plan a new trick; and then
after you have worked out the idea, it takes more time to
make it practical. The same piece of apparatus may
have to be made dozens of times, in as many shapes,
before it is presentable. Therefore, when Robert-Houdin
claims to have invented and built with his own hands the
tricks mentioned in the list given above, it is time to prove
the improbability and falsity of his statements.

[222]

&m vATmowAOB or

HfUDIN!

rrenoh'OoqJnrory

Fh|rieteAIIn«erir(kNiirIqilTkeilce,AbleirStJuM8'n(ilKj4ilii,

IHUESTTTIIEQIKBI

B. B. H. PBINCB ALBBRT, * THB BOTAL^ FAMILT,

AT Alili THE COURTS OF EUROPE.

wiu oiTk A ■BUB or

FANTASTiqrES ! !

oouKNcnni ov thi irntiilo op

BJond ay, June 14, lB92m

■lllBllltllll!

neUnvilkMleTi
Ikt kctaMft

llMldlorUiArWMl

' 1ktTMBKtawrari(HeciaaIcntw)

Ike Om ar Wtac^ or Om Mem flf

mntwcrlMkcl

Tketaibe

Tki flrctl beuMli«e

netmnnrmMu

TheTvaleMw

Tke Hwoli PMkel lutt«rcklcr

The lack TtklcM

Tke lagacllc SweN

TBB WONDROUS FUNCB BOWIj,

f-fUt 8€Vi* I Pnftmanet l» eommtne* <^ a Qimttr-fatt Eigkl o'eliek.

9si mMerrad ImU, 1b| Ba(ok ImU, Is; aallwy, M.

r lea remerMMalomed nd iMk Setfs, Halffrice

A GRAND MORNING PERFORMANCE

Ml KATVmBAT, JIIHX I», IMS, AT TWO O'OIiOCS.

Deon en* » lalf-MM Mc;

4M« WTOon, niiTn. ii Mi-ni lu

A Roberfc-Houdin poster on which his complete repertoire appears, under
date of June 14^ 1852. From the Harry Houdini Collection.

[223]

THE UNMASKING OF ROBERT-HOUDIN

Inventions are a matter of evolution, but as the tricks
which Robert-Houdin presented in his new repertoire
were not new, he was able to oflFer them as the result of
three months' work. To the expert mechanician or
builder of conjuring apparatus his claim is farcical. The

ST. JAMESTg'^THBATBR

MBEifltnii

BAY

rAHTASTIQIFBS,

TUISDAYf'^NURSDAY,
tATUHMY^

-*''*^ ^-*ir7"y"^

nv jj

80IBBB8
FABTASTIQIFBS,

TUItDAY.'THURtDAY,
SATURDAY'^EVCIIIilM,

Poster used by Robert-Houdin during his first London enga^ment,
featuring suspension. From the Harry Houdini Collection.

majority of the tricks mentioned require skilled hands and
infinite patience, if they work in a way that will completely
deceive the public. Particularly is this true of the first
suspension apparatus such as Robert-Houdin must have
used. This included a steel corset or frame for the sub-
ject, and both the corset and the supporting rods had to

[224]

THE SUSPENSION TRICK

be strong, invisible to the audience, and still be perfect
in mechanism.

Robert-Houdin, with characteristic ambiguity, does not
refer to a complicated mechanism, but lays stress on his
ability to keep his tricks up-to-date and in line with
popular movements of the hour. In writing of the sus-
pension trick, he gives the impression that but for the
sensation created by the use of ether as an anaesthetic he
would never have thought out the new trick. His own
words as presented on page 312 of the American edition
of his "Memoirs" are reproduced in this connection:

"It will be remembered that in 1847 the insensibility
produced by inhaling ether began to be applied to surgical
operations; all the world talked about the marvellous
eflFect of this anaesthetic and its extraordinary results.
In the eyes of the people it seemed much akin to magic.
Seeing that the surgeons had invaded my domain, I asked
myself if this did not allow me to make reprisals. I did
so by inventing my ethereal suspension, which I believe
was far more surprising than any result obtained by my
surgical brethren. This trick was much applauded, and
I am bound to say that my arrangements were excellently
made. This was the first time that I tried to direct the
surprise of my spectators by gradually heightening it up
to the next moment, when, so to speak, it exploded."

While Robert-Houdin, in his "Memoirs," claims to
have invented the trick for the season of 1847-48, in the
illustrated appendix of the French edition he states that
the first production of the trick, with improvements, was
in October, 1849. The improvement consisted of working
the trick with a stool upon a platform, when, previous to
IS [225]

THE UNMASKING OF ROBERT-HOUDIN

this date, he had used only the ordinary platform and
rod.

During the course of researches covering many years,
during which I visited- national libraries in various coun-
tries, the firgt trace of the suspension trick was discovered
in the writings of Ian Batuta, who flourished about the
thirteenth century. He mentions two conjurers who per-
formed before the. court of the Mogul in Delhi. One of
the men assumed the form of a cube and rose into the air,
where he remained suspended. The other man then took
oflF his shoe, struck it against a rock, and it also rose and
hung in midair, close to the suspended conjurer or human
cube. On being touched on the neck, the cube descended
to the ground, and the conjurer resumed his natural form.

The historical verity of this tale cannot be determined,
and it may be classed with the familiar story which crops
up periodically, describing the ball of cord thrown into
the air for a youth to climb into the clouds. Once out of
sight, the youth is said to draw the cord up after him;
then presently a leg falls from the unseen heights, then
another, followed by an arm, a rib or two, and so on
until the entire body is scattered upon the ground, the
head coming last with the neck standing upward. At
the command of the magician, the body seems to crawl
together, so runs the tale, and eventually the ybuth stands
up to be examined by the astonished populace.

These stories belong in the very first of the travellers'
tales. In 1356 Sir John Mandeville, called by some au-
thorities " the Father of English Prose," after travelling
thirty-four years, published a book detailing some of his
marvellous "witnessings." Though many of his stories

[226]

THE SUSPENSION TRICK

[227]

THE UNMASKING OF ROBERT-HOUDIN

are absolutely impossible, yet so popular did his works
become that, barring the Scriptures, more copies and
manuscripts of the books containing his various "Magi-
cian Stories" have been handed down to posterity and
exist to-day than any works of his contemporaries.
Still, Mandeville did not mention this suspension trick,
which is sometimes attributed to the Chinese and some-
times to the Hindoos.

In Cologne, Germany, I purchased an encyclopaedia,
published in 1684, from which I reproduce a double-
page engraving, which shows the Chinese magicians
doing the tricks previously accredited, in the stories of
travellers, to Hindoo conjurers.

In "Lives of the Conjurers," Thomas Frost describes
the suspension trick as offered about 1828 or 1829 at
Madras by an old Brahmin with no better apparatus than
a piece of plank with four legs. This he had formed into
a stool, and upon it, in a little brass socket, he placed a
hollow bamboo stick in a perpendicular position. Pro-
jecting from the stick was a kind of crutch, covered with
a piece of common hide. These properties he carried
with him in a bag, which was shown to all those who
desired to witness his exhibition. The servants of the
household then held a blanket before him, and, when it
was withdrawn, he was discovered poised in midair
about four feet from the ground, in a sitting posture, with
the outer edge of one hand merely touching the crutch,
while the fingers deliberately counted beads, and the other
hand and arm were held in an upright position. The
blanket was again held up before him, and the spectators
caught a gurgUng sound, like that occasioned by wind

[228]

THE SUSPENSION TRICK

The Brahmin suspension as shown in an ilhistration found in Robin's
TAlmanach de Cagliostro.

[229]

THE UNMASKING OF ROBERT-HOUDIN

escaping from a bladder or tube. When the screen or
blanket was again withdrawn, the conjurer was standing
on the ground.

The mystery was supposed to have been solved when
Sheshal, commonly known as ^*the Brahmin of the Air,"
exhibited the trick in 1832 in Madras. It was observed
that his stool was ornamented with two inlaid stars, and
it was suggested that one of these might conceal a socket
for a steel rod, passing through the bamboo, and that
another rod, screwed to the perpendicular one and con-
cealed by the piece of hide, might be connected with a
mechanism of the same metal, passing up the sleeve and
down the back, and forming a circular seat. This con-
jecture probably was not far from the truth, for while
Frost is by no means the greatest of authorities on magic
and magicians, in this particular instance I believe that
his explanation of the trick is correct.

The next authentic early information I have gathered
regarding suspension concerns that wonderful performer
who called himself Ching Lau Lauro. Presumably he was
a Chinaman, and from the programmes in my collection
he evidently appeared first in England, in 1828, when he
was engaged to perform between scenes of various plays,
including "Tom and Jerry," at the Coburg. I repro-
duce on page 231 one of Ching Lau Lauro's programmes.

About 1833, or possibly a year earlier, he cut out some
of his singing, and introduced the suspension with which
he closed his performance. At this time he gave the
entire programme. According to his programmes, in some
places he excluded the public from the gallery, so I
judge that his suspension was accomplished by the use

[230]

JF%ve JViffhtff aniy.

AT THE NEMrA^MBL\' ROOMS,
The celebrated CHING LAU LAURO,

C L. L ka M Ik. 4hiiapMM4 kMMi af l^fwaiiu M»t iWi. M .p^i«. ,. iw f.^^ „ itnglUM, ^
MhafMMhn«il>WalriMr.li]rllHtiMMc«lM-cMiBMHl. •uliMilmr U-nal i*rn»«l -' — - "-' — — ^ ■
iMMr, miliii >ttk Mnnl Mk«i Am Ikt CmH af 3* H«(k, HrMHw>l. H-mi ./ Wmi
MMr Pmsi% H%k MTNl af akkk Hm Wteomt w • nry •• "i* H..<>.. f.,iM . -

«n Ifanr Ifalri. H T*» L(iH

CHIIVC; I.AU I^URO

Oo Monday, Tuesday, Wednesday, Thurstday, and Friday,

■w«h ihm lOih, lltk. lath, 13ih. and 14tli, 1834.

Tk -Itiirtlt M* amiirtMtt Tdkau to • c«m|>l<u ^rrto •' AiaiMiiwKb. cimlxwiig.

PART I.

THE CHEST OF ARCHIMEDES,

AND

Viif H^olmtnsi of lio^tiaiitlj^

tk(M mlt-eijm Riwn af l>leckaiHM> >rrf r«mlcJ by ilw nlrb.^fnl <-kljlmi.an> iM^wlnl «• ^ (m^m^hi i..
*• Crtliil ar Caria.ltia> al l>ai<«, bM ■■(anrra anmtiuKn cMwaf ik« diMlMwi. .r thai n.|«.l. r.i<Mi.hiMnf.
fcafcaa *( nayliHn aT Ihm MaMar-jriaM af Art, ikfjp »arr 4I.|Mm.I .^ uhI Mr «. L L i. io|i,.. »■ lu. , w .1 m k,.

A Oaa* •! Whist, Tim* FUm, the Wm CaadlM SBchaated

ELEPHANT OF KNOWLKDOE,
f\lcam*8 PorgCy Miracaious M*rinting! f Flying Watchy

MAOIC BOnXE,

APPLES OF BEELZEBUB,

VENTRILOQUISM.

CHim LAV LAimO kM Ik* kaaaar la aaaauaca Ikat. pn.km4 la ku rtlurn 10 Lavitaa ta rnana hi. P.«ft>«i«<iai

flllUI I Tl.1l' ' ' ' '- I ^j ..- SATIRICAL LE( Tt'NF.. Mri

^ • NOVCL DIVVBTISEklENT, rn.tllcd

ROGUERIES OF NICHOLAS.

toltattoM of th* FMUMrad CtmUob, auoh m ih* Thnuh. Blaokblrtf.
Nl^tlasAto. Sky Irfirk. Ac'

AIniiaitnytaiaiiarieljraf Ccccmric*cnai>ad Clianwuntfuwn Oo«> Ntiarr. inir«diKlar> gf

His Surprising Powers of Imitation^

ORIGINAL ANECDOTES. INCONtEPTIDLE CHANGES OF COUN-
TENANCE, •ltd extraordinary Illiuionii in ALIOI.OQUY. (erroueoiuly termed
Ventriloquy.) explaining its Agency in producing the mimlnrlcv

MYSTKRIOUS PHENOMENA, U ON r>KRS, AND DKCECTIONS.
PART m.

FeoMs of Strength^

IN THE CHARACTER or A CHINEHE BlTrO

GYMNASTIC EXERCISES.

Awl •til caadnda ku waadarfal Kntcrtalnnicait by ^^

Sitting in the Jiir upon J)rothing ! ! !

. Al thr Mint lima pl»>m!^nh ilia COLDEW BALLS, he.

A Q— drilto Band wUl b« la Att— danco. ^

Bmt M b««f«Md M Sevan •*Cleck. aad Ibc P«tfuriiMD« 10 conintatT ai a Qaarirr bc(ju Ei|hi.
fMMT SEATB, 9i.— BACK SEATsi. la. -CHILDREN HALF PRICE 10 iiir Pnmi Sou only
TICKETS to be had at Mr PARKE S, High-street.

A t^^iSurtoJM— at wUl ba gU*B oa Frtday llarait. at hatf-pM»
TwaW a o'clock. ~^

^ WPIkm ParV. r ..lrTiivw«'»aB»«*fc^

Ching Lau Lauro handbill featuring suspension in 1832. From the Harry
Houdini Collection.

[231]

THK rXMASKIXC; OF ROBEKT-HOl

escaping' from a IJaddc-r or tube. When the
blanket was a^ain witlKirawn, the conjurer \va
on ihr {(round.

Till* mystery was supj)osed to have l)een sol
Slu'slial, rommonly known as *'the Brahmin of
exhibited the trick in ICS32 in Madras. It was
tlial lu's sto(»I was ornamented with two inlaid
it >\as .suiii;:esti'(l that one of these might concea
u^v a >leel nnl, passing through tlie bamboo,
.r.\^ilur nnb screwed to the perj)en(licular one
.\..\\: by tlu* piece of Iiide, might be connect(
-\\ V.^r.is'.v. of the s;ime metal, i)assing up the s
. , M- :;\- \:ck, and forming a circular seat.
■,\.. \ '.^'.\^\:My was not far from the truth,
: ..X, V ;> :\^ :r.iv»r.s ilic greatest of authorities
V *\.^ . .^'v ::': ihis particular instance I be
* X , \ . . \ . ,^^* v^: :>.c :rick is corriTt.

•^, w , , ,".'^:i.' vV.rly information I have

^ ^, vv ^^ . '^ .v:\vrn> that wonderful f

, \ ^ ^v * ^^s^CiWigLiiu laum. i asum^

4rt IkMI tfit prncrammcs in

THE UNMASKING OF ROBERT-HOUDIN

of the iron rod from the back, which would have been in

plain sight from the gallery. The stage would not permit

the suspension to be w^orked out of range of the gallery gods.

When Robert-Houdin went to London in 1848 he found

FBjNCESg'SJHJATBE
GE^lERALREQUEST

illlUHI

First Profcfisoi olIHa^ic in theWarM

ENTERTAINING

SOIREES

invSTEniEUSE

And MAGIQUC,

^rM!' SBRHH ANN

P^ BMlCt Am «« ^Afl^1*li(^

IIW&WONDEItfllL ILLUSIONS

tlV BMlTDlLlEailMTAli mAttZO.

iDAME HERRMANN

JUITI

CXAXBVOTAirCBi
t»^ • •■■■■ •••«■■

''?llit«i»ii5^!2'»^."JftSrri»wi»,

ALL KINDSOF UQVEUIS.

The Juinrler of the 8«a aad Moob.

^BStt5.Kar *• *"'^" "•^•' ••

■VSTB&10VS OftSOK Uid Ito

iMtotOdBeU. (Neekaalc.)
The ^Jiily ^ColMMi, «r Ihe Docile Cw^.

. Jc.)

The Phllanthnpic BeDker.
AChineM Metamorphoae.
The FaatAMtlc Glass.
Pierro the Mafficlsn. (Mechaalc)
The Marriage atCana.
Thi" ntnBnjte^mnrir ct if' ^ if

Tht BTMCrAT^BTKI POTMli

Th(r .If lrni.'U- ur FIdwcth^. rMpt'h^nJr,)

Tke FlQwpr e»nle&

TteVHlTcnallViufhL

Ttif AllraL-uliia><^ frg^titcUea vf FleiKii.

The ICnHiaBlH Vaofes,

TbF Pushed Clwlrp, or foitr In one.

ThebooinvreheiiBiUe HaaAorokM

%■••! CIR« IK VMS ■» »■

Gold Fisb!

Vtis eslTMrdlaan- real K ezeratetf la • plala Evealac Brea^
DrcM Ctrcli-, 4s. Bo xe«. ili> Pit, <)> 0*Uwy, U

A Compars Herrmann programme of 1848 in which suspension is featured.
From the Harry Houdini Collection.

[232]

THE SUSPENSION TRICK

in the field of magic a clever rival, Compars Herrmann;
a few months later came John Henry Anderson, the
Wizard of the North. Both of. these men presented the
suspension trick in precisely the same manner claimed by
Robert-Houdin as his original invention of 1847. Neither
Anderson nor Herrmann claimed the honor of having
invented the trick, and it is more than likely that the
mechanician who made their apparatus for the suspension
trick made the one used by Robert-Houdin also. Herr-
mann, like Robert-Houdin, called the trick ethereal sus-
pension. Anderson gave it the title of ^^Chloriforeene
Suspension," as the reproduction of an Anderson litho-
graph on page 234 will prove.

During precisely the same period of time a brilliantly
successful German conjurer, Alexander, was presenting
the same trick in America, where he remained as a pro-
fessional entertainer for ten years. ' In my collection,
together with corroborative handbills and programmes,
there will be found this statement from Alexander:

"The suspension was at first produced by me in 1845
or 1846, after reading in an Oriental annual, edited by
several officers of the Indian Army, the trick of a fakir
who made a companion sit in the air by using a bamboo
stick. My trick had no success, because the sitting was
too near the ground. I then made him stand in the air,
and the effect was marvellous."

My meeting with Alexander, of which this correspond-
ence was the result, marked an era in my search for
material for this volume. Having read in a small book on
magic, dated 1896, that a man named Heimburger, who
had travelled in America as "Alexander the Conjurer,"

[^33]

rilK UNMASKING OF ROBEllT-IIOUDIN

"Suspension CbloriforctMio/' as ])r(\seiito<l hv Anderson anil his son, from a
lithograph iw(»(l by him on his n»turn from die Continent, December, 1848.
From the llarry lioudiiii Collection.

[234]

THE SUSPENSION TRICK

was living in his native town of Munster, in Westphalia, I
determined to secure an interview with him if possible.

On March 17th, 1903, while playing in Cologne, I
boarded an express train and arrived in Munster bright
and early. From the city directory I learned that one
Heimburger resided in Krumpentipp^^ 16. Hailing a
passing droschke I was soon carried to my destination,
where a bright-faced German girl opened the door and
ushered me, without formality, into the presence of the
man to whom I desired to pay my respects.

An old man, bent with years, snpw- white of beard and
gray of head, came forward slowly to greet me. Finding
that he was quite deaf, I raised my voice and fairly trum-
peted my mission, adding that I felt especially honored to
stand in the presence of the only magician who, up to that
date, had ever appeared at the White House, Washington,
by request of the President of the United States, my na-
tive land. Alexander had been asked to entertain Presi-
dent Polk and his guests on several occasions, and the
fact that I knew this seemed to please the old conjurer
and pave the way to a pleasant and profitable interview.

In a few moments we were sitting side by side, and he
was adding to my store of information by relating the
most fascinating experiences, stories of fellow-magicians
long since dead, and tales which he could corroborate by
his own collection of bills, programmes, etc., his diary,
and his personal correspondence. He had known Robert-
Houdin, Frikell, Bosco, Count Pererilli, John Henry
Anderson, Blitz, the original Bamberg of Amsterdam,
Compars Herrmann, and many lesser lights among the
old-time magicians. Robert-Houdin had told him per-

[235]

THE UNMASKING OF ROBERT-HOUDIN

sonally that being pressed for time he had entrusted the
writing of his "Memoirs" to a Parisian journalist.

As he warmed up to these reminiscences, he held me
spellbound. Had he risen from the grave to tell of his

Mrs. Leona A. Anderson, daiighter-in-law of John Henry Anderson, as
she appeared with him in the suspension trick about 1868. From the Harry

Houdini Collection

contemporaries, he could not have riveted my attention
more securely.
Here was a man of eighty-four, whose memory quick-

[236]

THE SUSPENSION TRICK

ened at the coming of one interested in his beloved art,
whose eye brightened with each fresh detail of a long
and successful professional life, and who, in fifty years of
retirement, had not only written a book, but had kept in
touch with the world of magic, giving me information
which the most exhaustive encyclopaedia could not yield,
answering questions on topics never yet discussed in
dusty parchments and fading scripts. It was like having
the history of magic unrolled before my eager eyes, in a
living, palpitating, human scroll.

It had been my intention to remain but a few hours in
Munster, but the old master held me as if hypnotized and
the hours fairly drifted past. Letter after letter, clipping
after clipping, token after token, he spread before my
fascinated eyes; and I allowed him to speak without
question or interruption of any sort. Early in our inter-
view he had remarked that he was beginning to feel old
and that only the impetus of my presence was responsible
for his unusual strength of speech. For over seventy
years he had been collecting books on conjuring and kin-
dred topics, which he was able to read in English, French,
Spanish, and German.

The dinner hour found us still engrossed in conversa-
tion, and Frau Heimburger extended a most hospitable
and cordial invitation for me to join the family circle.
But my hunger was purely mental, and the true savor
of the meal was the reminiscent chat of Herr Heimburger,
who, from his post at the head of his household, looked
as hale and hearty as if he had found the Elixir of Life
which so many of his charlatan predecessors claimed to
have "discovered."

[237]

THE T-XMASKIXG OF ROBERT-HOUDIX

In 1904 I paid the old master a second visit. To his
professions of jjleasure at meeting me once more, he
adderl the gift of several rare programmes now in my col-

Alexjinder IIoiTiihurf^'or, a veteran conjurer who presented the suspension
frick in 1845-4f) during his American tour. From a photograph in the Harry
Houdini Collection.

lection, and when our hands met in a farewell clasp he told
me that he had set all things in order and was ready for
the coming of the Grim Reaper. Soon after that visit,

[238]

THE SUSPENSION TRICK

however, I received a card with the following melancholy
message:

My dear Friend — ^Have not been very well of late, and
have been expecting my last days. All preparations have been
made and Death the Visitor arrived, but instead of calling for
me, he has taken away my beloved wife. I am not capable of
writing more. God be with you. From your old friend,

Alexander Heimburger.

Alexander Heimburger or, as he was billed, Alexander
the Conjurer, was born December 4th, 1818. From
1844 to 1854 he toured North and South America, return-
ing to his native country with the intention of there follow-
ing his calling as a professional entertainer. But his fame
had preceded him, and, as his fortune was large, his
souvenirs and tales of travel many and interesting, he
was taken up by the world of fashion and lionized. This
practically closed his career as a conjurer, for in those
days magicians occupied no such reputable position in
the professional world as they do to-day, and to have
returned to his stage work would have closed the doors of
aristocracy to him. He married one of Miinster's prettiest
girls, who bore him six children, two sons and four daugh-
ters. So he passed the remainder of his days, living
modestly but comfortably on the money he had amassed
in America, entertained by a large circle of appreciative
friends, and well content to live thus, far from the madding
crowd in which the professional entertainer must move.

While the recollections of his public career and his
meetings with other magicians, as well as notable men in
other walks of life, were fresh, he wrote his book, "Der
Modeme Zauberer" (The Modem Magician), which he

[239]

. THE UNMASKING OF ROBERT-HOUDIN

claims, with much justice, is rated as one of the gems of
German literature, as well as the best book ever written
by a conjurer. It is built from extracts from his diary
and is on the style of Sig. BUtz's book, but is far more
diversified and interesting.

His scrap-book also told a most romantic tale of vicissi-

Alexander Heimburger, known in conjuring as Alexander the Conjurer,
from a quaint illustration in "The North American," published in Mexico.

tudes. A half-page article in the New York Tribune^

dated October, 1845, showed Alexander arrayed in a

Chinese costume, and producing huge bowls of water,

flowers, and various sorts of heavy articles. This proves

conclusively that Ching Ling Foo was not the first con-

[240]

THE SUSPENSION TRICK

jurcr to oflfcT this Chinese trick in America, as it is gener-
ally supposed. Alexander added that all the old-timers
would change their programmes by introducing the Chi-
nese tricks, and, to verify his statement, readers need only to
see the following files in Astor Librar}', New York City:
New York Herald, New York Tribune, and New York
Evening Gazette of November 6th, 1845.

Herr Alexander had arrived in New York almost
penniless, after a disastrous tour of other American cities.
He tried to hire Niblo's Garden, but was informed that
the auditorium was never opened in winter. Through
the intercession of Mrs. Niblo, however, he finally secured
it at a rental of twenty dollars per night. He opened to a
small house and for three nights did not even pay expenses,
but the fourth night witnessed a change in his fortunes
and for three months he played literally to standing room.
Then because he had no new tricks to olTer, and his pride
forbade his presenting his old repertoire until receipts
grew lighter, he closed his New York season.

While playing in Saratoga, Alexander was approached
by the late P. T. Bamum, who was accompanied by Gen.
Tom Thumb. Alexander declined Mr. Bamum's offer
because he thought to join the Barnum staff of entertainers
would injure his professional rating. Barnum's admission
fee was 25 cents, while Alexander charged 50 cents and $1.

About this time the fame of Alexander attracted the

attention of no less a personage than S. F. B. Morse, of

telegraphic fame; and Alexander had on his programme

one trick which mystified ^Vlorse, who honestly believed

that the conjurer had discovered some new law of nature

that might be of service to scientists.
16 [241]

THE UNMASKING OF ROBERT-HOUDIN

Alexander called this trick "The Spirit Bell," an
worked by one method or another, it has been used '
many magicians. Some employ a thread and hoo

HERR 4LEXMDER,

Effi gL %klML m. lA isWMEhiSmk'^.

N'ERR ALEX AKDRR, il Miiar al m»fiiUf hUn it Qutuwb bt mi ai-
nnn mnknmnks pw b ktnila KajMl fir Ir li §fn>»k. Imr ri bwr 4r vmoK
. fw im. a pdkiH k nrk» prMus fir Ir bttfmt m a aaklal. <•« fwiNrs f^lm^
inra^ r« fir M qrnlMta hi sMlts MS MfRiMri fir St lui «bto n Ik Mrrii^

Alexander Ileimburgcr presenting the suspension trick during his engagcmc
in Brazil. From the Harry Houdini Collection.

causing the clapper to strike by pulling the thread whic

runs through an innocent-looking ribbon on which tl

[242]

THE SUSPENSION TRICK

bell hangs. Others use an electric magnet. Herr Alex-
ander placed his bell on top of a fancy case which
he could set anywhere, and the bell would ring at
command. The secret was a small bird, trained to jump
from one rung of a tiny ladder to another, at word of
command or the waving of a stick or wand which the
bird could see from its point of imprisonment. Every
time that it jumped from one rung to another, it would
pull down a step which was so arranged that by the
smallest overweight it would release a catch, which in
turn would throw the hammer against the glass. When
the bird stepped off, the hammer would again come back
to its original position and be ready for the second blow.
This bird he bought from a street fortune-teller, who
had trained it to go up different steps of a ladder and
select envelopes containing variously printed fortunes.

Alexander enjoyed personal acquaintance with Presi-
dent Polk, Henry Clay, Daniel Webster, Calhoun, and
their fellow-statesmen in the United States. Through
his friendship with President Polk he carried to the West
Indies and Brazil letters so influential that the aristocracy
in these coimtries opened its doors to him. He was
welcomed at the palace of Dom Pedro, and has in his
possession letters from both the King and his consort,
dated 1850.

So much for the history of a man who was brave enough
to admit that he developed the suspension trick from
principles laid down by humble Indian fakirs.

The crudest method used for accomplishing the sus-
pension trick consisted of a steel corset, an iron rod
painted to resemble wood, and a platform. The steel

[243]

THE UNMASKING OF ROBERT-HOUDIN

rod was fitted into a special place in the corset, also in
the platform. This method was improved, first to make
it a self-raising suspension, then eventually with a steel
rod from the back of the stage, eliminating the use of
both rods under the arms.

Spectators and reviewers commented on the rigid,
almost painful, carriage of Robert-Houdin's son during
the performance, which they laid to the effect of ether.
Unquestionably Robert-Houdin used this crude corset-
and-rod method of working the trick.

The fumes of ether which reached the audience, he
admits, WTre caused by pouring a little ether over hot
irons in the wings.

But whatever the method employed by Robert-Houdin
to secure the effects of ^'suspension ethereenne," he was
merely introducing a century-old trick, which othet
contemporary magicians were also exhibiting. The nanci^
of the real maker of the apparatus may never be known,
but some clever mechanician supplied Robert-Houdin,
Compars Herrmann, and John Henry Anderson with
precisely the same method of working the trick, at pre-
cisely the same time. Robert-Houdin alone was audacious
enough to claim the invention as his own.

[2441

CHAPTER IX

THE DISAPPEARING HANDKERCHIEF

SUPREME egotism and utter disregard for the truth
may be traced in all of Robert-Houdin's writings,
but they reached a veritable climax when he indited
chapter XVI. of his "Memoirs." During the
course of this chapter he described the so-called invention
and first production of the disappearing-handkerchief trick.

According to the American edition of his "Memoirs,"
page 303, he received a command to appear before Louis
Philippe and his family at St. Cloud in November, 1846.
During the six days intervening between the oflficial in-
vitation and his appearance before the royal family, he
arranged a trick from which, he states, he had every reason
to expect excellent results. On page 305 he goes even
further in his claims and announces:

"All my tricks were favorably received, and the one
I had invented for the occasion gained me unbounded
applause."

He then gives the following description of the trick and
its performance:

"I borrowed from my noble spectators several handker-
chiefs, which I made into a parcel, and laid on the table.
Then, at my request, different persons wrote on the cards
the names of places whither they desired their handker-
chiefs to be invisibly transported.

"When this had been done, I begged the King to take

[245]

THE UNMASKING OF ROBERT-HOUDIN

three of the cards at hazard, and choose from them the
place he might consider most suitable.

" 'Let us see/ Louis Philippe said, ' what this one says
'^I desire the handkerchiefs to be found beneath one ol
the candelabra on the mantelpiece." That is too eas)
for a sorcerer; so we will pass to the next card: "The
handkerchiefs are to be transported to the dome of the
Invalides." That would suit me, but it is much too far
not for the handkerchiefs, but for us. Ah, ah! ' the Kinj
added, looking at the last card, 'I am afraid, M
Robert-Houdin, I am about to embarrass you. Do yoi
know what this card proposes?'

"'Will your Majesty deign to inform me?'

"'It is desired that you should send the handkerchiefs
into the chest of the last orange-tree on the right of the
avenue.'

" ' Only that. Sire ? Deign to order, and I shall obey. '

"'Very good, then; I should hke to see such a magic
act: I, therefore, choose the orange-tree chest.'

"The King gave some orders in a low voice, and ]
directly saw several persons run to the orange-tree, ir
order to watch it and prevent any fraud.

"I was delighted at this precaution, which must add
to the effect of my experiment, for the trick was alread)
arranged, and the precaution hence too late.

"I had now to send the handkerchiefs on their travels,
so I placed them beneath a bell of opaque glass, and.
taking my wand, I ordered my invisible travellers to pro-
ceed to the spot the King had chosen.

"I raised the bell; the little parcel was no longer there:

and a white turtle-dove had taken its place.

[246]

THE DISAPPEARING HANDKERCHIEF

"The King then walked quickly to the door, whence he
looked in the direction of the orange-tree, to assure him-
self that the guards were at their post; when this was
done, he began to smile and shrug his shoulders.

"^Ah! M. Robert-Houdin,' he said, somewhat ironi-
cally, *I much fear for the virtue of your magic staff.'
Then he added, as he returned to the end of the room,
where several servants, were standing, ^Tell William to
open immediately the last chest at the end of the avenue,
and bring me carefully what he finds there — if he does
find anything/

"William soon proceeded to the orange-tree, and,
though much astonished at the orders given him, he began
to carry them out.

"He carefully removed one of the sides of the chest,
thrust his hand in, and almost touched the roots of the
tree before he found anything. All at once he uttered a
cry of surprise as he drew out a small iron coffer eaten
by the rust.

"This curious find, after having been cleaned from the
mould, was brought in and placed on a small ottoman
by the King's side.

"'Well, M. Robert-Houdin,' Louis Philippe said tome,
with a movement of impatient curiosity, ^here is a box;
am I to conclude it contains the handkerchiefs?'

"'Yes, Sire,' I replied with assurance, ^and they have
been there, too, for a long period.'

"'How can that be? The handkerchiefs were lent
you scarce a quarter of an hour ago.'

"'I cannot deny it. Sire; but what would my magic
powers avail me if I could not perform incomprehensible

[247]

THE UNIVIASKING OF ROBERT-HOUDIN

tricks? Your Majesty will doubtless be still more sur-
prised when I prove to your satisfaction that this coffer

Reproduction of a very rare pastel f>ortrait of Cagliostro. From the
Harry Houdini Collection.

as well as its contents was deposited in the chest of the

orange-tree sixty years ago.'

**^I should like to beheve your statement,' the King

[248]

THE DISAPPEARING HANDKERCHIEF

replied with a smile; 'but that is impossible, and I must,
therefore, ask for proofs of your assertion.'

"*If your Majesty will be kind enough to open this
casket they will be supplied.'

"Certainly; but I shall require a key for that.'
"*It only depends on yourself. Sire, to have one.
tieign to remove it from the neck of this turtle dove,
"Vvhich has just brought it to you.'

"Louis Philippe unfastened a ribbon that held a small
^^listy key with which he hastened to unlock the coffer,
'^he first thing that caught the King's eye was a parch-
Xnent, on which he read the following statements:

"'This day, the sixth of June, 1786, this iron box,
containing six handkerchiefs, was placed among the roots
of an orange tree by me, Balsamo, Count of Cagliostro,
to serve in performing an act of magic which will be exe-
cuted on the same day sixty years hence before Louis
Philippe of Orl&ms and his family.'

"/There is, decidedly, witchcraft about this,' the King
said, more and more amazed. ^Nothing is wanting, for
the seal and signature of the celebrated sorcerer are placed
at the foot of this statement, which. Heaven pardon me,
smells strongly of sulphur.'

"At this jest the audience began to laugh.
" ^ But,' the King added, taking out of the box a carefully
sealed packet, ^can the handkerchiefs, by possibility, be
in this?'

"^Indeed, Sire, they are; but, before opening the
parcel, I would request your Majesty to notice that it,
also, bears the impression of Cagliostro's seal.'

"This seal, once rendered so famous by being placed

[249]

THE UNMASKING OF ROBERT-HOUDIN

on the celebrated alchemist's bottles of elixir and liquid
gold, I had obtained from Torrini, who had been an old
friend of Cagliostro's.

" * It is certainly the same,' my royal spectator answered,
after comparing the two seals. Still, in his impatience to
learn the contents of the parcel, the King quickly tore
open the envelope, and soon displayed before the aston-
ished spectators the six handkerchiefs, which, a few
moments before, were still on my table."

A\Tiilc the use of the Cagliostro seal really formed no
part of the trick, its possession by Robert-Houdin goes
to show how indefatigably he collected conjuring curios
and how quick he was to utilize any part of his collection,
and score thereby a brilliant showing.

Cagliostro seals were by no means rare. This prince
of charlatans had seals, like adventures, in great variety;
and in this connection, it is not out of place to tell some-
thing of Cagliostro and thus explain why the parchment
bearing his seal created such a sensation at St. Cloud.

Cagliostro has no match in the annals of magic. Not a
conjurer in the sense of being a public entertainer, he
yet mystified and bewitched his thousands. Something
of a physician, more of an alchemist, and altogether a
charlatan, he left behind him a trail of brilliant chicanery,
daring adventure, and ignominious failure and undoing
unequalled in the history of Europe.

Cagliostro was born Joseph Balsamo, in Palermo,
Italy, June 8th, 1743. His parents were in humble cir-
cumstances and he started his career as a novice in the
Convent of Benfratelli, from which he was expelled for
incorrigibility. Then he plunged into a life of dissipa-

[250]

THE DISAPPEARING HANDKERCHIEF

tion and cleverly planned, ofttimes brilliantly executed
crimes. He fled Palermo after forging theatre tickets
and a will, and duping a goldsmith out of sixty pieces of

Reproduction of a rare portrait of Seraphinia Feliciani, Comtesse de Caglios-
tro, wrongfully called Lorenzo in the Encyclopsedia Britannica. From the
Harry Houdim Collection.

gold.. At Messina he fell in with an alchemist named
Althotas, a man of some learning who spoke a variety of

[251]

THE UNMASKING OF ROBERT-HOUDTN

languages. These two adventurers travelled in Egypt,
and when Althotas died Cagliostro went to Naples and
Rome, where he married a beautiful girdle-maker named
Seraphinia Feliciani. This woman shared both his tri-
umphs and his disgrace. In 1776 they arrived in London,
where he announced himself as the Count di Cagliostro.
The title was assumed, the name was borrowed from his
mother's side of the house. Here for the first time Cag-
liostro announced himself also a worker of miracles or
wonders.

He exhibited two mysterious substances, "Materia
Prima,'' with which he transmuted all baser metals into
gold, and "Egyptian Wine," with which he claimed to
prolong hfe. His wife, who was just past twenty, he
declared was more than sixty, her youthful appearance
being due to the use of his elixir. He founded a spurious
Egyptian rite in connection with the Masonic order
which has been recognized as a blot upon Masonic history,
and he claimed thousands of Masonic dupes. All over the
Continent he and his beautiful wife travelled, now healing
the poor for nothing, now duping the rich, but always
living in a most picturesque, voluptuous fashion. He
dipped into spiritualism and mesmerism, but wherever
he went his converts followed after.

In 1789, while in Rome, he was seized by that invincible
power, the Holy Inquisition, and was condemned to death.
Later Pope Pius VI. changed the sentence to life imprison-
ment. Confinement made him more daring than ever.
He asked for a confessor, and when a Capuchin monk
was permitted to enter his cell in this capacity Cagliostro
endeavored to choke him and escape in his robes. The

[252]

s o : M • Si.

S ft i

X
I

•I

>-
^

[253]

THE UNMASKING OF ROBERT-HOUDIN

monk fought for his life so effectually that it was he, and
not Cagliostro, who escaped. Cagliostro was literally
buried alive in a subterranean dungeon, as punishment
for his final offence, and his wife immured herself in a
Roman convent, where she died in 1794.
In Paris, perhaps, Cagliostro enjoyed his greatest

F ree Masons' LodgCt Myton-Ga te,

MORE NEW PERFORMANCES.

Far THREE NIGHTS Longer .
Mons. Felix Testot^

l a i ii ii i f lit -" ' j— " ' '-"--i^"'-'-*-! I- — ' — " ..-^- f *

ft^Kl mm mm t , »IU mmH »& iWaJ* A w i ■!■■■■ t^ushtn tinaifm WtmtUf\m* w^ w» ^

Ob Thnndaj, Friday, and Saterdiy Byealnn,

OtIoUr I*, M, mmd «, ISM.

toMco(k«mwraATLM«a t T. •■ lalndMi IkM Wm4«M FmI if UmIm,

THB NB PLUS VLTBA OP THE

Cabalistic Art*

TW Gba^H* «« b« n^Mriii to k«Mr M. r.T. wHk • loM ar • fHtoIr arvflriw if MwtaHpMw
-Mck p«M« M ksw Ml IM Mr lUi« «» km m iff H—H y Ij^rnai i I Urn u ntmitk tm mMm
k«l«*,Mktaf<kAe«aekolc*l*<k.UwpMllT«»ram. lb •« lk« mm ft* nmW^ mMh I*
«npfMr, Hi ht r«M4 to aiilili l y. «b«M«r *• Cn m f m y mtf nfnira, AM b W (if.

TWwiM<k»rflWiMwlMl»U»<Mei M rf»iMMtt*»»(i>«rMlii H ri | | > iwitiMHlifclWtohl«
ka'itMkM«aMMlwHrM«t«r^ftwtlwA44rU'nMlMlitt*ffMlOwta at Jmm^ fck, «kkk
On b alfU lad da* aadcr It* laatdlito ckugi cT • ItattML It iIm MMi< »• gmlK illnliHiiil
H4M%Sll«Oi(«r<, wUn tt« ««€<» twfwii ■»fi I— nil i N ly jMwyi* lri» >C» t i MM l l M tmm.
M (katap •( UalnMUT Ckarck, lad nm rapMtai fMr mmmIw »fli|>l« lltfiriitMi ikMM Immn^
MiplMik AW h lAikM|k. ky tfc» arltom kd^ M«f«y«4 to lk« >f rf IMm*^ MMiait

THE WICK PIDGEON.

B> WILL INTBODUCB THB MBW AND BXTBAOBOINARV

Transformation of a BIRD

INTO A CHILni

GBOWINO INTO

A LADY!!

Testot programme, featurin.G: "Cabalistic Art" in 1826. From the Harry
Houdini Collection.

triumphs of charlatanism, and it is not remarkable
that the appearance of his seal in the midst of Robert-
Houdin's trick should seem almost uncanny to the royal
family.

But to return to the disappearing-handkerchief trick.
Robert-Houdin did not invent this trick. It was pre-

[254]

THE DISAPPEARING HANDKERCHIEF

sented by a number of conjurers
before Robert-Houdin was known
in the world of magic. Robert-
Houdin simply employed the trick
familiar to both his predecessors
and contemporaries and redressed
it to tickle the fancy of his royal
patron.

In England this trick was known
among old conjurers as ''The Ne
Plus Ultra of the Cabalistic Art/'
In 1826 one M. F61ix Testot,
who claimed to be a compatriot
of Robert-Houdin, presented the
trick in the British provinces, and
one of his bills I am reproducing
because it shows that the trick he
offered the provincial Britons and
the trick which Robert-Houdin
offered the royal family at St.
Cloud were identical. It also
proves that London had seen the
trick; and what London had seen,
Paris, including Robert-Houdin,
had heard of.

A programme used by "The
Celebrated Mr. Harriot, Professor
of Recreative Philosophy," in
1 83 1, contains word for word the
announcement of the trick used
on Testot's bill, which goes to

[255]

TOvfaR

Charitable*

CATHERINE

Lankan

I— ail lililli illilTii l«DiMKfcH>«f>— i>«i»M»»
LiMnitl»Mri«tvNk*MwnWM.«« tiW wiifKillj l«»
tmmmtmttimm illirtufaaUiBirfWiiMiii.^tfcMh—
■ifcrlW I ll «f iii t l H » H i^iwy * i i |t » iasO*! to

to km fctoOi to liStwl M ^m^titkLt lili||i*lii «fll»
kMMSMiifeiMMft, •totaLtoiteiHHMHihinifMmtf
■MM vto taN> blM tatoMltotor afatoMb riMtota,rH»aa9

ON MONDAY,

tStkud nth July, lai,
WBRN THE CBLHBRATBD MR.

MARRIOT

BBCBBATIYB PHILOflWPHY,

Magical Illusions

JUHm m &r p U i ii md Trmufirmatmu,

Towng SmiJ%rO,

Tto IM PiM «H IMMh* IW II to Mi blranMMfy VtaMtowDw ■! *•

J^ad Bird rettM-ed to i^e !

Tto larWM* PHtoaa.-Tte MMto MmM af PriKi^ wNtaM

TMB MAfiicBOTTIsE t\

Or. MIRACULOUS NOTE.
WUik wo. U taMMiri. nw* M17 Cm! ataMB kf My W Ito AadOTML

A New Method of Coiulnr Money,

OB TBI WAY TO OCT RICH I

Daneing^ and Speak ing Mon ey t 1

The^CabalistieArL

TWOiM'T^WtoMiinlilHtow Mf . M. M* *• Iih W • f«IM>
« O WIl»l «l «M iii nl fw. ■■« ■ ■ . M *«.w«t« «l 11 II I I I..— 1>—

jr«*Yk^ Tto» » i«i»!rf»ii iiiM«3»vS^S?«;!«A!k.

tyto»»« IPI lilll l«»«f »lt «;w<lMl^U « H» *MM«lto|PMUM^,

A«a *• BiMWMa HHfi. ?*• T(» ar Ito Oata^ GtarA. mJ*m^

sack MARRIOTT

IwndWMWtoii [■■iiii i*t i'ii ln toaw a^OMk.
ADMUUOS TWO UakUMOt.

Marriot programme fea-
turing "Cabalistic Art' in
1831, or fifteen years before
Robert-Houdin claims to
have invented the disappear-
ing handkerchief trick. From
the Harry Houdini Collection.

THE UNMASKING OF ROBERT-HOUDIN

MMAVUWJT'.

esJUSLs^ssiiu

show that a jx^pular test was to have articles passed fron

the Adelphia Theatre t<
MYAL CLARENCE TIEATfi^ the gun which was bein^
— wMJ!!!!lTZii wmmJrl!!Ili'il!^ ^ SmT watchcd by a sentinel.

i:^^:;;.rvt£x-r.':21?S;l^SSHS February 22d, 1833,

•r.«ic»c«.j««««^^^,„ at the Royal Clarence

Theatre, Liverpool
Street, King's Cross,
Liverpool. He agreed
to make ^*an article fly
at the rate of five hun-
dred miles an hour,
from King's Cross to
the Centre of Greece."

The original Buck
featured on his pro-
gramme a similar trick
which he called "The
Loaf Trick." On a bill
dated October 26th,
1840, it is announced
as follows: "Watch in
a loaf. The magician
w^ill command any gen-
tleman's watch to dis-
appear. It will be found
in a loaf at any baker's
shop in Town." The
senior Ingleby changed
the trick somewhat, sending out to any market for a

[256]

r>w dw CITY THKATBK. mt DUpUr fci» l«l«iiiM« INwm.

9L Je'fFB'IrIIVI,

THAUBKATURGIGS

MM POSSIBILITIES,

A Becaater •t P*rt Wlae lalo Pare Water*

BOrrLE OF WINE

A LIVING PIG.

CLASSICAL STUDIES

Jefferini handbill, dated 1833, in which
he announces that any article will be made
to fly 500 miles a minute.

THE DISAPPEARING HANDKERCHIEF

shoulder of mutton, which, on being cut, would yield up
^ card previously drawn by some spectator. He thus de-
scribes his trick in his book ^' Whole Art of Legerde-
main," published in London in 1815:

''Teick Four.

''To cut out of a Shoulder of Mutton a Card which one

^^^^ Imown portrait of the clever English conjurer, Buck. From an engraving
in the Harry Houdini Collection.

0^ tlie Company had previously drawn out of the Pack.

* Having desired a person to draw a Card out of several

w^ich you hold to him, and to remember it, which he

Promises to do, you tell him it shall be in a shoulder of

mutton which you will send for.

"Accordingly you desire a servant to go to the butch-
er's and bring one. When brought, it is examined,
17 [257]

THE UNMASKING OF ROBERT-HOUDIN

Empopor of all Obiijarori.

m M *

Ufiiir ito Ptooav cT Her Ror»l HighiMM *e MoccM of W4ji

LYCEUM. STRAND.

Mr. Ingleby,

THE GREATIOn' MAN IN TOKWOBUIK

In hb Profeision,

4I^MM|y l«teM ilKM«lll9.GcMrnM4PkUUh|wml,«Mlp
^M«riklitMiitoBa«ttcMib*«Aft«rDMMiM, IwkMlMlMI
«M ki* ito TiS^r •• EMRROl or ALL OON^UBOHIt* hf • M
AawfclMi rf fl u a w iH / la n », pM^w ht fa tbrawk iIm hmhm T

**5Sri

MONDAY, |iW.a9, 1M0,
TMidai. Jlfa rc4 1, Thowday a. and 8Atinrd«]% S.

. PART I.

Mr. nVOLSBY. u4 kb merttoikmi Vmlly,

JfMOJia JDOmUk SCOTLJOMD,

DEXTERITY OF HAJVD,

"^"hTs'pixides metallurgy.

An Operation inPopsoniaiice,

r** *"Wt'a fowl* 1lgA0 OFF,

■Mr. BHunflMiS^'^^i hi*Ht •"* ^^^j;"]^,^;' '^C[l!'!ti?'u''.J^" Sli'

STICKS OF FANCY,

— ■ - -- ^ ■ - - -■-.«»- .»Mfc » «WM ?Ml»» rf »*■ fiwTtlhwM WO !■•»■« W ■■ ■ ■■ .

•(MsatiiiflMr Ik**.

PART II

TIGHT ROPE DANCING,

SIGNOIU BELINDA

Ingleby handbill, dated 1808. From the
Harry Houdini Collection.

[258]

and then ordered to be
put down to roast. After
performing some tricks,
you recollect the shoulder
of mutton, which is
immediately brought
half-roasted, and after
cutting it for some time
you at length find the
card, and produce it.

"Explanation:

"Having forced a card
on one of the company,
your confederate has an
opportunity, when the
mutton is sent to be
roasted, of conveying a
thin duplicate of that
card folded into a narrow
compass into the fleshy
part near the shank,
which can be easily done
by means of a sharp
penknife.

^ ' This trick, though
remarkably simple, has
created universal aston-
ishment at the Minor
Theatre, where it was
frequently exhibited by
Mr. Ingleby."

THE DISAPPEARING HANDKERCHIEF

The method of performing the trick was so familiar

to conjurers of Robert-Houdin's time and earlier that

Henry Evans Evanion was able to describe it to me from

actual witnessings. Acting on his explanation, on my

return to America I offered the trick, without any great

Frontispiece from Ingleby's book, "Whole Art of Legerdemain," said to
be an excellent likeness of the conim-er-author. From the Harry Houdini
Collection.

amount of preparation and without a hitch, at a matinee
entertainment given by a secret organization. I will
describe precisely how this was done, and allow my readers
to 'judge of the similarity of the trick offered years ago by

[259]

THE UNMASKING OF ROBERT-HOUDIN

humble travelling magicians whose names have been
written most faintly in the annals of conjuring, and the
much- vaunted trick ^^ invented" by Robert-Houdin for
the entertainment of his sovereign.

The hall in which the matinee was given was located
in Harlem, Borough of Manhattan, New York City, and
I had decided that the handkerchiefs which were to make
the flying journey should be ^'desired" by some one pres-
ent to appear under the top step of the winding staircase
in the Statue of Liberty, which is located in New York
Harbor. This meant a half-hour ride from the hall to
the boat in a Subway train; then a run across New York
Harbor to the Statue. These boats left the dock on the
hour and the half-hour, so I timed my performance to
fill just half an hour, starting with some sleight-of-hand,
the egg-bag trick, and swallowing a package of needles
and bringing them up threaded, which latter trick was
introduced into magical performances in Europe by K.
K. Kraus in 1816.

Just before 3 130 o'clock I borrowed three handkerchiefs

and tied them together for easier handling. I had three

handkerchiefs, similarly tied together, under my vest, and

just at 3:30, I switched the two sets of handkerchiefs,

so that the handkerchiefs furnished by the spectators

were under my vest and the bogus handkerchiefs in my

hand. First I dropped the bogus handkerchiefs on the

table-trap, picking up the opaque glass cover with which

they were to be hidden, and, by a carefully rehearsed bit

of carelessness, dropped and broke it. Then, leaving

the bogus handkerchiefs on the table trap, I stepped

toward the wings, apparently to secure another glass bell

[260]

THE DISAPPEARING HANDKERCHIEF

or cover. To all in-
tents and purposes, I
did not pass from the
view of the audience,
for fully half of my
body was on the stage,
but as my assistant
handed me a new glass
cover, he deftly ex-
tracted the real hand-
kerchiefs from under
my vest. Then, while
I returned to the stage
with my patter and
description of the flight
the handkerchiefs were
about to make, my as-
sistant, with the hand-
kerchiefs in his pocket,
walked unnoticed from
the door, and, once out
of sight, ran madly to
the Subway station.
There he boarded an
express and reached
the boat landing just
in time to catch the 4-
o'clock boat. At the
Statue, my brother and
a tinsmith were wait-
ing for him. The

^m.

PORTICO ROOMS,!

TMx AmmrrAi <tT

/'I

es*\i

MONS. LE BUCKE,!

Eiin»wliniK

^^^ wuil « IlL KAir ■!! nUT lif Mj 1.1>C1. tM ItU TUl-pi^ I

plOD Tuesday, June IS, tSuM

IcMDlVLnGrDMlMtl,
|PLVTC^^OTTLE* ^

rutT> I

wiEnyjcoLJmHM

McirHiLityEl

Reproduction of a rare Buck handbill, dated
1844. From the Harry Houdini Collection.

[261]

THE UNMASKING OF ROBERT-HOTJDIN

handkerchiefs were placed in the tin box, securely sol-
dered, and then this box was placed inside a second iron
box, which was locked. The "plant" was then taken
upstairs and hidden under the top step.

In the mean time, with my thoughts following my
assistant every step of his trip, I was playing out my end
of the game. The audience was supplied with blank
cards on which they might write the name of the place
where the handkerchiefs should reappear. This, of
course, took some time, and when the cards, each folded
to hide the writing thereon, were collected in a hat, I
shook them up thoroughly, and then turned them out
upon a plate, deftly adding, on the top, three cards which
I had concealed in my hand. This was sleight-of-hand
purely, and I next picked out those three prepared cards on
each of which was written *'Can you send the handker-
chiefs under the top step of the Statue of Liberty?''
Explaining that I had in my hand three cards chosen at
haphazard, I wished the final choice to be made by a
disinterested party. A baby was finally chosen to select
the card. Naturally, I refused even to take the slip of
paper from the baby's hand, and one of the lodge members
read the question.

Murmurs of surprise and incredulity echoed from all
over the hall. The test was too difficult! I then an-
nounced that if the audience would select its own com-
mittee, making sure to pick out men who could not be
bribed, I would accompany them, and we would surely
return with the handkerchiefs, sealed in double boxes,
as found under the famous stairway. As an elaborate

course luncheon was to be served, the committee had

[262]

THE DISAPPEARING HANDKERCHIEF

time to act, and away we went, leaving the lodge to its
feast. So much time had been lost in selecting the com-
mittee that we reached the wharf just in time to catch
the 5 o'clock boat. On landing I received a prearranged
signal from my assistants that all was well, and as I
watched my committee dash up the stairs I knew that
their quest would be rewarded.

When the committee and the writer returned to the
lodge-room, a mechanic was required to pry open the box.
There lay the identical handkerchiefs furnished by my
spectators, who could hardly believe their eyes.

On other occasions I have asked my audience to select
a spokesman, who in a loud voice would announce the
point at which the handkerchiefs would be found, and
then my man, waiting just outside the door, would mount
his bicycle and pedal like mad for the hiding-place,
naturally outstripping any committee appointed. But
th.^ first method, that of selecting the place beforehand and
h^^^ang all arrangements made, even to the three prepared
c^irds, is safest and is probably the one used by Robert-
Hoiidin to deceive the French monarch. I doubt if he
cv^en had three different cards prepared, as he claims.
1 believe he exaggerated his feat, for that would have
^c>^en taking long chances.

For this trick I claim not an iota of originality. I
simply fitted it to the time, the place, and the audience,
and that I believe is all Robert-Houdin did when he
** invented" the disappearing handkerchief trick for the
amusement of his sovereign.

[263]

CHAPTER X

robert-houdin's ignorance of magic as betrayed
by his own pen

iTATEMENTS in Robert-Houdin's various works
on the conjurer's art corroborate my claim that he

was not a master-magician, but a clever purloiner

^ and adapter of the tricks invented and used by

his predecessors and contemporaries. Whenever, in these
books, he attempts to explain or expose a trick which was
not part of his repertoire, he betrays an ignorance which
would be impossible in a conjurer versed in the finer and
more subtle branches of his art. Neither do these expla-
nations show that he was clever enough as a mechanic to
have invented the apparatus which he claimed as his
handiwork. He states that practice and still more prac-
tice are essential, yet no intelligent performer, amateur
or professional, can study my collection of Robert-Houdin
programmes, handbills, and press notices without realiz-
ing that his repertoire contained little or no trace of what
should be the foundation of successful conjuring, sleight-
of-hand. Changing his fingers over the various air-holes
of the inexhaustible bottle was as near as he ever came
to sleight-of-hand, even when he was in the height of his
success.

According to the press notices he had a pleasing stage
presence, and also dressed and set forth his tricks richly,
but it must be borne in mind that then, as often to-day,

[264]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

the man sent by an editor to criticise a conjurer's per-
formance knew little or nothing about the art and could
not institute comparisons between different magicians.
To-day Robert-Houdin would shine as an exhibitor of
illusions or mechanical toys. A pistol shot, a puff of
smoke — and his confederate or assistant has done the
real work behind the scenes.

His lack of finesse as a sleight-of-hand performer is
nowhere more clearly shown than in his own writings.
On page 37 of his French expose of the secrets of magic,
entitled "Comment on Devient Sorcier" (page 51 of the
English translation by Prof essor HoJBfmann, "The Secrets
of Conjuring and Magic"), he thus naively describes
his masterpiece of coin-palming:

"I myself practised palming long and perse veringly,
and acquired thereat a very considerable degree of skill.
I used to be able to palm two five-franc pieces at once, the
hand, nevertheless, remaining as freely open as though
it held nothing whatever."

An amateur of his own day would have blushed to
admit that he could palm but two coins. Men like T.
Nelson Downs, "The Koin King," think nothing of
palming twenty five-franc or silver dollars, or forty half-
dollars, and even this record has been broken.

Even two writers who contributed to the translation
and editing of his works, R. Shelton Mackenzie and Pro-
fessor Hoflfmann (Angelo J. Lewis), and who have drawn
rich royalties for the same, apologize for his flagrant mis-
statements, which, they realize, any man or woman with
but a slight knowledge of conjuring must recognize.

His first contribution to the history of magic was his

[265]

THE UNMASKING OF ROBERT-HOUDIN

"Memoirs"; and while he does not feature exposures of
tricks in this work, he offers, in passing, explanations of
tricks and automata presented by other magicians. For
the most part these explanations are obviously incorrect,
and so prove that he was ignorant of certain fundamental
principles of the art in which he claimed to have shone.

In the introduction of the American edition, published
in 1850, Mr. Mackenzie, the editor, thus apologizes for
one of Robert-Houdin's most flagrant mistakes in tracing
the history of magic:

"One error which M. Houdin makes must not be
passed over. His account of M. de Kempelen's cele-
brated automaton chess-player (afterward MaelzePs) is
entirely wrong. This remarkable piece of mechanism
was constructed in 1769, and not in 1796; it was the
Empress Maria-Theresa of Austria who played with it,
and not Catherine II. of Russia; it was in 1783 that it
first visited Paris, where it played at the Caf6 de la
Regence; it was not taken to London until 1784, and
again in 1819; it was brought to America in 1825, by M.
Maelzel, and visited our principal cities, its chief resting-
place being Philadelphia; M. MaelzePs death was in
1838, on the voyage from Cuba to the United States, and
not, as M. Houdin says, on his return to France; and the
automaton, so far from being taken back to France, was
sold by auction here, finallv purchased by the late Dr.
J. K. Mitchell, of Philadelphia, reconstructed by him,
and finally deposited! in the Chinese Museum (formerly
Peak's), where it was consumed in the great fire which
destroyed the National Theatre (now the site of the

Continental Hotel, comer of Ninth and Chestnut Streets),

[ 266 ]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

aad, extending to the Chinese Museum, burnt it down on
Jialy 5th, 1854. An interesting account of the Automaton
Chess-Player, written by Prof. George Allen, of this
city, will be found in 'The Book of the First American
Chess Congress,' recently published in New York."

Signor Blitz, in his book "Fifty Years in the Magic

Circle," corroborates the Mackenzie correction, by telling

hoAjv he saw Maelzel in Havana, Cuba, where the famous

G^^rman met his professional Waterloo, first in small

avidiences, then in the death of his faithful confederate,

SeUomberg. Finally, broken in health and spirit, Maelzel

sailed from Havana for Philadelphia, but death overtook

Mm at sea. His body was consigned to the ocean's depths,

and his few effects were sold to liquidate the cost of

passage and other debts.

That Robert-Houdin should make an error concerning
a world-famous automaton the history of which could be
traced through contemporary periodicals and libraries, is
almost inconceivable and proves the carelessness with
which he gathered and presented facts.

His inability to grasp the principles on which other
performers built their tricks is shown most clearly when
he attempts to describe and explain the performances of
the Arabian mountebanks whom he saw during his stay
in Algiers. These tricks have been handed down from
one generation to another, and now that Arabian con-
jurers and acrobats are imported for hippodrome and
vaudeville performances in all civilized countries, the
tricks described by Robert-Houdin are familiar to the
general public. They are also copied by performers of
other nationalities, and can be seen in circus side-shows

[267I

THE UNMASKING OF ROBERTHOUDIN

and at fairs, as well as in the better grade of houses.
Having worked on the same bill with genuine Arabian
performers, I know just how the tricks are accomplished.

Robert-Houdin undertakes to explain these tricks in
chapter XXII. of the American edition of his "Me-
moirs." So long as he quotes reliable authorities like the
Journal des Sciences^ the explanations are correct. Di-
rectly he attempts an independent exposure, he strikes
far from the correct explanation.

On page 424 he states:

'^In the following experiment, two Arabs held a sabre,
one by the hilt, the other by the point; a third then came
forward, and after raising his clothes so as to leave the
abdomen quite bare, laid himself flat on the edge of the
blade, while a fourth mounted on his back, and seemed
to press the whole weight of his body on him.

"This trick may be easily explained.

"Nothing proves to the audience that the sabre is
really sharpened, or that the edge is more cutting than
the back, although the Arab who holds it by the point is
careful to wrap it up in a handkerchief — ^in this, imitating
the jugglers who pretend they have cut their fingers
with one of the daggers they use in their tricks.

"Besides, in performing this trick, the invulnerable
turned his back on the audience. He knew the advantage
to be derived from this circumstance; hence, at the mo-
ment when about to lay himself on the sabre, he very
adroitly pulled back over his stomach that portion of
his clothing he had raised. Lastly, when the fourth actor
mounted on his back, he rested his hands on the shoulders

of the Arabs who held the sabre. The latter apparently

[ 268 ]

ROBERT-HOUDIN'S IGNORANCE OP MAGIC

ixiaintained his balance, but, in reality, they supported
tlie whole weight of his body. Hence, the only require-
xxient for this trick is to have the stomach more or less
I>ressed in, and I will explain presently that this can be
^fected without any danger or injury."

In this explanation Robert-Houdin is entirely wrong.

... A Rannin lithograph, showing him doing the sword-walking act^ which
IjQbert-Houdin claimed to have been a fraud. Rannin is still working in Ger-
^&any, imitated by many, equalled by none. From a photograph in the Harry
Houdini Collection.

The real secret of lying on top of a sharp-edged razor,
sword, or sabre rests on the fact that the performer does
actually lie upon it in a perfectly motionless position.
Were he to move but the width of a hair, backward or

[269]

THE UNMASKING OF ROBERT-HOUDIN

forward or sidewise, the weapon would slice his body,
resulting in instant death or horrible mutilation. I have
watched cheap performers of this class of work, in dime
museums or fairs, walk up a ladder of sharp swords
which I had previously held in my hand. They would
place the foot down with infinite precision and then press
it into place. This position will not result in cutting,
but let the performer slip or slide and the flesh would
be cut instantly. I have also seen an acrobat, working
in a circus, select two razors in first-class condition, place
them on a socket with the edges of the razors uppermost,
and with his bare hands he would do what is known as
a hand-stand on the keen edges of the blades. This trick
of absolute balance is acquired by persistent practice
from youth up.

Again Robert-Houdin errs wofully in comparing the
sabre-swallower to the swallower of broken bottle-heels
and stones. Sabre-swallowing is one trick, swallowing
pebbles and broken glass belongs in quite a different
class. And when I say this I do not mean powdered
glass, but pieces of glass first broken, then chewed, and
finally swallowed.

On page 426 Robert-Houdin puts the two tricks in the
same class, as follows:

"When the trick of swallowing bottle-heels and pebbles

was to be done, the Aissaoua really put them in his mouth,

but I believe, I may say certainly, that he removed them

at the moment when he placed his head in the folds of the

Mokadem's burnous. However, had he swallowed them,

there would have been nothing wonderful about this,

when we compare it with what was done some thirty

[270]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

years back in France by a mountebank called 'the Sabre-
Swallower.'

"This man, who performed in the streets, threw back
his head so as to form a straight line with his throat, and
really thrust down his gullet a sabre, of which only the
hilt remained outside his mouth.

"He also swallowed an egg without cracking it, or
even nails and pebbles, which he caused to resound,
by striking his stomach with his fist.

"These tricks were the result of a peculiar formation
in the mountebank's throat, but, if he had lived among
the Aissaoua, he would have assuredly been the leading
man of the company.''

The sabre-swallower never releases his hold on the
weapon. The pebble and bottle-heel swallower does —
but brings them up again, by a system of retching which
results from long practice. The Japanese have an egg-
swallowing trick in which they swallow either small-
sized ivory balls or eggs, and reproduce them by a retch-
ing so unnoticeable that they could easily show the mouth
empty.

This trick dates back to the oJBferings of that celebrated
water-spouter, Blaise Manfrede, or de Manfre, who trav-
elled all over Europe. This man could swallow huge
quantities of water and then eject it in streams or in small
quantities or fill all sorts of glasses. In fact this one trick
made him famous. The European Magazine^ London,
March, 1765, pages 194-5, gives a most diverting descrip-
tion of his trick, taken from an old letter, and here quoted :

"I have seen, at the September fair in Francfort, a

man who professed drinking fifty quarts of water in a

[271]

THE UNMASKING OF ROBERT-HOUDIN

day, and indeed proved that he was capable of execut
what he pretended to. I saw him perform frequen
and remember it as well as if it was but yesterday,
said he was an Italian; he was short and squat,

Vf.iu i;r> j*iu.^ i> J Bij^sii m. u\s?HLsr/iiHi skvu Jt.«7±i6>^i

Blasius de Manfre or Blaise Manf rede, from a rare old woodcut in the H
Houdini Collection.

chest, face, forehead, eyes, and mouth very large.

pretended to be fifty years old, though he did not se

forty.

*^He was called the famous Blaise Manf rede, a nat

of Malta. At Francfort he frequently performed th

times a day: for, besides his performances twice a c

[272]

ROBERT-HOUDIN*S IGNORANCE OF MAGIC

on the public stage (which nobody approached without
paying), he attended private houses when called upon by
great people.

"He called for a large bucket of fair warm water, and
twenty little glass bottles, flat like cupping glasses, so
that they could stand topside turvy. Some of these he
filled with water, plunging them into the bucket with a
good deal of ceremony, and usually swallowed two or
three to wash his mouth and gargle his throat. He threw
up the water again immediately, to shew the spectators
that he had no drugs between his teeth, whence he could
be suspected to derive any advantage.

"After this plausible prelude, he made an Italian
harangue, which I cannot acquaint you with the merits
of, because I am a stranger to the language. . . . After
his harangue he usually took off two dozen of his little
bottles, which he filled from the bucket, and a moment
afterwards returned the liquor through his mouth. But
what is most extraordinary is that this water, which he
threw out with violence, appeared red like wine. And
when he had discharged it into two different bottles, it
was red in one and russet hke beer in the other; as soon
as he shifted the bottles to the contrary sides, they changed
their complexion respectively to that of wine or beer, and
so successively so long as he continued vomiting; in the
mean time, I observed that the water grew less discolored
in proportion as he continued to discharge. This was the
first act. Then he ranged his two dozen of bottles oppo-
site to him on a table, and exposed to everybody's view.
Then he took an equal number of bottles, plunged them
anew into the bucket, swallowed them too, and returned
i8 [273]

THE UNMASKING OF ROBERT-HOUDIN

them in water very transparent, rose-water, orange-flower-
water, and brandy.

"I have smelt the several odours of his liquors; nay,
I have seen him set fire to a handkerchief dipt in that
which smelt like brandy, and it burnt blue like spirituous
liquors. . . . Nay, he frequently promised at Venice to
give the water back again in milk and oil. But I think he
did not keep his word. In short, he concluded this scene
with swallowing successfully thirty or forty glasses of
water, always from the same bucket, and after having
given notice to the company by his man (who served as
an interpreter) that he was going to disembogue, he
threw his head back, and spouting out the fair water,
he made it spring up with an impetuosity like that of
the strongest jet (Teau, This last feat delighted the
people infinitely more than all the rest, and during the
month he was at Francfort numbers from all parts came
to see this slovenly exercise. Though he repeated it more
than once a day he had more than four hundred specta-
tors at a time. Some threw their handkerchiefs, and some
their gloves upon the stage, that he might wet them with
the water he had cast up, and he returned them differently
perfumed, sometimes with rose-water, sometimes with
orange-flower- water, and sometimes with brandy."

Another famous juggler and water-spouter was Floram
Marchand, whose picture is herewith reproduced. Judg-
ing from his dress, he antedated Manfrede.

BelPs Messenger of July i6th, 1816, tells of a sword-
swallower whose work is extremely pertinent to this dis-
cussion, and the clipping is quoted verbatim:

"The French papers give a curious account of one

[274]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

James de Falaise, a Norman, about fifty years of age, living
in the Rue St. Honore. It is said that this extraordinary
man will swallow whole walnuts, shell and all, a tobacco

Floram Marchand.

FLORAM Marchand r

Wkttr Spouur Sc JtiiffgUr,

From an old, undated En^rlish publication in the Harry
Houdini Collection.

pipe, three cards rolled together, a rose with all its leaves,
long stalk, and thorns, a living bird, and a living mouse,
and, lastly, a live eel. Like to the Indian jugglers, he

[275]

THE UNMASKING OF ROBERT-HOUDIN

swallows the blade of a sabre about thirteen inches long
of polished steel. This operation he performs very slowly,
and with some precaution; though he evinces no symp-
tom of pain. After every solid body that he swallows, he

Position taken by the subject in the Indian basket trick before he is covered

by the sheet.

always takes a small dose of wine expressly prepared for
him. He does not seem to make any ejBfort to kill the
living animals that he takes in his mouth, but boasts that
he feels them moving in his stomach."

[276]

ROBERT-HOUDIN^S IGNORANCE OF MAGIC

In my collection is the handbill of a stonc-swallower
who exhibited at No. lo Cockspur Street, London, charg-
ing an admission fee of half-a-crown.

These performers actually swallowed the water, stones,

Indian fakir seated in the basket after the subject has been "vanished."

pebbles, etc., and retched them up again so cleverly and
at such carefully selected instants that the audience did
not know that the disgorging had been accomplished.
Swallowing glass was a different matter, and the mod-

[277]

THE UNMASKING OF ROBERT-HOUDIN

em human ostriches have all wound up at city hospitals
where surgeons have removed broken glass, knife blades,
and other foreign matter by means of an operation.

I quote the above instances simply to prove that the
stones were actually swallowed and then disgorged, and
not hidden, as Robert-Houdin claims, in the folds of the
Mokadem's burnous.

In this one chapter alone Robert-Houdin quotes six
authorities in explaining the tricks he witnessed, which
fact only strengthens my belief that he borrowed his
tricks, as well as his explanations, from able and graphic
writers on the art of magic.

The next work descriptive of the conjurer's art offered
by Robert-Houdin was ^^Les Secrets de la Prestidigitation
et de la Magie." Under the title of ''The Secrets of Con-
juring and Magic; or. How to Become a Wizard," it
was translated and edited by Professor Hoffmann and
published in 1878 by George Routledge & Co., London
and New York.

Absolutely no originality is displayed in this book, and
the majority of the tricks explained can be found in
French books of a similar character which appeared be-
fore Robert-Houdin turned author. The proof of this
statement can be found by reading any of the following
works upon which Robert-Houdin patently drew for his
material :

''Nouvelle Magie Blanche Devoilee et Cours Complet
de Prestidigitation," in two volumes, by J. N. Ponsin,
published in Paris in 1853; "Grande Initiation au
vraie Pratique des Celebres Physiciens-Prestidigitateurs,"

Paris, 1855; "Nouveau Manuel Complet Sorciers, les

[278]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

scenjes de Ventriloquie executees et communiquees par M.
Conte, Physicien du Roi," Paris, 1837; "Anciens etNou-
vaux Tours d'Escamotage," of which there are innumer-
able editions; "Le Manuel des Sorciers. Recreations Phy-
siques, Math^matiques, Tours de Cartes et de Gibecifere;
suivre, des Jeux de Societe," Paris, 1802.

His third work, "Magie et Physique Amusante," trans-

Position of the "vanished" Hindoo while concealed in the basket. From the
Harry Houdini Collection.

Jated by Professor Hoffmann under the title of "The
Secrets of Stage Conjuring," and published in English
^ 1881, is marred by an almost continuous strain of mis-
statements, incorrect explanations, and downright falsifi-
cation.

On page 17 of the American edition Robert-Houdin

[279]

THE UNMASKING OF ROBERT-HOUDIN

starts his dramatic tale of inventing a detector lock by
which he protected a rich neighbor, M. de TEscalopier,
from robbery, and incidentally in return secured funds
with which to open his theatre in the Palais Royal. In
his "Memoirs" Robert-Houdin states that the opening
of the theatre was made possible by the invention of the
writing and drawing automaton whose history has been
traced in chapter III. The reader can choose between
the two stories. One is as plausible as the other.

But to return to the detector lock. Count or M. De
PEscalopier having complained grievously to his humble
neighbor, the watchmaker Robert-Houdin, that he and
his family were being robbed, begged that the latter sug-
gest some means of catching the thief. Robert-Houdin
then recalled a childish device by which he had caught
his school-fellows in the act of pilfering his desk, etc.,
and he proposed to the Count that the same device, elab-
orated to meet the strength of a full-grown man, be at-
tached to his wealthy patron's desk. As first planned, the
detector lock was to shoot off a pistol on being tampered
with, and then brand the hand of the thief with nitrate
of silver. Count de PEscalopier objected to branding a
man for life, so Robert-Houdin substituted for the nitrate
of silver a sort of cat's claw which would clamp down on
the robber's hand and draw blood. The Count deposited
ten thousand francs in his desk and caught the robber,
his confidential servant, red-handed. The ten thousand
francs he presented to Robert-Houdin as a reward for
stopping the thefts.

A charming tale this makes, but, unfortunately for

Robert-Houdin's claims to originality, the detector lock

[280]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

was not a novelty in his day. The lock which would
first alarm the household by setting off a pistol and then
brand the thief's hand, is described by the Marquis of
Worcester in hi& book 'Xenturie of Inventions." As
locks and locksmithing form my hobby, while in England
I purchased the entire set of patent-books, to add to a
collection of locks and fastenings from every known coun-
try of the world. In the introduction of the first book of
patents for inventions relating to locks, latches, bolts,
etc., from a.d. 1774 to 1866, the following quotation will
be found:

^'The Marquis of Worcester in his 'Centurie of Inven-
tions' thus describes the first detector lock invented, a.d.
1640, by some mechanical genius of that day: ^This lock
is so constructed that, if a stranger attempts to open it, it
catches his hand as a trap catches a fox, though as far as
maiming him for life, yet so far marketh him that if sus-
pected he might easily be detected.' "

It appears that to this lock was fitted a steel barb
which, if a certain tumbler was overlifted in the act of
picking or otherwise, was projected against the hand of
the operator by a spring. I have seen such a lock as this
in the collection of Hobbs, Hart & Co., London, who
have had it in their possession many years. In every
respect it answers the description of the invention claimed
by Robert-Houdin as his own.

Chapter VII. of "Secrets of Stage Conjuring" is de-
voted to Robert-Houdin's very incorrect explanation of
the famous Indian Basket Trick. Even his own trans-
lator, Professor Hoffmann, takes issue with Robert-Hou-
din, as will be seen by reading his foot-note on page 104:

[281]

ROBERT-HOUDIN S IGNORANCE OF MAGIC

"We will not venture to question the fact vouched for by
so high an authority as Robert-Houdin, that the Indian
Basket Trick may sometimes be performed after the

THE JU^rLY CJBLFItRATeD

RAMO 8AMEE,

CHIEF Of

Th^ Indian •fugglert.

. Om MONDAY. JULY 16.

AiA, iof • liMMl p»rMd. go tkrMgk tW tttel* orhk

ExtrMndinary FenU of Strength and Afiiky.

222, PICCADILLY,

CoMMlii^ of « tbriM of E««liilinM wiA

FOUR BRASS BALLS

TUesiXB OF OHANG.es.

"""Several feats op BAiXANaNa

U which fa* •fll rflNdm IW

MmUding a Canopy wUh hiU TbH^nf^

ON THE TOP OF HIS NOSli: *

ANS KBNOTINC TVE SAMB WnH BininBXINO INCBHVITr

Spinning of.-a T«pon « Point m fine m a N«edle»
BAL4NCINO THE SAME OS IttS CHIS,

WONDERFUL FEAT WITH LARGE KNIVES
aWALLOlViNG A BTOyS THE SIZE OF AS BQO*

. Aba. fait mfaly AcUvily ■•

Throwing a Larse Ball the slse of an
18-p6ii9d Shot

SEVERAL NOVEL FEATS. »ft>^

Itte rMfcnMBMi to eoaincnce erwy Itey ftt One o'Clocji, m4 «««7

A Ramo Samee handbill, featuring his stone-swallowing act. From the
Harry Houdini Collection.

manner above described, but we doubt very much whether

such is the usual or customary method."

Robert-Houdin states that the child is placed in the

basket, and the Indian fastens down the lid with leather

straps. To facilitate this operation, he rests his knees

[282]

For Six Nighte only.

BY PERMISSION OF

In ike JLarge Boom^ oppatiie th^ Cuiiaim'H^tuet

IN WHItEFl»ASX(AT£.
1fc« latebitadto of HULL aad it; Y icMttj ara iMpcetf uH/mfonBcd. that

Oh Wednesday Evening^ Aug. 36, 1818.

The Indian

Jugglers

fPttf exkiM^tkeir tfrntioaiUi Piiformaiuet:

Tbcie tetnofdiurj Indjun are Native* of 8er!n«]M(ani, and haTe beea'cibibitiaf for mmm
lUM pkflt ia tlMrMctropolii, befon nanr of the Nobilitj, who unaninioutljr pruoouaccd them to
be the Srtt.Maftert of the Art in thu Kyigiiom.

A*M|>I tka Dm*reu PerfenuiKM.ilM Mlawias may to iMiked t

Various Deceptions with Cups and Balls;

CHANGING SAND TO BI^FfkENT COLOURS;

A »RRIR» or

EVOLUTIOJVS

With Four h<A\«w Braaw Balli. about the sue of Oranges.

ttoMwtroritoJa|rii>Wtfltocb»l«wtwlt»CBUd»;'bacM<c«tlic«tedcicfib>ewrTi»wibl«awlt teUildly.
p«pn£al«lr. gMqS ^ lwtWftriy, ronJ lu» l^, aMto Vm Am. iboirt Wm ticad. in imU aod brp CinuMJimiJ.
wiJt V wMi w tiyaity. MdlwqiiMtte wlwlci« Motto lit UwiMwl^ TUi Mm the *ala froit ol Efcrt, Aclirii*.
MiidiiMi «< Eye, mJ wpMity of Mothw. m one who bat aol irilacmd it cm form na mIm of it* cmcDcooo. TbtopaRaT
£lRrSrm«wiltoa«Mipwic4wUliHa*ic '^

STRINGING BEADS WITH HIS MOUTH.

At tko MMC ti«o tornii^ IUii|« wiik kii Fingan and Tan.

TOGETHER WITII tCVCRAL

Feats of Balancing,

k«Uch«MofiktIidlaMlMiaStlKMlDoy'*ceaiBHmr)e|-lop. wlilch h« moumcmh to tute aiih grrat reloeitr is Ua
Iwid. aad Awa 1ht»c» coavoy* it «a a poiat ai ftae a« a Ncrrflc. Wbicii it balaaccd oa U* Chia. aad ia tliiViitttaiM ulcn
It bow la the CoaMaay. wk'iie retr«d*u||oatlMbcAire-OKBiioacd point) andafterwaid* reatofca ii In tlic Word of C<Ma«aad,
l«ilN «aM Efiintfai* wd SicadincM M wlKa firrt ipoa.

Erecting a curiam Pagoda on the top of his Nose^

• A!(0 aRMOVIXt. THE lAMR tt ITH •liRPRI«iiio~lilCF.9IVlTY.

His mm\y activity in throwing a Lai*ge Ball, the sisce.
of an Eij^hteeu-poiind Shot,

Ti d W trtfc t part* «< l» Body, itltli tfca pe«te«t enio > he placet it brlwfca hU Foot, aad timnra it oter his Shoaldcr,
«tea1taMU0Ahi*Arai. and ihra wtik the graalnl ticdiiy thrairi it o« the ludi part of hU Neck ^ aad after display.
<i«««a(i(ly«rGj«bobo(tlu.«ort.bc&a«Uy,bol»iiha9aslcrlyjcrk, . ■ r-'

Tkrvw$ this Ball of Twelv$ Pounds round /tis Head,

*,||iaMl lie li<HMir* of Uf Ikadf ; and icitrU other AchU«emt«to, loo nomerom to oieiitioa In the liarilt of a tfaod Oil)/

Handbill used by the original Indian jugglers in England during 1818, in
which the sword-swallowing trick is featured. From the Harry Houdini
Collection.

[283]

THE UNMASKING OF ROBERT-HOUDIN

against the basket, and the bottom of the latter thus being
turned toward the audience, the boy slips out through a
cunningly contrived trap and quickly conceals himself
under the robe of the magician, whose attitude favors
this concealment.

As the basket trick is the Hindoo magician's most
wonderful offering, a truthful account of his methods of
performing the same may be interesting. In the first
place, Robert-Houdin's explanation is impossible and un-
reasonable because the Hindoo magician does not wear
flowing robes in which the child could be concealed.
Every Hindoo performer I have ever seen wore short
trousers and was barefooted.

The correct method of performing the trick, which has
been handed down through generations of Hindoos, is as
follows: The boy subject is placed in a net in which
he is firmly tied, after having had his big toes and thumbs
fastened down with bandages. Then, with many a grunt
and a groan, he is lifted into the basket. The subject,
however, pretends that the basket is too small, so he is
really seated on one side and keeps his back in the air.
This is done to give the appearance eventually that it
was impossible for him to crouch down or around the
basket. The lid of the basket is now placed on his back,
and a large sheet is thrown over the entire apparatus,
which conceals from the audience every movement made
by the subject.

Now commences the Hindoo ^ Spatter," in reality yells,
groans, and incantations, while the magician and his
assistant strike the basket with swords or canes, stamp
on the ground, gnash their teeth, etc. Gradually the

[284]

ROBERT-HOUDIN^S IGNORANCE OF MAGIC

cover of the basket sinks until the basket seems empty, to
the spectators at least. The fakir now takes off the cover
of the basket, leaving the sheet over it, however. Then he
jumps into the presumably empty basket, stamps all
around, and takes out the net in which are found the tur-
ban worn by the subject and the thumb tie. To prove
further that the basket is still empty, the fakir seats him-
self in the basket, as shown in the illustration. The lid
of the basket is now replaced, and under this friendly
cover the sheet is taken off and the basket tied up.

Now commences the true Hindoo magic. The magi-
cian is a real actor. He apparently adjures Mahomet.
tte gets very angry and with fierce looks, ejaculations,
3-nd muttered curses he grabs up a sword or cane and
jabs it through different parts of the basket. During all
this time the subject, who is something of a contortion-
ist, is wriggling about on the bottom of the basket, keep-
ing out of reach of the sword, and in fact often guiding
^ts thrusts between his legs, as every movement on the
part of the fakir has been carefully thought out and
Rehearsed in advance.

By this time the fakir has convinced his audience that
the basket is empty. To be sure he has not allowed any
spectators to come too near him or the basket, nor has
any hand save his touched it, but his clever acting almost
persuades even an inteUigent or sceptical onlooker that
the basket is empty.

With the lid of the basket replaced, this time above
the friendly sheet, and the basket tied, he resumes his
weird incantations. He screams and runs back and
forth, playing on a small instrument with a hideous tone

THE UNMASKING OF ROBERT-HOUDIN

which is a cross between the whistle of a locomotive with
a cold, and a sawed-off and hammered-down flute in
which has been inserted a tin whistle. As this nerve-
racking music holds the spectators under its awful spell,
the basket begins to rock, the contortionist-subject grad-
ually raises himself inside the basket, and when the noise
is at its height he straightens up in the basket and raises
it with his back as far as it will go. To the uninitiated it
actually appears as if he had returned to an empty basket
in his original position. The trick is a marvellous decep-
tion, but only a Hindoo can exhibit it with success, for
no white person would ever indulge in the screechings,
imbecilities, and contortions which are the spectacular
and convincing features of the trick.

Sometimes the trick is varied. Instead of the subject
being found in his original position he is seen running
toward the crowd as from a distance. This is accom-
plished by having two subjects, one in the basket and one
hidden on the outskirts of the crowd, who are "doubles"
or at least who show a marked resemblance and are
dressed exactly alike.

The earliest programmes of Hindoo jugglers in my col-
lection are dated 1818. The "Mr. Ramosamee" featured
on this bill later split his name thus, "Ramo Samee,"
and was engaged to perform alone between the acts of
"The Broken Heart" at the Garrick Theatre, London.
From Ramo Samee, Continental and British magicians
learned the trick of juggling brass balls.

On page 135 Professor Hoffmann, in a foot-note, com-
mends Robert-Houdin for the very impartial manner in
which he approaches the question of spiritualism and

[286]

ROBERT HOUDIN'S IGNORANCE OF MAGIC

spiritualistic manifestations, in his day a comparative
novelty: ''In default of absolute certainty, he wisely re-
serves his opinion. Where, however, as in the case of
the Davenport Brothers, he had an opportunity of person-
ally observing the alleged 'phenomena,' he has neither
difficulty in penetrating nor hesitation in denouncing the
imposture. We venture to believe that any of the so-
called spiritualistic manifestations which had come under
the test of Robert-Houdin's examination would have met
a similar fate.''

With this commendation I cannot agree. Robert-

Houdin once had all the leeway he wished at a most

remarkable manifestation and made no attempt to hide

the fact that he was baffled by the "phenomena." The

"Memoirs of Marquis de Mirville " contain a Robert-

Houdin letter in which he admits that he could find no

explanation of tests just witnessed. The letter, trans-

la.ted from "Die MagiedesXIX. Jahrhunderts von Uri-

arte," 1896, published in Berlin, Germany, by Heusers

V'erlag, is herewith quoted : "I returned from the stance

^s greatly astonished as it was possible for me to be, and

I a,m thoroughly convinced that it was entirely out of the

possibility, and no chance whatever, that it was either by

^cicident or practised trickery to produce such wonderful

Materializations. Robert-Houdin, May i8th, 1847."

He further shows his ignorance of seances as offered
iJ^ his times, by his attempt to describe the methods em-
ployed by the Davenport Brothers, to whom he devotes
diapter XIII., which might be described as a chapter of
errors.

These picturesque American entertainers, the Daven-

[287]

THE UX^USKIXG OF ROBERTHOUDIN

port Brothers, hailed from Buffalo, X. Y., U. S. A. Ira
Erastus was bom September 17th, 1839, and William
Henr}% Februarj- ist, 1841. They fairly startled the

world by their so-called manifestations of spiritualism

during the 6o's, and were alternately lauded and reviled

for their performances.

[288]

ROBERT-HOUDIN^S IGNORANCE OF MAGIC

Both were below medium height, rather handsome
men, and, as will be seen from the accompanying engrav-
ing, looked much alike. Their career, which started in
America, ran from about 1853 to the early 70's. They
made a trip to Europe in 1864, remaining until August,
1869. Both married abroad; Ira a daughter of France,
Mile. Louise Toulet, and William Henry a Polish girl.
Miss Matilda Mag. On the whole, their foreign tour was
most profitable, though in some cities they paid a high
price for their notoriety. In England they waged bitter
warfare with John Henry Anderson, Tolmaque, and Pro-
fessor Redmond.

On the occasion of their Paris opening at the Salle
Herz they claimed that the hoodlum element mobbed
the theatre and broke up their performance at the instiga-
tion of Henri Robin, who was playing in opposition.
Hamilton, who had succeeded to the management of
Robert-Houdin's theatre, in a letter published after wit-
nessing their initial performance announced that he shared
this belief; but as Robert-Houdin and Henri Robin were
bitter rivals, I believe Hamilton's letter was the result of
two things: first the intense ill-will he harbored against
Robin, and second, as he had Robert-Houdin as his
mentor, he was really ignorant of the Davenport methods
and therefore not in a position to defend them. The
letter, which is given in full, appeared in Gazette des
Mr angers^ Paris, September 27 th, 1865:

'^Messrs. Davenport: Yesterday I had the pleasure of

being present at the seance you gave, and I came away

from it convinced that jealousy alone was the cause of

the outcry raised against you. The phenomena pro-
19 [289]

THE UNMASKING OF ROBERT-HOUDIN

duced surpassed my expectations, and your experiments
were full of interest to me. I consider it my duty to add
that these phenomena are inexplicable; and the more so
by such persons as have thought themselves able to guess
your supposed secret, and who are, in fact, far indeed
from having discovered the truth. Hamilton."
After their return to America the Davenport Brothers

The cabinet trick offered by the Davenport Brothers. From an old print in the
Harry Houdini Collection.

[290]

ROBERT-HOUDIN'S IGNORANCE OF MAGIC

retired from pubKc Kfe, purchased a farm, and rested
on their laurels and a corpulent bank account. One
of them is said to have admitted that all their work was
skilful manipulation and not spiritualistic manifestations.
Nevertheless, their names will live so long as spiritualism
is talked of or cabinet effects tolerated by the public.

The trick as offered by the Davenport Brothers con-
sisted of their being tied hand and foot at opposite ends
of the cabinet, which was hung with musical instruments,
bells, etc. The two men slipped in and out of the ropes
without delay or apparent damage to the ropes, and musi-
cal instruments were played with arms presumably in
bondage,

Robert-Houdin, in attempting to expose the trick,
makes two flagrant errors. First he claims that "by dint
of special practice on the part of our mediums, the thumb
is made to lie flat in the hand, when the whole aissumes
a cylindrical form of scarcely greater diameter than the
wrist"; and second that the Davenport Brothers had
trained themselves to see in the dark.

As releasing myself from fastenings of all sorts, from

ropes to strait-jackets, has been my profession for twenty

years, I am in a position to contradict Robert-Houdin's

[first claim positively. I have met thousands of persons

who claimed that the rope, as well as the handcuff trick,*

was accomplished by folding the hand together or making

the wrist larger than the hand, but never have I met men

or women who could make their hands smaller than their

wrists. I have even gone so far as to have iron bands

made and press my hands together, hoping eventually

to make my hands smaller than my wrists, but this has

[291]

THE UNMASKING OF ROBERT-HOUDIN

failed, too. Even if the entire thumb were cut away, I
believe it would still be impossible to slip a rope that was
properly bound around the wrist. You may take any
cuff of the adjustable make, or a ratchet cuff, place it
about a small woman's wrist, and you will find that even

ST. GEORGE'S HALL,

RETURN

brothers" DAVENPORT
MR. FAY,

Iks BROTHERS DAVEHPORT nd Kr. FAT ham the hoBonr
t» mioanoe that, after a tofor of tiuee yean otw the greater part
cf tte Oootinent of Europe, Obey hare retonied onoe more^ and
foobaUy for the last tune, to thia Ketn^olii, where they will g^ve
• few Simtm preTiona to their dqpaxtnre for tiie United Statea.

Dnring their Eoropeaa tonr they have given Sitmem in Faru^
Berlin, Tlenna, Moacow, St Fetemhoig^ and nearly ereiy great
Continental Capital; and have had the honour of appearing before
their Mqeities the Empenoa of France and Ruaata, the Royal
Family of PnxBsia, and great nnmbera of tiie most Diatingoidied
Pereonagee in Europe. Many thoosanda of perMna of the higheat
tank and intelligence have w H aeaa e d the aatniiiahing experiments
I^Tcn in their preaenoc

Thronghont the NoitiMn American Stal(^ from 1853 natil
tiuir first vint to England in 1864, they wen oeen hy himdradf
cf thooaands of peraona.

In England, their fint 8 imt$ was i^ven in private^ to • neat
d^ftmgoiahed .party of men of acienoe jmd letter^ who gave their
most nnequTocal teatimooy to the excellence and perfection of
their cxperimenta.

Two Simtm of the Bionzia "DArxnov and Ur. Fat wQI b«

giroiat

ST. GEORGES HALL, LAN6HAM PLACE,

Ob THT7RSDAT BVBNZNO, APRIL S3id.

And SATURDAY SVBNIMO. APRIL aSih, 186Q,

at Sight o'eloek.

STALLS, - 8» BALCONY, - Ss.

ADMISSION, ONE 8HILLI1IG.

Announcement used by the Davenport Brothers on their return to London,
England, after their tour of the (Continent in April, 1868. From the Harty
Houdini Collection.

[292]

ROBERT HOUDIN'S IGNORANCE OF MAGIC

she will be unable to slip her wrists. I do not mean by
this any hand-cuflf that will not come to any size, or the
common cuflFs which when locked will lock only to a
certain size, but I mean a cuflF that can be locked and
adjusted to any size of wrist.

In rope-tying, the principal trick is to allow yourself to
be tied according to certain methods of crossing your
hands or wrists, so that by eventually straightening your
hands you have made enough room to allow them to slip
out very easily. It is not always the size of the wrist that
counts. It is the manner of holding your hands when the
knots are being tied.

The gift of seeing in the dark, with which Robert-
Houdin endowed the Davenports, is equally preposterous.
Professor Hoffmann defends Robert-Houdin by citing in-
stances of prisoners who had been confined in cells for an
indefinite period and who had learned to see in the dark.
This is quite true, but they did not alternate daylight
and darkness. Eminent opticians and oculists inform me
that the faculty of seeing in the dark cannot be acquired
by parties like the Davenports, who spent most of their
time in the light.

While the Davenports were pioneers in rope-tying and
cabinet stances, had Robert-Houdin been the clever
sleight-of-hand performer and inventor he claims to have
been, these tricks would have been clear and solvable to
him. But as he obviously joined the ranks of the amazed
and bewildered masses, making only a futile attempt to
explain the performances, he convicts himself of igno-
rance regarding his own art.

A man who has made a fortune in the world of magic

[293I

THE UNMASKING OF ROBERT-HOUDIN

and who desires to hand down to posterity a clean record
of his attainments will be clever enough and manly
enough to avoid any attempt to explain that which he
does not understand. By his flagrant misstatements
regarding the tricks of his predecessors and contempo-
raries, Robert-Houdin, however, convicts himself of igno-
rance regarding the fundamental principles of magic, and
arouses in the minds of broad, intelligent readers doubts
regarding his claims to the invention of the various tricks
and automata which he declares to have been the output
of his brain, the production of his own deft hands.

[294]

CHAPTER XI

THE NARROWNESS OF ROBERT-HOUDIN'S ** MEMOIRS''

THE charm of true memoirs lies far beyond the
printed pages, in the depth and breadth of
the writer's soul. The greatest of all autobi-
ographies are those which detail not only the
^ives of the men who penned them, but which abound in
di^rerting anecdotes and character studies of the men and
^^omen among whom the writer moved. They are not
^Vitobiographies alone, but vivid, broad-minded pen-
Pictures of the period in which the writer was a vigorous,
^^^spect-compelling figure. Memoirs written with a view
^^^ settling old scores seldom live to accomplish their ends,
^t^he narrowness and pettiness of the writer, which intelli-
gent reading of history is bound to disclose, destroy all
^^ther charms which the book may possess.

At personal exploitation Robert-Houdin is a brilliant
Success. As a writer of memoirs he is a wretched failure.
^A^henever he writes of himself, his pen seems fairly to
Scintillate. Whenever he refers to other magicians of
llis times, his pen lags and drops on the pages blots
\vhich can emanate only from a narrow, petty, jeal-
ous nature.

Even when he writes of his own family, this peculiar
trait of petty egotism may be read between the lines. He
mentions the name of his son j^mile, apparently because

[295]

THE UNMASKING OF ROBERT-HOUDIN

the lad shared his stage triumphs. His other children he
never mentions by name. The second wife, who, he
grudgingly admits, stood valiantly by him in his days of
poverty and disappointment, he does not honor by so
much as stating her name before marriage. Rather, he
refers to her as a person whom he was constrained to
place in charge of his household in order that he might
continue his experiments and his work on automata. A
less gracious tribute to wifely devotion was never penned.

But it is in dealing with contemporary magicians or
those whose handiwork in bygone years he cleverly pur-
loined and proclaimed as his original inventions, that
the petty jealousy of the man comes to the surface. When-
ever he desires to claim for himself credit due a prede-
cessor in the world of magic, he either ignores the man's
very existence or writes of his competitor in such a man-
ner that the latter's standing as man and magician is
lowered. Not that he makes broad, sweeping statements.
Rather, he indulges in the innuendo which is far more
dangerous to the party attacked. He never strikes a
pen-blow which, because of its brutality, might arouse
the sympathy of his readers for the object of his attack.
Here, in the gentle art of innuendo and belittling, if not
in the conjurer's art, Robert-Houdin is a master.

In writing his ^* Memoirs" he deliberately ignores
Compars Herrmann, Henri Robin, Wiljalba Frikell, M.
Jacobs, and P. T. Barnum, all of whom he knew person-
ally. He might have written most entertainingly of these
men, but in each case he had an object in avoiding refer-
ence to the acquaintance. P. T. Barnum knew the true
history of the writing and drawing figure, as reference to

[296]

NARROWNESS OF ROBERT-HOUDIN'S '^ MEMOIRS"

chapter III. of this book will show. Frikell was the pioneer

in dispensing with cumbersome stage draperies. Robert-

Houdin claimed this innovation as the product of his own

ingenuity. Compars Herrmann was playing in London

when Robert-Houdin made his English debut under

Wiljalba Frikell in his youth, showing the peculiar costume worn by con-
I*^ere at that time. The author secured this portrait a few weeks oefore
j!*^ell's death and sent it to the veteran conjurer, who was amazed to leam
"Uit this print was in existence. Now in the Harry Houdini Collection.

Mitchell's direction, and was presenting, trick for trick,
the repertoire claimed by Robert-Houdin as original with
Mm. Henri Robin disputed Robert-Houdin's claim to
leaving invented the inexhaustible bottle, and proved his
^ase, as will be seen by reference to chapter VIII. Jacobs

[297]

THE UN^L\SKING OF ROBERT-HOUDIN

was one of Anderson's cleverest imitators and a rival of
Robert-Houdin in the English provinces.

The adroit manner in which Robert-Houdin flays
Pinetti, Anderson, and Bosco would arouse admiration
were his pen-lashings devoted to men who deserved such
treatment. Under existing circumstances — his debt to
Bosco and Pinetti, whose tricks he filched remorselessly,
and the fact that Andersoi.'s popularity outUved his own
in England — his efforts to belittle these men are unw^orthy
of one who called himself a man and a master magician.
The truly great and successful man rises above petty
jealousy and personalities. This, Robert-Houdin could
not do, even when he sat pen in hand, in retirement, with
the fear of competition removed.

It seems almost incredible that Robert-Houdin should
ignore Henri Robin in his "Memoirs," for Robin was one
of the most interesting characters of that day. He still
stands in magic's history as the Chesterfield of conjuring,
a man of many gifts, charming address, and broad edu-
cation. Even in his dispute with Robert-Houdin regard-
ing the invention of the inexhaustible bottle, he never
forgot his dignity, but proved his case by that most potent
of arguments, a well-edited magazine pubUshed under his
direction, in which an illustration showed him actually
performing the trick in 1844, or a full three years before
it appeared on Robert-Houdin's programme.

Robert-Houdin was indebted to Robin for another

trick, the Garde Fran9aise, introduced by Robert-Houdin

in October, 1847. Henri Robin had precisely the same

figure, doing precisely the same feats, in the garb of an

Arab. An illustration from Robin's magazine, UAlma-

[298]

NARROWNESS OF ROBERT-HOUDIN'S *^ MEMOIRS"

nach Cagliostro, shows Robin offering this figure in March,
1846, or a year and seven months before it was presented
by Robert-Houdin. Yet the only reference made by
Robert-Houdin to this popular and gifted contemporary
is in "The Secrets of Stage Conjuring" where he remarks
slightingly that Robin spoiled Mr. Pepper's business by
giving a poor imitation of the latter's ghost show.

Again, in ignoring Herrmann, he proves his narrowness
of mind, his utter unwillingness to admit any ability in his
rivals. Compars Herrmann was no ordinary trickster or
mountebank, but a conjurer who remained in London
almost a year, playing the very best houses, and later
scoring equal popularity in the provinces. He was deco-
rated by various monarchs and was famous for his large
gifts to charities. Even the present generation, including
theatre-goers and students of magic, remembers the name
of Herrmann, when Robert-Houdin is forgotten or would
be but for his cleverly written autobiography.

Wiljalba Frikell, to whom should go the credit of
cutting out heavy stage draperies, never claimed the
innovation as a carefully planned conceit, but as an acci-
dent. His paraphernalia were destroyed in a fire, but he
desired to live up to his contract and give a performance
as annoimced. He therefore offered sleight-of-hand, pure
and simple, with the aid of a few tables, chairs, and other
common properties which were absolutely undraped. He
was also compelled to don regulation, severely plain,
evening clothes. The absence of draperies, which natu-
rally aid a conjurer in attaining results, created so pleasing
a sensation that Frikell never again draped his stage
nor wore fancy raiment. Had Robert-Houdin told the

[299I

THE UNMASKING OF ROBERT-HOUDIN

truth about his so-called innovation, he must have given
Frikell credit, wherefore he conveniently ignores Frikell
completely.

It is entirely characteristic of Robert-Houdin that he
did not openly assail Pinetti in the pages of his "Mem-
oirs." With cleverness worthy of a better cause, he quotes
the bitter verbal attack as issuing from the lips of the
friend and mentor of his youth, Signor Torrini.

The major portion of chapter VI., pages 92 to 104
inclusive, American edition of his autobiography, is de-
voted to assailing Pinetti's abilities as a conjurer and his
reputation as a man. Granted that Pinetti did put Tor-
rini to shame on the Neapolitan stage, such revenge for
a wholesale duplication of the magician's tricks might be
termed almost human and natural. Had a minor magi-
cian, amateur or professional, dogged the footsteps of
Robert-Houdin, copying his tricks, the entire repertoire
upon which he depended for a livelihood, thus endanger-
ing his future, I doubt that even the author of 'Confi-
dences d'un Prestidigitateur'' would have hesitated to un-
mask and undo his rival.

In fact, by reference to the editorial note, foot of page
421, American edition of Robert-Houdin's ** Memoirs,"
it will be seen that in 1850 Robert-Houdin appealed to
the law for protection in just such a case. An employee
was sent to prison for two years, as judgment for selling
to an amateur some of his master's secrets.

But in attacking Pinetti, Robert-Houdin goes a step

too far and falsifies, not directly but by innuendo, when

he permits the impression to go forth that Pinetti was

hounded and ruined both financially and professionally

[300]

NARROWNESS OF ROBERT-HOUDIN'S ''MEMOIBS"

by Torrini, as is set forth on page 104. He pictures
Torrini as dogging the footsteps of Pinetti through all
Italy and finally driving him in a state of abject misery
to Russia, where he died in the home of a nobleman, who
sheltered him through sheer compassion. Robert-Houdin

Bartolomeo Bosoo in his prime. From an engraving in the Harry Houdini

Collection.

must have known this was absolutely untrue, for he
quotes Robertson, who published Pinetti's true experi-
ences in Russia. Pinetti took a fortune with him to
Russia, acquired more wealth there, and then lost his

[301I

THE UNMASKING OF ROBERT-HOUDIN

entire financial holdings through his passion for balloon
experiments, as is set forth in chapter II. of this book.

Then, to show his own inconsistency, after picturing
Pinetti in his " Memoirs" as a charlatan, a conjurer of vul-
gar, uncouth pretensions rather than as a good showman
of real ability, Robert-Houdin is forced to admit on page
25 of "Secrets of Magic" that later conjurers employed
Pinetti programmes as a foundation upon which their
performances were built! Even here, however, Robert-
Houdin fails to acknowledge an iota of the heavy debt
which he personally owed the despised Chevalier Pinetti.

Robert-Houdin devotes the greater part of chapter X.,
American edition of his autobiography, to belittling Bos-
co, a conjurer whose popularity all over Europe was long-
lived. First, he pictures Bosco as a most cruel creature who
literally tortured to death the birds used in his perform-
ances. Here, as in his attack on Pinetti, Robert-Houdin
throws the responsibility for criticism on the shoulders of
another. His old friend Antonio accompanies him to
watch Bosco's performance, and it is Antonio throughout
the narrative who inveighs against Bosco's cruelty and
Antonio who insists upon leaving before the performance
closes, because the cruelty of the conjurer nauseates him.

At that time no society for the protection of animals
existed, and, even if it had, I doubt whether Bosco's
performance would have come under the ban. Certain
magicians of to-day employ many of Bosco's tricks in
which birds and even small animals are used, but the
conjuring is so deftly done that the public of 1907, like
that of 1838, thinks it is all sleight-of-hand work and that
the birds are neither hurt nor killed. Even in Bosco's

I302]

NARROWNESS OF ROBERT-HOUDIN S '^ MEMOIRS^

time the bird trick was not in his repertoire exclusively.
All English magicians employed it. Apparently the head
of the fowl was amputated, but often in reality it was
tucked under the wing, and the head and neck of another
fowl was shown by sleight-of-hand. Quite probably the
Parisian public did not consider Bosco cruel. Robert-
Houdin and his friend Antonio, being versed in sleight-
of-hand and conjuring methods, read cruelty between the
deft movements. Certain it is that the name of Bosco
has not been handed down to posterity by other writers
as a synonym of cruelty.

The animus of Robert-IToudin's attack on Bosco is
evident at every point of the narrative. Now he accuses
him of bad taste in appearing in the box-office. Again he
suggests that the somewhat impressive opening of Bosco's
act savors of both charlatanism and burlesque, when in
reality the secret of showmanship consists not of what
you really do, but what the mystery-loving public thinks
you do. Bosco undoubtedly secured precisely the effect
he desired, because Robert-Houdin devotes more than a
page to a most unnecessary attempt to explain away what
he considered Bosco's undeserved popularity.

Bosco was not only a clever magician, but a man of
many adventures, so that his life reads like a romance.
This soldier of fortune, Bartolomeo Bosco, was born of
a noble Piedmont family, on January nth, 1793, in Turin,
Italy. From boyhood he showed great ability as a nec-
romancer, but at the age of nineteen he was forced to
serve under Napoleon I. in the Russian campaign. He
was a fusilier in the Eleventh Infantry, and at the battle
of Borodino was injured in an engagement with Cossacks.

[303]

THE UNMASKING OF ROBERT-HOUDIN

Pierced by a lance, he lay upon the ground apparently
dead. A Cossack callously roamed among the dead and
dying, rifling pockets and belts. When he came to the
form of Bosco, that youth feigned death, knowing that
resistance to the ghoul meant a death wound. But while
the Cossack robbed the Italian soldier, the latter stealthily
raised his unwounded arm and by sleight-of-hand rifled
the well-filled pockets of the ghoul, which fact was not
discovered by the Cossack until he was far from the field
of the dead and dying, where he had left one of the enemy
considerably better off, thanks to Bosco's conjuring gifts.
Later Bosco was sent captive to Siberia, where he per-
fected his sleight-of-hand while amusing fellow-prisoners
and jailers. In 1 8 14 he was released and returned to his
native land, where he studied medicine, but eventually
decided to become a public entertainer. He was not only
a clever entertainer, but a good business man, and he
planned each year on saving enough money to insure a
life of ease in his old age. But events intervened to ruin
all his well-laid plans. The sins of his youth brought
their penalty. An illegitimate son, Eugene, became a
heavy drag upon the retired magician, who was com-
pelled to pay large sums to the young man in order to
prevent his playing in either France or Germany or as-
suming the name of Bosco. In a German antiquary's
shop at Bonn on the Rhine I found an agreement in
which Bosco agreed to pay this youth five thousand
francs for not using the name of Bosco. This agreement
is too long for reproduction in this volume, but unques-
tionably it is genuine and tells all too eloquently the
troubles which beset Bosco in his old age.

[304]

NARROWNESS OF ROBERT-HOUDINS '^MEMOIRS"

Eugene was said to be the superior of his famous father
in sleight-of-hand, but he was wild and given to excesses.
Women and wine checked what might have been a brill-
iant professional career. Disabled, poverty-stricken, and

Only photograph of Madame Bosco, given to the author by Mrs. Mueller,
Madame Bosco's niece, at the funeral of Wiljalba Frikell.

respected by none, he soon disappeared from the con-
juring world, and according to Carl Willman in the
^^Zauberwelt" he died miserably in Hungary in 1891.

In the mean time, Bosco and his wife lived in poverty
in Dresden, where the once brilliant conjurer died March
20 [305]

THE UNMASKING OF ROBERT-HOUDIN

2nd, 1863. His wife died three years later and was interred
in the grave with her husband in a cemetery on Frie-
drichstrasse. There was nothing on the tombstone to indi-
cate the double interment, and I discovered the fact only
by investigating the municipal and cemetery records.

The author at the grave of Bosco. From a photograph in the Harry Houdini

Collection.

Here I also learned that the grave had merely been
leased, and as the lease was about to expire the bones of
the great conjurer and his faithful wife might soon be
disinterred and reburied in a neglected corner of the

[306]

NARROWNESS OF ROBERT-HOUDIN'S *^ MEMOIRS"

graveyard devoted to the poor and unclaimed dead. To
prevent this, I purchased the lot and tombstone, and
presented the same to the Society of American Magicians, of
which organization, at the present writing, I am a member.

A man of noble birth and brilliant attainments was the
original Bosco, and his name became a by-word all over
the Continent as the synonym, not of cruelty, but of clever
deception, yet never has posterity put the name of a great
performer to such ignoble uses. For who has not heard
the cry of the modem Bosco, "Eat-'em-alive''?

To-day I can close my eyes and summon two visions.
First I see myself standing bareheaded before a neglected
grave in the quiet cemetery on Friedrichstrasse, Dresden,
the simlight pouring down upon the tombstone which bears
not only the cup-and-balls and wand, insignia of Bosco's
most famous trick, but this inscription: "Ici repose le
c61febre Bartolomeo Bosco. — N6 h Turin le ii Janvier,
1793; d€c€d6 k Dresden le 2 Mars, 1863.'' The history
of this clever conjurer, with all its lights and shadows,
sweeps before me like a mental panorama.

The second vision carries me into the country, to the
fairs of England and the side-shows of America :

"Bosco! Bosco! Eat-'em-alive Bosco. You can't af-
ford to miss this marvel. Bosco! Bosco!''

Follow me into the enclosure and gaze down into a
den. There lies a half-naked human being. His hair
is long and matted, a loin cloth does wretched duty as
clothing. Tom sandals are on his feet. The eulogistic
lecturer dilates upon the powers of this twentieth-century
Bosco, but you do not listen. Your fascinated gaze is
fixed on various hideous, wriggling, writhing forms on

[307]

THE UNMASKING OF ROBERT-HOUDIN

the floor of the den. Snakes — scores of them! Now the
creature, half-animal, half-human, glances up to make
sure that attention is riveted upon him, then grasps one
of the serpents in his hideous hands and in a flash bites
off its head. The writhing body falls back to the ground.

You grip the railing in a sudden faintness. Has your
brain deceived your eyes, or your eyes your brain? If
you are a conjurer you try to convince yourself that it is
all a clever sleight-of-hand exhibition, but in your heart
you know it is not true. This creature, so near a beast,
has debauched his manhood for a few paltry dollars,
and in dragging himself down has dragged down the
name of a worthy, a brilliant, a world-famous performer.

Of the twentieth-century Boscos there are, alas, many.
You will find them all over the world, in street carnivals,
side-shows, fair-booths, and museums, and why the public
supports such debasing exhibitions I have never yet been
able to understand. I have seen half -starved Russians
pick food from refuse-barrels. I have seen besotted
Americans creep out from low dives to draw the dregs
of beer-barrels into tomato cans. I have seen absinthe
fiends in Paris trade body and soul to obtain their be-
loved stimulant. I have heard morphine fiends in Russia
promise to exhibit the effect of the needle in return for
the price of an injection. But never has my soul so risen
in revolt as at sight of this bestial exhibition with which
the name of Bosco, a nobleman and a conjurer of merit,
has been linked.

Even more despicable than his attack upon Bosco is
Robert-Houdin's flaying of John Henry Anderson. In
this he is both unmanly and untruthful. Hinging his

[308]

JSI'BAND THEATRE^

Will be Opened on TUE80A7, Oeo. aeth,

Amt CONTINUE OPBN DURING THB HOLIDAYS. wVk iW

inill'SIIIIIEIISITSTliM^

PROFESSOR J. ILANDEIISON

t'Tim mujiT rix'ta of rari nmtmri
mu to itimM «M • rii»«iml Tm An*^ UKMARK. fSORVAT. SWiDMI. Il(«l«. parvi*. ul OnHMT. ul !•< «*

MONARCHTof Sortiiern EUROPE!

On TUESDAY EVSNINO, Deo. Beth, 1848,

miii liiiiiliiffiiiiT,

in* IHr^iiMl i««JK>TT »Jl'14ii|-u J Kr.trij. •, -i-r, bi r~»»< ^> <h, u,— b s.—. -i.*,4 iM -v 4 Pit l^r-il ih^im '
iii^jTSnii - HrL^bVr rN["'[MPt.^ll.'|VHii|id. F^utLV, ThI qoLiT. i^ iC -Hbrfih eulF^ SLrUuBi.r'iQi' t. hl. »

YOU MUSI PftSlTIVELV M\U LO&K.t PROFESSOR ANDERSON S,

.mil

THE GREATEST WONDER,ftheAGE!

tkt EVCEAMTED HANDKEBCHIEF8,

»■• RM-lm l»v|*il.|.K (mMiK»HLIi IKJTTLK .M MVdTIC
V*liaLL«>«k.>!K AM.MATbD - NOl CHOIB.-

I' [lihG ILA>[ M L U l* SciEMTincr wn\|iiE.K3
• fAm II.

8EC0V9 8I0HT; iU Falkey fllutntcd.

6BAH0 HSCHAmCAL AHALOA.

Tb« HT8TIC BBEAKFAST.

fie leaned Doyet, the Broken Biag, Diaolviag
Orange, and Snehanted Walut.

CnU) of the AIB; «r, "Jack ia the Bez."
CHAFEAU BE LA DIABL8.

Sruid HT BIAULIO E IFEEIHEIT.
The HAOIO BAli,Jl FUhuic aztrawdiaary.

EiTMonnAiir iiECTir eveinieit,

TkM of fUf dIX VATCHlJl ik>OT(li m; Om-Um*-! Bilt

flrand K>T-ro raM"ef HAH BKEBOHIErg.

Tkt skd* MMWIrii •ilk ite LA!«T >EW WOKCU «f
PntrMT AXDUtON-*

SUSPENSION CHLOROFOREENE.

(B; HhM iORil HS:«>Y ANOEBWii)
ll>«ll<w«kMSMMM>k>M«lMnin «f CM»t««— ■ wa wM ••
^■.4 k>m u >Wr. B. >di iWn 4i>rU) ib> Eurax«unr CAM rf -kt
Ih-c «kirk ku k>arf Ik* •k«l' €i ib> H>4«il PnfcHin aT Bwu
fn^ Otni*i7. -i .Tw»CM«.r, -i-i P-fc— . iKDEMiW k~
mrxlf mud. THF. IHIID «IL

Anderson's opening programme at tiie Strand Theatre, Christmas week,
1848, showing that he duphcated the tricks offered by Robert-Houdin, who,
in his "Memoirs," claims that Anderson's programme was stale and uninter-
esting by comparison with his own.

[309]

THE UNMASKING OF ROBERT-HOUDIN

attack on his surprise at the press methods and adver-
tising adopted in England as opposed to the less spectac-
ular means employed in France, he insinuates that An-
derson's entire success was built not upon merit, ability,
originaKty, or diversified programmes, but solely upon
sensational advertising. On page 325 of the American
edition of his "Memoirs " Robert-Houdin writes thus of
his competitor:

"On my arrival in England a conjurer of the name of
Anderson, who assumed the title of Great Wizard of the
North, had been performing for a long period at the
little Strand Theatre.

"This artist, fearing, doubtlessly, that public atten-
tion might be divided, tried to crush the publicity of my
performances; hence he sent out on London streets a
cavalcade thus organized:

"Four enormous carriages, covered with posters and
pictures representing all sorts of witchcraft, opened the
procession. Then followed four-and-twenty merry men,
each bearing a banner on which was painted a letter a
yard in height.

"At each cross-road the four carriages stopped side by
side and presented a bill some twenty-five yards in
length, while all the men (I should say letters), on receiv-
ing the word of command, drew themselves up in a line,
like the vehicles.

"Seen in front the letters formed this phrase:

THE CELEBRATED ANDERSON ! ! !
While on the other side of the banners could be read:

THE GREAT WIZARD OF THE NORTH.

[310]

^^McM^ib^^

Neue iind avsserordeiitliehe

VORSTELLlMfi

int Gebiete der

mit Hiilfe der Experimental -Phjsik, Mechanik,
Electricitat, Hjdraulik iind des GalvanismuSy

gegebei von dem
irrossen nordlschen Zauberer

Professor 9% 91^ Jl^Slif^l^S^^^lfl aus London

bekannt in England unter dem Namen:

„11« GRE AT TOARD OF TH E JIORTB."

Herr ProfeMor Anderson schmeichelt sfcb mit der Hoiniang, dass seine ProdncUo-
■en^welche in LONMN,PEIERSBlRG,BERLlIi.STOCKHOLM. COPENHAGEN und znletzt in HANBliKC
die ehrendsle Anerltennnng fanden. sich aucb der neiinahme des liiesigen liocliverelirliclieji
Pttbllttunis erfrenen irerden.

Fragramm.

Erste Abtheilung:

1. Zwei fliehemle S^^hnnpftiicher.

2. Die wanderbare Miihie und der ge1eb{f« Agy]iUer.

3. Eia neues Zanbenpiel, gcnaont die aauerordentlicbe Metamorpboic.

4. Der Todle wird tebend, der Lebeade stirbt. (Ncu.)
3. Ein schaell subereitetes Friibstuck.

(. Zum Erttennale! AuMerordentliches Experiment: Herr ProFetsor Audbrwr wird C Uhren
dnrcb den KSrper. einea der Aoweaenden pasairen lassen, ohne data deraelbe Indi-
' geationen bekoinnit

7. Ein groaac* MaiiOver mit 12 Scbnapniicbem.

8. Aoa dem Hole irgend einea Anwesenden entwickein aich anf den Wink dea groafen
° Zaubrera Tanaende von BIomen-Boaquetts, Tau«ende von Flaggta aller Nalionen,

Sebniiren, Pnppen ecL aowie tin Tolletandigea zweiachlafrige* FederbeU.

Zweite Abtbeilung:

I. Banknoten and Treuaaiacbe Thaleracb«^ine halten die Fruerprobe
2- Die geheraame Flaaebe.

3. Die aprecbenden and Unzenden Tbaler.

4. Daa Waaaer wird lebend.

5. Die achnelle Waacbe. Ein giiter Rath flir anerfahme II«|iamii(ter.
C Die iigyptiaeben Wonder.

Preise der PIfttset

Erster Platz 16 Ggr. Zweiler Plate 8 Ggr. Gallerie 4 Ggr.

€}assen-Oeflrnung 6 Uhr. Anfang 7 Our.

Eotree- Billets siod am Tage der Vorslellung ini Balihofs-Saale bei
Herni Evers, zu erhalten.

Handbill used by Anderson in Grermany. January, 1848, when Robert-
Houdin claimed that he was playing in the English provinces. From the
Harry Houdini Collection.

[311]

THE UNMASKING OF ROBERT-HOUDIN

"Unfortunately for the Wizard, his performances were
attacked by a mortal disease; too long a stay in London
had ended by producing satiety. Besides, his repertory
was out-of-date, and could not contend against the new
tricks which I was oiBfering. What could l^e present to
the public in opposition to the second sight, the suspen-
sion, and the inexhaustible bottle ? Hence he was obliged
to close his theatre and start for the provinces, where he
managed, as usual, to make excellent receipts, owing to his
powerful means of notoriety/'

In the first place, Robert Houdin insinuates that when
they played in opposition John Henry Anderson's reper-
toire was stale and uninteresting. Is it possible that
Robert-Houdin could not read Anderson's bills, or were
his statements deliberate falsehoods, emanating from a
malicious, wilful desire to injure Anderson ?

What did Anderson have to oiBfer in opposition to Robert-
Houdin's much-vaunted Suspension, Second Sight, and
Inexhaustible Bottle ? Consult the Anderson programme,
reproduced, and you will find that the great Wizard of the
North duplicated the French conjurer's repertoire. "The
Ethereal Suspension" of Robert-Houdin's programme
was " Suspension Chloroforeene " on Anderson's. Second
Sight appeared on both bills. ' ' The Inexhaustible Bottle ' '
had wisely been dropped by Anderson because he had
been using it in one form or another for ten years preced-
ing the date of Robert-Houdin's appearance in I^ondon,
as is proven in chapter IX. of this book.

Therefore, if Anderson's programme was passe and
uninteresting, so also must have been the one offered by

Robert-Houdin!

[312]

NARROWNESS OF ROBERT-HOUDIN'S "MEMOIRS"

ymomsos
AlVDBItSOIIi'S

ASTOiimic uiBiss nsTsmiiflS.

in*.:-* I ti^Lt T-i HI r

_flW WIIBEU m !

VhlM 1£t«bIbJ|% ^iTHEFj

.U^n « ^^ « ifa *>tw P^i« ^w h M «

Hi hchaiited'-'

. ■ A H II El J> F H

CARDic >iik «• AHiiuTu - mn

. »id> i i IXOH'tOirm tCBAP KMC .

tOIAVS BITMaiBiailT.

Ite ■T 8TI0 UlA lfiaT.

tklMrndBtvcfctto
■gt,aai

ViS

tr tto IIB: «. **JkA ii ttt I
CliriAV av BIABLB.

l.H T If J C W 11 s M e: K h

8B00BB BI 8BT; iU M lwy ffliUnm.
9nU ITBIAUIM BXniDBBT.

Onai NtWgiBI ff lABBIIBCIIBni

zz: _, I

(■» Ikwi JURH MEIIM UIM

■• «• MM kii •» » HMr • Man PMltM if '

■MM* <WM<. THS ClilLD «Ul *Ufr tM THE Alt. W

onx nrmt * ««wi»« wica.

Poster used by Anderson during his closing week at the Strand Theatre,
London, January lltii, 1848. From the Harry Houdini Collection.

[3^3]

THE UNMASKING OF ROBERT-HOUDIN

Second, John Henry Anderson was not in London
when Robert-Houdin arrived there in May, 1848. He
was on the Continent, and a bill reproduced will show
that he was in Germany in January, 1848, and did not
open at the Strand Theatre until December 26th, 1848.
Then it was Robert-Houdin who had just returned from
the provinces, not Anderson. Anderson had been play-
ing the capitals of Europe. Robert-Houdin had been in
Manchester, England.

Robert-Houdin again skilfully twists the truth to suit
his own ends. He actually states that Anderson, return-
ing from a tour of the provinces, used a new poster, a
caricature of the famous painting, "Napoleon's Return
from Elba":

"In the foreground Anderson was seen affecting the
attitude of the great man; above his head fluttered an
enormous banner bearing the words ^The Wonder of
the World'; while, behind him and somewhat lost in the
shade, the Emperor of Russia and several other monarchs
stood in a respectful posture. As in the original picture,
the fanatic admirers of the Wizard embraced his knees,
while an immense crowd received him triumphantly.
In the distance could be seen the equestrian statue of
the Iron Duke, who, hat in hand, bowed before him, the
Great Wizard; and lastly, the very dome of St. Paul's
bent towards him most humbly.

"At the bottom was the inscription,

Return of the Napoleon or Necromancy.

"Regarded seriously, this picture would be found a
puff in very bad taste; but as a caricature it is excessively

[314]

NARROWNESS OF ROBERT-HOUDIN'S "MEMOIRS*

comic. Besides, it had the double result of making the
London public laugh and bringing a great number of
shillings into the skilful puffcr^s pockets/*
Reference to my collection of Anderson programmes

£ugf;ne Bosco, son of tht- original Bcisco, Fmm the Unrty Houclini

and press clippings proves that while on the Continent
his performances had created such a sensation that,
according to the ethics and etiquette of his profession^
Anderson was quite justified in assuming the title of '*The
Napoleon of Necromancy " and in depicting even kings

[315I

THE UNMASKING OF ROBERT-HOUDIN

and noblemen admiring his abilities as a conjurer. But,
alas, Robert-Houdin had played only before English and
French monarchs, not before the other crowned heads of
Europe, including the Czar of Russia and the German
Kaiser!

It required weeks and months of browsing in old book-
and print-shops, national libraries, and rare collections on
my part to prove that Anderson had really played these
engagements, when his bitter rival, Robert-Houdin, his
heart eaten with jealousy until his sense of honor and
truth was hopelessly blunted, was claiming that Anderson
had just returned from a trip in the English provinces.

It will be noted by reference to the Anderson pro-
gramme that he had been engaged only for the Christmas
holidays, but despite Robert-Houdin's claim that he was
a failure and was obliged to close and seek new fields of
conquest in the provinces, Anderson's engagement was
extended. He remained at the Strand until January
nth, 1848, then after a brief provincial tour he actually
returned to London and played to big receipts. Again
and again he appeared in London. Far from being the
unpopular, forgotten ex-magician pictured by Robert-
Houdin, he performed with great success at the St. James
Theatre, London, in 185 1. Robert-Houdin appeared in
London for the last time in 1853, but in 1865 ^^the de-
spised and forgotten Anderson" was there again, creating
a furor in his exposure of the Davenport Brothers.

Robert-Houdin might have been justified in criticising
Anderson's sensational advertising methods, for these
were entirely opposed to the more elegant and conserva-
tive methods employed by the French conjurer. But

[316]

NARROWNESS OF ROBERT-HOUDIN'S ''MEMOIRS^'

certainly he was not justified in picturing his rival as
one who had passed his prime, whose popularity had
waned, whose repertoire no longer attracted the public.

John Henry Anderson as he appeared in his later years. From a cut
in the Harry Houdini Collection,

For, in addition to duplicating Robert-Houdin's entire re-
pertoire, Anderson oiBfered tricks of which Robert-Houdin
knew nothing, and for years to come he constantly recon-

[317]

THE UNMASKING OF ROBERT-HOUDIN

structed his programmes, keeping them strictly up-to-
date.

Anderson did die a poor man, but this was not because
the amusement-loving pubhc had wearied of him. A
popular performer, Hke so many of his class he did not
know how to invest his huge earnings. It is known that
he gave $20,000 to various charities, while no record
of Robert-Houdin's charities exists. He was burned
out several times. He lost money through a bad con-
tract made for his Australian tour. Certain investments
dropped in value because of the Civil War in the United
States, during which England sympathized with the South.
Finally, during his American tour after the Civil War,
Anderson played the Southern States, then steeped in
bitterness toward the North, and was unfortunate enough
to bill himself as '' The Great Wizard of the North." This
roused the Southern prejudice to white heat, he was al-
most mobbed, and was finally driven from that section
of the country. He went into bankruptcy, November
19th, 1866, and died at Darlington, County Durham,
England, Feb. 3rd, 1874. His remains were interred, in
accordance with his dying request, at Aberdeen, Scotland.

So ends the true history of Robert-Houdin. The mas-
ter-magician, unmasked, stands forth in all the hideous
nakedness of historical proof, the prince of pilferers.
That he might bask for a few hours in public adulation,
he purloined the ideas of magicians long dead and buried,
and proclaimed these as the fruits of his own inventive
genius. That he might be known to posterity as the king
of conjurers, he sold his birthright of manhood and honor
for a mere mess of pottage, his '^Memoirs," written by

[318I

NARROWNESS OF ROBERT-HOUDIN'S "MEMOIRS ^^

the hand of another man, who at his instigation behttled
his contemporaries, and juggled facts and truth to further
his egotistical, jealous ambitions.

But the day of reckoning is come. Upon the history
of magic as promulgated by Robert-Houdin the search-
light of modern investigation has been turned. Credit
has been given where it belongs, to those magicians who
preceded Robert-Houdin and upon whose abilities and
achievements Robert-Houdin built his unearned, un-
merited fame. The dust of years has been swept from
names long forgotten, which should forever shine in the
annals of magic.

Thus end, also, my researches, covering almost two
decades of time, researches in which my veneration for
old-time magicians grew with each newly discovered bit
of history; researches during which my respect for the
profession of magic has grown by leaps and bounds. And
the fruits of these researches I now lay before the only
true jury, the great reading public. My task is finished.

[319]

Phillippe, Reproduction of Paste! Portrait ...*..*...,.*.......

Pinchbeck, Jn^ Chrislopher, A Very Rare Mezzotint, . ,

Pinchbeck, Sr. ,....,..,

Pinetti Clipping of 1 784

Pinelti, I. h. Portrait of ,...-.,,._, , . ,

Pinetti, I. I., Woodcut Used in 1706, ..,,...., , . , .

Pinetti'i; Autograph * , , .

P*netti's Book Frontispiece .,....,,.,♦*--♦---'-'--*-.---'-*'

Porta, John Baptists ..,*...*.......

Poster of the Learned Goose . ,

Poster Used for Benefit of de Philipsthal, 1829. . ,

Programmes and Posters Reproduced, 36* 37, 39, 40, 42, 43^ 44, 81,
102, 103^ to4> loS, 110, III, 113, 114, ii8t I30, i2ii 125, 132,
147, 150, 151, 154. i55p 156, 161, 167, 170, 173, 183, 183. 184,
iRR, 189, igit 192, t96t J97t ^04* 206* 21a, 214^ 215, 216, aio,
221, 223, 224, 231. 232. 234, 242, 253, 254, 255p 256, 258, 261,

2 6tJ, 272, 2S2, 2 S3, 292^ 3091 31 I - * - ....*...*

Rannin Lithograph* Showing Him Doing Sword -Walking Act. , . .

Robin , Henri .,,►...*....►..

Robin* M. and Mme., iti Second Sight , ..,.,,..,....,,....

Samee, Ratno. Handbill

Savren, James, Poster Us^ed by» in 1855, , .... ^ ,

Schmidt Programme Used in 1 827 ;........,.,...

Schmidt Poster. <........,.*..,..;.......,..'.......

Schmid t Programme of 1 82 j .... t ....--..**.-. 1

Suspentiion Chloriforeene Lithograph

Thiodon Bill of 182 5 , . , .

Testot, Programme Ftfaturing Cabalistic Art in 1826. ..*...., .

Testot Rare Handbill Printed about tRoo

Water Spouter. ............

Water Spouter and Juggler.

White, John . .

Whole Art of Legerdemain* Frontispiece from Ingleby'ff Book . .

Wiegleb's Diagram of Orange-Tree Trick. . , ,

Witgeest's, Simon, Frontispiece from Book of Natural Magic, 1682
Writing and Drawing Figure from Manning's Robert-Houdin

Brochure

^ounj?, E, W,, Lithograph?:

INDEX

Adelphia Theatre

Advertisement from the Lon-
don Daily Post during 1730
showing the Orange Tree
as Offered by the Senior
Fawkes

Album des Soirees

Alexander the Conjurer

Alexander the Conjurer, Illus-
tration

Allen, Prof. George

Althotas 251,

American Magicians, Society
of

Anatomie of Legerdemain . . .

Anciens et Xouveaux Tours
d'Escamotage

Anderson and Son Lithograph
presenting ' ' Suspension
Chloriforeene "

Anderson Billing of 1838. . .

Anderson's Book Cover-de-
sign

Anderson Handbill used in
Hannover, Germany

Anderson, J. H., 14, 23, 25,

119, 131,

Anderson, J. H., Lithograph,
186,

Anderson, J. H., Portrait of
Wife and Son

Anderson, J. H., Very Rare
Poster used in 1838, 147,

PAGE PAGB

256 185,191,233,235,289,297,
308-310

Anderson, Mrs. Hannah 146

Anderson, Mrs. Leona A., as
she Appeared in the Sus-

55 pension Trick 236

217 Anderson Poster,

233 154, 309. 311. 3^3
Anderson Window Poster Ex-

240 posing Barney Eagle 155

267 Announcement used by Dav-
252 enport Brothers 292

Antonio 302

307 Apple-tree Trick 51

180 Appleby's Weekly 55

Arts, Manufactures and
279 Mines, Dictionary of 91

Astley, Philip, Esq., An His-
torical Circus Director .... j 9

234 Astley, Philip, Esq., Portrait

150 of 19

Astor Library 241

148 Astronomic Musical Clock. . . 55
Aufschliisse zur Magie, Repro-

311 duction of an Illustration. 169
Autograph and Portrait,

145 Pierre Jacquet-Droz 92

Autograph of Decremps, .... 75

317 Automata, Two Elegant. ... 172
Automaton Chess Player, 266, 267

146 Automaton Trapeze 166

Automaton Writer of Jac-
quet-Droz 96

[321]

Balsamo, Joseph. , ^50

Bamberg , ... 235

Bamuni^ P. T.. , .43, 85, 241, 296

Bamuiti, R 1\, Portrait of, . 86

Barrelj The Inexhaustibk. , . 180
Bartholomew Fair Memoirs; ,

by Modey. . .. ..... . . . 16

Basch, Ernst. . , . . , 4v^ J38

Basch, Ernst, and Le Confi-

seur Galant, Photog^raph , 139

Basket Trick, Indian . . 376, 377
Basket Trick, Indian Boy* ih

lustration ...... 3y<}

Batuta, Ian ... 226

Beckett, Mr. . 3irj

B^ckmann ,,...,,, , . 2 1 r

Beckmann's, John, Histur)^ o(

InventioHi^and I>iiJCQ%^eries5

Publi^hetl in T7Q- 14

Bell Trick 242

Benton , . . 143

Berthoud',s Treatise on

Clockmaking :^$

Bertram* Charles _ 16

Bertram, Charles » Purtmn *4 10
Billing u^etl by MysteriuLts

Lady. .,,.....,.....,,.. 215
Billing used for the dog^ Don

Carlos, .♦.,.,. 23 r

Biography, XMctianary of

PAGE

Bosco. ,,*,,,-.. 335 » jij8. 303, 30 J
BoscOj Bartolomeo^ Photo-
engraving of ♦ . . t , , 30

Bosco's Grave, Photograph of 306
Bosco, Madame* Photogmph

of ,,..,.,. 305

Bottle, Inexhaustible, 176.

iSi, iS4t iSf), TJRfi» 105,722
Botlle, Infernal, Poster userl

by Phillippe 1 84
Bottle, Magic, nja
Bottle of Sobriety and in-
ebriety.,.. 182

Bottle, Travelling- 185

Box, Cr\^3taL . , . . . . . . 323

Brahmin Suspeniiion Illus-
tration* ......*,.,..,.... a 2^

Breslaw ,23^ t43» 165, 209, 221
Breslaw, Book on Magic,

Frontispiece t>f 144

Breslaw Lithograph . , . , . [64
Breslaw, Triple Colored Lith-
ograph of. .,.,,..,..,... 164
Brewster, Sir David ... - 181
Brick-mason Macailister ., 1^3
Britten \^ Clock and Watch

Maker. 56

Broken Heart, The. ........ 386

Buck, Only Kntiwii Por-
trait 357

Buck Handbill 2f^i

National. . 4 .,♦.,..*.**- - 54

Bismarck. 7 Cabalistic Art featured ^yn

Blackstofie ..,,...... 7 Marriott Programme . _

Blitz, Signor, ,....., 14, 235, ^67 Cabalis^tic Art featured on

Bhtz, Signur Antonio, Por- Testot Programme. .....

trait of . i i *.,.,,,,,,.... . iS Cabalistic or Obedient Clock,

Boax 23 1 56-

Boltn, T. .44;, j6j Cabinet Trick offered by

Bologna. ..,,,., 116 DavenjKjrt Brothers

Bologna Bill of 181 3 1 70 Cabinet Trick Print ,....,..

Bologna Pos^ter i iS Cagliostro. . . .72, 250, 2^2,

^^^ ^^1

VAtiJt

^^^H

CagH<»^tro, Comtes>:3 de, rare

Clipping from the London

Pt^rtrait . . . ,

251

Telegraph in March* i S 1 j ,

Cagliostro* I'Almanaeh

2gtj

Clock and Watch Maker.

Cagliostro, Pastel Pt^rtrRit of

548

Britten's

Calhoun , . ,

245

Clocks Astronomic Musical,

166 ^H

Canl in the Pocket

Clock Pedestal ....,_,_,

Card Trick a,s featured b)'

Clock Trick, Diagram Ex-

Anderson in 1856-1837. .

143

1 K>ses ....._,-.

^^H

Capd>, The Obedient. ... 141-

-156

Clockmaking, B e r t h u d 's

Can^ly's L'lUiisionniste. .,

igg

Treati^ on ...

Caslinia» Sieur , . ,

166

Confectioner's Shop, ..,.,..
Confidences d'un Prestidigiia-

Cent It r}" of Invention}^. .... *

2il I

Charles , _ ...... t j6.

127

teur ... ,

^^B

CharJe!^ Pointer dated abtmt

Confidence et Revelations

iBii}. ........

12S

Conjurer Unmasked, The,

Ches-^ Congress, Book of First

74. 75'

American ...,,,,

267

Conjurer*s Pocket. The

^^M

Chfeiss Player, Autumatoni 266*

367

Comment on De^nt Sorcier

Chinese Trick, Reproduction

Cook, the Pastry, of the

qI an Engraving

227

Palais Royal . . . . . 116

17J ^1

Ching Lau Lauro Susi>ension

2,10

Comillol,, ...,.,,. . . . _ 2j

Ching Laii Lnurn Programme

331

Comiltot Handbill

Ching Ling Fun, ..........

340

Count Pererilli ....

i^hloriforeene Suspension. - . .

^33

Co urse f E x j)eri m e n t , 1 1 I^ h i -

Chlf jfif^ treene Suspension.

losophy .

Lithograph , ,

3.14

Creation of Flowers

^^1

Chronkle. The ,

^77

Ci^-stal Balls,

^^M

Circus Diret:lor Astley

Crystal Box

^^M

CiriLUA Life and Circus Celeb-

Cupid. The Figure of. as ex-

rities

ifi

ecuted by the Drtjz Draw-

Clay, Henry,

-'4,;

ing Figure

Clayton, Sir William

4tJ

CHpping from Newspaper fea-

Dale, E. J

turing Pinel ti. Second Sight

3 10

Daven|K»rt Brothers*

(^lipping from Newspaper of

149, 387, 289^ 2f)J,

Jacquel-Droz ....,...,.,

10 I

D a venport B ro t hers . An-

Clipping from Newspaper of
Kallerfelto, from i 782

nouncement of. ..........

U)I

Davenport Brothers, Cabinet

cupping from the London

Trick of

^^M

Daily Post of Nov. 30,

Davenport Brothers, Phot**-

1728^ used by Christopher

graphs of, ,

Pinchbeck ,.

Dean, Hen^v^

^^^

l3^^1

INDEX

Decremps, Henri, 35, 52, 74,
143, 168, 175, 211,

Decremps, Portrait of

Decremps's Signature

De Liska

De Philipsthal. . 1 10, 171, 173,

De Philipsthal Poster

De Philipsthal, Programme
of Benefit of

De Philipsthal Programme
of 1806

Der Modeme Zauberer

Desaguliers, Dr

Diagram Exposes the Magic
Clock Trick

Diagram o f Orange -tree
Trick

Diavolo, Antonio

Dictionary of Arts, Manufac-
tures and Mines

Dictionary of National Biog-
raphy

Disappearing Handkerchief,

245-

Dobler, 25, 45, 182, 185, 187,
188,

DObler, Ludwig, Rare Por-
trait of 187,

D5bler Programmes. 18S, 18.9,

Dom Pedro

Don Carlos, Billing used by . .

Don Carlos, Double-sighted
Dog, Billing

Double-sighted Dog, Don
Carlos

Downs, T. Nelson

Droz, Henri-Louis Jacquet-,
Portrait of

Droz, Jacquet-, Clipping. . . .

Droz, Jacquet-, View of Mech-
anism of Writing Automa-
ton

Droz, Jacquet-, Writing Au-
213 tomaton 96

74 Droz, Pierre Jacquet- 93

75 Droz, Pierre Jacquet-, Por-

25 trait and Autograph 92

174 Droz Writing Automatons,

104 Specimens of Penmanship

respectively in 1796 and

no 1 906 84

Dunkell 197

173 Dutchwoman's Decoration

239 used to Advertise 214

181

Eagle, Barney 149

160 Eagle's, Barney, Tricks Ex-
posed on an Anderson Pos-

52 ter 154, 15s

166 Eagle's Book, Frontispiece. . 153
Eagle's Poster featuring the

91 Obedient Clock Trick 156

Eckeberg, John Carlton 181

54 Eckartshausen, Hofrath

von 143, 160, 163, 169

254 Egyptian Wine 252

Escalopier, M. de 1' 280

192 Ethereal Suspension 222, 312

Evanion, Henry Evans, 20,

190 21,23,25,26,49,124,259

191 Evanion, Henry Evans, Por-

243 trait of 22

221 Evanion, Letter from Gyn-

gell 124

221 Evans, Henry Ridgely, The

Old and the New Magic ... 16
219 Exploration de la Retinue. . 49
265 Exposes the Magic Clock

Trick, Diagram 160

94 Exposing Barney Eagle's
loi Tricks on an Anderson

Poster 154, 155

98 Faber, T.
[324]

INDEX

Faber, Prof 88

Falaise, James de 275

Falck of Koenigsberg,

182, 183, 184
Falck of Koenigsberg Poster 183

Fantastic Portfolio 222

Father of English Prose 226

Fawkes 14, 51, 52, 56, 58

Fawkes Advertisement 55> 60

Fawkes, Isaac, Portrait of, 59,68
Fawkes Newspaper Clipping,

61, 63, 64, 65, 66, 67
Feliciani, Seraphinia, Com-
tesse de Cagliostro, rare

Portrait 251

Fifty Years in the Magic Cir-
cle 267

Flora's Gift 183, 190

Flowers, Creation of ....... . 190

Flowers, Origin of 222

Frikell, Herr und Frau, Por-
trait of 30

Frikell, Villa 2S

Frikell, Wiljalba, 9, 26, 27,

29,31,32,235, 296, 299
Frikell, Wiljalba, in his

Youth 297

Frontispiece from Breslaw's

Book on Magic 144

Frontispiece from Eagle's

Book 259

Frontispiece from Hocus Fo-
cus, second edition of 1635,

10-12
Frontispiece from Ingleby's
Book, Whole Art of Leger-
demain 259

Frontispiece from Richard

Neve's Book on Magic .... 17
Frontispiece from Simon

Witgeest 13

Frost, Thomas 16, 228

PAGB

Gantziony, Natural and Un-
natural Magic, dated 1489 12;

Garde Fran<^aise 222

Gamerin 1 16, 1 19>

Gamerin Poster 120

Garrick Theatre 286

Gazette, Evening 241

Gentlemen's Magazine 56

Globe, The 177

Goose, Learned 219

Goose, Learned, Poster 220.

Grande Initiation au vraie
Pratique des C^l^bres Phy-

siciens-Prestidigitateurs. . . 278;

Grave of Bartolomeo Bosco. . 306

Grave of Robert Heller 208.

Grave of Robert-Houdin .... 46*

Grisy, Count Edmond de . . . . ^8'.

Guillon, Marie Catherine. . . . ^$,

Gun Delusion, The 128, 155

Gutle, Johann Conrad 163.

Guyot's Physical and Matli-

ematical Recreations 143.

Gyngell,

25, 116, 121, 124, 166, 172-

Gyngell 's Colored Lithograph 126-

Gyngell 's Letter to Evanion 124

Gyngell's Portrait 122

Gyngell's Poster 121

Gyngell's Programme 125

Haddock 105, 116, 117

Haddock Advertisement ... . 106

Halle, Johann Samuel 14

Halle's, Johann Samuel, Ma-
gic or The Magical Power

of Nature 14

Hamilton 45, 289.

Handbill Advertising the
Fake Automatic Artist. ... 1 1 1

Handbill of Buck 261

Handbill of Ingleby 258".

25]

^^^^ INDKX ^^

rAr#E

«>AtIC

^M HurHlbill ot Jerterini , .

1511

H i^t ory of I n c en : ion s .

311

H Mandbilt of Ortginal Indian

Hisjtory of ln\enliOii^ nnd

H J ugglers

18,

Disco\ erie-s, by John B^ck-

H Handbitl of RamoSamee.

2$2

mann

H Handbill of Te^toi .

25.V

Hobbs* Hart ^ Co,, London

1%1

^^^^ HandbilU Reproduced Front

Hocu.^-Pc»cus 14 J,

tSc

^^^P and Back, us^d to Arlv«?r-

Hocus-Pocus, Frtimi i s p i i* c e.

^^^ lise Mai^ter M* Kean

Jl^

second edition* 1635 - . to, t« |

^M Handbill used by A:nder^on

H r >t1f ma n n * Prof elisor ,

^m in Germany.

511

365* 278. ?79, 581,

a86

^M Handkerchief* Disapj.>earing,

Hofj^in-'ier* Jnhann Xep.* rare

■ 245^234

iLFigraving uf . , . . . . . , .

161

H Hardee's ''Tactics*'

H 00 Iters * Recreations**. .

£t J

^m Headi^ of King George and

H Olid in* Cecile Eglantine

^^^_ Queen Charlotte* e:tecuted

Huudin* Emile. -

^^^H In their Pn^sence bv Drox

Houdvn* Emile, Benefit Post-

^^^^ Drawing Figure in 1774 .

iOC

er at St James Theatre in

■ HebKWilliiim

f^^

X84S

H Heimburger» Alexander, 11-

Houdin, Fav(*rile Lilbi>grapli

^1 ktsl ration. , , . . . . ,..,-.

240

for Advertising Purpo^yes

■

H Heimljurger, Alt^xander* Pho-

tt>ed V>y Robert' Houd in . .

.<**

H tt»gTaph of

3,;.^

Hi aid in, Jean* Eugene Ro*

H Ht*imburger, Alexander, Pm-

be rt-* Port rait taken in rv^thM

H gramme, the Suspension

Houdin Poster announcing

■ Trick

24-

the Appearance of Roliert-

■ Heim burger* Herr 433,

*J7

Houdin befone Queen Vic-

H Heller, Roberr . ,205,

207

loria and her Court

3<*

H Heller* Robert and Haidee,

Houdin Poster used dunug

H Portraits of

203

an Eastern Engiigement at

■

■ Heller, Robert* Grave

3 08

the St, James Theatre,

H Heller, Robert* Programme.

204

London , . ,

40 _i

H Heller, Robert, Poster

^d6

Houdin Programme for the

■

H Henry, M t if>.

f ? ;

\ ipening of Rt*bert- Houdin

■ Herald, New York

Theatre in Paris, July j.

H Herrmann, Ale:^andef

- T"

1S45,. ...... .......

37 1

H Herrmann, Compar?^*

Houdin* Robert-, 7, t6, 18^ sj.

■ ^5^ 195- 233. ^J5v 3 06, 297,

:?<Hl

25t 3.^ ^S* 5^^ 4J- 45i 4^

H Herrmann, Compare* Be^l

4Q, $Q. 52* 195. toj. 135

H Port rait in Existence

Houdin, Riibert-, and Son

■

^^^ Herrmann , Compare, BiUing .

IQf*

Euiile. Illustration (^re-

■

^^H Herrmann* Compare, Pro-

lenting Second Sight ...

dot ■

^^^H grammes mj;,

2^2

Houdin, RoWrt-. u^ ht- up*

[.W6|

^^^^ INDEX ^^^^^ ^^H

PAi"*B

^^^1

peared l«> the English Crit*

Indian Jugglers Handbill . . - .

'^3 H

ics. Reprcduted from the

Inexhaustible Bottle, The,

Illustrated London Xewsi

176, iSi, JS4, jS6, 188, 1^5,

^^H

December 25, 1848. . .

Infernal Bottle Pointer u^d

Houdin, RDberl-, Ba^i-reltef

by PhilUpjjein 1838 . .

1S4 ^M

on Tombs I nut; ,

logleby Handbill..

^5^ H

Houdin. Robert -» Grave of - *

4^*

Ingleby the Senior. , . . . .256

^ss ■

tfoudin, Robert-, last Photo-

Ingleby s Book, Frontispiece^

^aph taken and used as

Whole Art of Legerdemain

^59 ^1

the FrontUpiece for Mem-

Introduction .,..,.....,.,.

oirs , .

Inv^entions, History of, .....

^^M

H c»ud i n, Ro beri - , onl y Paster

showing his Complete Stage

Jacobs, M, i4tj, 296,

Settm? - .

5t^
8

Jacobs, M-j Portrait of . - , - ^
JacobSj M., Poster

iz$ ^H

Houdin, Kobert-p Portrait.. -

Hpudin, Robert-, Poster on

Jei^erini Handbill

^56 ■

which Hi^ Complete Re^ier-

Jefferini, Mr

'5^ H

toire Appears.

225

Jeux de Soci^te

Houdin, Robert-, Poster used

Jugglers. Indian, Handbill .

383 H

In London in IVH4S ,

4 a

Jrjurnal des Science.s

161A ^H

.Houdin. Robert - , Pos ler u sed

Journal. The Court

to Advertise His Traj^eze

Performance

16:

Kr*tterfelto aj, 161,

166 ^H

Houdin, Robert', Poster whetT

Katterfeho CUppmg of 1 783 .

he Played at Sadler'sWdls,

Ka It erf el to Portrait

London. In i^^i

Kemi>elen, M de . . . .

266 ^M

Houdin. Robert-. Rare Litho-

King George and Queen Char-

graph

lotte HeadH, executed \*y

Houdi nir Ha rr\, PorLra it ,

the Droz Drawing Figure

Fi^onti^pUce

i»i 1774

How to Become a Wizani

27S

Koin King, The, T Nelson

Hit L ton. Charles ..

Downs . ,

Krans, K, K . . . . ,

^^M

lUusionniste. The

ItjO

^-Illustration of Hindoo Basket

Lady'^ Xewspai>ev

^^V Trick ,276, 277,

2 7'/

L'Almanach Caghostro. .....

^^^111 us Ira t ion nf the Brahmin

La Magie Blanche Devoilee.

H Suspension

2214

or White Magic Exjjot^d,

■ Inaudi

2Qt,

^5^52

^^M

m Indian Ba^et Trick,

Learned Goose

^H^

ajQ

Learned Goo^te Poster

^^M

^^^^Rndian Tu^o'ler.^

27s

■

Le Confiseur Galant

^^^^^^^^^^■Mk^a^Kfl&atft p 1 b»^^K^ 1-^ V k.

'7]

INDEX

Lee, Sidney

Le Manuel des Sorciers

Le Prieur^

L'Escalopier, Count de. . . .43,

Les Radiations Lumineuses. .

Les Secrets de la Prestidigita-
tion et de la Magie

Les Tricheries des Grecs

Letter to Evanion from Gyn-
gell

Letters on Natural Magic. .

Le Voltigeur Trapeze

Lewis, Angelo J

Lithograph of Rannin doing
the Sword-walking Act ....

Lithograph showing All of
Phillippe's Tricks

Liverpool Theatre

Lives of the Conjurers. . . .16,

London Daily Post Clipping
of Christopher Pinchbeck,
from Nov. 30, 1728

London Telegraph Clipping
of March, 181 2

Louis Programme 1 08,

Macallister 134, 135,

Macallister, Andrew, Por-
trait of

Macallister, Brick-mason ....

Macallister Programme

M'Kean, Louis Gordon

M'Kean, Master, Handbill. . .

MacKenzie, R. Shelton. . . .49,

Maelzel 266,

Mag, Miss Matilda

Magazine, Gentlemen's

Magic Bottle

Magic, Natural and Unnat-
ural, by Gantziony

Magic, or the Magical Power
of Nature, printed in Ber-

P.\GB PAUB

54 lin in 1784 by Johann

279 Samuel Halle 14.

49 Magic, The Old and the New,

280 byH. R.Evans 16

49 Magie des XIX. Jahrhun-

derts von Uriarte 287

278 Magie et Physique amusante,

49 49» ^79

Mahomet 285

124 Maillardet 105

181 Mandeville, Sir John 11, 226

166 Manfrede, Blaise 271,274

26$ Manfrede, Blaise, Wood-cut. 27a

Marchand, Floram 274

269 Marchand, Floram, Publica-
tion 275

137 Marriott, the Celebrated, Pro-
256 gramme featuring Cabal-
228 istic Art 255

Martin, Henri X04

Martinka, Francis J 207

54 Maskelyne no

Masonic Order 252

107 Materia Prima 252

I 7 1 Mechanism, View of Jacquet-

Droz Writing Machine .... 98
195 Melies, M , 48

Memoirs of Marquis de Mer-

193 ville 287

193 Memoirs, Robert-Houdin's,
192 14-5^' 52, 176, 203, 217,

213 222, 225, 245, 266» 268, 280,

212 295, 296, 300, 302, 318

265 Merode, Cleo de 31

267 Merville, Memoirs of Marquis

289 de 287

56 Mezzotint of Christopher
192 Pinchbeck, Jr 57

Mezzotint of Christopher
1 2 Pinchbeck, Sr . 53

Mitchell, Dr. J. K 266.

Mitchell, John .45,297

[328]

INDEX

Modem Magician

Moiley's Memoirs of Bartho-
lomew Fair

Morse, S. F. B

Mortimer, Dr. W. Golden. . . .

Mortimer's Mysteries

Moving Picture?;

Mysterious Lady, Billing used

-Mysterious Lady, Cut of

Mjrstic Bell Trick, The

Naconnier, Franqoise Mar-
guerite 01ym|>e

Narrowness of Robert-Hou-
din*s Memoirs

Natural Magic, by Johann
Christian Wiegleb

Natural Magic, by Simon
Witgeest

Natural Magic Frontispiece . .

Natural Magick in XX Bookes
by John Baptist Porta ....

Neve, Richard

Neve, Richard, Frontispiece,
Work on Magic

Newspaper, The Lady's

Niblo's Garden

Noriet, M

Nouveau Manuel Complet
Sorciers, les scenes de Ven-
triloquie

Nouveile Magie Blanche De-
voil6e et Cours Complet de
Prestidigitation

Obedient Cards, The 141

Old and New Magic

Old London Fairs

Old Showman, The

Opre

•Orange Trick . 5

PAGE P^GE

239 Origin of Flowers 222

Original Billing used by Mys-

1 6 terious Lady 215

241

207 Pastel Portrait of Cagliostro. 248

207 Pastry Cook of the Palais

67 Royal 116, 172, 193

Pedestal Clock 166

2 1 5 Pepper, Mr 299

216 Pererilli, Count 235

163 Phantasmagoria, A de Phil-

ipsthal Programme. . . .102, 103
Philips thal's Programme of

33 j8o6 173

Phillippe, 23, 45, 116, 129,
2Q5 ^33^ ^35' i84» 185, 193, 195

Phillippe Lithograph and his
14 Scotch Assistant Domingo. 134

Phillippe Pastel Portrait. ... 130

12 Phillippe Poster 132, 184

13 Phillippe Poster featuring
the Infernal Bottle 184

12 Philosophy, Course of Exper-

14 imental 181

Photo-engraving of Bartolo-

1 7 meo Bosco 301

177 Photograph of Alexander
241 Heimburger 238

35 Photograph of Bosco 's Grave 306
Photograph of Mme. Bosco. . 305
Pinchbeck, Christopher,

279 51*52, 54. 56. 58

Pinchbeck, Christopher, Jr.,

a very rare Mezzotint 57

278 Pinchbeck, Christopher, Sr.,

The Oldest and Rarest

-156 Mezzotint in the Wor'd

16 Pertaining to the History

16 of Magic 53

16 Pinchbeck, Clipping from
140 London Daily Post of Nov.
1-55 30. 1729 54

[329]

INDEX

Pinetti, 23, 35, 38, 52, 69, 71,
73, 76, 171, 209, 211, 213,
221, 298, 300, 301, 302

Pinetti, Chevalier

Pinetti, Clipping featuring
Second Sight

Pinetti, Engraving of

Pinetti, Signora 211,

Pocket, Conjurer's

Polk, President

Polonnese

Ponsin, J. N

Porta, John Baptist

Porta, John Baptist, Por-
trait of

Portrait of Buck

Portrait of Compars Herr-
mann

Portrait of Eugene Bosco ....

Portrait of Henry E. Evanion

Portrait of Henri Robin

Portrait of Robert and
Haidee Heller

Portrait of Wiljalba Frikell
in His Youth

Poster of Robert-Houdin on
which his Complete Reper-
toire Appears

Poster used by Anderson in
London, 1848

Poster used by Falck of Koe-
nigsberg

Poster used by Heller

President Polk 235,

Print showing Cabinet Trick .

Programme, Farewell, of DO-
bler

Programme of Anderson 1 848

Programme of Ching Lau
Lauro

Programme of Compars Herr-
mann 196, 197,

PAGE PAGB

Programme of de Philipsthal

Benefit no

Programme of DObler 188

182 Programme of Macallister. . . 192
Punch 177

210 Punch Cartoon reproduced,
72 proving J. H. Anderson's

213 Inexhaustible Bottle Trick 186

160
243 Ramo Samee Handbill. .282, 2S6

1 72 Rannin Lithograph 21^9.

278 Rannin Lithograph showing

12 Walking on Swords 2<5g

Rare Poster of Learned Goose 220

1 1 Raynaly, Mons. E 69

257 Recreations, Hooper's 211

Recreations, Physical and
194 Mathematical, by Guyot. . 143

315 Recreations Physiques 2 79

22 Redmond, Professor 289

198 Reproduction of an Engrav-
ing of Chin>5se Trick Climb-

202 ing into the Air 227

Reproduction of an Illustra-
297 lion in " Auf schliisse zur

Magie" 169^

Reproduction of Cartoon in
224 Punch, 1843, proving An-

derson's Inexhaustible Bot-

313 tie Trick 186

Reproduction of Handbill

183 used to Advertise Master

206 M'Kean 212

243 Reproduction of Handbills
290 used by Mysterious Lady. .216

Robert, Jean -Eugene,
189 33' 34. 3*5. 40
309 Robert, Prosper ^^

Robertson, E. G 76

231 Robin, Henri, 197, 199, 217,

289, 296, 297, 298
2 7,2 Robin, Henri, Portrait of . . . . 198

ILLUSTRATIONS

PAGE

Advertisement Showing the Orange Tree as Offered by the Senior

Fawkes : 55

Anderson and Son "Suspension Chloriforeene " 234

Anderson Handbill Used in Gallery . 311

Anderson. J. H., Wife and Son. Photograph of 146

Anderson, John Henry, as He Appeared in His Later Years 317

Anderson, Mrs. Leona A., as She Appeared in the Suspension

Trick , 236

Anderson Poster Featuring Card Trick Used in 1836-37. 142

Anderson Poster Used in 1838 147

Anderson Poster U.sed in London, 1848 313

Anderson's Billing of 1838 Featuring "Napoleon's Trick" 150

Anderson's Book Cover Design 148

Anderson's Inexhaustible Bottle Trick 186

Anderson's, J. H., Birthplace 145

Anderson's Opening Programme, 1848 309

Anderson's Poster, Exposing "Barney" Eagle's Tricks 154, 155

Astley, Philip, Esq 19

Bamberg, David Leendert 140

"Barney," alias The Impostor Wizard. Window Poster Issued by

Anderson 155

Barnum, P. T 88

Basch, Ernst 139

Bertram, Charles (James Bassett) 20

Blitz, Signor Antonio. 18

Bologna Bill Used in 181 2 170

Bologna Poster Used in 1820 118

Bosco, Bartolomeo, in His Prime 301

Bosco, Eugene 315

Bosco, Grave of 306

Bosco, Madame, the only Photograph of 305

Bottle Trick, Inexhaustible. 186

Brahmin, The Suspension 229

Breslaw's Frontispiece On Book on Magic, "The Last Legacy," 144

[i]

ILLUSTRATIONS

BresJiivv Ltlhngraph . , ......,,,,

Biitk, English CimjurtT, ( ^nly FVirtrait Known
Buck Handbill Dated 3844.

Cuba Its tit: An

CttbaltMic An Featured on Mamu( t iVrjgrammtr in \H\t .,

Cabalistic Art Featiifed on Tei^Uit Prfjgramme in tK^fi

Cabinet Trick Offered by Da sen port Brothers ,

Caglioslrt>» CfJTntesse de» Portritit of .

Caglioj^tro, rAlmiinach de, Tha Brahmin's SiJ^|)ension
CagltQ&Iro, Rare Pastel Port rait
Charles Poster LT^ed in j8^y, .. *

Chinese Magicians- ....

Ching Lau Lauro Handbill , .

cupping Advertising the Writing and Drawing Figures Exhibited

by Jacquet Droz .

Clipping of I Si 3 Proving the Partnership <>l de Philipsthal imd

Maillardet

Clipping Used by Christopher Pinchbeck in ij^K
Clock Trick, Kckarishausen's. ,,...,,
Comilhtl. M* Repnsdiiction of Handbill
D?ivrnpf»rt Brothers' Announcement .
DiL\'enpr)rt Brothers ....,..,....,.

Davenport Brothers* Cnhinet Trick

Davenport Brothers^ in Their Prtrne, Porirail^ nf

Decremp^, Henri

Decremps' Signature. , . . . .

Dtlbler, Farewel! Programme

D^iblen Ludwig, Portrait 1.S7,

Dtibler Programme . . _ ,

D^ihler Programme Dated iK.|j

1 Kmiingo MucaUisttT ,,..,.,,.,-

Dim CfiHos. "the Double- sjgbti^d Dt% ' liilling Lsed

Dr<*H Avitt>maton .,.,.,,...>.,,►,.,

Drox Figure of Cujiid . ,

Droz, Henri-Louis Jacquet. . .

[JroK, Jaci|uct, Drawing Figure.. .

DrcjXt Pierre Jacquet, Portrait of .„....., .

DroK Writing Automaton Specimen?; in tyg^'
Dtitch woman. Decora titm Uscfl to Advertise
Ragle, Barnard o, Frontispiece from Eag1e'«i Book
Engle, Barney, Poster. ,,.........,...,..

Eckarljihausen's Automalie Rope Vaulter ,

ILLUSTRATIONS

PAGE

Eckartshausen*s Clock Trick i6o

Engraving, Reproduction of, from an Old German Encyclopedia. . 227

Evanion, Henry Evans 22

Exposure of Barney Eagle 154, 155

Faber, Professor, Hanger Advertising Talking Machine. . . -. 90

Falck Poster Used in 1835 183

Fawkes Advertisement 60, 61 , 62

Fawkes Clipping 6^4, 65, 66, 67

Fawkes, Isaac, Portrait 59

Frikell, Herr und Frau 30

Frikell Villa 28

Frikell, Wiljalba, in Hi.s Youth 297

Gan^erin Poster Used in 1815 120

Goose Poster 220

Gyngell, Lithograph 126

Gyngell, Portrait of 122

Gyngell Poster Used in 1816 121

Gyngell Programme of 1823 125

Haddock Advertisement, 1 796 166

Handbill Advertising the Fake Automatic Artist, 1826 iii

Hardeen, Theo. Weiss 25

Heimburger, Alexander, Illustration 24*

Heimburger, Alexander, Portrait of 238

Heimburger, Alexander, Poster 242

Heller, Robert and Haidee, Portraits 202

Heller, Robert, Grave of 208

Heller, Robert, Programme of 1851, only one in existence 204

Heller Poster Used in 1853 206

Herrmann, Compars, Billings 196, 197

Herrmann, Compars, Portrait 194

Herrmann, Compars, Programme 232

Hocus- Pocus, Frontispiece Second Edition, 1635 10

Hofzinser, Johann Xep, Engraving 162

Hogarth's Engraving Entitled "Taste" 70

Hone's "Every Day Book," Reproduction of page 226 68

Houdin and Son Emile 201

Houdin Bas-Relief 47

Houdin Grave 46

Houdin, Robert 8, 24. 34, 41, 48

Houdin, Robert, Favorite Lithograph for Advertising Purposes. . 38

Houdin, Robert, First Appearance before Queen Victoria 39

Houdin, Robert, Poster Used at Sadler's Wells, 1853 44

[iii]

ILLUSTRATIONS

PAGB

Houdin, Robert, Poster Used at St. James Theatre, London .... 40

Houdin, Robert, Poster Used for Emile Houdin Benefit, 1848. . . 43

Houdin, Robert, Poster Used in London, 1848 42

Houdin, Robert, Poster Used in 1852 223, 324

Houdin, Robert, Poster Used to Advertise His Trapeze Perform-
ance 167

Houdin, Robert, Programme for the Opening of Robert Houdin's

Theatre in Paris 37

Houdin, Robert, The only Poster Showing his Complete Stage-
setting . 36

Houdini, Harry Frontispiece

Indian Basket Trick 276, 277, 279

Indian Juggler's Handbill. 283

Ingleby's Book Frontispiece 259

Ingleby Handbill Dated 1808 258

Jacobs, M., Lithograph 158

Jacobs Poster Featuring the Travelling Card 151

Jefferini Handbill Dated 1833 256

Katterfelto 165

Katterfelto Clipping of 1 782 161

Lauro, Ching Lau, Handbill ,231

Le Confiseur Galant 139

Leschot, Jean Frederic, Portrait 95

Louis Programme of 181 5 108

Macallister, Andrew, Portrait 193

Macallister, Domingo 134

Macallister Programme 192

M*Kean, Master, Front and Back of Original Handbill distributed

in London Streets in 183 1 212

Manfrede, Blasius de Manfre or Blaise, Rare Woodcut 272

Marchand, Floram 275

Marriot Programme Featuring Cabalistic Art in 183 1 255

Mysterious Lady Billing 215

Mysterious Lady Cut 216

Neve, Richard, Frontispiece, 1715.. 17

Philipsthal, de, Poster Used in 181 1 104

Philipsthal Programme of 1806 1 73

Philipsthal Programme x>i 1803 102, 103

Phillippe and Assistant Domingo 134

Phillippe Lithograph, 1842 137

Phillippe Poster 184

Phillippe Poster Used in 1845-46 132

-[iv]

TO. 22t)

Ige, George, & Co . , . 2 7S

Jule^ide. ... , _ 116, J j8
lareiici? Tlicatre. ... 356

Inn .-.,.,,.,..., 166

iV . 217

erji iSi^

Raino, Handbill. 2S2, 2S6

James- IS

James, ro?;ier 26

3eTg. - 367

t, . . , 1 til 1 16* 1 7^* iSit iSj
Po^^ter. . . . .... 114

1 1 Program me of 1821* 1S2
ti Programme Uf?ed in

! - - 3 1,1

jlc Amusements 35

Sight. ............. 50Q

pight , by M itnd Mme.

a 2 1 K

Sight* lilustratiuii , 30 1
Sight of the Young
landers _....,...,. 214
de la Preslidtgiialion 49
of Conjuring iind

: . , . . , .i265, 378

of Magic. ...... .4Q> ^^^

» Stage Conjuring,
i 27fh28l,2gtJ

btifectioner^s . tf>6

tre of Decremps. .. 75

Elder & Co M

of -Vmerican Mugi-

ens t>f Penman.'^hip
lied by Dnoz's Writing
maton in 1706 and

actively... -,,. . 84

HAGB

Spirit Bell . . ..... 34

Susi|>ension, Brahmin Illustra-
tion , 229

Suspension Chloriforeene, ... 253
Siispension Ch Jo riforeene

Lithograph ..-**.» 354

Suispension. E thereal. . . , . sia^ 3 ta
Su.spen^ion featured by Corn-
pars Herrmann, a Pro*

gramme of 1 848 132

Suspension Trick .... 332

Svi.^fien;5ion Trick, A.s Mrs.
Leona A. Anderson ap-
peared. _.....,..-.._... 2j6

Susf tension Tricky Programme
Pre.senting, by Alexander
Heimburger, ........... 24a

Su.spension Trick Uised by
Koberi-Hondin , 224.

Talking Machine ^ Hanger

Advertisement SS

Taste. Engraving by Hogarth 70

Testol Handbill 2$$

Testot. M. F^ix ,,. ^55

Tesitot Programme featuring

Cabalistic Art 354

Theatre. Adelphia . ^5^

Theatre, Garrick - 2 86

Theatre, LiveriiooT ,.,...,. 356

Theatre, Roberl-Houdin 47

Theatre, Royal Clarence. .... 356
The Secrets of Conjuring and

Magic ,..,....,.. 265—2 78

The Secrets of Stage Conjur-
ing., .>79, 3Stf igq

The Temple of the Muses. . , , 56
The Trapeze Autc»maton . , . . 1 66

The Trapeze Performer 1 68

The Trapeze Tumbler ,..,,. 322
Thiodon Bill of 1 8^ 5 . . , . , 1 73, 1 74
Thnee Talen ted H ighlanders . 314

INDEX

V fffi

Tolmaque

. Tom and Jerry

Tom Thumb. Gen

Torrini, 35, 38, 52, 140, 209,
250,300,

Toulet, Mile. Louise

Tours de Cartes et de Gibe-
cihre

Travelling Bottle 185,

Travelling Card, Poster of
Jacobs

Tribune, New York 240,

Trick, Apple-Tree <

Trick, Basket, Illustrations,
276, 277,

Trick. Bell

Trick Cabinet of the Daven-
port Brothers

Trick, Chinese, of Climbing

. into Air

, Chinese, Reproduction
of .'.!

T ick Clock, Diagram of

Trick. Disappearing Hand-
kerchief. . . . '. 245-

Trick, Indian Basket,

276, 277,

TricW. Magic Clock, Diagram
of

Trick, Mystic

Trick, Obedient Card, fea-
tured on a Barney Eagle
Poster

Trick, Orange-Tree 51

Trick, Orange-Tree, Diagram
of

Trick, Rope-tying

Trick, Second Sight. .49, 200,

Trick, Secret of Trained Bird
and Bell

Trick, Shoulder of Mutton
and Card '

' OENEMAL BOOKBINDING CO.

^ S3 ED

<?UALfrr CONTROL MARK

PAGE PAGB

289 Trick, Suspension. . . .49, 222, 312
230 Trick, Suspension, Ethereal,
241 222—312

Trick, Suspension", Chlorifo-

301 reene , . . . 233

289 Trick, Suspension, of Sheshal 230

Trick. The Inexhaustible Bot-

279 tie 49,3^2

188 Trick, The Pastry Cook of the

Palais Royal 49

151 Trick, The Vaulting Trap>eze

241 Automaton 49, 141

51 Trick, Watch in Loaf of

Bread r>

279 Trick, Writing and Drawin'"

242 Figure 49

Two Elegant Automata 172

290

Unmasking of Robert-Hou-
227 din 33

Ure, Andrew, M.D

227

160 Van Esten, Mr 168

. Vaucanson 41.95

254 Verlag, Heusere 287

Voisin 163

291

Walking Cards, The 156

160 Water-spouter 272, 273, 275

163 Water-spouter and Juggler . . 27^

Webster, Daniel 243

Weiss, Rev. M. S.,
156 dtdtcation page

-55 Weiss, Ehrich (Hjurf Hoa-

dini) Ffm^ffkce

5 2 Weiss, Theodora VLMsAma .t 25

293 White Mafic .*. 35

312 White Magic Expoted 39fiyi

White, John 12

243 White, John, Portrait of 15

Wiegleb, Johann Christian. . ' 14

257 Willmann. Carl . '. . 305

L t.^jx 1 _

6017

STANFORD UNIVERSITY LIBRARIES

STANFORD AUXILIARY LIBRARY

STANFORD, CALIFORNIA 94305-6004

(650) 723-9201

salcirc@sulmail.stanford.edu

All books are subject to recall.

DATE DUE

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "The unmasking of Robert-Houdin"

See other formats