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unmaskingrobert00houdgoog.pdf,3,,"UNITED
STERARIES"
unmaskingrobert00houdgoog.pdf,6,,"THF UNMANKING
ROBER"
unmaskingrobert00houdgoog.pdf,8,,"8061
'00 3H.L
MEN
INICHOH
18
NIGNOH -
JO
DNINSVINNO TH.L"
unmaskingrobert00houdgoog.pdf,9,,"313341
Copyright, 1906
Copyright, 1907
Copyright, 1908
By HARRY HOUDINI
Entered at Stationer's Hall, London, England
All rights reserved
Composition. Electrotyping and Printing by
The Publishers Printing Company
New York, N. Y., U.S.A."
unmaskingrobert00houdgoog.pdf,10,,"Dedication
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"
unmaskingrobert00houdgoog.pdf,12,,"CONTENTS
PAGE
INTRODUCTION,
7
CHAPTER
I. SIGNIFICANT EVENTS IN THE LIFE OF ROBERT-
HOUDIN,
33
II. THE ORANGE-TREE TRICK,
5I
III. THE WRITING AND DRAWING FIGURE,
83
IV. THE PASTRY Cook OF THE PALAIS ROYAL,
II6
V. THE OBEDIENT CARDS-THE CABALISTIC CLOCK-THE
TRAPEZE AUTOMATON,
I4I
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]"
unmaskingrobert00houdgoog.pdf,14,,"INTRODUCTION
T
HIS 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 struggling 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]"
unmaskingrobert00houdgoog.pdf,15,,"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,
Robert-Houdin in his prime, immedi-
Author and Conjurer,
ately after his retirement. From the
Harry Houdini Collection.
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]"
unmaskingrobert00houdgoog.pdf,16,,"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 the 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]"
unmaskingrobert00houdgoog.pdf,17,,"INTRODUCTION
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
a
or
focus
b2
the
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
[10]"
unmaskingrobert00houdgoog.pdf,18,,"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
JOH BAPT PORTA
Ca Philosoph, Madamatitor and Atrologic zus
govo. on
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 ]"
unmaskingrobert00houdgoog.pdf,19,,"INTRODUCTION
ing tales of travellers who witnessedmagical 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 are 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
[iz]"
unmaskingrobert00houdgoog.pdf,20,,"INTRODUCTION
Het Natuurlijk
TOVER-BOECK
of
SPEEL =TONEEL
der
KONSTEN
Frontispiece from Simon Witgeest's ""Book of Natural Magic"" (1682),
showing the early Dutch conception of conjuring. From the Harry Houdini
Collection.
[*3]"
unmaskingrobert00houdgoog.pdf,21,,"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 I715.
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 Robert-Houdin.
English books on magic were not accepted seriously
until the early part of the ninetcenth century. In Vol.
III. of John Beckmann'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 ]"
unmaskingrobert00houdgoog.pdf,22,,"INTRODUCTION
C
JOHN WHITE, Autbor of
ART's Treafury, and Hocus
Pocus ; or a Rich Cabinet of
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.
[
15"
unmaskingrobert00houdgoog.pdf,23,,"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
'Circus Life and Circus Celebrities,' ""The Old Show-
men and the Old London Fairs,"" and ""Lives of the
Conjurers."" These were the best books 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 properly speaking, 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 nincteenth-century list of English writers on
magic, but his work is marred by mis-statements which
even the humblest of magicians could refute, and, like
Frost, he drew heavily on writers who preceded him.
So far, in the 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-
[r6 ]"
unmaskingrobert00houdgoog.pdf,24,,"INTRODUCTION
Frontispiece from Richard Neve's work on magic, showing him performing
the egg and bag trick about 1715. Photographed from the original in the
British Museum by the author.
2
[ (17 ]"
unmaskingrobert00houdgoog.pdf,25,,"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 literature, news-
papers, programmes and advertisements of magicians who
Signor Antonio Blitz, author of ""Fifty Years in the Magic Circle"" (1872).
Original negative of this photograpli is in the Harry 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 born did not invent
[ 18]"
unmaskingrobert00houdgoog.pdf,26,,"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 Astley, Esq.
Ruc. by Alex. Bogg. & c. Aug 1.1806.
Philip Astley, Esq., an historical circus director, a famous character of
Bartholomew Fair days, and author of ""Natural Magic"" (1784). From the
Harry Houdini Collection.
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.
[r9]"
unmaskingrobert00houdgoog.pdf,27,,"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]"
unmaskingrobert00houdgoog.pdf,28,,"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 merc
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,
[ 2I ]"
unmaskingrobert00houdgoog.pdf,29,,"H Eranion
Last photograph of Henry Evans Evanion, conjurer and collector, taken
especially for this book in which he was deeply interested. Died June 17th.
1905. From the Harry Houdini Collection.
[ 22]"
unmaskingrobert00houdgoog.pdf,30,,"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 in 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. I2 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
]"
unmaskingrobert00houdgoog.pdf,31,,"INTRODUCTION
Very rare and extraordinarily fine lithograph of Robert-Houdin, which he
gave only to his friends. It depicts him among his so-called inventions. His
son, Emile, doing second siglit, is behind him. The writing and drawing
figure is on his left. On his right under the clockwork is a drawing which,
on close examination of the original, shows the suspension trick. From the
Harry Houdini Collection.
[ 24]"
unmaskingrobert00houdgoog.pdf,32,,"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]"
unmaskingrobert00houdgoog.pdf,33,,"INTRODUCTION
Corn Exchange, Maidstone,
legacy, which is now the
central jewel in my col-
FOR TWO NIGHTS ONLY.
lection. Evanion died
UNDER DISTINGUASHED PATRONAGE.
THEBAND
ten days later, June 17th,
and within a short time
or THE vertzun LIGET INFANTSY
MILITIA
his good wife followed
wn attend on each Erening by the tund cerminsion of Col. Ser Thos. M. Wilson, Bart.
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
SOIREES MYSTERIEUSES 1!
was the first magician
MR. J. SAVREN,
to discard cumbersome,
draped stage apparatus,
Artist in Experimental Philosophy, and
Natural Magic,
Sege . inform the - of thet
of
and to don evening
.
Novel - The te
deme by - - of the The MISTICAL
ILLUSTRATION will
MODERN
clothes, and I was most
anxious to verify this
MAGIC
rumor, as well as to in-
terview him regarding
equally important data
The Illusionary of Natural Science, Egyptian Mystery, the Manipulation of
the Chinese, the greatest Recamotes in the World.
PROGBAMME EXTRAORDINAIRR
bearing on the history of
PARE L
The Obediees Carde and theie Eccestricities
Le Mouchod- de confocum, "" What wit be
The Croutal Torala, its Divination, ne the Oracle
Hundred Yeare?
magic. Having heard
of Fomale Destiny
The Grand Escomotago, the Mireculous Pre-
The VANGAL of VENUS is the Prisco of
sectasion to the
Bacchue
The Bassers of - - Molti-
The Wateh Mascrovre, or the Wooders of Magical
farione Production in of the
that he lived in Kötchen-
Manipsiation
ALLIES
PART IL
A Night is the PALACE of NANKIN, or Novel
The Coffers of the Stores
Represvetation of the Wonder Working
broda, a suburb of Dres-
and Spint like Tou de phymique
Magie of the great Celestial Empire of
The Evenoncent Powers of Bodino
CHINA
Fiora's Tree . Minatore and CONE
a Liquid Metamorphosi and reprodection of the
Le Estraordisaire, les Bonlots des Allies
Coldee Circled in Peratorial
The CHINESE CREATION, the mout Brilliant
den, I wrote to him from
The Mesallic Currency, ita Trassitory Motion and
and Jorsplicable Toare over
Final imperceptible Joursey to the Crystal
Ascient or Modern Magle, parely
Cabset
of Chinese Origle
Cologne, asking for an
edome OPEN AT SEVES TO AT e'creca.
interview. I received
Poster used by James Savren. From
the Harry Houdini Collection.
in reply a curt note:
[ 26  ]"
unmaskingrobert00houdgoog.pdf,34,,"INTRODUCTION
""Herr 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 Kötchenbroda 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 snap 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]"
unmaskingrobert00houdgoog.pdf,35,,"The Author standing in front of Villa Frikell at Kötohenbroda, Germany. where the master magician, Wiljalba Frikell,
assent the yearn of his life. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,36,,"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 Kötchenbroda.
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 attachés, without informing me, refused to give
him the name of the hotel where I was stopping.
[29]"
unmaskingrobert00houdgoog.pdf,37,,[OE]
unmaskingrobert00houdgoog.pdf,38,,"INTRODUCTION
After the performance I dropped into the König 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 known.
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 Kötchenbroda. 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 Kötchenbroda 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,
[ 3I ]"
unmaskingrobert00houdgoog.pdf,39,,"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 of data for me. On the wall above the silent form
were all of his gold medals, photographs taken at various
stages of his life, 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 ?
""
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 incontrovertibility of the facts
which I desire to set forth in this volume.
[ 32 ]"
unmaskingrobert00houdgoog.pdf,40,,"THE UNMASKING OF
ROBER'T-HOUDIN -
CHAPTER I
SIGNIFICANT EVENTS IN THE LIFE OF ROBERT-EOUDIN
R
OBERT-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 Françoise 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]"
unmaskingrobert00houdgoog.pdf,41,,"THE UNMASKING OF ROBERT-HOUDIN
sistent statements regarding his life. Such discrepancies
arise as the mention of three chiklsen in one chapter and
four in another, while he does net give the names of either
Jean-Eugene Robert-Houdin. Photograph taken about 1868. From the
HIarry Houdini 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 mechanical
[ 34]"
unmaskingrobert00houdgoog.pdf,42,,"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 Dévoilée,"" 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 ]"
unmaskingrobert00houdgoog.pdf,43,,"THE UNMASKING OF ROBERT-HOUDIN
-
[36]"
unmaskingrobert00houdgoog.pdf,44,,"To=bay, Thursbay, July 3, 1845,
first Representation
OF
The fantastic Goirces
OF
Robert-Toubin,
Automata, Sleight-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
To Commence at Cight o'clocli.
open at balf:past beurn.
Price of Places: Upper Boxes, I fr. 50 C.; Stalls, 3 fr.;
Boxes, 4 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]"
unmaskingrobert00houdgoog.pdf,45,,"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
ILLUSIONS.
IVE A G x E.
Robert-Houdin's favorite lithograph 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]"
unmaskingrobert00houdgoog.pdf,46,,"EVENTS IN THE LIFE OF ROBERT-HOUDIN
Raser "" esprees Datrensge e
Gracess
THE QUEEN,
HIS ROYAL HIOHNESS THE PRINCE ALBERT.
HEA ROYAL HIGHNESS THE DUCEESS OF KENT,
THEIR ROYAL HIGHNESSES THE DUEE & DUCHESS OF CAXBRIDO&,
KEA ROYAL HIOHNESS THE DUCHESS OF OLOUCESTEL
A GRAND
MORNING FETE,
A CONCERT & DANCING,
""
Batts and for the Labouting Classes,
IN COULSTON
PLACE
Ox WEDNESDAY, JULY TR$ 19ta,
Under the above exalted Patronage,
AT
The Residence of ARTSUR Esq.
Waich Ass most hindly placed et the dispesal the Ledies
TEE CONCERT
san sombine sminent et the tollsting use babe most estigingis
assistants
MADAME GRISI,
MADAME CASTELLAN,
MADLLE ALBONI,
MARIO, M. ROGER, sto. TAMBURINI, a SIG. LABLACHS.
CONDUOTOR
SIGNOR COSTA.
A
TENT WILL BE ERECTED IN THE GROUNDS,
""
ROBERT-HOUDIN.
whe Ase .... -
The Grounds will be open from One o'Clock untu Sigbs.
TICKETS FOR THE TETE,
THE or WHICN will et LIMITED,
Can only be procured on the presentitation of Vouchers from the following
LADIES
Decesse or
os
es Ricameyo.
or
VIMCUNTEN ******
or
(revers os
es
or
os
ances.
Orcatse or Stocistom.
or
Leav Acasa:
becusss or
or
LADT as &suse.
or Mostross.
""
LADT Stamist.
o
or
Decuses or
os
Lem
os
Cocatus Gast.
Leot
os
or
or WATEAPORN
Laos
o
"" PROUNADA.
COFNTESS os
or
Cor>rase
Lare Gastam.
os
Bases,
os
LAM Jewn
Mabast V. as
or
LIONEL Da
or
Tes L.DT
or Ducomes,
Now *** Nuarom.
Nas. Nims.
Single Tickete
22 2s. esch.""
detional for comorried Sons and Deughters of the same Pamily. 21 1. -
N°
Venchers will be exchanged at Mr. MITCHELL' Zoyal Libras, 33, O14 Sond Street
on TN& tava, lern. - tare JULV.
Robert-Houdin's first appearance before Queen Victoria, July 19th, 1848.
A very rare, and possibly the only, programme in existence, chronicling
The original, now in the Harry Houdini Collection, was presented to James
Savren by Robert-Houdin.
[39]"
unmaskingrobert00houdgoog.pdf,47,,"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
ST. JAMES'S THEATRE
marriage. Mademoiselle Houdin,
Menday, March 28,
And Curing the Week.
whose father was a celebrated
GREAT FREACN CONJOREA,
watchmaker in Paris, visited old
friends in Blois, their native town,
and became the fiancée of young
Robert. As the new son-in-law
was to share the elder Houdin's
business and naturally wished to
secure such benefits as might ac-
crue from SO celebrated a family
-
-
sy
Mest Gracions Majesty
""
of watch and clock makers, he
--
- mas - -
-
vamar, masom se, sessy
at THEE ABOVE DURING SASTER wase.
applied to the council of state
SVERY
- - à
DAY PERFORMANCE
and secured the right to annex
MESBAY & SATURBAY
""Houdin"" to his name, Jean-
masom so APRIL
""
Eugene Robert, and thereafter was
vervass
known only as Robert-Houdin.
His life between 1838 and 1844
Poster used by Robert-
Houdin during an Easter
was divided between reading every
engagement at the St.
James Theatre, London.
work obtainable on magic, and his
From the Harry Houdini
duties in his father-in-law's shop,
Collection.
where he 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]"
unmaskingrobert00houdgoog.pdf,48,,"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
[ 4I ]"
unmaskingrobert00houdgoog.pdf,49,,"THE UNMASKING OF ROBERT-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
ST,
-
regest
ENTERTAINMENT
Tuesday. Thursday
Saturday Evenings,
DAY.
PERFORMANCE
90
Wednesday
Morning.
at
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]"
unmaskingrobert00houdgoog.pdf,50,,"EVENTS IN THE LIFE OF ROBERT-HOUDIN
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
ST JAMES'S THEATRÉ
Saturday Evening, Aug. 19.
in the Palais Royal. Robert-
POSITIVELY THE
Houdin went about the work
LAST
NIGHT
of decorating and furnishing this
OF THE SEASON.
theatre with a view to securing
BENEFIT OF
the most dramatic and brilliant
MILE-HOUDIN
effects, surrounding his simple
ROBERT
tricks with a setting that made
HOUDIN
them vastly different from the
will POSTIVELY MAEE ats
same offerings by his predeces-
Last Appearamce in Lendon
Naturday Evening, Aug. 19,5'
sors. He was what is called to-
Outes to Nio Eagagement et the Theatre Reyal, Mascheath.
which Tuesday Evening aexi, Arges $2.
THE PROGRAMNE
day an original producer of old
BITS & INVENTIONS
THE avexava
ideas. On June 25th, 1845, he
MILE-HOUDIN Me ,
SECOND SIGNT,
us
gave his first private perform-
""
INVISIBILETE,""
ESCAMOTAGE EXTRAORDINAIRE,
ance before a few friends. On
AMILK-HOUDIN
Suspension Ethereenne,
BY UGENE-BOUDIN.
July 3d of the same year his
aoxgs, da. PIT, GAL STALLS, la se.
PRIVATE BUXES ... STALLS
-
SOVAL sa,
theatre of magic was opened
formally to the public. The
programme of this performance
Poster for theEmile-Houdin
benefit at St. James's Thea-
is shown on page 37.
tre in 1848. From the Harry
Houdini Collection.
It will be noted that the famous
writing and drawing figure was not then included in Robert-
Houdin's répertoire, 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.
[43]"
unmaskingrobert00houdgoog.pdf,51,,"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
Sadier's ""Wells
POSITIVE NIGETS
ROBERT
SERIES of MAGICAL
ILLUSIONS
MONDAY, MAY 9th, 1853. and Every During the Woek.
The Entreptd Soldier.
The Produstion of Flowers.
The Animated Oards.
The Instantaneous Transpesition
The Marvellous Oraage Tree.
The Golden Shower.
The Mephistepheles Telescope.
The Enchanted Garland of Flowerte
The Traveiling Turtile Devea.
A Wonderfal Surprise fer the Sadies.
The Transparent Oryatal Eex.
varmo PART.
The Confectioner.
The Taeshaustible Sowl of
SECOND PABT.
The Orystal Balle, or Great Series
Bobert Mondia's Portfelle
of stight et Hand Wricks.
astonishing Envisibility.
Press Circie,
.
Sa.
Bexes,
-
Sa.
PII, - Is.
Gallery .
PRIVATE soxma
as, - as N. su.
. of The -
-
-
Poster used by Robert-Houdin when he played at Sadler's Wells, London,
in 1853. He never refers to this engagement in 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]"
unmaskingrobert00houdgoog.pdf,52,,"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 Döbler 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-Houdin 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]"
unmaskingrobert00houdgoog.pdf,53,,"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-
graph taken by the author, especially for this work, and now in the Harry
Houdini Collection.
summoned from his retirement by the Government to
make a trip to Algeria and there intimidate revolting
Arabsby1 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 ]"
unmaskingrobert00houdgoog.pdf,54,,"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, 1871, Robert-Houdin devoted
his energies to improving his inventions and writing his
R
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 ]"
unmaskingrobert00houdgoog.pdf,55,,"THE UNMASKING OF ROBERT-HOUDIN
sold for 35,000 francs. The historic temple of magic
still stands under the title of ""Théâtre Robert-Houdin,""
under the management of M. Mclies, 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.
1 48 ]"
unmaskingrobert00houdgoog.pdf,56,,"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 Révélations,"" published 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 Prieuré"" (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 Rétinue,"" published in Blois, 1869.
""Magic et Physique Amusante"" (œuvre 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 ]"
unmaskingrobert00houdgoog.pdf,57,,"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.
[50]"
unmaskingrobert00houdgoog.pdf,58,,"CHAPTER II
THE ORANGE-TREE TRICK
R
OBERT-HOUDIN, on page I79 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 which 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 corners and unfolded before the
spectators.""
On page 245 of the same volume he presents the
programme given at the first public performance in the
Théâtre 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 I730. This
was II5 years before Robert-Houdin claimed it as his
invention. In I732, just before Pinchbeck's death, it
[ 51 ]"
unmaskingrobert00houdgoog.pdf,59,,"THE UNMASKING OF ROBERT-HOUDIN
appeared on a programme used by Christopher Pinchbeck,
Sr., and the younger Fawkes. In 1784 it was included in
the répertoire 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. Cornillot,
who appeared in England as the
pupil and successor of Pinetti.
The trick was first explained
in public print by Henri De-
cremps in 1784 when his famous
exposé of Pinetti was published
0
under the title of ""La Magie
Blanche Dévoilée,"" and in 1786-
87 both Halle and Wiegleb ex-
posed the trick completely in
their respective works on magic.
That Robert-Houdin was an
Diagram of the orange-tree
omnivorous reader is proven by
trick, from Wiegleb's The
Natural Magic,"" published in
his own writings. That he knew
1794.
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 offered by Fawkes,
Pinchbeck, Pinetti, Cornillot, and Robert-Houdin were
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 mysterious
tree was Christopher Pinchbeck, who was England's
[52]"
unmaskingrobert00houdgoog.pdf,60,,"Pinchestic
stopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the
orld pertaining to the history of magic. From the Harry Houdini Collection.
[ 53 ]"
unmaskingrobert00houdgoog.pdf,61,,"THE UNMASKING OF ROBERT-HOUDIN
leading mechanical genius at the close of the seventeenth
century and the beginning of the eightcenth. He was a
man of high repute, whose history is not that of the
charlatan, compiled largely from tradition, but it can be
At YOUNGS Gront Riem, the of unite
Mall, faring de Hay-Market, feem The
GAAND TREATHE of the MUSES, jaft
find Mr. PINCHBECK,
THIS wonderful Machine is the Altonifh-
men et of that fee it. the Magnificraçe of bs
the Deliescy of the Painitag und Seulprure, and the
great variety of moving Figures makes it the moit fur-
priling Piece of An thaz has ever yer appear'd in Europe.
It regrefenta a Landfeape, witha view of the Sea. termina-
sing infentibly NE 4 vall wich Shipsfailing, plying
to doubling Capes, and diminithing by degrees
an des difappear, Swans in . River filling and pluming
Duck Hunring to Perfection, and grest variety
Motions Likewife Piéture, re-
OEPUTUS in playing amang rhe Bealts
fiere the very T res, as well du Bnnes, are feea 10 move,
as if animared and compell'd by the Hamony of bia Harp.
It allo perfoins on feveral Infrumenta great variety of moit
excellent Pieces of Mulick compos'd by Mr. HANDRE, Co-
RELET Bosescims, and orher celebtated
wich fuch wonderful Exaänel, that fearce any Hand em
equal. It liacwife imitates the fwee Hamony of any Avi-
ary of Birds, wherein the refpeltive Notes of the Nightin-
gale, Woodfark, Cuckoo, &c. are performed 10 to gieat a
Perfebtion, as not to be dillioguillid from Nature it felf.
Wirh feveral other grand 100 dious to men-
tiow, Prices rs. 25, 6 d. and To be feem from to
in the Morning rill To Nighr, by two, or more, without
lofe of Time.
Nate, This curious Machine will be removed ia a few
Days next Deas but oxie to the Leg Tavem in Fleetflieet,
Clipping from the London Daily Post of November 30th, 1798. Used by
Christopher Pinchbeck before he joined Fawkes. From the Harry 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 born about 1670, possibly
[ 54 ]
1"
unmaskingrobert00houdgoog.pdf,62,,"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, I721,
At FAWKFS's THEATRE,
In near the Hay-market, will
be prefentedite following Entertaimments.
Firtt,
H IS Diverting and Incomparable
feveral Thingscatirely new.
of HAND, in whichie performe
N. n. In particular be caufera Tree to grow up in a Flower-
Pot upon the Table, which will blow and bear ripe Fruit in.a
Minute's Time,
Second, His Famous linde
Thind, The CLOCN, with two moving Pilures
Tascly made b, Mr. Pinchbeck.
Fourth, The Vest TIAN MACKINE, being the huen Piece
et Workmaufhip in the World, for moving other
Cariofities.
Fifth, The ANTIFICIAL Vrow of the wherein
is very nateraly imitared the Formament fpangled with Multitude
of Stari; the Moon's Increale and Décreate the Pawa of Day il
the diffufing his Lightar has Rifing : the beautiful Redneis of
the Horizin at hts a in a fine Summer Evening, The
Occait it alfo repreferred, with Ships under Sail,
Miles the Water, Difance; and their others they pafs B near by that Fort, their Shadows as &cc, the' are they at leea levent lis
28 muy
each other with Guits, the Report anddeccho of which are as
plaialy heard as the from Places they Anpear to be.
Every Weck are diffevent
Nore, Every Night tlats Week will be
following
1. The Ciry of Granz In the Drifredom of Stirla in Germany.
11. The Clry of Autwerp Nin Brabant in
III. The City of Grand Cairo in Egres.
IV The City of Africa.
every Evening precifely ar SFx n° Clock.
Pic AL Middle Upper 64
And thanhe Company may not be with Coll, theve
is Contrivanzes TO keep der Warn.
Note, Gendeaco and may have a privale Performance,
giving Noute the Sight befort.
Advertisement from the London Daily Post during 1730, showing the orange
tree as offered 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]"
unmaskingrobert00houdgoog.pdf,63,,"THE UNMASKING OF ROBERTT-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 birds and barrel organs for churches, as among
Pinchbeck's manufactures.
""Pinchbeck 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 Muses,' 'Grand Theatre of the Muses,
or 'Multum in Parvo.' The Daily Journal of August
27th, 1729, announced that the Prince and Princess of
Wales went to the Bartholomew Fair to see hisexhibition,
and there were brief advertisements in The Daily Post of
June 1 2th, 1729, and the Daily Journal of August 22d
and 23d, I729. There is still a large broadside in the
British Museum (1850 C. 10-17) headed 'Multum in
Parvo,' relating to Pinchbeck's exhibition, with a blank
left for place and date, evidently intended for use as a
poster. Ile died November 18th, 1732; was buried No:
vember 2ist, in St. Denison's Church, Fleet Street.
""In a copy of the Gentlemen's Magasine, printed 1732
page 1083, there is an engraved portrait by I. Faber,
after a painting by Isaac Wood, a reproduction of which
appears in 'Britten's Clock and Watch Maker,' page I22.
His will, dated November roth, 1732, was proved in
London on November 18th.""
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]"
unmaskingrobert00houdgoog.pdf,64,,"A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work
of Cunningham, the greatest designer, and William Humphrey, the greatest
portrait etcher of his day. From the Harry Houdini Collection.
[57]
:"
unmaskingrobert00houdgoog.pdf,65,,"THE UNMASKING OF ROBERT-HOUDIN
sold for 35,000 francs. The historic temple of magic
still stands under the title of ""Théâtre 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.
1 48 ]"
unmaskingrobert00houdgoog.pdf,66,,"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 Révélations,"" published 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 Prieuré"" (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 Rétinue,"" published in Blois, 1869.
""Magic et Physique Amusante"" (œuvre 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 ]"
unmaskingrobert00houdgoog.pdf,67,,"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.
[50]"
unmaskingrobert00houdgoog.pdf,68,,"CHAPTER II
THE ORANGE-TREE TRICK
R
OBERT-HOUDIN, on page I79 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 which 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 corners and unfolded before the
spectators.""
On page 245 of the same volume he presents the
programme given at the first public performance in the
Théâtre 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 ]"
unmaskingrobert00houdgoog.pdf,69,,"THE UNMASKING OF ROBERT-HOUDIN
appeared on a programme used by Christopher Pinchbeck,
Sr., and the younger Fawkes. In 1784 it was included in
the répertoire 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. Cornillot,
who appeared in England as the
pupil and successor of Pinetti.
The trick was first explained
in public print by Henri De-
cremps in 1784 when his famous
exposé of Pinetti was published
B
under the title of ""La Magie
Blanche Dévoilée,"" and in 1786-
87 both Halle and Wiegleb ex-
posed the trick completely in
their respective works on magic.
That Robert-Houdin was an
Diagram of the orange-tree
trick, from Wiegleb's The
omnivorous reader is proven by
Natural Magic,"" published in
his own writings. That he knew
1794.
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 offered by Fawkes,
Pinchbeck, Pinetti, Cornillot, and Robert-Houdin were
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 mysteriot
tree was Christopher Pinchbeck, who was England
[52]"
unmaskingrobert00houdgoog.pdf,70,,"and
-
Pinchester
Christopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the
world pertaining to the history of magic. From the Harry Houdini Collection.
[ 53"
unmaskingrobert00houdgoog.pdf,71,,"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
& YOUNGS Reem the of Leal-
Mall, facing rke Hay-Market, fern The
GRAND TREATAL of the MUSES, jaje
Mr. PINCHBECK,
THIS wonderful Machine is the Altonifh-
et all that feeit. the of be Struc-
tue, the Delicacy of the Paining quit and the
grast valiety of moving Figures m-k-s i the mott
priling Piece of An that has ever yer appear'd in Earope.
It di Landfeape, witha view of the Sea. termina-
to sieg PL dey difeppear, - doubling Avaft Swans Capes, in and River With diminifhing filling Shipsfailing, by plurning degrees plying
. and
Duck Hunilig to Perfection ard greas variety
M Motions Likewife Pifture, N-
la * Foreß playing umong the
Rere the very T ces, well as Banes, ere feen TO move,
as if animared and compell'4 bythe Hamony of bia Haxp.
It alle perfoims on feveral Inftruments great of molt
excellent Pieces of Mulich compos'd by Mz. H FANDEL, Co
RELLS ALEINONI, and orher celebtated
with fuch wonderful Exadneti, that fearce any Hand can
equal, It the fweet Hazmony of any AVI-
ary of Bieds, wherein the refpective Notes of the Nightin-
gate, Woodlatk, Cuckoo, &cc. are performed to fo giear a
Perfedion, NS not ro be from Naruze it fell.
Wirh feveral orher to men-
tion, Frices 55. 25. 6.d. and - To be feeo from 10
in The Morning vill to Night, by two, DE more, wichout
lofs if Fins.
Nate, This curions Machine will be removed ia a few
Days Deas but oute to the Leg Tavem in Ficerflieer,
Clipping from the London Daily Post of November 30th, 1798. Used by
Christopher Pinchbeck before he joined Fawkes. From the Harry 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 born about 1670, possibly
[ 54 ]"
unmaskingrobert00houdgoog.pdf,72,,"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,
Me FAWKFS's THEATRE,
In Tames-freet, near the Hay-marker, will
be prefented tbe following Entertainments:
Firft,
H
IS Diverting and Incomparable
feveral Thingreatirely new.
DERTERITY of HAND, in which he purforme
N. B. In particular he caufesa Tree to grow up in a Flower-
Pot upon the Table, which will blow and beay ripe Pruis in a
Minute's Time.
Second, His
Third, The MUNICAL CLOCK, with EWO moving
lately made by Mr. Pjochbeck,
Fourth, The Vast FIAN MACHINS, belag the Piece
of Workmaufhip in the World, for moving Pidures aud other
Curiofities.
Fifth, The ASTIFICIAL Vazw of the WORED, wherein
Es very naturaDly imicated the Firmament fpangled wall a Maltifuide
of Stari; the Moon's Increale and Decreale the Pawa of Day :
the diffuling bis Lightar his Rifing the beautiful Redne(s of
the Horizon at lis Sercing. as in a fine Summee Eyening. The
R allo repre(ented, wih Ships under Sail, 28 fevent
Miles Diffance; ethers fo neas that their Shadows are Teen lia
de Water, and as they pars by any Fort, Caftle, &c, they
esch other with their Goms, the Report and-Ecchool which are às
plainly heard es cho' from the cal Places they appear to be.
Every Week are
Note, Every Night during this Wick will be
1. The Ciry of Grarz Dalsedom of Stitia in Germang.
11. The Cirs of Autwerp in io Flandess.
IIT. The City d Grand Caleo to Egypt.
IV The City of Algrervia Africa.
Brginning CWITY livening precifely ar Nix o' Clock.
Pir DE Midde Unper
Audtharthe Company naay with Cold, there
is Contrivances the Warm.
Note, and Lades may have a privas
giving Nouce the Night before.
Advertisement from the London Daily Post during 1730, showing the orange
tree as offered 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 ]"
unmaskingrobert00houdgoog.pdf,73,,"THE UNMASKING 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 birds and barrel organs for churches, as among
Pinchbeck's manufactures.
""Pinchbeck 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 Muses,' Grand Theatre of the Muses,'
or 'Multum in Parvo.' The Daily Journal of August
27th, 1729, announced that the Prince and Princess of
Wales went to the Bartholomew Fair to see hisexhibition,
and there were brief advertisements in The Daily Post of
June I 2th, 1729, and the Daily Journal of August 22d
and 23d, I729. There is still a large broadside in the
British Museum (1850 C. 10-17) headed 'Multum in
Parvo,' relating to Pinchbeck's exhibition, with a blank
left for place and date, evidently intended for use as a
poster. He died November 18th, 1732; was buried No-
vember 2ist, in St. Denison's Church, Fleet Street.
""In a copy of the Gentlemen's Magasine, printed 1732,
page 1083, there is an engraved portrait by I. Faber,
after a painting by Isaac Wood, a reproduction of which
appears in 'Britten's Clock and Watch Maker,' page 122.
His will, dated November roth, 1732, was proved in
London on November r8th.""
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]"
unmaskingrobert00houdgoog.pdf,74,,"-
Christopher linchlul
A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work
Cunningham, the greatest designer, and William Humphrey, the greatest
trait etcher of his day. From the Harry Houdini Collection.
[57]"
unmaskingrobert00houdgoog.pdf,75,,"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 I7IO and possessed great mechanical ingenuity.
[ 58 ]"
unmaskingrobert00houdgoog.pdf,76,,"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 Wet died the Mr.
- for bis by
max
FAWKES
The best portrait of Isaac Fawkes in existence. The original, now in the
Harry Houdíni 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 ]"
unmaskingrobert00houdgoog.pdf,77,,"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-crancs. In The Gentlemen's Magazine
for June, 1765, page 296, it is recorded that Messrs.
Pinchbeck and Norton had made a complicated astro-
it the Conk and Half Moan Tavern in
Temple- Bar,
r
HE famons Mr. FAWKS
performi moft furpriting Trick by
Desterity of Hand, with Regi,
curions India Birds, Mice and Money,
Which Curionits no Perfon In the
dom cari presend to thom To-
gether with the Activity of Body
perform'd by his Polture Maller, bring 9
Boy about Ten Years of Age, who Far -
ceeds all that ever in Eumpe. Who Transforms his Body
into fuch a various Shapes, 21 Curpaties human Faith to believe
our Geting. Likewite the Rezilan Searamouch Dance, with two
four Note, Legs, We have and the bur had Printe. the Body, Honour and prefent Majchy Headi,
one to the Admiration of all
to perterm before bis
ling George, att the Quality of the whote Kirg-
dom. with great Applaufe. Beginning evary Evening precifely it
N.B. Any Gentiemen or Ladies may have 2 private Performance
any Tirm of the Day, giving an Mour's Notick.
An early Fawkes advertisement, clipped from a London paper of 1795.
From the Harry Houdini Collection.
noinical 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]"
unmaskingrobert00houdgoog.pdf,78,,"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 snuffers (No. III9)
patented 1776, continued to be made in Birmingham
The Daily Poft.
`KIDAY, January 21, 1726.
S's and POWEL's Theatre, in
in James-freet, mear the Hay-Marlet,
be
ving Entertainments, viz.
1726
FIRST his furprizing Dex-
Hand, far exceeding all thatever
Perform in this Kingdera. ad The fancus
Poftare-Mafter. de The Mafics) Closk, that
Play variety of Tunts, on the Orgia, Fluse,
and Sine-
Flageleig with Hirds, felf. Whilling and
from Life the it Bath: And The 4th. wiole
Powyl's
Play
of The Prineefs Elisabeth, er Rife of bugge
Punch: With the Comical Humonrs of Enquire Punch, and his Foot-
man Gudgeon. Perfoim'd by the Richeft Bnd Figures that ever
was fees in England. Concluding with an Piece of Ma-
chinery, after the Italian Manner, repreferring the Eplendid Palace of
Diana breaking into Domble and Triple Prefpeds, with all the Changes of
Srents and Decorations belonging to the Play. N. B. The poors will be
open'devery Day at Five a Clock. And in Regird that Gentlemen and La-
dies thall not be difappointed, we beghi exalty as Six, and none to bead-
mitred afuer. Prices: S. . S. snd6d
A clipping from the Taily 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 snuffers began to
go out of use. In I774 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]"
unmaskingrobert00houdgoog.pdf,79,,"THE UNMASKING OF ROBERT-HOUDIN
Museum (ii-33) in 177° in the list of the party who
called themselves the King's friends. He died March 17th,
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. One
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 Fawkes, whose brilliant stage
performance lent to the Pinchbeck automata a new lustre,
little 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 I904, aided by R. Bennett,
[62]"
unmaskingrobert00houdgoog.pdf,80,,"THE ORANGE-TREE TRICK
the clerk of St. Martin's-in-the-Field: 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, I731, and was buried in St. Martin's-in-
the-Fields Parish Church.
The records further show that he was buried in the
Ai FAWKES's Booth in the Upper Moor-
fields, will be prejented the
FIRST wonderfal his Famous Dexterity of Pofture-Mafter, Bndy exceeds all Europe. The
that
Mulical Temple of Arts with two moving the one a
Concert of the oher the Siege and of Gibraltar,
of Machine being Parnaftus, the with finelt with three Piece Apollo moving of €lock-work andthe Pidtures, in the Mufes the firft World. playing on reprefents Bay 3d, the various
Another
Hill
Nine
Infiraments of Mulick, the bext a beauriful View of a River, with
Syms and other Fowls and Filh, fporting as the' Alive, The lait
gives a Profpeßt of the New Palace Yard, with the whole Pro-
cellion of the late Coronation of their prefent Majefties murch-
ing from the Hall to the Abbey,
Note, Half the Performasce can't be in this Adver-
tifement.
Nore, We thow twice yvery Evening the Firft beginning at Five,
the other & Seven.
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 I2S., 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 £10,000, 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]"
unmaskingrobert00houdgoog.pdf,81,,"THE UNMASKING OF ROBERT-HOUDIN
ments headed ""Fawkes 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
This prefent Evening,
Room, over the Piazza's, at the
to the Ray Market, the Famoes, FAWKES pet.
formi molt by Mand, with
Curinution al that Kind, being what has
thew by any of Pelfon with the Agiviry
of
in
Body by before Pitture the Allo or rest performed theye will
be Dunces by twe Poiture ID They
crimm the and ty be bure Foor righ, and Plemy
Dance an tentian with Dis
and but one Body ta the Admination of all ato
Ing and of the Slack Reprain fishio
as war never performed by any other
prec Gly at and th-jors
Day N. Mow the Clentlemen Place abole, and Hours every any
N. may bave: privaté
RE an he
tof this longer whan the Stalon - to that be
Acani ay and Ladies Eancies by Desterity of
Hand for thake owa Diverion
By Permifion,
A
the Chriftian Coffee-houle at Smithfield
Bano the prefent Evening DE will performent
- by Mr. CLENCH of who imiratey the
Hom, Pack of Roundi, the Tham Doctor, old
deungen Man, und the Beits 1 the Doubte Courtel, the Organ
with three Volerity sul are perforged with bis Natural
Volie 4 allo - Ellex song by Mt. Clench, after which ma nare
- can puform.
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]"
unmaskingrobert00houdgoog.pdf,82,,"THE ORANGE-TREE TRICK
that the custom of giving two performances 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 ""in the Long Room over the
piazza 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 clipping of that
date from my collection has the following foot-note:
""Likewise he designs to follow this business no longer
THISTO give Notice, That the famous
Mr. at his Booth in WeR-Smirhield, the
followine moft farprizing Trickt, after a new M. chad, vis. He takes
ao rempry Bag. lays it on the Toble, and tarns it feveral Times infide
ouf, then commanda 100 Eags our of it, and feveral Showers of real
Gold and Silve: then the Bag beginning to fwen, feveral Sons of
wild Fowls ron out of ir upon the Table. He throws up a Pack of
Cards, and carter them to be living Birds flying aholt the Room. He
caufes
be
any
Piltérel. Re living blows Seatts, Likewife the Spors Birds, the of and the other Canda Line Creaturesto off oron, Pofture and appear Mafter, changes upon 4 them the French Ta- to
Scalfold one-far Boy, aborit 9 exceeding Foor Vears bigh; ell of and that Agr. bends who how'd backward perform) in Europe. above till hir whole farprizing Rands Body upon hangs Acti- a
Too
ever He
below his Legs, and rifes again wishnut any help of his Handv. He
himfilf 6 Forte hetween two Chairs, while he plays uport the
ingenious Vialin, Their Hours, Tricks every by if both Day, he was the from upon erformers, 9 in the Slick Morning Kope: redious till here With 9 ar to above Night, too the
100
laft Shows beginnion ar 3. 31 and 7. in the Evening, With . good
Mulick. Pric 12 d.
Clipping 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 I2 pence seemed his favorite
5
[65]"
unmaskingrobert00houdgoog.pdf,83,,"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 clipping 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 hear that young Fawkes and Pinchheck are now arrived in
Town from the Bath and Saliabury; where they have, da the
moft agreeable Mariger, entersained the Nobility and Quality with
their very lurprieing and to whom the Tate
Mr. Fawken, in his Life-tjme, had communicated all thofe wogder-
fal Secrets which gave fuch univerfal Satisfaction to all his Specla
tors : And we are likewife affored, that every Particular is preenvo
in its utmoft Perfection, viz. His Artiticial View of the World
his Turprizing Dexterity of Mand, in which he caufes a Tree to
grow out of a Flower-Pot on the Table, which u Home and bears
ripe Fruit in a Minute's Time; his famous little Pefture-Mafter of
leven Years old, not to be equal'd in Europe, who likewile per-
forms on the flack Rope to Admitation - his enternaining Muncal
Clock, with two beautiful moving Piltures, and an Aviary of Bardr,
ar natural as Life itlelf; alla a curious Venesian Maching, an w'i
by all Artifis to be the fmefi Piece of Workmanfhip in the World;
au which furgrizing Entersalnments we hear will be perf rm'd nex
Week at the late Mr. Fawkes's Theatre, at the old Tennis-Court
in James-fireet near the day-market. 1732
Clipping from the London Post, showing that young Fawkes collaborated
with Pinchbeck and together they offered the orange-tree trick in 1739. 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]"
unmaskingrobert00houdgoog.pdf,84,,"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
As FAWKES, Great Theatrical Booth,
In Weft Smithfield, faceing the White Hart Alt-
konfe near Cow-lane End,
D
URING the fhort Time of Bartholomew-
Fair, which liegins out Monday next, the 23d Triftant,
and ends the Thorfday following, the Publick will be di-
verted with the fediniving Entertainments, which have
gain'd fuch great Applanfe, viz.
Firit, Fawkes's ducomparable Dexteriry of Hand, who
perforins feveral forpriling Tricks entirely new and
very curions.
Secondiy, The amazing Mulical Clock, witli two curious
Miving Pictures.
Thirdiy, The famous yourg Pofore-Mafter, who
vauls the flack Rope to the Admiration of all that have
fech him, and far exceeds any riung of the Kind in Enrope:
Fourthly, The Temiple of Aris, wbich is the fineft Piece
of Workmanibip in the World, the Machmery confifting
of valt Variery of Moving Figtires, and many other inimi-
table Curioliries.
Fiftlily, That fine Piece of Machinery, the Artificial
View of the World, wherelo are Hiww Variery of duffercar
Profpecis; parricniarly the chree following, viz.
. of Windfor Caltle, wich a View of
the River of Tliames,
2. The City of Grand Cairo da Egypt.
3. A Proficet of the Town, Fort and Bay of Gibraltar,
N. B. To begia every Day at Ten in the Moruing and
End at Ten at Niglio
Aus 16 9736
Clipping from the London Post, August 16th, 1736, when young Fawkes was
playing alone. From the Harry Houdini Collection.
Pinchbeck, Sr., died, young Fawkes started out on his
own account. In I746, 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]"
unmaskingrobert00houdgoog.pdf,85,,"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 page 1996 of Hone's ""Every-Day Book"" in the Harry
Houdini Collection. This is a portrait of Fawkes, engraved on a fan by
Setchels in 1721 or 1728. Fans like these were distributed at the Bartholomew
Fair.
authorities say I72I. 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]"
unmaskingrobert00houdgoog.pdf,86,,"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 répertoire 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 I746-47 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 ]"
unmaskingrobert00houdgoog.pdf,87,,"MASQUERADE
Masquerade and opera at Burlington Gate. Reproduction of Hogarth's engraving entitled ""Taste,""
belittling the artistic taste of London. This caricature verifies the Fawkes advertisement, reproduced
on page 64, for here the conjurer is pictured leaning from the window of the 'long room"" and calling
attention to his performances. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,88,,"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 born 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, Born 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]"
unmaskingrobert00houdgoog.pdf,89,,"THE UNMASKING OF ROBERT-HOUDIN
in 1783. His fame quickly carried him to Paris, where
in I784 he appeared before the court of Louis XVI.
His arrival was most opportune, for just then all Paris
I.I.PINETTI
Ritterund Konigh: Freus Hopphyficus
by yeiner infeclungin Hamburg
A wood-cut used by Pinetti during his engagement at Hamburg, Germany, 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]"
unmaskingrobert00houdgoog.pdf,90,,"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
I.I.PINETTI willidal de merdi profes
et demonstrateus de philoso, chevalier de Cordre de pt
argenieur glographe it Constiller der france
prince de hotatein
Orlandle
preidar the and
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]"
unmaskingrobert00houdgoog.pdf,91,,"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 Bartichoff, Volhinie,
aged fifty years.
Pinetti was a man of rare inventive genius and almost
N° a Beduer en and
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 répertoire for
their programmes. Naturally such ability aroused bitter
jealousies, especially as Pinetti made no attempt to con-
[74]"
unmaskingrobert00houdgoog.pdf,92,,"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 Expériences Di-
vertissements, Composées et Executées, tant a Paris que
dans les diverses Courts de l'Europe. Par M. Joseph
Pinetti de Willedal, Romain, Chevalier de l'Ordre Mérite
de Saint-Phillipe, Professeur de Mathématiques et de
Physiques, Protégé 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 Dévoilée."" 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]"
unmaskingrobert00houdgoog.pdf,93,,"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
Decremer
which runs a glass tube to supply
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.""
Decremps's signature writ-
ten by himself on the last
Later it was described as being
page of a copy of his book
now in the Harry Houdini
accomplished entirely by springs,
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 cafés.
[76]
-"
unmaskingrobert00houdgoog.pdf,94,,"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 head! Such lamentations!
No more 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
{ 77 ]"
unmaskingrobert00houdgoog.pdf,95,,"THE UNMASKING OF ROBERT-HOUDIN
8
the
JOSEPH
PINETT!
wh
Day genier placess to bunke de A le Preferrer
PINE T T2) Bown to ample des Arts, does inition
our 2 Phinique or of Medications
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]"
unmaskingrobert00houdgoog.pdf,96,,"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
fromph Pinettin If Hammeth Willed
Pinetti's autograph, written by him on the back of the frontispiece, reproduced
on page 78. Original in the Harry Houdini 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]"
unmaskingrobert00houdgoog.pdf,97,,"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]"
unmaskingrobert00houdgoog.pdf,98,,"THE ORANGE-TREE TRICK
great impetus which was felt for several generations. It
is not remarkable, therefore, that when the French magi-
cian Cornillot appeared in London in 1822 he announced
himself as the pupil and successor of Pinetti. This was
Extraordinary Chemical Iliustrations,
and FEATS or LEGERDEMAIN,
M. CORNILLOT,
PUPIL AND SUCCESSOR OF THE FANED PINETTI,
Seppostfully
informe the of the K tropolia, that be contiones . gire
Every WEDNESDAY,
At the Paul's Head Cateaton Street,
And every MONDAY, THURSDAY, and SATURDAY,
At the Great Room, in Spring Gardene.
AMAZUNG ust
PEILOSOPEY AND CHEMISTRY,
And FEATS OF LEGERDEMAIN,
Whish hore escited the admiretion of the le all - principal Toome of -
-
-
-
-
de
-
Tes GARDEN, eli Ninde of Revers - - Se - - and
-
-
assudy. - the - of - The de dess - .
Novel Sahibilie
GLASS or -
purprising Ibemical
de
PURSTITS MYSTSRIOUS PENDULUN, which - - - -
Theaghte of - Reholders á. "" - pasplesing - gredune - - -
aparationa, b, the ald of -
THE GRAND TRIUMPH OF PINETTI.
OF TUR sum. chich - - - estenales Thestra.
Tes INCONCBIVABLE CHALLESOS or being . encessuive - Incresse of
is - - of
THE GRAND TRIUMPH OF COMUS,
Brough - perfoctice by a. CORNILLOT,
ANAZING PERFORMANCE OF CAUSING A LIVING PERSON
To be is . plase chese be - - beea
Revillimitate Thunder 80 naturally, that it will be thought to proceed from the Clouds
These - be varied t, of lisporiments esth the Presente,
Pome -- Feste of Legordomale, the preseding Eshibitions.
x
-
-
Dotal
-
/ - - de - Preparations - f
Boncer
s. - Opm Pofermances degla precionly, to T. T6,
- Asse, N. - de at - - of - - may le
-
de
Seht 18:11
.. - - - -
Reproduction of a handbill distributed on the streets of London in Sep-
tember, 1829. 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 début,
and on Cornillot'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
Cornillot handbill, the tree now appears as ""An En-
chanted Garden,"" and, if the wording of the bill is to be
6
[81]"
unmaskingrobert00houdgoog.pdf,99,,"THE UNMASKING OF ROBERT-HOUDIN
believed, Cornillot had improved the trick and was using
more than one tree or plant.
Cornillot 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 ]"
unmaskingrobert00houdgoog.pdf,100,,"CHAPTER III
THE WRITING AND DRAWING FIGURE
I
N 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
stern 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]"
unmaskingrobert00houdgoog.pdf,101,,"THE UNMASKING OF ROBERT-HOUDIN 1
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 for 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]"
unmaskingrobert00houdgoog.pdf,102,,"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 literally 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
fix 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]"
unmaskingrobert00houdgoog.pdf,103,,"THE UNMASKING OF ROBERT-HOUDIN
Robert-Houdin injects a little humor into this chapter,
for he relates that as Molière and J. J. Rousseau con-
sulted their servants, he decided to do likewise; so early
the next morning he in-
Lebe hich ulu schoene vited his portress and
Stadt Dresden
her husband, Auguste, a
stone-mason, to be pres-
else Sode
ent at the first perform-
ance of the figure. The
Les Androides
mason's wife chose the
question, ""What is the
vienment reveir
emblem of fidelity?""
The automaton replied
leur pays
by drawing a pretty lit-
tle greyhound, lying on
Specimens of penmanship executed by
the Droz writing automaton in 1796 and
a cushion. The stone-
1906 respectively. From the brochure
mason wished to see the
issued by the Society of History and
Archaeology, Canton of Neuchatel, Switz-
works, saying: ""I under-
erland.
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
208 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]
-"
unmaskingrobert00houdgoog.pdf,104,,"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- owner-
ship of the figure. This writer is the world's greatest
showman, the late P. T. Barnum, 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. Barnum for Mon-
sieur G
, or such a person as Monsieur G
never
existed, for in his own book Mr. Barnum writes:
""When I was abroad in 1844 I went to Paris expressly
to attend the ""Quinquennial Exposition'-a 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]"
unmaskingrobert00houdgoog.pdf,105,,"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 writing. 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 Houdini Collection.
to London, where it was exhibited for some time at the
Royal Adelaide Gallery, 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]"
unmaskingrobert00houdgoog.pdf,106,,"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 liberally purchased, making them prominent
features in the attractions of the American Museum.""
Barnum 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 figure of Cupid as executed by the Droz drawing figure. From the
brochure issued by the Society of History and Archacology, 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 Barnum 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 Barnum, great showman that he was, should
scour Europe for mechanical figures. Soon after he
purchased the writing and drawing figure claimed by
[89]"
unmaskingrobert00houdgoog.pdf,107,,"THE UNMASKING OF ROBERT-HOUDIN
Robert-Houdin, he brought to America a talking figure
invented by Professor Faber of Vienna, to which he
refers most entertainingly
PALAIS ROYAL,
in his address to the pub-
Argyll Street, Oxford Circus, W.
lic dated 1873:
TALKING
""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-
MACHINE
less variety of curiosities,
1
Thc Exhibition is not limited to simple talking. but is enhanced by an
including numberless au-
esplanstora description of the method of producing the various sounds,
words, and sentences, visitors alsc-being aliowed to inspect every part of the
Machice. It is rot only interesting to the Scieutific as illustrating the theory
tomaton musicians, mech-
acoustics, bat to the Rublic in general, especially to the young.-to
whom it offers an ineshoustible fund of wonder ald
EXHIBITING DAILY From 11 a.m., till 10 p.m.
anicians, and moving
Admission, 1s. Reserved Seats, 2s. Children, 6d.
scenes, etc., etc., made in
Hanger advertising the Professor Faber
Paris and Geneva.""
talking machine, exhibited by P. T. Bar-
num during 1873 in his museum de-
It can be imagined how
partment. This automaton was the first
talking figure. From the Harry Houdini
wonderful this talking
Collection.
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]"
unmaskingrobert00houdgoog.pdf,108,,"THE WRITING AND DRAWING FIGURE
the bill used at the time of its appearance in London,
England.
When Barnum 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.
Barnum 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 Barnum 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 ]"
unmaskingrobert00houdgoog.pdf,109,,"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
PTS JAQUET DROZ.
automaton.
The writing and draw-
of
ing figure claimed by Rob-
othe tres humble Soumm's
ert-Houdin as his original
invention can be traced
ph e
back directly to the shop
door of Switzerland's most
Portrait and autograph of Pierre
noted inventor, Pierre
Jacquet-Droz Born 1721, died 1790.
From the brochure issued by the
Jacquet-Droz, who with
Society of History and Archaology,
Canton of Neuchâtel, Switzerland.
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]"
unmaskingrobert00houdgoog.pdf,110,,"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 Neuchâtel, Switz-
erland. According to some authorities, his father was
a clock-maker, but the brochure issued by ""Société
d'Histoire et l'Archéologie"" of the city of Neuchâtel, 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 ]"
unmaskingrobert00houdgoog.pdf,111,,"THE UNMASKING OF ROBERT-HOUDIN
At this time his work attracted the attention of Lord
Keith, Governor of Neuchâtel, 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
Henri-Louis Jacquet-Droz, son
Spanish monarch he returned
of Pierre Jacquet-Droz, and the
to Switzerland to find that his
superior of his father as a mecha-
nician. Born Oct. 13th, 1752, died
son, Henri-Louis, had inher-
November 15th, 1791. From the
Jaquet-Droz brochure, issued by
ited his remarkable inventive
the Neuchâtel Society of History
and Archaeology.
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-
Frédéric Leschot, Jean-David Maillardet, and Jean Pierre
Droz, a blood relation who afterward became director of
[ 94]"
unmaskingrobert00houdgoog.pdf,112,,"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
Jean-Frédéric Leschot.
Born 1747, died 1824. Por-
spent in perfecting the various
trait published by Société des
Arts de Genève. Presented to
automata, and none of them
the author by Mons. Blind
(Magicus) of Geneva.
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 Archaology, Canton of Neuchâtel,
and an article contributed by Dr. Alfred Gradenwits
to The Scientific American of June 22d, 1907, the
95 ]"
unmaskingrobert00houdgoog.pdf,113,,"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 with
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 off
an excess of ink and
slowly and calmly,
like an industrious
child, begins writing
on the paper the
prescribed sentence.
His handwriting is
careful, conscien-
The Jacquet-Droz writing automaton.
From the brochure issued by the Society of
tiously distinguishing
History and Archaology, Canton of Neu-
châtel, Switzerland.
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 Neuchâtel. In order, for in-
[96]"
unmaskingrobert00houdgoog.pdf,114,,"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
writing the original ground stroke.
""How complicated a mechanism is required for insur-
ing these effects 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 circumference 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 ]"
unmaskingrobert00houdgoog.pdf,115,,"THE UNMASKING OF ROBERT-HOUDIN
View of the mechanism which operates the Jacquet-Droz writing automaton.
From the brochure issued by the Society of History and Archaeology, Canton of
Neuchâtel, Switzerland.
[98]"
unmaskingrobert00houdgoog.pdf,116,,"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
confrères were exhibited in all the large cities of Great
the Greas Koom, No. 6, King.
Covent Carlen, to be This Day,
SPECTACLE MECHANIQU
WECHANICAL EXHIBITION, From
7776
in this Exhibition it rivaled by Atts ons
writri whatever le diétated to it, another drawsg
and finillics in a maiterly Mannir feveral curious De-
agna; mother plays divers Ain on the Herplichord,
There is alfo a Pafforal S ene, in which is introdued
* great Number of Figures; the Trees and
bear Fruit, the Sheep bleat, the Dog barks, and the
Binde fing: lo diffinety imitation Nature that
they exceed every Ascount that ean be given of thera,
not anly for the Variety but for the of their
different Operations. Their Mechanifm every
Thing that has ever appeared, infomuch that it may
be faid they will Ípeak for themfelves.
The Tidte of viewing it will be from Twelve to
Oue, from One to Two, from Two to Three, and la
the Evenin4 from Seven to Eight, from ight to Nine,
and from Nine to Tea.
Mr. JAQUET DROZ, the Iaventor, will attend
en Eleven at Niglit, in ofder to accom hodale thoft
Ladian or Gentle that may chule to lee this Exhi-
birth after the Hour of Ten.
Admiftance Five
conunted every Day, and
Clipping from the London Post, 1776, advertising the writing and drawing
figures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry
Houdini 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]"
unmaskingrobert00houdgoog.pdf,117,,"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 George 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 Archarology. Canton of Neuchâtel, 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
[ IOO]"
unmaskingrobert00houdgoog.pdf,118,,"THE WRITING AND DRAWING FIGURE
the most natural manner imaginable. Upon the whole,
the united collection strikes us as the most wonderful
exertion of art which ever ""frod before so close on the
heels of nature. The ingeniou; artist is a young man,
a native of Switzerland.""
The inventory of Jacquet-Droz, Tr.; dated 1786,
quotes the ""Piano Player"" as valued at 4,800 livres, the
""Drawing Figure"" at 7,200 livres, while the
had been ceded to him by his father for 4, 800- liyres, in
consideration of certain improvements and modifications
which Henri-Louis Jacquet-Droz made in the original
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
under 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, like the proverbial Arab, he silently folded
his tent and stole away, leaving the automata to their
fate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in
1791, 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
[ IOI ]"
unmaskingrobert00houdgoog.pdf,119,,"Performances. The utmoft Efforts of Imitators have not begn able to produce the Effect intended; and he is too
grateful for the liberal Encouragement he has received in the Metropolis, not to, caution the Public againit thofe
purious Copies, which, failing of the Perfection they iffume, can only difguft and difappoint the Spectators.
M. D.E PHILIPSTHAL
Will have the Honour to EXHIBIT (as ufual) his
Optical Illufions and Mechanical Pieces of Art.
At the LYCEUM, and at no other Place of Exhibition in London.
SELECT PARTIES may be accommodated with a MORNING REPRESENTATION at any appointed Hour, on Sending timely Notice.
To prevent Miftakes, the Public are requited to Notice, that the PHANTASMAGORIA is on the Left-hand, on the Ground Floor, and
the
en the Right-hand, up Staise,"
unmaskingrobert00houdgoog.pdf,120,,"The OPTICAL PART of the EXHIBITION
Will PHANTOM or AUTARITIONS of the DEAD or ABSENT, in a way more complestely illufive than has ever been offered
to
the
Eyc
`public Theatre, as the Objects freely originate in the Air, and unfold themfelves under various Forms and Sizes, fuch as
has hitherto painted them, occafionally affuming the Figure and moit perfea Refemblance of the Heroes and other diflin-
guifhed of paft and prefent Times.
This SPECTROLOGY, which profelles to expofe the Prañices of artful Impoftors and pretended Exorcifts, and to open the Eyes of thofe
who abfurd Belief in Grosts or DISEMSODIED Spraiti, will, it is prefumed, afford allo to the Speclator ao interefting and
pleafing and in order to render thefe Apparations more interefting. they will be introduced during the Progrefs of a tremendous
Thunder Storm, accompanied with vivid Lightning, Hail, Wind, &c.
The MECHANICAL PIECES of ART
Include the following principal Objeat, a auere detailed Account of whith will be given during their Exhibition: vis.
Two elegant ROPE DANCERS, the one, reprefenting a Spaniard nearly Six Feet high, will difplay feveral Monifhing Feats on the Rope,
mark the Time of the Mulic with a fmall Whiftle, fmoke his Pipe, &c.-The other, called Pajanzo, being the Figure of a young
fprightly
Boy.
will furpafs the former in Skill apd Agility.
The INGENIOUS SELF-DEFENDING CHEST-The fuperior Excellence and Utility of this Piece of Mechanifm i., that the Proprietor
has always Safe-guard againft Depredators; for the concealed Battery of Four Pieces of Artillery only appears and difcharges itfelf when
a
Stranger tries to force open the Chett--This has been ackmowledged by feveral Profeftional Men tp be a of Machanifu, and may with
equal Advantage be applied to the Protection of Property in Counting-houfes, Poft-Chaifes, &c.
'The MECHANICAL PEACOCK, which fo exaCily imitates the Actions of that ftately Bird, that it has frequently been thought Alive. It
eats, drinks, &c. at command, unfold its Tail in a beilliant Circle, and in every refpeat feems endowed with an intuitive Power of attending to
the Thoughts of the Company.
The BEAUTIFUL COSSACK, enclosed in a (mall Box, apens it when ordered, and pecfents herfelf to the Spectators in a black Habit
which, as foon as defired, the changes with aftonifhing Quick lefs into a moit Elegant Gala Dreís, compliments the Company, and dances
after the Manner of the Coffacks; the will alfo refolve different Queftions. Sc. G.
The SELF-IMPELLED WINDMILL. which is put in Motion, or fands All by the moit momentary Signal from- the Spectators, and in à
Manner which apparently does away the Ides of all Mechanical Agency.
The whole to conclude with a fuperb OPTICAL and MECHÁNICAL FIRE-WORK, replete with a Variety of brilliant and fanciful)
Changes.
°1° Doors to be opened at SEVEN 'Clock, the Commencement at EIGHT,
BOXES, 4s.-PIT, 2S.
YOUNG, Printes Er ses Sireet, Covent Garden.
A de Philipsthal programme of 1803 before the writing and drawing figure came under his control.
From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,121,,"THE UNMASKING OF ROBERT-HOUDIN
them, so their great value was never realized by his
family. After his death, during a voyage to America,
UNDEA THE SANCTION or
they lay neglected in the
ass aoval LETTERS
PHILIPSTHAL and MAILLARDET's
castle of Mattignon, near
Royal Museum,
Bayonne. After changing
FROM LONDON,
hands many times, about
-
-
-
-
-
-
Will Opee for Pablic Isepectica,
At de ASSEMBLY ROOM, BRIDGWATER.
1803 they passed into the
O. FRIDAY the 99d. of MARCH instast,
- a - - che - - - provide de alle -
hands of an inventor named
of - - INGENIOUS MISCES of
Martin, and were controlled
,
by his descendants for nearly
asvas sereas "" Tate PLACE,
-
a hundred years. One of his
SUPERI
family, Henri Martin, of
Musical Automaton.
.
Dresden, Germany, exhibit-
Aire
-
-
-
THE MECHANICAL.
ed them in many large cities,
Drawing and Writing-Master;
uma soe. de - - the n -
and advertised them for sale
-
- The - - - - Pase -
-
An Old Necromancer,
at 15,000 marks in the
- b . - - - - - -
example - - - -
A NOST
Muenchener Blaetter of May
BEAUTIFUL GOLD BOX,
- - le - - or PARADESE - - - - -
et
13th, 1883. After Martin's
- -- - - - - - - -
- - - - - - - The -
-
THE LITTLE SPANIARD,
death, his widow succeeded
- - BANCE - nat as AT CONMANO, The -
- - - - "" - in - - - - -
-
A BEAUTIFUL SOURIE DO'R,
in disposing of them to Herr
ser IN PEARES
-
-
-
- la - - - -
- - - Direction, - Om
Marfels, of Berlin, who had
AN
ETHIOPEAN CHENILLE DOR,
BEAUTIFULLY ENAMELLED
them repaired with such
AND
A TARANTULA. SPIDER:
good results that in the fall
- - - - - - - - -
as from to Fur 2.
- - - I - - - of
of 1906 he sold them for
The f , se - the Recoing, - de la. -
-
-
75,000 francs, or about
& - -
$15,000, to the Historical
Poster used, March 29nd, 1811,
Society of Neuchâtel. In
by de Philipsthal and Maillardet dur-
ing their partnership, on which the
April, 1907, the writing fig-
writing and drawing figure is fea-
tured. From the Harry Houdini
ure, the drawing figure, and
Collection.
the spinet player were on
exhibition in Le Locle, Chaux-de-Fonds, and Neuchâtel.
[ IO4 ]"
unmaskingrobert00houdgoog.pdf,122,,"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 Neuchâtel 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 rôle 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 ]"
unmaskingrobert00houdgoog.pdf,123,,"The Conve
The be TU
de Polite
the
Opens évery ant de
Performasca
41 Jour passa em pegins at (glu
HESE Arch admitred Pieces of Mechanisan,
whied not hunian trat
to possesé al consile of
4 Figure, a hoy ef tom
be brom - and apt to
seurd
a round,
The Modalai ed
lowing the Perter,
gate and an - - thir Dour
apem, the and auy a Geb
Toy whaterier Vroit they and det
asal bring the Rhid
be
- the as often as Lie
ampo
DE
a
- valled for, / the are drompa un) and
be given in charge to a Warch Dog, in
and en any pegson away or tenching
them witt begin (o-bark, and contique to do so they
are The Thent Figarre to thes Re
the which WH be
frombelind the Home, will enter the Door, the
Chiningy, and giva the of -
reveral timesy the and corrie wirk
in Bag firti of
The LIQUOR MERCHANT und WATER SERVERI
Theie are on a Platform of bet square, which
(as the former Piéces) will be placed on a Table, The
Liguor Mercliaut stands nt DE small Cask, from which a
will drivie every kind of Spiras, Wine, &c.
The a and
Tumbler with Water, - enlied for. -Fourth,
THE. RIGHLANI
A Figute in the Dess, stands on a Time-guere
and Hour wnd Mrouter whewey by SIPIN
big its on/a Trege: a Answer
(by motion) to
(n Aridimetic, and gives the jaistantly as any
of Pounds, Yards, Ac, any given Price: beats
Time to Muic, &c.
STable the different Places with Demplaced on, con-
tains an ORGAN, on which the Proprietor intradaces n.
lew) Notes: also, The MACHINE
ORGAN, will play occasionally Neveral Pleces of Music,
Airs Country Dances, Re.
Mr.HADDOCK flattere himself THE ANDROIDES
will be found niore exizious than any
éver before offered to this Principtes of
entituly The Theatre is seatis, fired
and every thing calculated to MA e to -
polite and discerning Audience
Hoses 4s. Gaflery -
Admittance, after the Two Half Price,
The lass netoly Two
Haddock advertisement in the London Telegraph, January, 1796, in which
he features the writing automaton as an androide. From the Harry Houdini
Collection.
[ 106]"
unmaskingrobert00houdgoog.pdf,124,,"THE UNMASKING OF ROBERT-HOUDIN
In quite a few works on automata, notably Sir David
Brewster's ""Letters on Natural Magic,"" Collinson is
quoted as having interviewed Maillardet as the inventor
of the combination writing and drawing figure. The
Franklin Journal of June, 1827, published 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
RATIONAL ENTERTAPNMEN'PS during
LEPSTAL and AUTOMATICAL
THWATRE Strand, will open svery
Eventeg: The l'erformances consist of a grost many loge=
tion. n pircesol For further Mechaniser- perticolars with the and see highese Optical hand Recreations, bille The apprubs- whole which
ous
marks of
under the Mr. LODIS, Asaistanc Engineer, who
will his otmost exeratona to promate the
Proprietors. that of offering to an enlightened Public a
Conraé of of a,superiar natuze,
35. Ph Cattery
and bayin preciedly at 9. Places for the Boxes may DU taken
at
march1812
Clipping from the London Telegraph in March, 1819, proving the partner-
ship of de Philipsthal and Maillardet in an ""Automatical Theatre."" The Mr.
Louis 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 ]"
unmaskingrobert00houdgoog.pdf,125,,"Ebeatte,
Mr. Louis's
ROYAL, MECHANICAL, and OPTICAL
Darhibition
wall continue open Four Nights longer only, with the Addition of a New Pirca.
Monday, April 1,1815, Wednesday, Thurday and Friday following,
the 5th, 6th, and 7th.
And, in erder to make his Exhibition mill more wartly of the Public Patrosage, the
Proprietor bege leave to inform them, that, in Addition to the whale Selection already
exhibited with UNBOUNDED APPLAUSE, he will introduce, every Evening,
A SUPERB MECHANICAL
Peacocl
AS LARGE AS LIFE,
In its Natural Plumage!
Which imitates, so closely, the CRIES, ACTIONS, and ATTITUDES of that stately and
beautiful Bird, that it is not unfrequently supposed to be an absolute living Animal.
properly trained to act as as Amasing Deception.
Ahbongh - Description cas property itlestrate these . Ast. yet to merey to the
pablic sa des of their and of the imitative powers with waxh these Figares -
esplanation mbitted, they exb.bited the follewing -
"" are . manaer
TWO ELEGANT AUTOMATA,
As large as melare, the - . POLONNESE, the - . sov.
Nething cae the adroicable of these Pieces. The large Figure - alment
with bumse Faculties, eshiliting the esual feste of . Mope- Dancer, in the felless of hfs. The -
Figare . envested with equally astonishing powere of activa. To sech ledice - are spectasore it - be
.
very that these exertious do not escite thowe - whird arese
the aight of Pigares freught with lite. performies feas ettended with - mech dange.
A Superb MUSICAL LADY,
Represeeting the BELLE BOXLANE, whe pleye with the grentess preceise Sistere Arra, every -
preveede
frove
the
presere
of
the
and
feet,
-
the
apprepriate
keys,
-
keing
persea,
with
the
of her besd. eyes, and eye-hds, . directed to the heye. The compect and well preperticeed forma,
and easy enaffected air of thie Female Figure, have been gvessly and considured by
the very best jedges - happy combission of the asta of Desige - Nechaniom, whish predeces . the
same tiase the of respiratice.
THE MSCHANICAL
DRAWING AND WRITING MASTER,
A JUVENILE ARTIST. The figure of Ecy, who, with every actice of resi life will escrate is presence
of the compeey, of Drawing and Vriting, seperier - the best of the - if
Sigure
were
destatute
of
""
weeld
be
picteresque,
but
whee,
wsth
the
case
and
of
well
educated youth, "" saites the power of produciag such perfect imitation of estere, as almet se - the
Gree's Mythology. whee spesking of figures formed est of sordid clay. which, by Premethers,
atarted isto life and, extreerdisary as the fable apprera, it ie equalled, it not by the wenderfal
of thie ógure.
AN OLD NECROMANCER,
- fairly be decominaled the Brisad Enchänter, for few af the fabled vales comcersing the -
of these purking - "" their native groves of Preidical whene vagie quella impred
every bregh, could - bryand the realities of the whe the ques-
that are - him. with the precition of - Oracle any from the
apisité - - - the anciest - for this sapient Sine's Decisione origisate
in of the perhanical powers,
The Liute @paniarb:
This ragalated by mutic, le which be Weape sime with eritical
and
exactass. The agility at this he are fermed with
- by which it the ef making harre.
and acimity. of the whinh is - will gire the
* ides et the of the
A BIRD OF PARADISE,
Sapers Cold - - te ler in
- bea. The - of die piece af reay le - and
for delinacy of
- de - Orginal, - - d
decience of Optics.
The Proprister - - . of IDEAL PERSPECTIVE
PROSPECTS of the ELYSIAN FIELDS,
And other vnews. The effert predured, - if lighoqued by the Mees, is whoch ERIAL
SPERITS and SHADIS of great - will -marge - being - pisce of the Scieace of OPTICA,
and of whiph the - dert of - - - - to predace the hs.
The whole to seità - s - of brillions Nechonical and
Fire-Works,
A Louis programme of April 3rd, 1815, in which the writing and drawin
figure is advertised as a juvenile artist. It also features a bird of paradi:
automaton which Robert-Houdin claimed to have invented thirty years late
From the Harry Houdini Collection.
[08]"
unmaskingrobert00houdgoog.pdf,126,,"THE WRITING AND DRAWING FIGURE
tasmagoria."" The nature of the inventions grouped under
this title can best be judged from the reproduction of a
De Philipsthal 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 billing, acted as assistant engineer to De Philipsthal
and Maillardet. Louis evidently controlled the wonderful
little automaton in the years 1814-15.
The last De Philipsthal programme in my possession is
dated Summer Theatre, Hull, September 15th, 16th, 17th,
18th 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 Théâtre
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 ]"
unmaskingrobert00houdgoog.pdf,127,,"THE UNMASKING OF ROBERT-HOUDIN
Theatre, Wakefield.
with the original and
THE LAST W.
genuine writing and
ROYAL MECHANICAL 4 OPTICAL
MUSEUM.
drawing figure. It
now CARRIED ob vom THE - of THE
WIDOW and CHILDREN
seems to have lacked
OF THE LATE MR. PRILIPSTHAL
- P. - - - - - of Webofuld, - - -
- - - - recefted bage . - * da be
legitimacy and, from
a Monday, - April,
CLOSE - - lat De
the - -
what I can learn from
MECHANICAL PIECES.
- - - - - - -
1
-
-
-
-
-
-
-
-
-
newspaper clippings,
EXECUTION
wasworkedlike ""Zoe,""
mamn ar
with a concealed con-
or THE LITS sauprio os
Mount Vesuvius.
federate, or, like the
vige TAEEN n REPRESENTING
famous ""Psycho"" fea-
HE
THUILLERIES.
with THE orea THE airea BRING
visw oe
tured by Maskelyne, it
JER USALEM,
With the Mount of Olives,
was worked by com-
-- - - The Viee
.
-
The Ancient GATE at Southampton,
pressed air. This bill
Colled - Londing -
is interesting solely be-
-
vas PALACA oe THE LATS
cause I believe that
Emperor Alexander.
2r our ras asvea REVA
this fake automaton
- PINS or THE
Suspension Bridge
exhibited at 161 Strand
OVER AN ARM OF THB SEA AT MENAL
COUNTY or CARNASVON TEAT or
was the first figure of
-
the sort foisted on the
CROTESQUE BALLIST. rue
FAIRIES' MIDNIGHT REVEL,
a, of hasy -
public after the Baron
The Tragic Scene of Cornelia,
The
Super
""
-
whe
auaso
ALIVA,
la
- of - Romee
Von Kemplen chess-
Marvellous Tomb Scene / !
player, which is de-
- - - a - Qoona, - - Prisco of - -
The
-
-
-
Automata Rope-Dancera,
scribed in Halle's work
EN FULL IMITATION or ure,
- - Ame -
HYDR.UULICS
on magic, published in
allo
1784.
HYDROSTATIC EXPERIMENTS,
Fire aus
- -
In 1901, while in
FIREWORKS,
Germany, I saw a num-
waice
F-
-
ber of these automaton
le - .
. - SICHOLA, - - -
-
- - - - - - - -
-
Bexea, 6d.Pli, -Gellery,
ed.
artists, all frauds. The
. - - - -
BICHARD
figure sat in a small
IIO"
unmaskingrobert00houdgoog.pdf,128,,"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
the Triump of Mechanisu.
NEW . EXHIBITION
IN THE WESTERN EXCHANGE.
THE
AUTO.MATON
ARTIST.
IL ENTRANCES TO THE EXHIBITION
ARE IN
Old Bond Street & in Burlington Arcade :
Open from Ten o'Clock till Dusk.
Admittance to see the Performance, 1 Shilling.
Profile Likenesses, 18. 6d. in addition.
o
The Proprieters conceive that an Automatical Figure, accurately effect
ing that whuch has bitherto required a powerful ment. exertion, and a
correct eye, needs no further introduction of its extraordiuary quality, than
ao intimation of the fact, that it is
THE ONLY AUTOMATON
IN THE WORLD
THAT TAKES LIKENESSES.
Without further comment, the Proprietors merely add the information, that-
this Figure exerutes a Profile Likeness, sue one minute, from any person who
chooses to Nt. The Automaton will, if required, take the Profiles of Busts
of Public Characters, which are placed in the Roum, and which will enable.
persons, who may doubt the possibility of apy mechanical contrivance taking
an accurate likeness, to compare thein with the originals.
Inncs, Printer, 61, Wella-s. Oxford-st.
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.
[ III ]"
unmaskingrobert00houdgoog.pdf,129,,"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 later
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]"
unmaskingrobert00houdgoog.pdf,130,,"THE WRITING AND DRAWING FIGURE
ADMISSION REDUCED,
Bores, 2..-Pil, la.-Gallery, 6d.
PORNING ons SEILLING sacm.
By Permission of the Right Worshipful the Mayor.
The Nebility, Gentry, and Inhabitaste of Hull and its Vicinity are most respoctiolly
informed that the Grand
MECHANICAL AND
Magical Theatre,
(FROM THE GOTHIC HALL, ITAYMARKET, LONDOX.)
IS NOW OPEN EVERY DAY AND EVENING,
AND witl. CONTINUS ao voa A SMORT TIMS ONLY,
ATT THE APOLLO SALOON,
Nexty erected by Mr. Kirhwood, at the y Wellinglon-Strees,
QUEEN-STREST, NULL.
THE AUTOMATA COMPRISE THS FOLLOWING AUBJECTS:
The Juvenile Artist!
Whese in DRAWING and warmino (alterestely) ie the presence of the Compeay, defy all essempte
regard thew beauts sed of dealge ... -
the
of
an
Yeare )
THE MUSICAL LADY,
de performe agee - siegses Seger OROAN, of plessing Airs. The of her -
- of the .... feit "" arearing Aderrent She bows gracefully to the Audieses, hee
""
- the leago, sele . predessé b, the of ber Segen, esta the escoptee of Sele -
- - played 3, the fost
Dawona,
- serpase, is sed ever, Prefesses of the ant hooping
correst to the Nome of the
THE MAGICIAN,
the selovest ... delight. b, the eages be reteres to every
pregessé le - The of the bitherle pussied all the first. reste à
TAS
WALKING FIGURE,
moriag b, Ite see eseltee ise serpeise, It ever Assn Deje to . thing etterly
- cort to predese égare expeble a
A MAGNIFICENT CLASSIC rase!
NADE FOR THE EMPEROR NAPOLEON.
A BOLDES
TWO SIBERIAN MICE.---AN EGYPTIAN LIZARD.
An Ethiopian Caterpillar. A Tarantula Spider.
A BEAUTIFUL HUMMING BIRD:
- - of T.es e.ebly - ... sed other precion asd le the
4 sevemests eftea dessivo the bebeider
no - de , the of -
BELF-ACTING PIANO FORTE.
TES STAGE PERFORMANCE WILL COMMENCE WITH
RAMO SAMMEE,
Litte Figere - corrent'y estera "" the time "", .. pereese eill also weipher -
also - the of ea, bee bese drees *** - pech.
The Enchanted Dutch Coffee-House,
,
- - . the Trevellers visging the SeM the doos opres-the attesde .. pree.dee enth -
be may - ler.
THE CABINET OF SAFETY,
de - of eas . - be . the of the the conteste will ebsage
A
desees
sele
esther,
""
beb.ed
the
BAGRO
,
. Conto - - the gech sed - therete "" , - planed the Marg and will immediately appees
vhee
called
far.
The Bottle of Sobriety and Juebriety,
Proving the restality de of Densatera, Lizem ... be procesed b, ....
tas NAGICAL TC4 cadore,
des - "" Article, tocke ... . the other # le
there,
.
the
Dead
...
other
AN KTRAORDINARY GLASS PILLAR,
- -
EXPERIMENTS IN ELECTRICITY.
The Englich whe will ducharge "" Camon sithout the see of ,
An entettaining Experiment with Two Electrical Vases;
The gower 4 ever the Vegressie hingdem. prefecing a Crop of Balled le before
the cyse of -
THE UNFORTUNATE MAGAZINE,
- "" - - le - of the Thessor Cleed ent ... we ate - ns
of - .... , "" bet the -
- des the condector - mere sived, - the
- le - aget of -
'rogramme used by Mr. Schmidt in 1827, when he had possession of the
writing and drawing figure. From the Harry Houdini Collection.
8
[ 113]"
unmaskingrobert00houdgoog.pdf,131,,"THE UNMASKING OF ROBERT-HOUDIN
their inventive genius and efforts. Modern mechanicians
agree that such a performance would have been a physical
impossibility, even had Robert-Houdin been the expert
mechanician he pictured himself.
To sum up the evidence: The writing and drawing
Splendid and Unrivalled Exhibition !
(Fer . Shore peovions . is resoval - a
The Nobility and Public are respectfully informed, that
A MOST MAGNIFICENT AND COSTLY COLLECTION OF
Mechanical and Musical
AUTOIATONS!
IS NOW EXHIBITING AT THE
New Gothic Haymarket,
ADJOINING THE LITTLE THEATRE:
TOGETHER wirh A
GRAND DISPLAY OF ANCIENT ARMOUR :
Which carrounds the spacious and desoreted Mall.
Also
. Model of . MAN OF WAR, of Ninely-Four Guns,
Of the most exquisite Workmenship, and Copper-Bottomed!
The
whouk the - Instructive and Ammoing ever le -
THE MECHANICAL PART
or this truly conderfel and exchenting which las beea with the
avent distingushbed Patromage, in Paais and other parts of the comprisse the bullowing
ABTIOU!
These Performancea in DRAWING - WAITING la - of the Company, defy ell .
kaph at in regard to marn, and of and This rich
the of MECHANISN . sonderfally thet the motion - # -
guat, saj oppropriele system efeperations, will ever readee "" - of the highest interest -
The fusical Lady !
Who performs, apon sia olggent Finger ORGAN.: variely of pire-ing Ain. The fas inating of bee
and lovely motion ofthe Eyes, arver to securing bes She boes gracefully to the acdicace bes beaves,
uf materally b, the leage and every note is produced by the touch of act Sager, with the
lica of pata, and charge, which are played by the
The Rope Dancer !
Wheed surpricing apoe the Tight Rope surgess, to - attitudes, and reclurions, every et the
Art heepios correct timse to the Munie of the Mechinery
Ebe
Whene exeite the gresteet and delight.br the regacious be returne to every
prepesed le his The essetrection of thus wonderfel seif- acting Fagure has lutherte pessied all the
is Europe'
This
estraerdisary
Figur,
moves
by
afe
ova
povera,
in
every
direction,
the
gresteot
corgeise
.
asving ever by the most intelligret - basical to be utterly impossible, by amy work of -
to produce will- aving ligure capable of *
Also, a STBERTAN MOUSE! set with Prarb.-As ETHIOPEAN CATERPILLAR! of richly n
avelied Gold.-The TERRANTULAR SPIDER! I-A beautifel HUMMING BIRD! that the
- melodicus Notes. EGYPTIAN LIZARD! of exquisite workmanship. en fine Gold, ac.
THE WHOLE EXHIBITING. by their exact Imitations of ANINATED NATURE, the most surpre
lag Powers of
N. a. The Visitore will bave the of imprettag the very eurious and compliested by whesh -
reljjects le this have boca progressively bronght to sech inimitable
Opre from Eleure will and from Sever till Ten in the Ewning.
ADMITTANCE, 2. CHILDREN, la-TICKETS FOR THE SEASON. 6a.
Na the - the Nachioory. REPASRE sc.)
MAVELL sed 6 Prieters, No. 79,
Poster used by Mr. Schmidt in advertising the writing and drawing figure
in London just before his departure for St. Petersburg, Russia. From the
Harry Houdini 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]"
unmaskingrobert00houdgoog.pdf,132,,"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.
[115]"
unmaskingrobert00houdgoog.pdf,133,,"CHAPTER IV
THE PASTRY COOK OF THE PALAIS ROYAL
ONCERNING 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 I796.
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"
unmaskingrobert00houdgoog.pdf,134,,"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 Royal"" 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
[ 117]"
unmaskingrobert00houdgoog.pdf,135,,"THE UNMASKING 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
Take Totice!
The Magistrates of Southuark
Rove sindly given to Nr. BOLOGNA, 10 and
thoir
At the Great Assembly Room,
Three Tuns Tavern,
His Grand Mechanical and Aufomaticel
Which àss he - Years heen unrivalled,
AND SANCTIONED BY THE LOKD .CHAMBERLAIN,
Al-e receired wirk the most and distiaguisbed Approbation.
Mr. BOLOGNA impressed with . deep - of the anny faveits be for Yeer received,
From . liberal Public, availe himiself of this la offer a Entertainment which -
quite distinct from that of . Theatries Demeription, A from its harmales tendency, je peculiarly
the attract the Nutice and Support of theme whowe religiona forbid thew
Participation in of a marked and decimive Character.
This Present FRIDAY, March 10th, 1820,
And Every Meilnesdag * Friday During Lent,
The beea fitted up for the Reneption of the Public
The will with the fellaring Carious Piecea of Aninated Objents
Mechanism Clockwork.
PART L-A Windmill.
That will Gried mait any Carf chumen by the Company, with a Variety of Performances by
Clock Muvement, Deceptiona with Buans, Watches. Ac.
2-1 Cabinet of Peculiar Construction.
By which will Le Preduced . Variety of Deceptions with Cards
a.-An Automaten Figure representing a Necromancer.
Who will explain the Thoughts of auy ludividual in Company.
- 4-A Distiller whe Stands by his Tus,
From which, n Command, he Drawa Eighr Didereal Sorte of Léquar.
3.-1 curious Mechanical Frailerer and Confecsioner's Shop.
Compit. whe will produce at Command, esch Variety of Freit A
as may be usked for. PART 11.
OMBRES CHINOIS; or, CHINESE SHADOWS,
la which the following Sqapes will be inteedeced.
a
The MAGICIAN'. CAVE, wherein enveral Tricks & Netamerphoses will thke Plece.
2
REPRESENTATIO of . FOREST. in which will be intreduced the mont Vonderfal
species of Natural History. To each of the Quadrupeds the most perfict and
Animation'will be given.
a
esd DUCK SHOOTING.
4 A much-edmired TIGHT-ROPh DANCER, with the HUMOUROUS CLOWN.
a
COMICAL INIFE-GRINDER, with e Seng.
PART Whele to conclude wita . brillians and fascinating Courree
Artificial or Mechanical Fire-Works!
Introduced in an appropriate Elegant Temple in a Garden Scens, pourtraying
Innumerable Changes, an luvention alone sufficient to create Attraction.
Doore open as 7 and bagiu 7 Seate 24. 6d.-Second Neate la es
Ticket to be had of Mr. TAYLOR, at the
Bes.
T.
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
[ 118]"
unmaskingrobert00houdgoog.pdf,136,,"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 répertoire
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 1815, when Garnerin features
it as ""The Dutch Coffee-House."" On the programme used
by Garnerin in that year for a benefit which he gave for
the General Hospital at Birmingham, England, it is feat-
ured as No. IO: ""A Dutch Coffee-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 répertoire. In fact his fame is based on his
[ 119]"
unmaskingrobert00houdgoog.pdf,137,,"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 limitation of the one
which Garnerin arranged
in honor of Bonaparte's
coronation in 1805. On
that occasion the balloon
started at Paris and de-
scended in Rome, a dis-
For the Benefit of the
tance of five hundred
General Hospital
miles which was covered
This present TUESDAY, October 10, 1815.
in twenty-two hours.
AN
EXHIBITION
Garnerin was a con-
THE
WONDERS OF
temporary of both Pinetti
Art and Nature,
and Robertson and was
M. GARNERIN,
with them in Russia
AND M. DE LA ROCHE,
IN THE GREAT ROOM. AT THE
SHAKESPEARE TAVERN,
when Pinetti dissipated
his fortune in balloon ex-
1.-TWO BEAUTIFUL FIGURES,
or - playing on the FLUTE, which by the - chilfel Combination, perfores
-
Instrument,
and
either
alome
any
of
the
musical
Piecee
contained
be
Thay resuma, or change Tunes, . the - of the Specistora The Metions 4
periments. In their cor-
the Heed, Fingere, and Egre, are plainly -
9-THE THREE VASES,
Thet Light, Estinguish, and Re WAX TAPER.
3.-TIE. CANARY FIGURE,
respondence, both Pinetti
e
Masterpiere of the meat prefound mechamirel
TINDER nox.
and Robertson spoke
la the EVENING at Half past SEVEN, in Addition to these vederful Performancoa, pill be theve
Veriety of Tricks with Cardo, and-3, the
Ascension of a Nocturnal Balloon,
slightingly of Garnerin,
le Imitation of the one M. - from Paria, - - Evening of Corea-
. 1006, and which drecreded at Nome, 900 Miles, in
-VARIOUS EXPERIMENTS UPON THE
PNEUMATIC
but the Frenchman's pro-
1.-4 FIGURE that DISCOVERS the THOUGHT8.
The with
-THE COLUMN OF MAGNETICAL GLASS,
Fer the igvisitle Ascension Card,
grammes all indicate that
9.
AN EXHIBITION or >
Clap of bunber,
of
-
of
he was not only a success-
10.-A DUTCH COFFEE HOUSE,
A Garnerin poster of 1815, advertising
ful aëronaut, but a ma-
""
ADutch Coffee House,' whose automatic
hostess serves refreshments at command.
gician who could present a
From the Harry Houdini Collection.
diverting entertainment.
I2O ]"
unmaskingrobert00houdgoog.pdf,138,,"THE PASTRY COOK OF THE PALAIS ROYAL
In 1816 the elder Gyngell featured the trick on his
programmes as ""The
Russian Inn,"" and in
THEATRE,
1823 he changed it to
Catherine Street,
""The Confectioner's
STRAND.
Shop."" These pro-
Mr. GYNGELL, Sen.
grammes are reproduced
Respoctfully informs the Public, the following Entertaismento continuing
de be with the most reptirous Applouse, will be Reposted
as the most convincing
This Present Thursday, February 15th, 1816,
And Every Evening till further Notice.
evidence against the
Os which Occasion Mz. G. intrests a eace . offer his most grateful Thenks be
gest,
and
solicits a continunce of foture Patronage. As a Stúmelus Mr. G. will
inteoduce
insumorable
& unprecedented Noveltion, nover exhibited here. & perticuler
FIRST.
claims of Robert-Houdin.
A PEDESTAL CLOCK,
Se oingularly constructed, that it is obedient a the Word of Command. The Did
The Gyngell family is
removed, it becomes a MILLAR: which, by the Power of Mechanism alone, will
changa, and produce any stated sumber of Binck and White Bella, er both tagether.
SECOND.
one of the most interest-
Representation of a Russian Inn,
The Hessess of which will attend with any Liquor that is called for, sed sutire
whem requested. These, segether with a Trunk a curious Construction, containing
Lagsage, a besutiful Buress, Ring Boues, Caddies, Milla, &cs. &c. acc.
ing in the history of
all so equally ingenious and that it is impossible to eay which is the -
w o NOR a F U L & chort
Wed Ne G. with . the hie Auliences, by
-
Impose
-
them the of MAGIC, the of these Fissso -
magic. The Christian
is the Mes: but Friend - plain Trath, - avesse . every of COSJURATION, is
With - intreduse them - the they veally are,
Wonderful Pieces of Mechanism !!!
name of the founder of
Nr. GYNGELL will epen the Performance wuh Mathomatical. and
the family I have never
EXPERIMENTTS,
To every Port of this Penformance weuld an . Sut eventy
aighe years clapord le theservice of the Public (during which it hes - hie constant
been able to ascertain,
. render bie Performance mose werthy cheir - to tring .
gresese vericty. thes - whe ever the Art.
Astonishing
though programmes give
The Segacity of wild Creasure Bind. almest beyend Selief. The -
- ..... sessy. -
ge . threugh, - a the is effect of sefice is thag
4
jusdy
be
colled,
Litde well werth the Attensice of de
the initial as G. He was
The Wonderful Performance of
THE LEARNED DOGS
celebrated as a Barthol-
Se the proverbial Segacity of the whole Species seems Their Performence
of Country Duscing, Weltning, Playing at Lesp-Freg. is of . varied -
a
hind;
shee,
less
deserving.
have
escasioned
-
elabornte
Posegyrics
Mr. G. oves avatue to wosid rather plesse, by expooding the Premise of Bull,
omew Fair conjurer. His
them by a contrery Plan, foree . - his
N. GYNGELL will . that unrivalled Instrement for & of Tome
The Harmonized Musical
career started about
1788, and his contempo-
GLASSES,
Which of all Harmony is indisputably the most esquisite.
raries were Lane, Boaz,
OLYMPIC EXERCISES.
By Mr. GYNGELL, Jun.
Ball, Jonas, Breslaw, and
The English Equilibrist! !
Consining of Balancing in a - monnes.
Flocton. At one time
The Microcosm,
Gyngell and Flocton
Or Les Ombres Chinois.
Conditing de Variety of Sernes, with upwards of 100 moving
worked together, and
with Dialoges and appropriate Comic Action.
YOUNG GYNGELL' Performance
Thomas Frost in his
A Gyngell poster of 1816, featuring the
book, ""The Lives of
Russian Inn, with service of various
kinds of liquor. From the Harry
Conjurers,"" claims that
Houdini Collection.
[ I2I ]"
unmaskingrobert00houdgoog.pdf,139,,"The original Gyngell, a portrait reproduced from the book on magie written by this famous
Bartholomew Fair conjurer. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,140,,"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 hundred 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:
[123]"
unmaskingrobert00houdgoog.pdf,141,,"THE UNMASKING OF ROBERT-HOUDIN
DOVER, February 10th, 1867.
MR. EVANION
DEAR SIR-Yours of the 5th inst. I received just as I was
leaving Folkestown, 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 wecks. 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 off the cock's head and restoring
it to life again. And a great wonder it was considered and
brought crowded rooms.
I was Master Gyngell, the wonderful performer on the slack
wire; and now in my 7ist 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.
Iam, dear sir, yours truly,
J. D. G. GYNGELL.
The signature of this letter, ""J. D. G. Gyngell,"" 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]"
unmaskingrobert00houdgoog.pdf,142,,"THE PASTRY COOK OF THE PALAIS ROYAL
South Esplanade. A fine notice of both performances
zus nast zums TOUBTREN TEARS,
was published in the Deal
And the Patrosage of - - respoctable Fomilico
of
Vicinity.
Telegram of February 23d,
AT THE
LARGE
HORNS
when the hope was ex-
ROOM,
TAVERN,
pressed that Gyngell's col-
Bermondsey Square.
lection, taken among those
- - of - of a - - à - - - of the -
- - . - - "". - required - . -
-
-
be
On THURSDAY, FRIDAY. and MONDAY EFENINGS,
who enjoyed his outdoor
MAY let, Snd. & sth. 1823.
performance, repaid him
GYNGELL, Sen's
for his admirable enter-
Amusing & Instructing Entertainments
-
AT VAUXHALL GARDENS,
tainment. Gyngell was
1 - novon oe vua
MR. GYNGELL,
landlord of the Bowling
Green Tavern at this
time, and travelled as an
MATHEMATICAL, PIIILOSOPHICAL, & UNCOMMON,
Experiments;
entertainer only at inter-
- -
vals.
PEDDSTAL
--
coFECTOER'S SHOP,
The next appearance of
wits - - ebe em preduce - Sind of Confoctionary colled fue.
gos THE
TURKISH PILLAR,
the trick is in a book pub-
on, PERFITUAL NOTION.
lished by M. Henry, a ven-
triloquist, who played Lon-
AUTOMATON ROPE VAULTER,
don and the provinces from
4 Figure representing . Chills Youre oll,
- - - -
EPOLUTIONS ON THE TIGHT BOPE,
- - -
1820 to 1828. During an
- - - - del - - - - form
TheMusical Glasses
engagement at the Adel-
- a & - . - -
-
-
-
-
de
-
-
phia Theatre, London,
.
-
-
-
-
a
-
-
-
.
-
-
which according to the pro-
LITTLE WORLD;
on. LES ONDRES CHINON,
of - - -
gramme was about 1822,
One Hundred Moving Figures:
ame
Henry published a book
Clowa, with a Comic Dence,--Ma Benjamia.
entitled ""Conversazione;
GYMNASTIC EXERCISES,
-
or, Mirth and Marvels,""
A Gyngell programme of 1823, adver-
tising A Confectioner's Shop,"" whose
in which he interspersed
attendant will serve automatically any
witty conversation with
sort of confectionery demanded. From
the Harry Houdini Collection.
descriptions of his various
125"
unmaskingrobert00houdgoog.pdf,143,,"THE UNMASKING OF ROBERT-HOUDIN
tricks. On page II he thus describes the automaton un-
der consideration :
""Illusion Third. A curious mechanical trick; an inn,
GYNGELL
Reproduction of a rare old colored lithograph in three sections. This section
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]"
unmaskingrobert00houdgoog.pdf,144,,"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
announces 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 II3, a Schmidt programme of
1827 will be found, in which he features ""The En-
[127]"
unmaskingrobert00houdgoog.pdf,145,,"THE UNMASKING OF ROBERT-HOUDIN
chanted Dutch Coffee-House, an elegant little building.
On the traveller ringing the bell, the door opens, the host-
ess attends and provides
VENTRILOQUISM.
him with any liquor he
L. CHARLES,
may call for.""
PROVEÍSOS -
MECHANICAL SCLENCES,
Schmidt seems to have
AVD
FIRST VENTRILOQUIST,
confined his exhibitions
from the Continens;
UNDEIR THE PRIVILEGE AND PATRONAGS or
to London and the prov-
H1S MAJESTY THE KING OF PRUSSIA,
And Duke of Mecklenburg Schwerin;
inces and was often con-
Hes the Heaeur ur acgeant the Nebility, Gentry, and the Public at large,
thut he has just errived from the Continem, and will perform during this
and the Three Meaths of Jenuery, Februery, and Merch, as
Ma. WIGLEY'S LARGE ROOM,
nected with other magi-
SPRING GARDENS,
Hia Mechanie and Ventriloque Performances every Day, commencing pre-
cians, including Gyngell
cisely st Taree ""Cleck, and Evening at Eight Clack,
except Saturday and Sunday.
and Buck. The latter
Front Chairs, -Middle Seats, Seats, 1.
N. B. The Room ie particularly WARM by . sew invented precess.
TO THE PUBLIC.
was an English conjurer,
The SIEUR CHABLES will remuit. chart peried in Lendon, where be la repre
seut all the ponsible of of which the humas voice is rapahis,
by Netere and perfectid by Art. He will explais all the Myateries which were
best known as the man
resorted to ab forton times to impose uges the and supertitious, under the of
ORACLES, This maneer of apraking ought to be looked upon - gith of Nature and of
Chance rather than as an Art, siect it is impossible je teach is but to thow burn with the
Therefore it in preved, that hewbe professits this Art must
thost means which sill remain the troable the learond hare
who was horribly injured
talora to discuver a.
The SIEUR CHARLES will perform the following Scenes.
when presenting ""The
Part. 1. The modera Philcsopher or à Dialegue between two Meu of Scionce
end their Servest
Theee
11. Dialogue beteces Siek Man, bie Pagsician, a Friend, and Servant
Gun Delusion."" This
Frov
III. The Wine Nerchent and bue Servani, whose voice will be heard from the
Dottom of Cellar
Tive Veicos.
iv. A Dialogue from a Window, with . persos in the Street whes the windew le opea,
the veice will appeas atill searer. This experiment will appear most interesting.
consisted of having a
THE VENTRILOQUISM will be preceded by several very amusing Per
formances, and Mechanical and Scieatific Games,hig interesting; amoog
which will be
marked bullet shot at the
1. A MECHANICAL AND SCIENTIFIC CLOCK.
,9. The Russian inn, out of which comes . little Woman aad bringe the
liquor demanded for.
performer, who caught
3. The Trojen Pillar, by which different bodies are altered in an impercep.
cible manner.
4. A most wonderful Mechanical Chest of Drawer.
it between his teeth on
5. A curious Travelling Trank.
6.
Three Bells, a Mechanical Game, which will astenish the Spectatom.
And several tours d'addresse.
a plate, or on the point
Printed by W, Clowse, Strand.
of a needle or knife.
A Charles poster dated about 1829 in
Some miscreant loaded
which the Russian Inn and its obedient
little figure are featured. From the
the gun with metal after
Harry Houdini Collection.
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-
[ I28]"
unmaskingrobert00houdgoog.pdf,146,,"acquaintance of Jules de Rovere, the first to employ 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 L'Illusionniste in January, 1902,
he was born in Alias, near Nîmes, 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]"
unmaskingrobert00houdgoog.pdf,147,,"THE UNMASKING OF ROBERT-HOUDIN
London, and went on to Aberdecn, Scotland, where he
was very soon reduced to sore straits. In his hour of
Reproduction of pastel portrait of Phillippe. Only known likeness of the
conjurer in existence. Made for him by a Vienna artist. Original now in the
Harry Houdini 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 were presenting a pantomime
[ 130]"
unmaskingrobert00houdgoog.pdf,148,,"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 rôle 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]"
unmaskingrobert00houdgoog.pdf,149,,"THE UNMASKING OF ROBER'T-HOUDIN
how Phillippe started his career as a pastry cook in the
household of one Lord Panmure, and I quote this literally
from the Anderson book, because I believe it to be truth-
STRAND THEATRE,
OPEN EVERY EVENING.
Stalls S. nexes Se. PIS ls. Gallery
MODERN MIRACLES.
PART compree N. end convelled aed Fente .
MAGICAL DELUSIONS:
Including his peculas and enequalied
ETAMORPHOSES
AND ASTONISHING DECEPTIONS
Part
The
Celebrated
Cossack
asd
Automatos
.
or,
the
Chereed
The
Gallant
Cunfectioner
Dovee
""
the
for
Graise!
The
Taller
Herlequie:
Lesses
Ladies,""
or
.
New
Method
Th. Firet Part terminate wirA the Admind
GRAND DISTRIBUTION OF THE NATIONAL FLAGI!
Ae of Tee beteese esch Part.
PART ""
THE NEW BALLET
RICHE D'AMOUR
Due de Lency.
Mile CONSTANCE CHIARINI,
Le Narquise de Pompadour,
(se
ANUELO CHIARINL
L. Petile PACLINE CHIARINI,
Rigolard,
In the couras of the Baliet, will be introduced
LE MINUET OF LOUIS xv.
PART / THE EXTRAURDINARY
MERICAN BROTHERS
their Uerque Scone, estitied
OLYMPIC GAMBOLS, chich of thete they - FEATS OF AGILITY,
-
gressest
and
astenishment,
and
Malled
of
PART IV
NICHT IN THE PALACE OF PEKIN,
M. Phillippe perform some of the most Extraordinery Tours d'Adresse, sacluding his most brilliant and
INDIAN AND CHINESE FEATS!
consisting of the - surprising Feals eser attempled by any entitled
The
Enchanted Orange-The Mymie Sugar Loaf and Flying Handkercheefs Monsieur Meg and the Rose of from
which will appras Scottich in full Costome, who will dance the Higbland Flag-The Magie Seppee
of
or,
The
Cook
Benuched
The
Hat
of
Good
hassuble
including
the Grend Europese Bessar and Flore's Gift.
The
Entertaismente ill cosclode with, EACH EVENINO, the Aslounding Supprieing emitled
LES BASSINS DE NEPTUNE LES ET POISSONS D'OR
AND THE GRAND EBIE!
Unanimoualy presounced to be the most inexplicable Tovas DR Paverque and Nightly bose
received ith the most rapteroue praie of ada
-
Dooss to be epened at a Quarter*past 7. Pesformance to commence Quastes so :
The séose Pregremme us the most Novel le Londos and - be -- to de belaned: the Pablie Pree
Ass "" to be de - Performance - and all
N. PHILLIPPE will, by Desire, end in of the whach have elleaded las
MONNING PERFORMANCES, give e GRAND
Juventle Entertainment,
EVERY TRUBSDA MORNING,
COXMENCING AT TWO OCLOCK.
end
. be sesore. et the Bca- dee & the apes from so ull's and
Reyal
Library.
33,
04
Bond
Street.
"".
Swase
Press,""
.
Poster used by Phillippe during his engagement at the Strand Theatre, London,
1845-46. From the Harry Houdini Collection.
ful, as material gathered from Anderson literature has
proved to be :
[ I32 ]"
unmaskingrobert00houdgoog.pdf,150,,"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 scen 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 2ist, 1838, shows that
his last daytime or matinée performance in Waterloo
[133]"
unmaskingrobert00houdgoog.pdf,151,,"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
Phillippe and his Scotch assistant, Domingo. The latter became famous
as a magician under the name of Macallister, introducing in America Phil.
lippe's gift show. From a lithograph in the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,152,,"THE PASTRY COOK OF THE PALAIS ROYAL
Edinburgh programme, dated probably 1837, he is 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
Macallister 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]"
unmaskingrobert00houdgoog.pdf,153,,"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 Moderne.""
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]"
unmaskingrobert00houdgoog.pdf,154,,"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
PP
68
reads: ""No. 9. Le Confiseur galant et le Liquoriste
impromptu.""
[137]"
unmaskingrobert00houdgoog.pdf,155,,"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]"
unmaskingrobert00houdgoog.pdf,156,,"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
#########
CONPISEUR
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 ]"
unmaskingrobert00houdgoog.pdf,157,,"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 I790, fifty years
before Robert-Houdin be-
came a professional enter-
tainer. This figure was
David Leendert Bamberg, of the
made by Opre, to whom
second generation of the Bamberg
all conjurers of that time
family. Born 1786; died 1869. The
above daguerrotype was presented to
looked for automata and
the author by Herr Ernest Basch,
and is the only one in existence.
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.
I40]"
unmaskingrobert00houdgoog.pdf,158,,"CHAPTER V
THE OBEDIENT CARDS - THE CABALISTIC CLOCK - THE
TRAPEZE AUTOMATON
The Obedient Cards.
T
O
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 répertoire 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 Trapèze.
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
[ I4I ]"
unmaskingrobert00houdgoog.pdf,159,,"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
è
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 from 1784 to
the date of Robert-Houdin's first appearance, and in at
least one volume printed as early as 1635. The majority
[ 142"
unmaskingrobert00houdgoog.pdf,160,,"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
179I 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 ""Die Gauckel-
tasche, oder vollständiger 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 ""Aufschlüsse
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 donc with pin and
thread, and the same book shows how it is saccomplished 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
répertoire, also described the trick. ""Natural Magic,"" by
[ 143 ]"
unmaskingrobert00houdgoog.pdf,161,,"THE UNMASKING OF ROBERT-HOUDIN
CONJURER UNMASKED
OR
the Ant of Height of hand
Reproduction of frontispiece in Breslaw's book on magic, ""The Last Legacy,""
published in 1782. Original in the Harry Houdini Collection.
[ (444)"
unmaskingrobert00houdgoog.pdf,162,,"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 Craigmyle, Parish of
Kincardine O'Neil, Aberdeenshire. The house was built by my grandfather,
John Robertson, in the year 1796, and in it I was born on the 15th 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 born 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 assumed the title of the Wizard of the North, which
10
[ 145 ]"
unmaskingrobert00houdgoog.pdf,163,,"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]"
unmaskingrobert00houdgoog.pdf,164,,"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
VICTORIA HOOMS, HULL
LAST WEEE
or
GREAT MAGICIAN
PERFORI DE HULL.
REDUOTION OF PRICES
fremt Sende of the Balcom, Bach Ditte, 1..j Gallery Sixpence caly
The Avening, Friday, May Saterday, 19th; Menday, Sless Tuesday,
Théreday, and Friday, will be pedivively the LAST
- perform la Hell.
1838
on or TIIS ABOVE EVENINGS
Naw TSTIC WONDERS!
SPLENDID CHANGES! NECROMANCY:
ART! WEITE ART!
WYSTERY AND MACIC!
UNEQUALLED, UNPARALLELED! so COME & SEE.
TH . LAST WEEKS
et
Eight-pr
heving
claims
agamet
J.
-
these
Dille
ar
Koscas
Haows,
34,
Very rare poster of 1838 in which John Henry Anderson is billed as ""The
Great Magician.' From the Ilarry 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]
1"
unmaskingrobert00houdgoog.pdf,165,,"SPIRITUALISM!
THE DAVENPORTS
BY
PROFESSOR ANDERSON
[ 148]"
unmaskingrobert00houdgoog.pdf,166,,"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
effects in his mise en scènc. 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]"
unmaskingrobert00houdgoog.pdf,167,,"THE GREAT MAGICIAN,
From the Munic Holl, Shefield, Commercial Rooma, Leeds, and the Exchange Rooma, Monchusier, - perform
his Myatic Wonders, for . Short Time only,
I N THE VICTORIA ROOMS, HULL.
MR. J. H. ANDERSON,
THE GREAT CALEDONIAN MAGICIAN:
Desirous of gratifying the Ladies and Gentlemes of Hull, and ite Vicinity,
Has the to announce bie intention of Performing for A SHORT TIME QNLY, his MYSTIC WONDERS! he hupes the anqualified
approbation which was beatowed on hie exertions at Livergeol for - seccessive nighta, Manchanter for eighty signts, Leeda for fifty
nights, Sheffleld furty nighta, Ediabungh une hundred and three aighia, Glangew alsty sighta, twenty sighta, will ensure him
the patromage of the Nobility, Gentry, and Public of Hull.
Mr. J. H. ANDERSON las had the distiaguiabed honnur of performing before his late Majesty, at Windant Castle, and belove his
Majeuty Geo. IV., le the Parilion at Brighton: and subsequeatly received letterá by their Majesties' command, ataling the Royal approval
of each performance tugether with others from the Marquis of Westminater, the Eari of Bradford, the of the lat Life Guards, the
Buke of Gordon, and Sir Walter
From the many teatimuniala forwarded to Mr.J. H. A. he submits the following from Lord Panmure and atherso
Bascupi
Cama,
March
24th,
1937.
Sir,-Our parly hege, last sight, witscieed your performance with the greatest untisfaction: And I have no hesitation la aying, that
you far escel any other decromancor that , ever - either at home ur abrued
PANMURE""
- To Mr. J. H.
September let, 1837.
Mr. J. H. Andersum highly gratified the party before whom be performed his Necromantic Feats, and Magical Exploits He is
the
mast acpomplished Professor of the Art of Magie we ever - and beg lu exprese our high admiration of hie talenta, and thank him for bia per-
formance at Hokelyy.
J. HL MORRET, Exq.
GEORGE CLIFFORD, Eqg.
GEORGE MANBY, Coldatresm Guards
ON MONDAY EVENINC, APRIL 30, 1838, & EVERY EVENINC DURING THE WEEK.
The Magician's Entertainmente will at Eight e'clock procisely.
PHOGRAMME.
DYINC AND LIVINC BIRDS.
of Gaming, adopited by . CELEBRATED LORD: and the SAMEITERS of
the HELLA le the END OF LONDON.
As NEW EXPERIMENT. The Magirion will produce Ten Canary Birds
Ast - - - - the
deada the Lileless Barda will be placed in . Pais and Baked: they noll be
Like mallews -
- ready, whem the Magician arise the Birde will obey thels Marter,
OUTTING UT the GROWNS or HATH.
-
By from the Pan alive.
The Magician will herrow the Hate of forr be will Cot ont the Crowse
MACICAL PICTURE CALLERY
of the Hate (la this Trick Dice are with . siagle lag of the
la
this Mraberinus Book representing . of Pactures, will change at
the
-
l'and the CROWN ABE RESTORED.
mand of the Mugician to . to the Dell' in Tem
Maseguy 1111 Calumbias Paul
CHINESE RINGE or
All the aboré EAnngei will appres Shent Blask Papm.
The
Rings appear to have meisher Spring - Juinit, they may be the
The Magician will Duplay the Wonderfill Pawne of RECOND SIGHT
sye of Man discover the Secret, yet Thane Joint, - - be shewa by the
MYSTIC CABINET
Magician linking tagether the IMPERVIOUS
PEATHER-A-LA-MLITAIRE
The Magician will borrww Hall-A Crows frosa Gratienan, haring marked the
FIRING ATCHES FROM A BE UNDER,BUSS!
Half-Crown,
the
will
any
Change""
the
will
thange
inte
The Necrumascos slaset auy walch - Target,
. BED FEATHER, theree fret the Half Crewn le gune- Basket of Orasiges
or injuring the abch at - ards distance.
will
be
prodeced;
the
Magicism
will
touch
ane
with
be
Mystic
Wand,
WHEN
TRE
MARKKD BALF CROWN WILL BE FOUXD is THE HEART OF AN
FLYINC HANDKERCHIEFS.
ORANGE!
The Magician will command any LADYS TO PLY inte .
CARD EXPERIMENTS.
Locked Bes Change Il - French Besna, of to Carli - BURN IT
TO ASHES He will conmand il from - ORANGE RESTORED
on HOW TO PRINT WITHO UT INK.
Concluation ut Part FintamAn Internal of Misstes
THE MYSTIC TARGET
The Magician will command . Marked Carl to fly at the nate THOUSAND
ART 11. will commesice with COOKING IN A HAT/ The Magírisa
MILES IN A MINUTE
will make la - Hat, . Padding large anongh to - the Appetite
of . THQUSAND PERSONSI
NAPOLEON'S TRICK
HACTHING EGGS.
This la Trick by the Empetor Napoleus. Carde will be drawn from
The Magleisp will burroe from pair Gluves which be will hura Tax
. Park by Ledica sud Geotlesses, courraling the the They
Eage will ane in the at the Magician the other in the rigbt;
may be the differret pérties, alley whick the Magicias will Ag.
pear 1** and the Carda will WALK FR om THE PACK/ in Se
be will the Lady in which of the Egge lass Glaves shall appear. and they
will appear in the Egg which the Lady names,
will under Carda do any thing He coscinile bea Canl/Trido with
A WATCH IN A LOAF.
The Magiciani will
It
will
be
foend
in
. COAF at any BARER'S 2HOP IN THE TOWS.
THE TWO LEARNED HALF-CROWNS
Whtck will any question put to them and dance - the ward of command
Any Laity wishing bei forme toll, can have a mad by the which
will ect as the at LHuman Destiny,
ANALVEATION or No. 1, a, and a or PILLA.
The Magician will borrow Three - from . Laity and froma
Large uf the abere Fille wit be prodesed: the
HANDKERCHIEF CHANGES AT THE COMMAND OF THE MAGICIAN
INTO THE PILLS; the Pille when Analyzed will appear in their GENUINE
COMPOBITION, A PLOWER VASE will dange into TIM BOBBIN, from
Menth the will appear
Handkenchänfa will be from three The Magicias - load bia
Myytic Gan, in be will placeile be ** MA Bottle com-
w ines the Boatle will be and the
A INT A HAI.
The Magician will from any Hat commanil . Collection af BEASTS la
giving . LESSON to WHIST PLAYERS or Pablishing to the World the appear - estennire au WOMBW ELL'S MENAGERIE
The EVENING'S PERVORMANCE TO CONCLUDE WITH
I
181
18
DI
Y
S
I
I
1B
S
IS
E
8
OR,
AN ORANGE CHANGED TO A LADY.
Front Sesta Back Beate la Children under 18 Vears of Age, with Partica to the Front Besta, Is. esch. Parties wishing or Ticket,
or
to Secure Beata are requented to send to the Victoria
- Doura agen at Half-part Seveu, Performance to Commence at Eight-Gonsluding at Tea or
Any Gentiense with . Head of Grey Hair that he wishne chuaged la . glomy way have la la ONE MINUTE! by applying to
may be - Private Performances and gives in the Mystic Art.
n
0
0
0
10
Anderson billing of 1838, featuring obedient cards as ""Napoleon's Trick.""
From the Harry Houdini Collection.
[r50]"
unmaskingrobert00houdgoog.pdf,168,,"very names he had used
-
le
-
-
-
peter
-
of
-
-
-
tous
-
-
-
PART ASTER THE OVERTURE
and the style of his billing.
The
-
display of the - -
The Vases or Cups of Divination,
umo
uses
onta
All three of these men
san CARD. TH"" ama OF PARADIEL
suas .
ao wow warma
.
THE MADIC PEDESTAL GIGANTIC DICE.
were professional magi-
NOTUALLING OFFICE, or CANDLE COOKERY.
CIRCASSIAN CANS. BUONAPARTES FEATHER,
or
cians before Robert-Hou-
Magicien.
FRENCH BOLL AND HANDKERCHIEF. MYSTERIOUS WALNUTS.
Opere Glase - Carda. The Rose and Wedding Rang.
din appeared, and Ander-
Ast - "" - quete - - hore - -
cquelled
by
-
othee
Performee.
PART IL-OTERTURE,
son was his very active
Aller - Ms. JACOSA,
THI 5 LANDLORD AT HOME;
Or, Gout and Hoarseness versus Family Grievances.
contemporary.
-
-
hands
-
- -
-
-
-
A Jacobs bill is here
1
-
-
-
=
-
-
- - - 1
- - - =
-
-
-
-
reproduced, showing the
-
by
-
-
-
-
-
-
-
-
-
-
-
las
-
-
-
-
-
the
-
-
-
-
-
-
-
-
de
year
-
-
-
-
de
thei
card trick featured among
.
-
the
-
the
-
The
---
-
-
-
-
.
a
the
gh
-
-
-
-
and
leag
-
-
-
-
-
-
-
-
-
The
Freach
-
-
-
-
other attractions.
The
-
-
-
-
-
-
-
bes
-
the
-
-
a
-
-
-
the
and
-
de
-
-
-
lithograph of Jacobs used
the
in this connection is an
&
the
actual likeness and I bc-
Jacobs poster, featuring ""The Travelling
lieve it to be as rare as it
Card.""
From the Harry Houdini Collec-
tion.
is timely.
[ 151 ]"
unmaskingrobert00houdgoog.pdf,169,,"233
This setting shows how cumbersome was the apparatus employed by magicians before Wiljalba Frikell proved
Lithograph used by E. W. Young, who copied all of John Henry Anderson's billing and featured the obedient-card trick. that
he could score with apparently no apparatus. Original in the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,170,,"THE OBEDIENT CARDS
MR. BARNARDO EAGLE, THE ROYAL WIZARD OF THE SOUTH.
Frontispiece from Eagle's book, in which he exposes Anderson's gun de-
usion. Said by Henry Evanion, who knew Eagle, to be a fine likeness.
rom the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,171,,"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 limitations, assuming the title of Wizard of the
North with his own name in small type. One of his bills
is also reproduced.
SHAKSPEARE ROOMS,
Barnedo or ""Bar-
NEW-STREET, BIRMINGHAM.
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 the
printers.
BEHOLD THE
GREAT BERNADO'S SYSTEL OF IMPOSITION
Eagle could neither
Which he nightly practices on the inhabitants of Birmingham,
holding his System of Humbug up by copying the Bills and
read nor write, but hav-
Advertisements, of J. H. ANDERSON, the Inventor
of Ambidexterous Prestidigitation, with all the list of the
Great Wizard of the North's peculiar technical phrases,
ing a quick brain he
which BERNADO exhibits in his Bills, (as original) yet
can neither pronounce nor understand the meaning of
hired a clever writer to
the terms by which he gulls the public. Mr. ANDERSON
will bet BERNADO any sum, from a Shilling to 220, that
he cannot read the Advertisement in the Birmingham
indite his speeches and
Advertiser,"" of Thursday, 18th November. Mr. A. will
take a further bet, that the Advertisement alluded to, was
copied from his,((Mr. A's) Bill, circulated in Manchester,
duplicated Anderson's
on Monday, November 15th.
BARNEY, when we last met, 1 merely ruffed your
show so closely that An-
feathers, this time l'u pluch you clean, not one shall be len
thee to spread thy (Eagle) wings of imposition.
derson'spride was hurt.
Should BARNEY accept this challenge, the memey
will be spent at CHARLEY CHESHIRE'S.
He therefore decided
An Anderson poster, exposing ""Barney""
to expose Eagle, and
Eagle's tricks. Only bill of this sort in exist-
ence. From the Harry Houdini Collection.
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
[ 55]"
unmaskingrobert00houdgoog.pdf,172,,"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
""BARNEY"" ALIAS THE IMPOSTOR WIZARD
OSTAINING ROYAL PATRONAGE on ASCOT HEATH RACE COURSE.
Window poster issued by Anderson to belittle his imitator ""Barney"" Eagle
and show how the latter secured royal patronage. 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
[x55]"
unmaskingrobert00houdgoog.pdf,173,,"THE UNMASKING OF ROBERT-HOUDIN
FOR THE BENEFIT OF
sig. B. Eagle
trick is nothing short of far-
ANU THE
cical.
Last Night of his Engagement
beatre,
The follnoing Natrect "" from the Yord C'ourent of
The Cabalistic or Obedient
Blase
Clock
...
-
-
bed
sed
-
There might be said to exist
-
*******
-
de
...
...
On FRIDAY Evening, Nov 9th, 1838,
a very reasonable doubt as to
Will be the Pette of the
Green-Eyed
the exact date at which Rob-
Monster
ert-Houdin produced the caba-
Rome Mr Lirlect Mr Morley M. Manke,
listic clock which he included
J. Smediry Mewn. King-tue Witterheld
Cady
Mrs.
Leknord
Ameha,
Mr.
Sbort
Louser, Smedie,
APTER
among his other doubtful
Signior Bernardo Eagle
WILL COMMENO ""IS
claims to inventions.
GRAND DISPLAY OF ILLUSIONS.
PART FIRST,
The Enchanted Canle-The Card of Lede's dismered D,
On page 250 of the Ameri-
Cards-the Feas of la Coup.or bee - - and "" the leteus in
Gomestera
The Walking Cards,
can edition of his ""Memoirs""
"" ill place Park of 'ards again the tomand then wnw + Perpendiculen
one byone to thave of the bead feal, ever
with
he has the Cabalistic Clock on
The Enchanted Orange.
THS MAGIC WINE BOTTLE,
PHE EXTRAORDINARY COBLET OF BACCHUS WITH THE
ENCHANTED WATER.
his opening programme for
THE VISIBLE AND INVISIBLE PIG,
Which
will appeas os the Table and instently vanish before the tyye of the Audiense
And on the occamon Mr F
July 3d, 1845, but in the ap-
Will
change e Quentity of Copper, taten ont of any Gentleman's
Pocket, into Silver. the reul Com of the Rraim
A LADY's HANDKERCHIEF will be lound conveyed to the ceaire of LEMON
pendix of the French edition
THE CHEST
OF DOCTOK MICHAEL NOSTRADAME'S, THE FRENCH WIZARD
he states that the clock first
The conderfal INnuon perfortned and must be seen to be belueved.
THIS PANT WILL CONCLUDE ""ITH
A Grand CHINESE EXPERIMENT,
NINS SOLID STEEL BINOS.
made its appearance at the
the Parta of the Iilusions be aill recite an Tale. earitled GINEVRA
DONATI: . leaghable Story. as recited by hun on several at the
PICKWICK CLL B. an Louden with gvret applause sheeing the adventures and cunow
secidents that happened that ... troubled with en impedument in his speech
opening of the season of 1847.
PART SECOND.
wonn.
In nearly all his statements
He will playfan estreordmery Tune be Watch, and thea he change.
word of command. the Waub isto . PIEBALD MOUSE. ALIVE.
THE ENCHANTED EGGS.
He
will command Sus nee-le Egge so Grop from the ceiling of the Room. thee change
he is equally inaccurate.
thomseives isto BEACTIFUL WHITE MICE.
He will Inhewise meke one of the Egge dance Welts, and then JUMP JIM CROW,
Corvect to Munie. be will then introduce his sechented lutle Man. whe will play may
feany Inde michs enth the
The mysterious clock might
THE ART OF GARDENING.
He wilt ... common Perniey Seed in Sour por and comresed to give
excelleer
Crop before the of the Audiance.
be termed the obedient clock,
H.
will
borroe . Ledy and paeces, bern "" to ashes, end thes
at . be found in the cestre of foof ie any part of the Tows the Company choose to -
Supper for All,
for the trick consists in caus-
He will * is Person's bat without the aid of fre, be all these abe choose
there.
The Peformance alli conclude vith
ing the hand or hands to obey
THE GUN TRICK
le which be challeages any Sporting le the Tow Foeling Piece -
the will of the conjurer or the
Pouder and Bellea, and dre is et bie beed, and be will the Bell between bis Tooth
A ""Barney"" Eagle poster on
wishes of the audience.
which the obedient-card trick is fea-
tured as ""The Walking Cards.""
The hands will point to
From the Harry Houdini Collec-
tion.
a figure, move with rapidity,
[ 156]"
unmaskingrobert00houdgoog.pdf,174,,"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
wound 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
[ 55]"
unmaskingrobert00houdgoog.pdf,175,,"THE UNMASKING OF ROBERT-HOUDIN
in the centre of the glass face, and revolves it. The arrow
or hand is worked by a counterweight, controlled by the
M. Jacobs, magician, ventriloquist, and bold imitator of John Henry 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
[158]"
unmaskingrobert00houdgoog.pdf,176,,"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
spun, 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 ]
1"
unmaskingrobert00houdgoog.pdf,177,,"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,
Fig 19 .
P
o
Figsy.
of
is
n
m
to is
2
K
6
Tig
16
a
a
e
XII
a
e
of
g
g
= i
the
IS
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
through which run two sets of stout silk thread or catgut, connecting with
the hour and minute hands. The thread then passes through 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 hour and
minute are announced by magician or spectator. Fig. 16 shows the two faces
of the clock, with the fine connecting rod around which the string is woudn
to manipulate the hands. This mechanism is hidden by a flat brass 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
[160]"
unmaskingrobert00houdgoog.pdf,178,,"THE CABALISTIC CLOCK
purpose, he grasped the dial at the bottom, causing the
number 6 instead of I2 to be on top. When the hand
started to turn, of course it would have stopped at the
Great WONDERS WONDERS! WONDERS! WON-
DERS! and WONDERS! are new to be feen in a ve y
warm Room, at No. 22, Piccadilly, This and every day this
week, from eleven in the mor ing ill four in the after-
noon, and precifely at feven clock, every cvening this week,
M
R. KATTERFELTO will fhow a variery
of new furpriling Experiments in Natural and Expe-
rimental Philofopby and Math.matics, and his whole regular
Courfe of Philofophical L Qures are deliver-d in Twelve
différent times, a different Lecture and Experiment every
day, and every evening at 7 o'clock. His various Experi.
ments are asfollow, vlz.
PHILOSOPHICAL,
PNEUMATIC,
MATHEMATICAL,
HYDRAULIC,
OPTICAL,
HYDROSTATIC,
MAGNETICAL,
PROETIC,
ELECTRICAL,
STENOGRAPHIC.
PHYSICAL,
BLENCICAL,
CHYMICAL,
CAPRIMANTIC ART.
By his new-improved SOLAR MICROSCOPE,
Will be feen many furprining infects in different wate:s, beer,
miik, vinegar, and blood; and other curioas objeits.
Mr. K A T T E R F E L
Her, in Nis travels years par, int? the isc-
nour to shibit with great applanse beforc the Emprofs of
Ruffia, the Queen of Hangary, the King of Pruflia, Den-
mark, Sweden, and Polland, and before many other
Princes.
And af.er his Lecture, Mr. Katterfelto will fhow ard dif-
cover feveral NEW DECEPTIONS, on
DICE, CARDS,
SILVER and GOLD,
BILLIARDS, TENNIS,
BOXES, MEDALS,
LETTERS, MONEY,
PYRAMIDICAL GLASES
WATCHES; CASKETS,
MECHANICAL CLOCKS
Admittance, front feats 3s. fecond feats 23. back frats
19. for fervants only.
Newspaper clipping of 1782, 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"
unmaskingrobert00houdgoog.pdf,179,,"THE UNMASKING OF ROBERT-HOUDIN
Collinson
Reproduction of rare engraving of Johann Nep. Hofzinser, who invented
the clock worked by a counter-weight, and who was one of the world's great-
est card tricksters. Original in the Harry Houdini Collection.
it
[162]"
unmaskingrobert00houdgoog.pdf,180,,"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 presented, 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 delver after
secrets of natural magic, also explains several cabalistic
clock tricks in his book published in 1802.
[ 163]"
unmaskingrobert00houdgoog.pdf,181,,"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
BRESLAW
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"
unmaskingrobert00houdgoog.pdf,182,,"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 having sold sulphur
matches in 1784, before the Lucifer match is supposed to have been 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 Pyramidical Glasses in a manner entirely new.""
In 1781, while showing at Greenwood's Rooms, Hay-
market, London, Breslaw heavily advertised, ""Particularly
an experiment on a newly invented mechanical clock
[ 165]"
unmaskingrobert00houdgoog.pdf,183,,"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 15th, 1816) 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 ]"
unmaskingrobert00houdgoog.pdf,184,,"THE TRAPEZE AUTOMATON
ROBERT-KOUDIN,
ST. JAMES'S THEATRE.
LAST THREE PERFORMANCES
The celebrated "". ROBERT-HOUDIN will give his Incredible
Delusions and Extraordinary
FANTASTIQUES
AT THE ABOVE THEATRE
LA
VOLTICE DU TRAPÉZE
ON
TUESDAY EVENING, MARCH 6,
Last Day Performance
WEDNESDAY MORNING, March 7
COMMENCING AT HALF-PAST TWO O'CLOCK,
AND
FAREWELL REPRESENTATION,
THURSDAY EVENING, MARCH 8
DOORS OPEN AT EIGHT O'CLOCK.
PAIVATE BOXES, ORCHESTRA STALLS, AND TICKETS, MAT -
BOTAL 83, OLD OND
Hoossan's Lasoma - -
Casson's end the 19, Regues
abe BOX orfics There * que Daily, -
. a T,
Copy of a poster used 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 ]"
unmaskingrobert00houdgoog.pdf,185,,"THE UNMASKING OF ROBERT-HOUDIN
claimed it as his invention. Yet with the daring of one
who believes that all proof has been destroyed, he an-
nounces on page 3I2 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
aërial telegraphy.""
Decremps in his exposé, ""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 wood, such as ash or oak; the
body of birch or willow, and made hollow, and the head,
[ 168 ]"
unmaskingrobert00houdgoog.pdf,186,,"Reproduction of an illustration in ""Aufschlüsse zur Magie,"" by Hofrath
von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784
by Pinetti. Original in the Harry Houdini Collection.
[ 169 ]"
unmaskingrobert00houdgoog.pdf,187,,"THE UNMASKING OF ROBERT-HOUDIN
for lightness, of papier-maché. 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, Jun's
Mechanical Exhibition,
ma.
an the Sans Parej! Theatre, Strand.
Mard
18.
Present Evening,
And - Dope and dering Love, - - Theatre,
leams
The Two Automaton Rope Dapeers,
- - -
the Swan of Oblectation
wa
-
-
of
-
-
-
-
impose
-
Pragiona,
The
-
-
Comme
-
be
-
of
4
-
-
-
. -
Mechanical Windmill,
- Wend of Commond.
`ine CONJUROR from Constantinople
- - - truly
PIECES of CALLED,
LILLIPUT ISLAND;
Or Automator Shadows,
Taken from the Justly Admired Oubres Chincia.
-
Boone
The
-
Ae
CLASS m.
A Grand Display of Experiments in
HYIRAULICS.
Called Fire and Water,
Free
-
Me.
-
FIRE-WORKS,
-
The
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]"
unmaskingrobert00houdgoog.pdf,188,,"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 Philipsthal's advertisements,
page I03, 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]"
unmaskingrobert00houdgoog.pdf,189,,"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 limitation 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 II3 the reader will find a Schmidt
programme, dated 1827, on 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 I25, 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]"
unmaskingrobert00houdgoog.pdf,190,,"FOR THE FIRST TIME.
The Mechanical PEACOCK,
THE VIEW OF THE CITY or
A
- Piece of Anificial Animation which imitases, 6 clofely. the Cries, Altions, and
Assicudos of the Sasely and beastifel Bied. thas it ie sot enfrequently fappoled to be an abfolate liv
ing Animal, propedly imaned 10 aû as - amuling deception apos the Public.
Stockholm,
The Magnetic Clock,
or
to
-
Viss
ell be - ender Sell .... the
arrsa well as TRE SEAUTITUC SCENS or THE
Nowly is fapported on two Chryfal Columna, and termounted by a charaCerific Figur
of which will amule and divert the Company. by difoovering
Voyage of Captain Parry to the
their arc. on an Aiphobetical Dial Plate, fernifhed with a feif-moving fedex.
The Senfative WIND-MILL,
North Pole:
Which regulases its motion by the apparens impalie of a Word from any Speflator-sa
forms - obey the With of the Company by a pelitive Gift of Incaition,
His paseage threugh the Frotes Straits, amonger the
SELECT EXPERÉMENTS IN
FLOATING ICE.
HYDRAULICS,
Os the Sbore will be - Sequimere, with their Sledges draws by Degs.-Besre persued and
,
hilled b As See sal be represested Esquimaux Wome is their native Boate; also the
Londing of the Sailore from the Discesery Ships. Fary and Hecla.
A GRAND
DISPLAY OF WATER-WORKS,
THIRD PART THE CITY OF
The rifes from the frome of the Suge, endafter forming into many delightful Fountains,
is conjoined with
Amsterdam,
FIRE OF DIFFERENT KINDS,
wa ou
Ast the - bellile Ziements ferioully rell together to the Cieling of the Thestre, the Water
The Vise . - the ote The Viee of the Bridge "" es the Ametel. The Toes
.
- ages late Morese
thie
-
-
..
of
the
Met
""
alfo to the fimme heigle a Lafkre with Candles burning.
FIRE-WORKS PLAYING,
An Aquatic Exhibition on the River.
A . le - several Trephico of Victery. the Ascras of the ie "", tring - diepery
oth Experimess, without any Offeince even to the mon delicase
but efter Ellers. Perase is - - gaie the Top, .. beer eve, the Pras.
TOURTUI PLECE. THE WOVOERFUL ANO UNRIVALLED
To will be added fevera) Original Experiments in the Science of
OPTICS,
TOMATON,
On the Flying Rope;
os WHICH HE Is THE SOLE INVENTOR.
The case - . vase - vea end forme - - - de.
- - being . the Rege by the Heed, lihe The Repe be la
Accompaniod by a Scorm of
- the Figare will eit perfectly esey and le gracefal etulade, . the Saug. sed perfora the -
- be free . LIVING PERFORNER, "" "" messe with - Corvect-
Thunder, Lightning, &c. &c.
- - apgarest
TO CONCLUDE WITH A
. - - & of and MECHANICAL and OPTICAL
FIRE-WORKS,
Storm at Sea!
-
of
the
Difplayed in the Centre of a Tranfparent Arbour.
by
it
as de Tempee, by Laghteing. and Anally the
. - the Reche. altegether of Netere,
6
-
-
A de Philipsthal programme of 1806 on which both the automatic tight-rope per-
former and the magnetic clock were featured. From the Harry Houdini Collection.
A Thiodon bill of 1825, in which he claims the invention of a figure that could
be lifted on or off the stage or pole. This was twenty-five years before Robert-
Houdin claimed the same invention. From the Harry Houdini Collection.
173"
unmaskingrobert00houdgoog.pdf,191,,"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
BRESLAW
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 ]"
unmaskingrobert00houdgoog.pdf,192,,"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 having sold sulphur
matches in 1784, before the Lucifer match is supposed to have been 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 Pyramidical Glasses in a manner entirely new.""
In 1781, while showing at Greenwood's Rooms, Hay-
market, London, Breslaw heavily advertised, ""Particularly
an experiment on a newly invented mechanical clock
[165]"
unmaskingrobert00houdgoog.pdf,193,,"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 15th, 1816) 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 ]"
unmaskingrobert00houdgoog.pdf,194,,"THE TRAPEZE AUTOMATON
ROBERT-HOUBIN,
ST. JAMES'S THEATRE.
LAST THREE PERFORMANCES
The celebrated m. ROBERT-HOUDIN will give his Incredible
Delusions and Extraordinary
FANTASTIQUES
AT THE ABOVE THEATRE
VOLTICE DU TRAPEZE
ON
TUESDAY EVENING, MARCH 6,
Last Day Performance
WEDNESDAY MORNING, March 7
COMMENCING AT HALF-PAST TWO O'CLOCK,
AND
FAREWELL REPRESENTATION,
THURSDAY EVENING, MARCH
DOORS OPEN MT EIGHT O'CLOCK.
PRIVATE BOXES, ORCHESTRA STALLS, AND TICKETS, MAY se AS
BOTAL 33, OLD BOND
est
Bood
. - BOX OFFICE - - "" ell
. a, ,
Copy of a poster used 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]"
unmaskingrobert00houdgoog.pdf,195,,"THE UNMASKING OF ROBERT-HOUDIN
claimed it as his invention. Yet with the daring of one
who believes that all proof has been destroyed, he an-
nounces on page 3I2 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
aërial telegraphy.""
Decremps in his exposé, ""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 wood, such as ash or oak; the
body of birch or willow, and made hollow, and the head,
[ 168 ]"
unmaskingrobert00houdgoog.pdf,196,,"Reproduction of an illustration in ""Aufschlüsse zur Magie,"" by Hofrath
von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784
by Pinetti. Original in the Harry Houdini Collection.
169 ]"
unmaskingrobert00houdgoog.pdf,197,,"THE UNMASKING OF ROBERT-HOUDIN
for lightness, of papier-maché. 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, Jun's
ma.
Mechanical Exhibition,
an the Sans Parei! Theatre, Strand.
18.
Frendo
Present Evening, 1819,
And - bee - - - - - Theatre,
The to Automaton Rope Dapeers,
-
-
The Swan of Oblectation
-
of
-
-
The
-
Mechanical Windmill,
Woud of Commond.
Tine CONJUROR from Constantinople
- - - - truly
PIRCES of CALLED.
LILLIPUT ISLAND;
Or Automator Shadows,
Taken from the Justly Admired Oubres Chincia.
-
s. The Maginas's
-
-
Ae
A Grand Display of Experiments in
HYDRAULICS.
Called Fire and Water,
FIRE-WORKS,
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]"
unmaskingrobert00houdgoog.pdf,198,,"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 Philipsthal's advertisements,
page I03, 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 ]"
unmaskingrobert00houdgoog.pdf,199,,"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 limitation 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 II3 the reader will find a Schmidt
programme, dated 1827, on 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 I25, 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]"
unmaskingrobert00houdgoog.pdf,200,,"Mechanical and Mathematical
FEATS OF
Alhough - description ese property thefe Mechnaical Pieces of Art, yet to convey "" the
Pablic - ides of theis and of the incuitive Powers wich which they feem invelled, the
is
Dexterity.
Two Elegant Automats,
. dotail of these which evrite the
the liants
Oue of which a FEMALE FIGURE, as large as life, performs as a ROPE DANCER in
inication of Le Belle fo jutly celebrated throaghos Earope -the other is an
arrsa rellowine es
LITTLE PAILASSE, whofe apperent Naivesse and Powers of Action are equally aftomifhing.
Pinses , fee - Homee
FOR THE FIRST TIME.
The Mechanical PEACOCK,
THE VIEW OF THE ciry OF
A monk Pista of Anificial Animation which imitates, fo clofely. the Cries, Altions, and
Atticades of - and besetifel Bird, thas it ie sot enfrequently fappoled to be an abfolute)
lie
ling Animal, property "" ad as as amuling deception epon the Public.
Stockholm,
The Magnetic Clock,
or
le
-
Viee
ell - of Sull - "" the be the Forte . Shore
arrsa waics will as PROSENTED vas SCENS os THE
Monly is on two Chryfal Columma, and furmosnced by a charaßeriftic Figus
FALSTAFF, which will amafe and diven the Company. by difovering
Voyage of Captain Parry to the
chaie Thenghto, are. os an Alphobetical Dial Plase, fornified with a Geil- moving Index.
The Senfative WIND-MILL,
North Pole:
Which segulases its motion by the appasent of a Word from any
forme . obey the is the Company by a politive Gif of Inteition.
Hie passage threagh the Froses Straits, amonget the
SELECT EXPERIMENTS IN
FLOATING ICE.
HYDRAULICS,
Os the There eill De - Equimest, with their Sledges drawa by Degs.-Bears pursued and
,
hilled b Seilora. As eal be represcated Women in their native Bosts; also the
Londing of the Sailore from the Discosery Ships. Fery and Hecle.
A GRAND
DISPLAY OF WATER-WORKS,
THIRD PART-THI CITY OF
Th Waser rifas from the fromt of the Suge, and after forming into many delightful Fountains,
de. & conjoined with
Amsterdam,
FIRE OF DIFFERENT KINDS,
vas ou
Ast - Ziements farioully rell segether the Cieling of the Thestre, the Wases
The
Vise to - - the ou Remport The Viee of Bridge the Austel.
Th.
Towe
.
-
ques
-
-
lete
Se
thie
-
beserifal
of
the
Mes
.
alfo elevates to the fame heighe . Leftre with Candies burning.
FIRE-WORKS PLAYING,
An Aquatic Exhibition on the River.
A - "" le - eith esveral Trephies of Vierery. the Asceat of the , tring - elloper,
may - Esperimess. without asy Offence even to the mok deliense
- after - Perese is - gein de Top, asd bear ..., Piss.
VOURTHI WOVOERFUL AND UNRIVALLED
To rich will be added feveral Original Experiments in the Science of
OPTICS
AUTOMATON,
On the Flying Rope;
or WHICH HE IS THE SOLE INVENTOR.
T
.
-
ves
...
forme
.
Noodity
-
being
.
the
Rege
by
the
Head.
the
othere
butherte
The
Rope
se
Accompanied by . Scorm of
the
Figare
will
DE
perlectly
essy.
end
ine
eltitade,
hile
...
perfora
from
.
LIVING
PERFORNEA,
es
is
asses
with
the
.
Thunder, Lightning, &c. &c.
TO CONCLUDE WITH A
n . - - a of and MECHANICAL and OPTICAL
FIRE-WORKS,
Storm at Sea!
Difplayed in the Centre of & Tranfparent Arbour.
-
of
the
Thender, N° struch b, ... the Dues-
- the Reche, elteguther of
6
-
di
-
Aquests
A de Philipsthal programme of 1806 on which both the automatic tight-rope per-
formor and the magnetic clock were featured. From the Harry Houdini Collection.
be
A Thiodon bill of 1825, in which he claims the invention of a figure that could
lifted on or off the stage or pole. This was twenty-five years before Robert-
Houdin claimed the same invention. From the Harry Houdini Collection.
173"
unmaskingrobert00houdgoog.pdf,201,,"THE UNMASKING OF ROBERT-HOUDIN
1844, the year before Robert-Houdin made his professional
début, 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
18th, 1812, ""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 Philipsthal 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-Philipsthal 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]"
unmaskingrobert00houdgoog.pdf,202,,"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 deliberately 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.
[175]"
unmaskingrobert00houdgoog.pdf,203,,"CHAPTER VI
THE INEXHAUSTIBLE BOTTLE
W
HILE 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 newspapers 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.]"
unmaskingrobert00houdgoog.pdf,204,,"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 hands 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
under different names. To prove the futility of Robert-
Houdin's claims I will explain the mystery of this trick,
which 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]"
unmaskingrobert00houdgoog.pdf,205,,"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, whichn
is immediately poured out again, all this time the five
pinholes being covered tightly with the hand or fingers
which are holding the bottle. When a liquor is called for
the performer raises the finger over the air-hole above
that particular liquor, and the liquor will flow out. When
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."
unmaskingrobert00houdgoog.pdf,206,,"THE INEXHAUSTIBLE BOTTLE
Again, this bottle can be genuine, with no loose bottom
at all, and a small article can be inserted, but this makes
a great deal of trouble, and the effect 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 criginal 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
him 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,
and the assistant responds with the revolving target or
frame. When the conjurer shoots, the two watches
appear on the target or in the frame. This part of
the trick is accomplished by having the centre of the
[179]"
unmaskingrobert00houdgoog.pdf,207,,"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 programmies 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 2I 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 I7I2,
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]"
unmaskingrobert00houdgoog.pdf,208,,"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, John 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 exposés 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 II.
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 ]"
unmaskingrobert00houdgoog.pdf,209,,"THE UNMASKING OF ROBERT-HOUDIN
tory of that automaton. The programme published in
that chapter is dated
FOR SIX NIGHTS ONLY,
- NOWDAY, - To of - - nive FRIDAY, -
le fue
1827, and does not in-
Mr. Schmidt's BENEFIT,
- SATURDAY to - LAST NIONT of the
clude the famous bottle,
MECHANICAL OPTICAL THEATRE
At the Mueic-Hall,
because it was no longer a
Albion-Street, Leeds.
novelty in Herr Schmidt's
zm. - respostfully the Ledice and of LEEDS
Vielaity, that aftee - Years laboer be hee completed some AUTOMATAN
NOPE DANCERS, - lasge - Life, which go through Variety of Evelations es
-
répertoire; but the ad-
Tighs Repe. To Men of Selence they mest appess impossible, for though thay are estacity
with the they from tt, and balance
le WITHOUT the UST or THEIR HANDS, AND INSTANT.
LY CONNECT TREMSELVER wire THE MACHINERY AGAIN
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
Me. will also introduce Variety of interesting and amasing Pieces of Mechonion,
never before exhibited in Loeda,
RAMO SAMMEE,
various liquors can be
TNe - Nette Pigure will correctly inform the Company the Time by any Person's
Watoh: be will also decipher Writing, and any Question proposed to bim.
The Dutch Coffee House,
produced by one."" Thus
As elegast little Bullding: on the Travellers ringing the bell the door opene-th
attende and provides hém with any Liquor be may vall for.
Schmidt antedated
or SAPETY.
which Proporty of any description can be placed on the direction of the Company : the
contente will imporceptibly ebange from drawer into another, or evem bobind the glanses.
The Bottle of Sobriety and Inebriely,
Houdin's offering of the
Proving . instilley of est of Decastora, when varions Liquors be produced by -
THE MECHANICAL TEA CADDYS,
Any Lady or Gentionna haring deaire to of any Article, locke in one Cuddy,
trick by more than a
yet - opaning the ether is is lomed there, althongt the Cadity le la the hand of any othes
Porsoa.
AN GLASS PILLAR,
quarter of a century.
Which will perform Feats,
EXPERIMEEN'TS IN ELECTRICITY.
Next the bottle turned
-
The Engliab - will diccharge . Conmon githeut of
AN ESTERTAININO' EXPERIMENT WITH TWO ELECTRICAL VASEA,
The
power of Dectricity over de Vegolable Kingdom, prodecing . Cmp es
IN ON& MINUTE, before the Eyes of the Spectutori.
up in 1835 in London,
a.
THE UNFORTUNATE MAGAZINE,
- - being placed la alghs of the Audienne a Thénder Cloud will descend and the
- direetly above it, beary finches of Lightining are obsesved striking. dowa apen 14,
bet - being provided - Conductor they prove ineffectual; after a chort time
where it was presented by
- Conductup le femoved, the becomes more vivid, cape more strikes the
in a ignited; asd. le concumed is eight of the
a German whostyled him-
The vhole of the Valushle - Splondid EXEIBITION of MECHANICAL amd
MUSICAL AUTOMATA will be exhibited - Lady The
Artiet: The Rope Dancer: Magnificons Yose; The The Walk.
- Figare; A Teranfula As Egyption Limerd; Two Siberiom Mice A Goldem
self ""Falck of Koenigs-
A Humrisg Bird; Self-acting Plano-Forte. The whole of the Evening
Amoument will conciate with the extroordinery
DANCE OF WITCHES,
berg, Pupil of the
or which the folloting de Brief description Grotesque Ballet, representing the Soe
esser's Anniversary or . Dance of with varions Evolations, Gambola, Dancos, and
celebrated Chevalier Pin-
by - of fancy formeed Figures, producing the most
. - - de de
- One - - - AUTOMATA - be - -
- The AUTUMATA - - la the - Soves -
- - - their - - - - - Stage
netty,"" and who intro-
- - - - BACH.-A BAND WILL ATTEXA
PRINITA
duced the programme
A Schmidt programme of 1821, featur-
with which Döbler made
ing the Bottle of Sobriety and Inebriety.""
From the Harry Houdini Collection.
such a sensation in 1842.
[ 182]"
unmaskingrobert00houdgoog.pdf,210,,"THE INEXHAUSTIBLE 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
MAGIC!
MCR. FALCK,
Of Konigaberg, Pupil of the celebrated Chevalier Pinetty, has
just arrived in England, and will exhibit his surprising deceptions,
NOW UNRIVALLED
IN NATURAL MAGIC,
AT THE
Queen's Bazaar, Oxford Street.
AMONG THE NUMEROUS FEATS EXHIBITED
WILL BE FOUND THE FOLLOWING:-
The Enchanted Bread-The Walking Rice-Paying a Tavera
Keeper-The Enchanted Egg-The Calculation of Money-The
Lost Ring-The Exchange of Wine-The Enchanted Dice-The
Card in the Pocket-The Present, or Gift of Flora-The Wine and
Dessert-besides Surprising Deceptions with Cards, &c. &c.
The Performance to begin daily
and at Three till half-past Four.
ADMITTANCE ONE SHILLING-CHILDREN SIXPENCE.
Geo. Nichole, Printer, Earl's Court, Cranbourn Street, Soho.
10
-
Poster used by Falck of Koenigsberg in 1835, featuring the trick of exchange
of wine. From the Harry Houdini Collection.
which I think is cut from The Chronicle or The Globe,
the trick among other effects like ""Flora's
ift,"" ""The Card in the Pocket,"" etc., and adds that
the ""exchange of wine was so that if once in Mr. Falck's
Company, we should not wish to exchange it, for he poured
[r83]"
unmaskingrobert00houdgoog.pdf,211,,"THE UNMASKING OF ROBERT-HOUDIN
W'aterloo Rooms.
three sorts of wine, Port,
"" est Agreenble et Plaimes de S'Instruire -
Sherry, and Cham-
THE LAST
pagne, out of one bottle.
Spiendid, Brilliant and Fashionable
Then he put them to-
DAY PERFORIANOE
WILL TAKE PLACE ON
gether, and from such a
SATURDAY Sist APRIL, 1939,
Under the High and Distinguished
mixture produced sher-
ry in one glass, and port
THE RIGHT HONOURABLE
LADY GIFFORD,
in another.""
THE RIGHT HONOURABLE
From this notice it
Lady H. Stuart Forbes,
will be seen that Falck
WHICH OCCASION had ""The Inexhaustible
dec. dyc. dec.
religional
Mons"". PHILLIPPE
Bottle,"" and had some
WILL SELECT
The most INTERESTING, ATTRACTIVR and
method of returning all
PRISING FEATS
the liquors not drunk
FROM HIS EXTENSIVE STOCK or
NECROMANTIC, MACICAL a DEXTERICAL
back into the bottle
DEMION-STRATIONS!
and then pouring out
La Gaieté est la Santé de L'ame la tristesse on est le poison.
two different kinds of
Programme.
zase z.
Aed - -
ema
liquor.
Indian and Chinsee Meale !!!
A CURIOUS OPERATION,
sova wese
Empe ammid by -
Ser .
Nom P. - - -
Perhaps he resorted
sese
- -
A
****ON som
Le
La
Esso
- - - - Jehe
Lopes -
WINGS AGAINST WHEELS, on THE
la SRAND TOUS - -
to chemicals, but one
warch:
de
/
TRACIC SCENE - ACRECABLE
LES
Porssons woa !!.
tothe -
Tare CONCLUSE
the BIBTH y
thing is evident - the
The SUBLINE TUAT
the Auternal Nettle,
PATRIOT
and
bottle was used for six
ay CAP.
Toing BALL - - ORANCE
Noad of I#
THE. UNPARALLELED,
zase sv.
different kinds of liquors
JUPITKE . rulcan FIRES:
The - - - - ""
The OUN-AT PRACOCE,
FICURES
at one and the same
as -
reas ***.
- sie
A NIGHT IN THE
FAD-JUNO - JUPITER-1
PALACE OF PERIN:
-The MACICIAN Hond
time.
TWO BARBER
a Mess. PEILLIPFE wis appone
The UUN-ECLIPEE ""
AS TRE OSSAT
of BOYAL
MAGIGIAN
LEQUIN in
QUEEN VICTOILA
Phillippe from 1836 to
IN PULL COSTUME,
of SCOTLAND, ENOLAND, -
ON MONDAY
1838 featured ""An In-
Mens. P. takes his BENEFIT.
fernal Bottle"" trick, also
""The Inexhaustible
Poster used by Phillippe during his
Edinburgh engagement in 1838, featuring
Bottle"" trick. The trick
""The Infernal Bottle."" From the Harry
Houdini Collection.
also was seen on pro-
[ 184]"
unmaskingrobert00houdgoog.pdf,212,,"THE INEXHAUSTIBLE BOTTLE
grammes used by John Henry Anderson, the Wizard
of the North, in the same years. According to these
programmes Phillippe 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 Döbler, Germany's
best-beloved magician, came to London and featured
what he termed ""The Travelling Bottle.'
Ludwig Leopold Döbler was born 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 I5th, 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
[ 185 ]"
unmaskingrobert00houdgoog.pdf,213,,"THE UNMASKING OF ROBERT-HOUDIN
"" THE GREAT WIZARD OF THE NORTH,""
Performing hie triak of
POURING FOUR DIFFERENT LIQUIDS FROM ONE BOTTLE.
Reproduction of a political cartoon in Punch, published during 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.
[ 186]"
unmaskingrobert00houdgoog.pdf,214,,"THE INEXHAUSTIBLE BOTTLE
intaliset, minister of the King's mansions."" He also
orms his friend that he expects to visit Paris the next
son and build his own theatre. He states a fact most
resting to all magicians, namely, that he has rented
(lay Drive
udwig Döbler in his prime, taken about 1839. The original of this rare
re 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. Döbler drew such big audiences and made so
ch money that he refused to give private perfomances,
[187]"
unmaskingrobert00houdgoog.pdf,215,,"THE UNMASKING OF ROBERT-HOUDIN
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
Döbler played a return
STREET, ar.
SATURDAY EVENING,
date at the St. James
APRIL. 10,
1842
la
Ne
-
by
Theatre, London, and
sme LOUIS
DOBLER,
this time he had Ander-
to - the of
son as a rival at the Thé-
-
-
-
the gener
NATURAL
cummer
âtre Royal Adelphia.
MAGIC
Döbler amassed a for-
lass keil the - of - de - of Name -
tune very rapidly; in fact
-
-
-
-
NER MAJESTY THE QUEEN & H.R.M. THE PRINGE ALBERT.
The - be divided inte Twe Para and with Mark -
he retired in 1847, and
by M. - Eigli - -
PROGRABNE OF PERFORMANGE
PART L
never again appeared on
The Magle Illumination,
Tero Hundred Candles lighted by One Platol Shot
The Magle Looking Olass.
The Wandering
The Travelling Bottle.
The Witched Chair.
the stage. He always ex-
The Sympathetle Fruit.
The Wonder
The Corresponding Clooks.
Kitchen.
PART n.
plained his early retire-
Farmes
The Magnetic Sword.
The Notallie newer Zoots.
Instantaneous
The Great Necamotage.
The Miracuions Washing
ment by saying: ""The
More and There.
Floga's aifta.
vass
THURSDAY. APRIL 91; and ou SATURDAY, APRIL ss.
public loves me, and I
PIt, Se.
Gallery Stalls, is. ed.
A - Orehostre Datte - be 9a. -
-
PRIVATE BOXEA, ITALLA - TICKETS - be - -
Royal Librasy, ss, osd
want it to always love me.
Mr. asqunt's Librasy, Regent-street;
Mr. sams's Librasy, Jamos's-streed;
Andas - - of the Thestre, whieb le - - . Pivo
I may return and be a
# - - at as
failure, so it is best to
A Döbler programme from the Eva-
know just when to stop.""
nion collection, dated 1842, now in the
possession of the author.
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 Döbler in his
programmes was nothing more or less than ""The Inex-
haustible Bottle."" The following excerpt from the
London Chronicle during Döbler's engagement at the
St. James Theatre, April, 1842, is illuminating:"
unmaskingrobert00houdgoog.pdf,216,,"THE INEXHAUSTIBLE BOTTLE
""DOBLER-ST. JAMES THEATRE.-Among the illusions
that more particularly struck our fancy was one entitled
""The Travelling Bottle,' where Herr Döbler, filling a
common bottle with water, transformed this water into
a collection of wines of all countries, amicably assembled
Döblers Strauschen
und gervidmet.
2ins to ging's mil anbern Stanfe...
ou Annã,
Die ber gethan,
Nech in Wintee, - ate Sife
accce aberneg bie
méefat Gunt,
ward fatt Davan-
mis Am Jänben, girrig
mit Den Mingen. mit bem Spiegef,
Fingen Re Die Samen anf.
und mit der Flaghs Wein.
Qiefe Kafges
Nicmans Grach bas biegef
9u Des. Singe Sanf.
yes es Acia.
Sem was ensfeeret
Teinen Rufym ou nacf, Jashm.
fonber gaft.
gevif uns jurüch,
Sat man nene Segefycet
Wenn Die wea bu
es Die keine
mit Magiers Qatich.
ben Samber gn
Tann mafangen wir bich wisbes,
hore, But was wieber vell,
Lafen biefj auch nieft mefje aup,
in
Bie on
ans las ;bemp fifjun vöffig tell.'
Sefellef hier
fich in Reife anf So in Theatey.
Döbler's farewell programme in verse, used when he played his last engage-
ment in the Josephstadter Theatre, Vienna. Original given by Döbler per-
sonally to Henry Evanion; now in the Harry Houdini Collection.
[ 189]"
unmaskingrobert00houdgoog.pdf,217,,"THE UNMASKING OF ROBERT-HOUDIN
FLORA'S GIFTS.
HERR DOBLER
Ludwig Döbler in his prime, offering his most popular trick, ""The Creation
of Flowers."" From a rare lithograph in the Harry Houdini Collection.
[ I90 ]"
unmaskingrobert00houdgoog.pdf,218,,"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 Dö-
et. James's Theatre, King St,
LAST NIGHT BUT FOUR OF
HERR DOBLER'S
TUEBRAY,
JULY 5,
(on thero will - NO
SATURDAY, JULY 9.
LOUDS
NATURAL
MAGIC
-
WALL shortty
ANO NUMEROUN HEW EXPERIMENTS INTRODUGED
-
- - -
-
-
A
de - ed.
. -
Walle - Gallery -
- as. qui
Döbler programme with illustrations of his tricks, used during his engagement
at the St. James Theatre, London. From the Harry Houdini Collection.
bler gave to this trick it attracted more attention when
Anderson presented it during his London run of 1843.
He announced it as ""Watervs. Wine, or Changing Water
[ 191 ]"
unmaskingrobert00houdgoog.pdf,219,,"THE UNMASKING OF ROBERT-HOUDIN
into Different Liquids-Sherry, Port, Champagne, Gin,
BOWERY THEATRE
Milk, Rum, and Water.""
The London Sun of
Domes.
Pit.
1-9 Conte
Seate de Orchostra Beses.
se Conte
Domes for
FIV Dellase
Boots egee from 9 A.
a
April 18th, 1843, says:
The Deors will open et asd the Seiree et . e'slesh.
These le se Cheatrical Eshibition with these
""Mr. Anderson, be-
NIGHTLY JAMMED!
THE GREAT WIZARD
sides the feats by which
MAGALLISTER!
his reputation was es-
tablished in his former
bie Trimmbant Career, and sightly exhibite bie Grand and De'ginal
exhibitions in the metro-
Experimente in MAGXO, x.
ac., in bie Gorgeous Temple before
AMAZED THOUSANDS
polis, performed with per-
""Men of Mighty Words and Little Deeds!
Whe elaim the sele right to the name el WIZARD try in vais to convince the werld of
fect ease and success
beis greatness!--They may well writhe under the exposure of their FRES
SYSTEK, by which they seek to obtain es sudiesce, while the daily assouncement of ous
TRIOKS under www show the strait to which they ase driven! They have
learned "" their cost, that
some of greater difficulty
"" Feels rash in where Angels fear to tread.""
For the time bere. Macallister will perfores hie
than those by which Herr
GREAT LIGHT FEAT
Döbler astonished the
AND INSTANTLY
Iliuminate the Interior of the Theatre
world, such as serving
AT A PISTOL SHOT
Requert, will be repeated the
several kinds of wines
MYSTERIOUS DISAPPEARANCE
ANDITS
from the same bottle.""
"" GREAT GUN .FEAT!"" or, FEAT A LA Wm. TELL.
was - sine Wendes the em origimal
MAGIC BOTTLE -
The Morning Adver-
ANCALLISTERS
tiser (London) of the
ORICINY
same date said
BOTR
KINDS OF LIQUOR
""With the utmost ease
OUT or MACALLIITER'S
he produced from an
BOTTLE
world
that
cas
empty bottle wine, water,
produce
kinds
of
Liques
and
the
same
Dottle.
port, sherry, and cham-
ednesday Evening, August 11, 1852
pagne, and immediately
wm be gives the Mystorics of the
ENCHANTEDPALACE
afterward, under a blaze
Programme used by Macallister at the
of wax and gas, he broke
Bowery Theatre, August 11th, 1852, during
his second engagement in New York City.
the same bottle and pro-
Featuring the Magic Bottle"" from which
duced from it half a
twenty-two kinds of liquor could be
drawn. Careful reading will unearth
dozen cambric handker-
Macallister's ill-will toward Anderson.
From the Harry Houdini Collection.
chiefs, which had pre-
[ 192 ]"
unmaskingrobert00houdgoog.pdf,220,,"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 the 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
during his engagement at the Bowery Theatre, New
York City, in 1852. This was not his first appearance in
13
[ 193 ]"
unmaskingrobert00houdgoog.pdf,221,,"The original Compars Herrmann, 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. Original photograph
loaned for this work by James L. Kernan. of Baltimore, Md., U. S. A.
[194]"
unmaskingrobert00houdgoog.pdf,222,,"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 likely that, having
been connected so long with Phillippe, he knew the secret
several years before Robert-Houdin appeared in public.
But as Macallister 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,
Compars Herrmann, heavily advertised at the Théâtre
Royal, and already offering each and every trick included
by the Frenchman in his répertoire. Even the much-
vaunted bottle was in Herrmann's list 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 Théâtre
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
r 1"
unmaskingrobert00houdgoog.pdf,223,,"THE UNMASKING OF ROBERT-HOUDIN
Theatre. A bill used by Herrmann at the Princess is
reproduced on page 232. It evidently proved satisfactory to
the public and he used it without change for many years.
Probably the most notable warfare waged over the
BOTAL,
POGAM E
le Velage dus Carte: with
Nr. a. WESSTER, Sele Leisse - ou Bromptes.
Le des Dames the -
LA DOUTEILLE merna
FAREWELL
Rebia le Sercior, ( - -
Le Poche the Mervelless
MORNING
Lee Noces de Canna: -
Solme "" - and
Lee Colmmbee the
LS CADRAN MATREMATICIEN; TME cseom.
Le Timbre Soula, - - Restated Cleets Mell.
Le - de - Nagique: The
tome de Cartes et de magie New with
Caste - Whitte
MADONDE
la
- dus reages, esecule - de ville; The -
porformed - - Brom.
MAGIQUE
CRAND NEW ILLUSIONS
FROM
Le SUSPENSION ET LE REENNE
Commencing at Two o'Clock.
WONDER OF THE WORLD:
THIS MORNING.
SATURDAY, May 6th, 1846,
M. HERRMANN.
(ou MANOVERN
PREMIER PRESTIDICITATEUR OF FRANCE,
11
...
FIRST PROFESSOR OF MAGIO IN THE WORLD,
the Nobility, Geeary . Puble general, thet be will
- LAST A
Morning Performance,
SUSPENSTON ÉTHÉRÉENNE.
Frevious to als departure se the provinces, and will Intreduce
Six New Extraordinary Tricks,
DOUBLE VUE!
NEVER BEFORE :
Or, Second Sight,
L'Alben Heneveries; The Maseveriam Albsta.
""
Les Chapeses Diaboliquee: The Diabelical Mata,
Le Cufre infernale: The Seformal
MADAME HERRMANN.
Le Vase d'Armite: - l'horiogerie de Geneve: Armida's Vase er, The Gemeva
Cleckweek.
WETE VARIOUS
Le Mudtiplication des Indes:
Les Mysteres de Perie; The of Paris,
ILLUSIONS WITH CARDS
no Endame
MAGIE
as performed - weeke simee as she Thentre Megral, Adelght,
AND
MADE HERRMANN
+
o
,
.
3
R
Will also exbrbit her extraerdinary pevent of
II IMITATION OF VABIOUS
SECOND
IME. REMANE.
oa,
ANTS MAGNETISM
stalle and mexes
en
Doom
egee
at
Osse
the
ay with Clesed Eyee, any objecte that may be submitted
se thie preef, whica - assomished the mees acientifie,
Billing used by Compars Herrmann when he played in opposition to Robert-
Houdin on the latter's arrival in London. This shows that Herrmann dupli-
cated all of Robert-Houdin's tricks. From the Harry Houdini Collection.
[196]"
unmaskingrobert00houdgoog.pdf,224,,"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
PoGA
LAY-MARKET
-
Evening. Tharsday, April seth.
- a - - Manager, ou
Le Velage des Cartes: with Carts.
LE BOUTELLE INEPOISABLE; THE
Mereary.
T
Arlogala le DisMe quetre, Mariogale, the Bevil.
L'Egee Magigne: The Magle Sword.
WONDER OF THE WORLD:
L'Tacomotage de Lose et de Soliel the Saggier et the and the -
LE CADRAN MATERMATICIEN:
Les Colombes Sympothetiques: The Sympethetie Devea,
Le Rie Enchente The
La Cafetiore de Grend Megal The Coffee Pes or the Geand Megal
Le - de - Magique: The Nogle Swestenks.
She Last Two Nighte!
Le frelerd Serpont The
la Borme Magique: The Magle Stove
la - du Poimon reage, execute - bebit de ville, The math of
performed in -
La Some tome dus Cartes et de - blanche; Now Masions wills
Thursday, Saturday,
- Whise
Le Billet de Solomee Note.
Les the
Apens sea, and ns4s.
des pieces de messaire: the
TRAND
NEW ILLUSIONS
FROW
M. HERRMANN.
Le SUSPENSION THEREENNE
- maseva
PRESTIDICITATIUR OF PRANCE,
om
IN
-
-
-
SOIRÉES
MAGIQUE
it
- - -
the caly cosasions he cas
SUSPENSION ÉTNÉREENNE.
aggear is this Seasom.
LE DOUBLE VUE!
zm. EEREMANN
Or, Second Sight,
BY
was -
MADAME EERRMANN.
New anes Startling y
WETHE VARIOUS
. vasions paste . -
ILLUSIONS WITH CARDS
AND
MAGIE
MADE. HERRMANN
AND
,
-
-
- - ber gevere os
BECOND SIGHT:
II IMITATION OF VABIOUS BIRDS,
ar
HEREMANE.
INTI-MAGNETISM
asalle a Boxes &u. PK Se. Galleries 2s. a ls.
Second Price as N ine o'cloek.
ages, any that may be
Deses
opee
Malf-past
Seven:
the
Performance
Eight
.
se
Plases
1
A Herrmann programme dated April, 1848, showing that Herrmann pre-
sented the inexhaustible bottle two months before Robert-Houdin appeared
in London.
[ 197 ]"
unmaskingrobert00houdgoog.pdf,225,,"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 ]"
unmaskingrobert00houdgoog.pdf,226,,"THE INEXHAUSTIBLE BOTTLE
London he also appeared at the Egyptian Hall. He
published his own magazine, L' Almanach 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'Illusionniste, 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 reality the honor of its invention belongs
to some obscure mechanic or magician whose name must
remain forever unsung by writers on magic.
[ 199 ]"
unmaskingrobert00houdgoog.pdf,227,,"CHAPTER VII
SECOND SIGHT
E
VIDENTLY second sight was the foundation-
stone of Robert-Houdin's success. Reading be-
tween the lines 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 répertoire, 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]"
unmaskingrobert00houdgoog.pdf,228,,"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
Robert-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 Robert-Houdin ""Memoirs.""
a man who reproduced the tricks of his predecessors as
rapidly as Robert-Houdin 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]"
unmaskingrobert00houdgoog.pdf,229,,"Robert and Haidee Heller from photographs taken at the time that they were presenting second sight accord-
ing to the Robert-Houdin method by an electric code. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,230,,"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]"
unmaskingrobert00houdgoog.pdf,231,,"NEW STRAND
THEATRE.
C
SOIREZE
MYSTÉRIEUSES
DE
ROBERT HELLER.
These elegant and original Performances will be
given at the above Theatre
C
Commencing at 8
A MORNING PERFORMANCE
EVERY MONDAT TEUREDAY,
AT HALF-PAST 2 O'CLOCK.
On each occasion will be presented the following
inexplicable experiments, invented and performed
by Ecbert Heller.
PART I.
The Cabaliatic Clock
Le pendule Cabalistique
The Obedient Dove
La colombe Obéimente
The Fans and Balle
Les eventails et les boulets de
Canons
The Plumes of Feathers
Les plumes
The Basket of Flowers
La corbeille de Flueis
000
The Marvelious Orange Tree.
L'Oranger
PART II.
The Mysterious Port-folio
Port-feuille mysterieus
The Mystic Boquet
Le bouquet mystique
The Wonderful Balance
L'equilibre
The Automaton Cook
Le cuisnier automate
The Safety Casket
L'écrin de Sureté
The Magio filtration
Le filtration magique
PART III.
THE SECOND SIGHT I LA SECONDE VUE
or ERNEST HELLER.
ESCAMOTAGE or ERNEST HELLER WHO WILL VANISH FROM
THS ETES or THE AUDIENCE
The Bottle
LA bouteille
The cornucopies
Le corne d'abondance
From which Fana, Toys, Bonbons, Journals, &c. will be shovered
upon the audience in the greatest profusion.
Dears de epm at 7, and at sfer the Morning
-
PRIVATE moxes
1s. a £1 11s 6d.
Stalls 3a.;
Boxes
Pit
Gellery 6d.
The Bes Cillee epea from "" to & dally: where Tickets and Finses
may be secured.
a -
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.
in the Harry Houdini Collection.
[2041"
unmaskingrobert00houdgoog.pdf,232,,"SECOND SIGHT
at his own theatre, February I2th, 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
later, according to the illustrated appendix of the French
edition of his ""Memoirs,"" he adopted a code of signals,
which 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
was 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 répertoire 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"
unmaskingrobert00houdgoog.pdf,233,,"MELODEON
FOR POBITIVELY
TWO WEEKS ONLY.
MONDAY, MAY 15TH,
FIRST NIGHT or
ROBEAT
THE FAMOUS
SOMATIC CONJURER,
PIANO-SOLOIST AND CAUSEUR,
wae MAS rest ass
365TH PERFORMANCE IN NEW YORK,
Belag . career "" success which . other Conjurer has, et asy time, accemplished le that eity,
PART 1.-MAGIC.
WONDER 1
HELLER'S CABALISTIC CLOCK
WONDER II.
THE ERIAL DELI.
VONDER III
INPORNAD celebrated Patent Mediciné Ware-
bouse in the Netherlund
WONDER IV
THE_ WITCHES POLE, with singular developments in
Cartomancy
WONDER V
ANIMATED DOLLARS, with Life and Intellegence Manifested
WONDER VI.
HELLER'S ARABESQUE RINGS
WONDER VII
THE DEVIL'S PUNCHBOWL
PART II-MUSIC.
No. &
GRAND FANTASIA on Airs from the ""Sonnambula"" of Thalberg,
performed by ROBERT HELLER, on Steinway's Grand Pianoforte.
No. 3
Ma Laughable Description the Piano-practice of a Boarding
School Young Lady.-Illustrated. The Young Lady by Robert Heller.
PART II.--MBTE.
200. 2.
HELLER'S SECOND-SIGHT MYSTERY
Anvented
by Sim, by éle and which has made bie colebrity frota hio appresesee
in public, being designated as
No. PLUMES OF VICTORY
. wisse
PART
PARLOR KAOIC, or Tricks Made Ensy, every - person in the Audiends not
,
only shown the Tricks, but taught publicly how to do them, do that they
may go and start out asconjurers for them esivesani achieve as great
a
fortune as bas fallen to the lot of Rosear,
Poster used by Robert Heller during his Boston engagement in 1853. From
the Harry Houdini Collection.
[206]"
unmaskingrobert00houdgoog.pdf,234,,"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. C., 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 code; 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 shoc. This allows the
[207]"
unmaskingrobert00houdgoog.pdf,235,,"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
The author at the long-neglected grave of Robert Heller, in Mt. Moriah
Cemetery, Philadelphia, U. 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]"
unmaskingrobert00houdgoog.pdf,236,,"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. In
1781, while playing 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 writing.""
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]"
unmaskingrobert00houdgoog.pdf,237,,"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 Y . M A R K E TI
By PERMISSION of the LORD CHAMBERLAIN,
Signor and Signora PINETTP S
Molt grand, aitotifining and inimitable
N
E
W
E X FI IB L: T I o N,
A
T the Theatre-Royal, in the-Hay-Market,
TO-MORROW, Decembier 2,
$ guor PINET r', Knight of the Order of Merit of St.
Philip, &c. &c. with all duc deference informs the publick,
that be is juft returned from Windfor, and that he will, by
the above permillion, open agáin this Theatre on Thurfday
aud philofophical and abfolutely pieces, which inimitable, his recchanical, deep wonderful, ferutiny phyfical jo
aud with his Confort, will-exhibit moft
recent
thofe friences, and afliJuous exertique have enhabled him to
inyent and confruct among wh;ch Siguora Pinetti will
have the fperia honour and facisfaction of exhibiting vari-
cus experiments of new difcovery, no lefs zurious than
ficmingly incredible, particularly that af her being feated
in one of the front hoxes with an handkerchicf over hes
ryes, and guefa at every thing imagined and propefed to
ber, by any perfon in the company.
Signor Pinetti being moit unsious and ambitious of re-
reiving the countenance and farction of this great and dif-
terming nation, in his endeayours It fhall ba his conftant
Audy Nill to find out nteans which mày euable him to: prc-
Tent, at interavals, mon curinus, furprizing, and interelling
original pieces befote the publick during his thort my in
never but ever
difplay thiskingdom what inof of which his of pieces, invention hie having and been difrovery, honoured producing approbation, and with in only the
own
a
written teltimony Britanuic Majefty's
figned with his own hand (befides being poffelled of carti-
ficases of the like niture from Several other Sqvereigns)
hunably bopes and Lolicits for the continuance of that pir
tromage and encouragement, which he moft gratefully ac-
knowledges to have already fo impartially: and amply ex-
grrienced from the Britifh nation.
His excellent and humourous intérpreter will tentinue
with him during hie ftay.
Boxes 5&, Pit 3. Firft Gal. as. Upper Gal. IR
the boxes to be takeu of Mr. Rice at the Thearre.
Doors open at Six, and begin at Seven.
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]"
unmaskingrobert00houdgoog.pdf,238,,"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 3II of Volume II., edition of 1817.
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 Dévoilée"" (White Magic
Exposed), first edition, 1784, he offers on page 40 ""Les
Cartes dévinées, les yeux bandés"" (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
1"
unmaskingrobert00houdgoog.pdf,239,,"UNDER THE PATRONAGE OF
His Most Gracious Majesty WILLIAMIV.
The
Wonderfal
DOUBLE""
SIGHTED
Phaeno-
menon:
Young Master M 'KEAN,
Since his arrival in London, has had the honor of performing
(on Friday, Dec. 23rd. 1831,) before their
Master M'KEAN, only . Years old!
ONK
or
Most Gracious Majesties & Prince George.
GREATEST PRODIGIES of the Age
His Grace the Duke of Argyle.
Has just returned from the Pavilion at Brighton:
His Grace the Duke of Gordon.
Towhich plare be lad de heaer of a Sperial Conmand, aud is again exhibiting his mest
His Grace the Bruke of St. Albans and Duchess.
At the Egyptian Hall Bazaar, Piccadilly.
Her Grace the Dachess of Nortbumberland.
The Rt. Hon. the Earl of Coventry.
In addition to his performance before thair MASESTIES and their Court, this
The Rt. Hon. the Earl of Errol.
extraordinary Child, siace his arrisal in Town, has had the bonor to exhibit his sur-
prising talent before several of the Nobility of the highest rank, wheee admiration and
The Rt. Hon. the Earl of Bellast.
astoniehment have heen uniformly expresaed in the strongest terma.
The Rt. Hon. the Earl and Countess of Morley.
The fuculty which be possesses has defied the research of all the Medical men, by
whom he has been seen-a faculty. which enables him to distingruish colour, read either
The Rt. Hon the Countess of Essex.
print or manuscript, tell the hour of the day on a watch, or declare any other fact as pra-
The Rt. Hon. Lord Adolphus Fitzelarence
misely R$ the cleverest sighted person, although his eyes are at the time, completely
The Rt. Hon. Lord Augustus Fitzelarence.
blindfolded, and his back turned to the object of examination.
Anning other aurprising performances, may be mentimed the fallowing
The Rt. Hon. the Viscountess Faulkland.
He will read in English, Latin, French, or Italian. Any one present may insert
The Rt. Hon. Lord and Lady Dever
names or figures ad libitum, and he will instantly presounce the same, and tell the
Sir Edward, Sir Arthur Berkeley, & Lady Paget.
name of esch figure separately, and their value together. A piece, or pieces of money,
keys, er trinkets of any description may be produced by any of the company, and be
Admiral Sir Manly Dixon.
will instantly tell how many there -whother componed of
Admiral Lukin.
Gold, Silver, Brass, or Copper?
Admiral Daker.
The date and valire of the Coins, and describe every other article very minutely, avee
ahould there appear a spot upon them. He will also describe the drese of any person,
And many others of the Nobility of the United Kingdon.
and in what pesdition they ait of stand. MASTER MOKEAN will ask the fawor of any
Lady or Gendlemas in the company to apeak softly within themaelves, ao that they
**
may not be heard by those who ait on the right or left, and he will instantly repeat
The HIGHLAND YOUTH's Figure is erect, his Features
them, althongh at ene hundred yards' distance. Should there be 100 Watchen produ-
end, and each differently set, be will tell the hours and minutos indicated by each, and
particularly handsome, and of bis age considered re-
parform many other Frate, which must be seen to be credited
markably tall.-He daily gives increasing satisfaction
Hours af Enhibillos are 11, 1, 3, and A. Admissura, la. 6d. halj-price.
to the most distinguished characters.
the Parties may have . Prieste . deu - the 6 s'cluck in the ""
Tho
05"
unmaskingrobert00houdgoog.pdf,240,,"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 1831, 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 Théâtre
Scarboro, Friday evening, August 4th, 1837, announces
""For a limited engagement of three nights the Three
[ 213 ]
1"
unmaskingrobert00houdgoog.pdf,241,,"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
1897
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 Robert-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]"
unmaskingrobert00houdgoog.pdf,242,,"enormous poster which would be unintelligible 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 gonc, have excited
the Formemance of the
ISTEOUS
LADY.
8 The peculiar acquirements and faculties of this highly Talented
Lady are almost beyond the reach of description. By some unknown
and
EXTRAORDINARY ENDOYMENT
She is enable. to declare the names of articles produced by the company,
although aitting at a distance of 50 to 60 feet, with her face turned from
the audience? She will also divine the whispered wish ot any one.
although satisfactorily out of hearing. She will also, describe the dress,
ornaments, &c. of any iudividual who may wish it, with an accuracy
truly surprising; upon a card being selected from a pack, she will
declare its name; but as the performance varies and depends in a great
measure on the pleasure of the company, no regular routine can be speci-
Sied, but of this the company may rest assured that every consistent
stiort will be used to gratify and afford them satisfaction.
Reproduction of original billing matter used by the mysterious lady who
offered second sight in the United States in 1841-42-43. From the Harry
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]"
unmaskingrobert00houdgoog.pdf,243,,"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
the MYSTERIOUS LADY,
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]"
unmaskingrobert00houdgoog.pdf,244,,"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 Soirées 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]"
unmaskingrobert00houdgoog.pdf,245,,"SECONDE VUE DE M
ROBIN:
Second sight as offered by M. and Mme. Robin, in which Robin employed the bell and the goblet. From the
latter she sipped liquor, claiming it tasted like the wine secretly named by a spectator. Robin's stage
was
equipped with electrical appliances. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,246,,"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. 3I
Haymarket, 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"""
unmaskingrobert00houdgoog.pdf,247,,"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
To the Public in general, and thofe of real Knowledge
Particularly.
To be teen from Tea m the Morning. 6ll Four is the Afternean
At Mr. BECKET's, Thank Maker, No. 3r. HAY. - MARKET.
Alter all thet has been produced in the Warld, fagacious of the Annial Species,
Learnid Pig, the Dancing Dosa &c &c. and which have been acceptad, and acknew ledged
with Truff, as WONDERS, Ivt in the fame time, of natural intelle that who could
belleve, (exeept feeing,) that themeR Stupid and Infenfate of the CRE ATION
Could be Brought to fuch a degree of Sagacity, and Wunderful Learning. of
Hunenur Animal Tricks, as the Prodigious
G
S
E,
Pids
ct Crede
Lately arrived from Abroad.
Whan spropity before acandid and Public, to levite them to
fee, and be Fithe Durrag arfucha (for have
a a a particalar sckined fram them - Agilitad as the misd
- gevinally (s. Aveg OF
LETE le will furdy find, and asknowlar ge to the
Adfere A
LEARNED GOOSE
Who Performs the following Tricke, viz. Perfonning upon Cards, Maney and
Watches; telling the Day of the Manth, andtle Month of the Year, as allo the value
of any Plece, éither English or Foreign: all furte ard (meft
prodigioully. and certainly unbelieuing to thaie who lonow the of . Gouse.)
the tells Ladias and Gentlemen in the Company; uf any Perfon's thought
ay at Lady drawing of the Pack, thoughever fo fectet
blindfoldad at the faine time will And out the draw,
It Te aut of the compsis efa Bilt, to enumerate all the Tricks the doa befides.
Admittaner, Tua Shillings each Poyun.
Rare poster announcing the performance of the learned goose, one of the
first of the second-sight animal artists. Traced from the original poster in the
British Museum 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]"
unmaskingrobert00houdgoog.pdf,248,,"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-
Beautiful Hog,
sors in magic, by uti-
CARLOS,
zs sow sas
lizing the newly found
Egyptian Hall, Piccadilly,
UNDER THE
assistant to the magi-
Patronage of the KING & Royal Family.
cian, electricity. In
his tiny theatre it would
have been entirely
feasible to have had
TRIS astonishing Animal is from New York, whose sagacity and decility have
beea the surprise and admiration of all who have witneesed performances, parti.
electric wires run from
cularly at Basontow, where Mr. HAMINOTON had the bonour of exhibiting, on the
17th of Dec. 1831, Dow CARLOS' wonderfal abilities, by special Command before
all points of the audi-
His Most Gracious Majesty William IV.
an D ROTAL PAMILY.
At the Pavilion; on which occasion hie Majesty and thr tyal Pivinily were pleased
torium to the stage,
to express the approbation and delight they experiences, as his most extraordinary
performances. A visit to this haif-reasoning Dog will amply gratify the levers of
Nature's works. This very extraordinary and handsome creature is a Spaniel of the
thus doing away with
true Spanish breed, and in addition to his wonderful faculties, is of so mild and tract-
ables dispesition, that he may be managed by a child with perfect case and enfety.
Ris acquirements consist chiefy of Performances with Cards, wherein he displaye
both the speaking and
the greatest precision. He will also select the handsomest Lady lé the Room, -
cording to his judgment (which is seldom.questioned), eldest de youngest Pereom, .
say question put by the Company, and the Gentleman most partial to the Ladico.
ordinary signal codes,
DON CARLOS IS NOW FOR SALE:
His price is Fifty Guineas. The present owner of this beautiful animal would be
happy to let him accompany him to America, for which be will shortly embark, but
even the pneumatic
DOS CARLOS particulas objection to a sea voyage is the only reason for bie part-
ing with him.
Thé Proprietor of DON CARLOS, begs to inform the Nobility and Gentry,
tube. For this im-
that he is in readinest to attend Parties at their own houses, on moderate charges.
Aho to be seen (alive) a fine
BOA CONSTRICTOR,
provement, and this
From the Island of Java, and two small Specimens of Crocodiles, from the Banks of the
Nile, perfectly harmless Together with the
alone, should Robert-
Beautiful Canary Bird, (Tipesabe),
Who will perform a variety of amasing Tncks; bikewise the MAOICAL Frovass.
Admission to the whole 1s.
Houdin be given credit.
13
N.R.
Ths Perchaser of DON CARLOS will be sutructed to perform him as well as hie
present Master. Opegifros 10 in the Morring will et Night.
Nearly all magicians
Prieser, 03. Street, Chy.
improve or redress
Billing used for Don Carlos, the double-
tricks or apparatus
sighted dog. From the Harry Houdini
Collection.
handed down to them
by their predecessors, but Robert-Houdin was not willing
to admit that he owed anything to his predecessors.
[ 221]"
unmaskingrobert00houdgoog.pdf,249,,"CHAPTER VIII
THE SUSPENSION TRICK
I'
N 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 répertoire: ""The Crystal Box,"" ""The Fantastic
Portfolio,"" ""The Trapeze Tumbler, ""The Garde Fran-
çaise,"" ""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]"
unmaskingrobert00houdgoog.pdf,250,,"TATERLOO
For me Few
the PATRONAGE OF
HER
H. PRINCE ALBERT, a THE ROYAL FAMILY,
Aud as represented by at me of * -
AT ALL THE COURTS OF EUROPE.
This Grent Artito of in the Art of Magio, Inventor of the Insxhanstible Bottle, the Suspension
the Kegle Punch Bowl, the Second Sight, and . great sumber of other Tricks, is a Member of the Bociety
in Pariz, and the only Conjuror who bes received Notional Rewards of Morit for bis Uuparalleled
Thisks Magle Transformations and Astomatons, which have astomished and delighted the Sciontine Mep of
overz will mot, in of ammeroms Engagemente, be able to remain mose than . limited period in
-x-
OBLEBRATED
French Conjuror,
Propricter & Manager of the Palais-Royal Theatre, & late of St James' Theatre, Londen,
WILL orve A SERIES or
MAGIC SOIREES
FANTASTIQUES:!
CONMENCING ox THS EVENING
os
Monday, June 14, 1852.
General
reox WEICE A SELECTION WILL BE OIVEN RACH EVENINO.
The Gorfoind of Mewers
Navele Antente (Mechanic Flece)
The Transparent Casket
the of
- of the
The Imexhanstible Bettle
The Nagle Oupper
toa of Rebert Noudin
The Glass of Wise, or the Secret of
The
The Turtie Boves
a Contrabendist
- Impossibility realiteed
The Enchented Cravat, producing
The Miracuions Fishery
The Irea Crowa
Fenthers, de.
The Orange, Lemen, and Walunt
The Narvellous Orange Tree
The Sugar Loaf
The Unifilited of
The Gomims of Reses
The Socond Nght, witheut any Ques
Severeigne
The Book
des
The Bell-riager (Mechanic Pleee)
The
The
The Flewer Basket
The Nagmotined Cards
The Magie Pertiolle
The Neapelitam Mariequia
The Remertable
The Ball of Lambr Weel
The Feather and Cannom Ball
the Caballatie arying
Aurici (Mechamical Plece)
The Great
The Sporismes - Cupté
The Exercise of as Auto-
The Emperer Nicholas
The Impressice
mates
The Two Lemons
The Orystal Delle
The Ariel Gleck
The Phenix Pecket Handkerchief
The Colome and Glove
The Sugpension Chieroforeeme
The Magle Tableam
The of Flowerp
The Young Saveyard (Mechanic Plece)
The Swerd
WONDROUS PUNCH BOWL,
As - New Trick, producing BON-BONS and PUNCH, ed libitum.
Deors open at Secen ; Performance to commence at a Quarter-past Eight o'clock.
A
mission Stalls, 3s; Reserved Seats, 2s; Back Seats, is; Gallery, 6d.
Family Tickets, admitting Four to Stalls, ios 6d.
Childres under tem years of age, to Reserred and Back Seats, Nalf-price.
A
GRAND MORNING PERFORMANCE
our SATURDAY, JUNE 19, 1962, AT TWO O'CLOCK.
Deors epen at Half-past Onc.
Tickuts and Fiaces may be sccured at the Roums, from 11 till 3 o'clock; at Mr Wood's, 12 Waterloo Place
and at all the Musicsellers.
PRINTER, if SOUTU MANOVER STREIT.
A Robert-Houdin poster on which his complete repertoire appears, under
date of June 14th, 1852. From the Harry Houdini Collection.
[223]"
unmaskingrobert00houdgoog.pdf,251,,"THE UNMASKING OF ROBERT-HOUDIN
Inventions are a matter of evolution, but as the tricks
which Robert-Houdin presented in his new répertoire
were not new, he was able to offer them as the result of
three months' work. To the expert mechanician or
builder of conjuring apparatus his claim is farcical. The
ST. JAMESS THEATRE,
- -
STs THRATRE
-
DAY PERFORMANCE
-
WEDVESDAY MORMING
1846
suns 7,
1848
SOIREES
A ALMO -
SOIREES
ANTASTIQUES,
-
ov -
at
TUESDAY, THURSDAY,
TUESDAY, THURSDAY,
SATURDAY EVENINGS,
SATURDAY EVENINGS,
-
a
-
- -
INVENTSD SV -
-
- -
-
- -
-
- -
is .
the
- - -
- - -
.
-
- - -
-
E - . - -
- - -
- - - n
-
-
2
-
-
- - -
- - -
-
-
-
-
-
-
- -
---
Sottle,
vea
....
--
SESPENSION
vva,
sa
Parvars
-
Poster used by Robert-Houdin during his first London engagement,
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]"
unmaskingrobert00houdgoog.pdf,252,,"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 anzesthetic he
would never have thought out the new trick. His own
words as presented on page 3I2 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
effect of this anzesthetic 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
15
[225]"
unmaskingrobert00houdgoog.pdf,253,,"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 first 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
off 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 youth 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]
-"
unmaskingrobert00houdgoog.pdf,254,,"Die Chineilche
Reproduction of an engraving in an old German Encyclopaedia in the Harry Houdini Collection,
which credits to the Chinese the trick of climbing into the air and having the body fall down piecemeal
and being set together again."
unmaskingrobert00houdgoog.pdf,255,,"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 gurgling sound, like that occasioned by wind
[228]"
unmaskingrobert00houdgoog.pdf,256,,"THE SUSPENSION TRICK
The Brahmin suspension as shown in an illustration found in Robin's
l'Almanach de Cagliostro.
[229]"
unmaskingrobert00houdgoog.pdf,257,,"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 23I one of Ching Lau Lauro'sprogrammes.
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]"
unmaskingrobert00houdgoog.pdf,258,,"Five Nights only.
AT THE NEW ASSEMBLY ROOMS,
The celebrated CHING LAU LAURO,
Norcules, and the - furope, Magaro, Nechanicies,
of the - and veluable Mechssical, Optical, and Nagient Transformatives
- whese Performances the greatest and
they
hate
been
eshibited.
C.L.L. be had the of Serforming before thes "" the "" Rreghtee, and
ressived letter, by chais Mayesties commend, &m al approvel of ear% Perfermasce, wich
Sagether
with
several
others
from
the
Earts
of
Dewlogh,
Nredfent,
Marquia
leses
. Nr Passs's, High etreet of whrth the folloning "" repy - Sie
rese.
Ste,
Ny these I have to state that vour Performiece+ "" the Pevilion. . the isth of
sembei were appreved of by these Majestive
Ching Les Lovre,
- em vou' Servant
See Notel.
H
The Nebility, Gestry. and the Publer of eiverhamptor and "" we séformers the
CHING AULAURO
LATF or VAUNHALL GARDENS AND DHUNY LINE 1H1 ATKE
Well have the beneut of appearing be fore them
On Monday, Tuesday, Wednesday, Thursday, and Friday,
Narch the 10th, lith, 12th, 13th, and 14th, 1934,
To Talente in . complete serice of Ammements. combreing-
PART I.
THE CHEST OF ARCHIMEDES,
AND
The Column of
These self-ecuing pleces of were recruted by the celebrated am! entraded
the Cablest of Curiosities at Paris, ber unforeces the
Gefore the completies of these Master pieces of Art, they sere dieposed of and
gower - gratify the Public with anch advaired pieces of
A Game at Whist, Time Flies, the Wax Candles Enchanted
ELEPHANT OF KNOWLEDGE,
Fulcan's Forge, Miraculous Printing Flying Watch,
NAGIC BOTTLE,
APPLES OF BEELZEBUB,
MAGEC mags, LOYAL NETAMORPHOSE, &c. with , ""
II.LUSIONS TOO NUMEROUS TO MENTION
PART II.
VENTRILOQUISII.
CHINO LAU LAURO - the hesour to ansounce that, previons to bas return to Loudon to resume his
Eagagements, be bes been induced to preseet novel and popular SATIRICAL LEC TURE. and
NOV DIVENTI<EMENT, en.itled
ROGUERIES OF NICHOLAS.
Imitations of the Feathered Crestion, such as the Thrush, Biackbird.
Nightingale, Sky Lark, &c.
Also vertraying a variety of Eecentric and Cheracters diawn from Nature. entroductory of
His Surprising Powers of Imitation,
ORIGINAL ANECDOTES, INCONCEPTIBLE CHANGES OF COUN-
TENANCE, and extraordinary Illusions in ALIOI.OQUY, (erroneously ternied
Ventriloquy.) explaining its Ageucy in producing the numberles
MYSTERIOUS PHENOMENA, WOVDERS, AND DECEITIONS.
PART m.
Feats of Strength,
IN THE CHARACTER or A CHINESE BUTFO
GYMNASTIC EXERCISES.
And will conclude wonderful Entertalaments by
Sitting in the Air upon Nothing
A:
the same time play bith the GOLDEN BALLS. &c.
A Quadrille Band will be in Attendanco.
Dese se be opened at Seven and the Performance to commence at Quarter before Eight.
FRONT
SEATA, 2.-BACK SEATS. I.-CHILDKEN HALF PRICE to the Front Seate anly
TICKETS to be had at Mr PARKE'S, High-street.
will be given on Friday Merning, at half-past
Twolve o'Clock.
Perte. y -
Ching Lau Lauro handbill featuring suspension in 1832. From the Harry
Houdini Collection.
[231"
unmaskingrobert00houdgoog.pdf,259,,"THE UNMASKING OF ROBERT-HOU
esraping from a bladder or tube. When the
blanket was again withdrawn, the conjurer wa
on the ground.
The mystery was supposed to have been sol
Sheshal, commonly known as ""the Brahmin of
exhibited the trick in 1832 in Madras. It was
that his stool was ornamented with two inlaid
it was suggested that one of these might concea
for a steel rod. passing through the bamboo,
another rod. screwed to the perpendicular one
..... In the piece of hide, might be connect
```... of the same metal, passing up the S
......
inc. and forming a circular seat.
:
was not far from the truth,
:
is means the greatest of authorities
""A
i.
:
this particular instance I be
is correct.
information I have
that wonderful F
soll Ching Lau Lauro. Presumab
and from the programmes in my
fart in England, in 18:28
perform between scenes of
- and Jerry,"" at the
one of Ching L.
de passibly di veir
and
. -
: -
..... this"
unmaskingrobert00houdgoog.pdf,260,,"Fire Nights only.
AT THE NEW ASSEMBLY ROOMS.
The celebrated CHING LAU LAURO,
- - - --- - - -
- - - - - - - - - - - - - - -
-
-
CLA - - - - - - - - - - - - -
- - - - - - - - - - - -
- - - - - - - - -
-
-
-
-
-
-
-
a
-
-
-
- - - - -
-
-
- -
The - - - - 1 - - - -
CHING LAULAURO
um - -
-
Os Munday, Wednesday, Thursday, and Friday,
March the the 1218 121h, and 14th, 1834.
= - - - - - - - - -
PART #.
THE CHEST OF ARCHIMEDES,
The Column of
-
-
-
-
-
-
-
-
-
-
-
-
-
- - - - - - - -
A at Whet Tim the Wax Candies Eschanted
ELEPHANT OF KNOWLEDGE,
Forge, Printiag! Flying Watch,
MAGE SOTTLE,
APPLES OF BEELZEBUB,
MAGIC EGGS, LOTEAL 440 with WARIETY -
FART n.
VENTRILOQUISI
-
-
ROGEERIES OF NICHOLAS.
of the Creation, - - the Thruals, Blackbied.
Lark, A.
- - - - - - de
Hir Surprising Poccers of Imitation,
CHANGES OF CDUN.
- - - Agwy - - the
LND DECEPTIONS.
PARTE 101.
of Strength,
- . SEPTO
ASTIC EXERCISES.
the Jir upou Nothing!!
- - -
- - - - Allesdance.
- - -
- - - - M. PABAER
- MALE PRICE - - Fim -
- - - - - Friday Morsing, at
-
- 2 -
Collection.
sumpension in 1832. From the Harry"
unmaskingrobert00houdgoog.pdf,261,,"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 worked out of range of the gallery gods.
When Robert-Houdin went to London in 1848 he found
Svesimg, the - Satreer
performed by
with -
The BOTTLE,
as the commend Tine
PRINCESS'S THEATRE
ALL KINDS-OF LIQUEURS.
The Juggier of the Sum and Moon.
- -
The Bagic Sword, or the Skuful Player at
-
Blind-Man's Buil.
GENERAL REQUEST
SOUS and its
isclated Bell. (Mechasic.)
mose.
The July Colums, of the Docile Cart.
(Mechanic.)
HERRMANN
The Philanthrepic Banker.
A Chinese Metamorphose.
The Funtastic Glass.
Pierro the Magician. (Mechanic))
The Marriage at Cana.
The Disappearance of
*
*
*
The
DOVES
THE
First Professor of Magic in the World
The Miracle of Flowers (Mechanie,)
The BANDEER of SATAN.
Will give six MORE of his
The Multiplication of Guinea Pigs.
The Flower Garden.
ENTERTAINING
The Universal Thought.
The Miraculous Production of Plumes.
OIREES
The Enchanted Vases.
The Puzzled Choice, or four in one.
EMIDA's o BALICE, or the
GENEVA CLOCK wons.
The Mysterions Chest.
And MAGIQUE.
-
THE ONLY NIGHTS HK CAN REMAIN IN LONDON,
many Provincial
BONDAY Evening, August 21st. 1848,
TORSBAY, 22ud,
WEDNESDAY, 23rd,
PRURSDAY, 24th, FRIDAY 25th,
And SATURDAY, 26th,
THE
BENEFIT of M. HERRMANN
And
will be varied with
NEW & WONDERFUL ILLUSIONS
EN ERIMEENT T al.
SUSPENSION ETHER
MADAME HERRMANN
selncomprehensible Handkerohief
"" MAND
vases FILLED WITH
--
Astenishing
Frate
ANTI-MACNETISM
Gold Fish!
This extraordinery Feat is executed in a plaia Evening Brees,
and must be seem to be belleved.
Dress Circle, 4s.
Boxes, **
Pit, **
and
Gallery, le
as.
the
CLAIRVOYANCE
loors open at half past Seven. Commence at
Balf.price at Nime . Cleek
a
a
A Compars Herrmann programme of 1848 in which suspension is featured.
From the Harry Houdini Collection.
[ 232]"
unmaskingrobert00houdgoog.pdf,262,,"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 ""Chloriforcene
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,""
[ 233]"
unmaskingrobert00houdgoog.pdf,263,,"THE UNMASKING OF ROBERT-IIOUDIN
IXTRADREIMARY MEW
RECEPING
IN
THE
AIR
CORDENSED
"" 'Suspension Chloriforcene,' as presented be Anderson and his son, from a
lithograph used by him on his return from the Continent, December, 1848.
From the Harry lloudini Collection.
[234]"
unmaskingrobert00houdgoog.pdf,264,,"THE SUSPENSION TRICK
was living in his native town of Münster, 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 Münster bright
and early. From the city directory I learned that one
Heimburger resided in Krumpentippen, 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, snow-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 ]"
unmaskingrobert00houdgoog.pdf,265,,"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, daughter-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]"
unmaskingrobert00houdgoog.pdf,266,,"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
Münster, 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 ]"
unmaskingrobert00houdgoog.pdf,267,,"THE UNMASKING OF ROBERT-HOUDIX
In 1904 I paid the old master a second visit. To his
professions of pleasure at meeting me once more, he
added the gift of several rare programmes now in my col-
Alexander Heimburger, a veteran conjurer who presented the suspension
trick in 1845-46 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]"
unmaskingrobert00houdgoog.pdf,268,,"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
I 844 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 Münster'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
Moderne Zauberer"" (The Modern Magician), which he
[ 239 ]"
unmaskingrobert00houdgoog.pdf,269,,"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. Blitz's book, but is far more
diversified and interesting.
His scrap-book also told a most romantic tale of vicissi-
a
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]"
unmaskingrobert00houdgoog.pdf,270,,"THE SUSPENSION TRICK
jurcr to offer 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 Library, 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 thrce 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 offer, and his pride
forbade his presenting his old répertoire until receipts
grew lighter, he closed his New York season.
While playing in Saratoga, Alexander was approached
by the late P. T. Barnum, who was accompanied by Gen.
Tom Thumb. Alexander declined Mr. Barnum'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 Morse, who honestly believed
that the conjurer had discovered some new law of nature
that might be of service to scientists.
16
[ 241 ]"
unmaskingrobert00houdgoog.pdf,271,,"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
""
EXPRADRDINARIA
HERR ALEXANDER,
- atiss LN
EN EL SALORK DE LA
H
ERR ALENANDER, al tribetar al martable Publire de les - -
- agraderimirates per la brenela acejido que le la digresado. di *
que dara, a prticios de markas que le ree sa des
dinarias, a que se ejecularáe las serries mas serpredentes, que se has tiste es las asteriores, ... *gunas
etras sernas ! myy asembresar.
La fencios * hoy se dislinguira per la mas tifril I mas admirable sarrie.
EL XILIGRO DEL I\DOSTIT. O EL SISPEIDIDO ll El URE.
ORDEN DE LA FUNCION.
del mode é
7. PARTE.
2.CHRTE.
gelota
1.--1 1.
2-11 del
emable.
4.-1sva
cumplido
%.-
6.-La recomendacion
6.-U nomo del herhicero oriental;
suspendedo va el
ENTRADA GENERAL.
quente numerado. pur - auche
pres.
per
Alexander Heimburger presenting the suspension trick during his engageme
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 ]"
unmaskingrobert00houdgoog.pdf,272,,"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 secFet 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 countries 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 ]"
unmaskingrobert00houdgoog.pdf,273,,"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, were 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 éthéréenne,"" he was
merely introducing a century-old trick, which other
contemporary magicians were also exhibiting. The name
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.
[ 244]"
unmaskingrobert00houdgoog.pdf,274,,"CHAPTER IX
THE DISAPPEARING HANDKERCHIEF
S
UPREME 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 3°3, 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 official 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 ]"
unmaskingrobert00houdgoog.pdf,275,,"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 of
the candelabra on the mantelpiece."" That is too easy
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 King
added, looking at the last card, 'I am afraid, M
Robert-Houdin, I am about to embarrass you. Do you
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 like to see such a magio
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 already
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]"
unmaskingrobert00houdgoog.pdf,276,,"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 caten
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 to me,
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 ]"
unmaskingrobert00houdgoog.pdf,277,,"THE UNMASKING 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 portrait 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 believe your statement,' the King
[ 248]"
unmaskingrobert00houdgoog.pdf,278,,"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.
Deign to remove it from the neck of this turtle dove,
which has just brought it to you.'
""Louis Philippe unfastened a ribbon that held a small
Tusty key with which he hastened to unlock the coffer.
The first thing that caught the King's eye was a parch-
ment, 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 Orléans 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 mc,
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]"
unmaskingrobert00houdgoog.pdf,279,,"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.""
While 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]"
unmaskingrobert00houdgoog.pdf,280,,"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 Encyclopaedia Britannica. From the
Harry Houdini Collection.
gold. At Messina he fell in with an alchemist named
Althotas, a man of some learning who spoke a variety of
[251]"
unmaskingrobert00houdgoog.pdf,281,,"THE UNMASKING OF ROBERT-HOUDIN
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 Winc,"" with which he claimed to
prolong life. 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]"
unmaskingrobert00houdgoog.pdf,282,,"TEWPLE OF AST, SCIENCE. AND MYSTERY!
GRAND SOIREES FANTASTIQUES
Intely reterned to Fagiond. aftse visiting Germany, Premin. Austria, Naplui he.
hue brfare the Courte of Berlin, de. as. and surgrising all by his
FOR A FRW VIGHTS over.
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the Ant be ever M append la the query. These - - - ether, -
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quise - the - , - issridate bee for - THS
The of have beea honoured by the approbation of the Heads of Euroge.
stey aford delight (e the Lovers of
PROPESSOR
RECREATIVE PHILOSOPHY,
Their MORAL TENDENCY ever wire the of the Clangy. and the of dus
cotrusted with the Fducation u Youth.
SYNUPHIS or THS EACH AVENIKO.
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CELEBRATED LOAF TRICK,
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- - othee experiments
or the way to get
vus DSVEIVING DIC& noz
PARTE
"" de Sold
SURPRISINC CHAYGES or SUGAR ase COFFER,
- periods
o3n
The
The Enchanted Nest
the a Negirtes of -
Or,
- disploying hi. -
the Mag.
o a 0 w A
vass es CANARY SCED. Mystical
The desteri.y. the *********,
hes dering this bees amis
se:! the astounding of bee
triebe . deseré ite
and
(w.
SECALT CONCEALER. TNE ATPLIN ', BELLZUUS
Marvelloy
be aren le he He
the
The Necremantic Cabiner.
.. le terperd the . *
,
rend,
Destgrous menogement of Cupa, Balla, Birds, Flowers, &
sed "" def, the -
ajle
Resta, Ze cd. Reata. Se. Sach sa. amd n -
- to the -
at
Sevem.
sed
to
as
preet,
- is to performe lue -
ade
and may be secured at the lloom, Private Parties Atteuded, and Lessons given is the
Wore we
Select Trints for one l'ound. your o .. "",
quere sed - - -
:
, . se se othere
of
resportable
toni
GERPTU rustes, keurs
le Lie - are aude the
the
egee thag le Liverpeed weeld
have Highty -
- bo
- ky
Very rare Testot handbill printed about 1800, presented by Testot to HIenry Evanion. From the Harry Houdini Collection."
unmaskingrobert00houdgoog.pdf,283,,"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
Free Masons' Lodge, Myton-Gate.
MORE NEW PERFORMANCES.
For THREE NIGHTS Longer.
Mons. Felix Testot,
Impressed with . dee - of graditude to the Pabilic for the patronage eviscad tewards the
durlag stay le Sell, - - leave to solicit - that the Solection be -
thate
will - with the - Apprebades they hove alrendy - agee
On
Thursday, Friday, and Saturday Evenings,
October 19, 20, and 21, 1896.
Among other NEW FEATS, Mom , T. - that Font of
THE NE PLUS ULTRA OF THE
Cabalistic Art.
The Company - be requested to favear M. T.T. with losa of . variety of of -
persome as hase set lest asy thing will hove an apportucity to commend N to retere a the ardicios
bet making theis choice to thate coppostive oveera. Ho ush thes the erticios to
and be found immodiately, whorever the Company - regaire, that - asy,
IN ANY PART OF the rown.
The
esecution of this Musice le Londes cassed of the greatent delight - the astiale
bese - conveyed from the Adelphi Thentre to the greas Gast Se fert,
Gee 6 night and day under the immediate charge of . Sondeal. It also - grestast
and delight le Ozferd, where the articles berrowal were eseveyed freas - Reom,
to the top of Usiveruity Chered, and - reponted feer eveelage la - almeet
ble
places. Alse le by the articles being esereyed to the top of Neleos's Mosement
THE WICK PIDGEON.
as WILL INTRODUCE THE NEW AND EITRAORDINARY
Transformation of a BIRD
INTO A CHILD!
GROWING INTO
LADY!!
wia - other exporiments, which lore
Nomal , t. performence with bie EVOLUTIONS
and Fom CM bave geleed - appliente dese
Dasus to be at Sovee and the to at
FRONT SEATS,
-
-
Testot programme, featuring 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]"
unmaskingrobert00houdgoog.pdf,284,,"THE DISAPPEARING HANDKERCHIEF
sented by a number of conjurers
TO
before Robert-Houdin was known
Charitable.
in the world of magic. Robert-
CATHERINE
Houdin simply employed the trick
Langan
familiar to both his predecessors
- to
le
for
1
coming:
se -
and contemporaries and redressed
and destitute - le of
the
-
of
moking
-
Sie - - - ether astag
bee in - the -
it to tickle the fancy of his royal
-
-
at
the
of
who
-
Interest
le
bee
- . BENEFIT at the of
patron.
WODDS
vea
In England this trick was known
Duke of York Tavern
CHALRS-STHEET,
among old conjurers as ""The Ne
ON MONDAY,
Plus Ultra of the Cabalistic Art.""
Tuonday and Wednesday Kreaing, the 25th,
28th and 27th July, 1831,
WHEN THE CREEBRATED MR.
In 1826 one M. Félix Testot,
MARRIOT
who claimed to be a compatriot
of Robert-Houdin, presented the
RECREATIVE PHILOSOPHY,
MagicalIllusions
trick in the British provinces, and
Melamorphesis and Transformations,
Nes Ne - by
one of his bills I am reproducing
Young SPRI.VG.
The Part will - New and
because it shows that the trick he
Dead Bird resiored lo Life!
The Postama. - The Magie Methed of Printing, withert
the - of lok or Pres.
offered the provincial Britons and
THE BOTTLE;
Or, MIRACULOUS NOTE.
Whish will, at retera asy Caré - a - of the Andlesso.
the trick which Robert-Houdin
A New Method of Coining Money,
oa THE WAY TO GET RICH:
A Bunhei of Rice - . of Coffee. - eschnage their Pus.
offered the royal family at St.
- at the word of com-
Me. x. - - ofher Ponta, - the Autionce - -
Daneing and Speaking Moucy ! I
Cloud were identical. It also
Which
-
the
- Pless Mests and the of asy
- othes
Nr. M. - introduse -
proves that London had seen the
The Cabalistic Art.
Ne.
trick; and what London had seen,
-
Paris, including Robert-Houdin,
the
-
eseveyed
.
-
The
of
had heard of.
SIG. MARRIOTT
wis perfora ALBS
A programme used by ""The
Treble Scale of Glassee.
The Posformance - - cach Krening as Soven
Celebrated Mr. Marriot, Professor
ADMISSION TWO SHILLINGS.
of Recreative Philosophy,"" in
Marriot programme fea-
turing ""Cabalistic Art' in
1831, contains word for word the
1831, or fifteen years before
Robert-lloudin claims to
announcement of the trick used
have invented the disappear-
ing handkerchief trick. From
on Testot's bill, which goes to
the Harry Houdini Collection.
[255]"
unmaskingrobert00houdgoog.pdf,285,,"THE UNMASKING OF ROBERT-HOUDIN
show that a popular test was to have articles passed fron
the Adelphia Theatre t<
ROYAL CLARENCE THEATRE,
the gun which was being
LIVERFOEL STREET,
Under - - of - of
. - Fes. se n - sess,
watched by a sentinel.
of - a Conto - - Thanks - - -
- - - -- - - - - Pase of - - g - -
- - - - - - - - Too - - -
February 22d, 1833,
to
-
CORNUCOP\E-COMICALLITY
found a Mr. Jefferini
FROJE
REAL
LIFR
1.
at the Royal Clarence
PART
Theatre, Liverpool
sera.
ILLUBION
Street, King's Cross,
ILLUBION
serra.
Liverpool. He agreed
to make ""an article fly
ILLUSION.
at the rate of five hun-
serv.
sona.
dred miles an hour,
Mr. SHARP,
from King's Cross to
the CELETED
the Centre of Greece.""
From the CITY THEATRE, will Displey bie Inimitable Powera,
le - a the
M.
EFFERINI,
The original Buck
Ameng ther
THAUIATURGICS
featured on his pro-
wa -
IMPOSSIBILITIES,
gramme a similar trick
Ne - le - - Audience
A Decanter of Pert Wime imto Pare Water.
which he called ""The
we make - "", as
500 MILESA MINUTE
Loaf Trick."" On a bill
arnas gmoss Contre of cassoz predose
BOTTLE OF WINE
dated October 26th,
A LIVING PIG.
1840, it is announced
as follows: ""Watch in
The Porformente conclude N. INFFERINIS
CLASSICAL STUDIES
a loaf. The magician
or the ANOIENT MASTERS.
Me.
,
-
Contures
-
will command any gen-
at Via, se - Sorce
sozas .
-
PIT,
GALLERY. ""
tleman's watch to dis-
Rak Prier . - sozas - et
The Ordese - be admitted - ramay -
-
de
-
-
de
abe
w. a Nottee
appear. It will be found
Jefferini handbill, dated 1833, in which
in a loaf at any baker's
he announces that any article will be made
to fly 500 miles a minute.
shop in Town."" The
senior Ingleby changed
the trick somewhat, sending out to any market for
a
[ 256]"
unmaskingrobert00houdgoog.pdf,286,,"THE DISAPPEARING HANDKERCHIEF
shoulder of mutton, which, on being cut, would yield up
a 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:
""TRICK FOUR.
""To cut out of a Shoulder of Mutton a Card which one
Only known portrait of the clever English conjurer, Buck. From an engraving
in the Harry Houdini Collection.
of the Company had previously drawn out of the Pack.
"" Having desired a person to draw a Card out of several
which 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]"
unmaskingrobert00houdgoog.pdf,287,,"THE UNMASKING OF ROBERT-HOUDIN
Emperor of all Conjurora.
and then ordered to be
put down to roast. After
performing some tricks,
Uader the Patronage of Her Royal Highness the Frincess of Wala
you recollect the shoulder
LYCEUM, STRAND.
of mutton, which is
No Performance Wedneodaye er Fridayo. during Lent
immediately brought
Mr. Ingleby,
half-roasted, and after
THE GREATEST MAN IN THEWORLD,
cutting it for some time
In his Profession,
you at length find the
informs the Nobility, Gentry, and la geweral, the le Conso-
quesce of the Art of Deception, he has hed conferred
upee him the Tide of es EMPEROR or ALL by sumoromo
card, and produce it.
of Condomen particularly through the Triek of
Pown's Assa and a to Lib and for no
Mon anem the - way but therefore, the Hond of bie
and all remieds Man oult er the
""Explanation:
The Ase de the Lios's 'The Os and the ""reg,""
No of de Worl,
""Having forced a card
MONDAY, Feb. 29, 1908,
Tuceday, Narch 1, Thureday 3, and Saturday, 5.
on one of the company,
PART 1.
your confederate has an
Mr. INGLEBY, and his merituzious Family,
FROJ DONDER, SCOTLJIND.
tha go Nie and -
by
opportunity, when the
DEXTERITY OF HAND,
mutton is sent to be
Tach . - never before
H - dod , - ef - Mabilly . -
-
M- INGI
roasted, of conveying a
Comment - - de whole Compité -
way brash des, - Child - - -
Ba - la Bome - and - - -
- part a the Feck, and lay dem the Flom: -
thin duplicate of that
le firma - Na Fosi - - of Band.
Park of - - Banda, - - alsing - - Cark, -
- - - Card - - -
- de - -
card folded into a narrow
HIS PIXIDES METALLURGY.
As - the - "", - gha - -
.
- Pages . - w - at
compass into the fleshy
- of farma - - is des - the al the
think
which - - Page - le - - nittes
are el - - visi they - - / el - - Mald
.
- - - - the the - - The - - the Wifs. - - de was n. ber W by -
be surá
part near the shank,
An Operation in Popsomance,
- INGA,ROY - de to Thragiti of *** Prissa la Cospley, Qws.
which can be easily done
Ma - also - Thonghe a Fira - the et -
Writts
,
CUT A FOWL'S HEAD OFF,
by means of a sharp
a my other the of . CALF. and ty - Word a Mall de
perféctly - Man knows the real way bur
Mr. sie - - - - - whi em Fowl, the de - Fueing flaw. that be - shali - Nia
and -
and - .
penknife.
- Wings de - Ns - l'etter Breass apos be - -
- - - -
as wnk. ALEO REHIBIT THE
STICKS OF FANCY,
""This trick, though
Which - - - de aut grens Vorlety of other Dreeptions - to -
- INGLEST - get lesto esch - estive Artet Commery, - se Nen had, "" .... dell hees, bet
remarkably simple, has
- be lives a vil allee - - - de Posal, which N will perfore perher thep.
- - - - - la the Compaey . - Sall, and no eill let - est . -
- Ne - - - le were . -
created universal aston-
PART n.
TIGHT ROPE DANCING,
ishment at the Minor
ayae - justy INTREPID
SIGNORA BELINDA,
Theatre, where it was
Whe
- - with Forma, - Weeden na "" de
- will gerfoss I - - any ofher
Ingleby handbill, dated 1808. From the
frequently exhibited by
Harry Houdini Collection.
Mr. Ingleby.""
[258]"
unmaskingrobert00houdgoog.pdf,288,,"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 conjurer-author. From the Harry Houdini
Collection.
amount of preparation and without a hitch, at a matinée
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]"
unmaskingrobert00houdgoog.pdf,289,,"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 matinée 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 3:30 o'clock I borrowed three handkerchiefs
and tied them together for casier 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]"
unmaskingrobert00houdgoog.pdf,290,,"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
4
body was on the stage,
but as my assistant
handed me a new glass
cover, he deftly ex-
tracted the real hand-
PORTICO ROOMS,
NEWINGTON, BOLD-ST.
kerchiefs from under
THE ARRIVAL OF
my vest. Then, while
MONS. LE SUCKE,
THE
GREAT
I returned to the stage
with my patter and
MAGICIAN !
description of the flight
EMPEROR OF ALL WIZARDS,
the handkerchiefs were
was WILL MANE mus FIBAT EN THIS TOWN,
On Tuesday, June 18, 1844,
about to make, my as-
AND OPEN HIS CRAND
0
sistant, with the hand-
-
SPLENDED PAINTINGS A TABLES COVERED WITH CRISSON VELVET.
kerchiefs in his pocket,
- - Arma the
the
vith af - Transparent Globular lampa,
walked unnoticed from
ly
ite
MITHOLOGY
TRANS
the door, and, once out
-
SECRET DA EETS,
THE WALKING CARD
of sight, ran madly to
FLIGHT OF COINS,
MAG10 FLIGHT,
-- -
LADY'S GLOVE REAIORED.
Pasamera 1908,
- - -
the Subway station.
AN BINET.
MAGIC NALIEDESCOPE
THE UNLMONY
THE CUBES OF CABRIA,
There he boarded an
- esca -
or
- TAPER
MIRACULOUS FEAST,
express and reached
LAAE AN TLVING WATCE
VOLCANIA'S CHICLETS
Zamiel's project,
BOTTLE OF ASMODEOUS,
on
the boat landing just
FIERY COLUMN,
de
THE ERIAL CAND DE
TRI -
MISTIC ECCALIOBIOK
in time to catch the 4-
- GOLDEN
-
FLIGNT or BERCURV,
FLORA'S GIFT,
DE -
o'clock boat. At the
CARDIOLOGIOMANIA,
07
CHARHED PAQUET,
and THE -
Statue, my brother and
Gobirt of
-
WITCI'S
PLUTO'S BOTTLE,
a tinsmith were wait-
Reproduction of a rare Buck handbill, dated
ing for him. The
1844. From the Harry Houdini Collection.
[261]"
unmaskingrobert00houdgoog.pdf,291,,"THE UNMASKING OF ROBERT-HOUDIN
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]"
unmaskingrobert00houdgoog.pdf,292,,"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
the first method, that of selecting the place beforehand and
ha ving all arrangements made, even to the three prepared
cards, is safest and is probably the one used by Robert-
Houdin to deceive the French monarch. I doubt if he
even had three different cards prepared, as he claims.
I believe he exaggerated his feat, for that would have
been 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 )"
unmaskingrobert00houdgoog.pdf,293,,"CHAPTER X
ROBERT-HOUDIN'S IGNORANCE OF MAGIC AS BETRAYED
BY HIS OWN PEN
TATEMENTS in Robert-Houdin's various works
S
on the conjurer's art corroborate my claim that he
was not a master-magician, but a clever purloiner
X
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 répertoire, he betrays an ignorance which
would be impossible in a conjurer versed in the finer and
nore 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 répertoire 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 ]"
unmaskingrobert00houdgoog.pdf,294,,"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 exposé of the secrets of magic,
entitled ""Comment on Devient Sorcier"" (page 5I of the
English translation by Professor Hoffmann, ""The Secrets
of Conjuring and Magic""), he thus naïvely describes
his masterpiece of coin-palming:
""I myself practised palming long and perseveringly,
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 Hoffmann (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 ]"
unmaskingrobert00houdgoog.pdf,295,,"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 Maëlzel's) is
entirely wrong. This remarkable piece of mechanism
was constructed in 1769, and not in I796; 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 Café de la
Regence; it was not taken to London until 1784, and
again in 1819; it was brought to America in 1825, by M.
Maëlzel, and visited our principal cities, its chief resting-
place being Philadelphia; M. Maëlzel's 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, finally purchased by the late Dr.
J. K. Mitchell, of Philadelphia, reconstructed by him,
and finally deposited in the Chinese Museum (formerly
Peale's), where it was consumed in the great fire which
destroyed the National Theatre (now the site of the
Continental Hotel, corner of Ninth and Chestnut Streets),
[ 266 ]"
unmaskingrobert00houdgoog.pdf,296,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
and, extending to the Chinese Museum, burnt it down on
July 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
how he saw Maëlzel in Havana, Cuba, where the famous
German met his professional Waterloo, first in small
audiences, then in the death of his faithful confederate,
Schlomberg. Finally, broken in health and spirit, Maëlzel
sailed from Havana for Philadelphia, but death overtook
him 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
[ 267 ]"
unmaskingrobert00houdgoog.pdf,297,,"THE UNMASKING OF ROBERT-HOUDIN
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 ]"
unmaskingrobert00houdgoog.pdf,298,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
maintained his balance, but, in reality, they supported
the whole weight of his body. Hence, the only require-
ment for this trick is to have the stomach more or less
Pressed in, and I will explain presently that this can be
effected without any danger or injury.""
In this explanation Robert-Houdin is entirely wrong.
Singhalese
THE
KANDIN
from the
IsleorCeylon
A
WITH THE IRON SHIN
A Rannin lithograph, showing him doing the sword-walking act which
Robert-Houdin claimed to have been a fraud. Rannin is still working in Ger-
many, 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]"
unmaskingrobert00houdgoog.pdf,299,,"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 Aïssaoua 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]"
unmaskingrobert00houdgoog.pdf,300,,"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 Aïssaoua, 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 offerings 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 ]"
unmaskingrobert00houdgoog.pdf,301,,"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,
SOLVS stevr SOL
FAMA
VOLAT
EFFITIES DE BLASIS DE SICULE
Blasius de Manfre or Blaise Manfrede, 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 Manfrede, a nat
of Malta. At Francfort he frequently performed th
times a day: for, besides his performances twice a C
[272]
-"
unmaskingrobert00houdgoog.pdf,302,,"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 like 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
18
[ 273 ]"
unmaskingrobert00houdgoog.pdf,303,,"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 d'eau. 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.
Bell's Messenger of July r6th, 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]
-"
unmaskingrobert00houdgoog.pdf,304,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
James de Falaise, a Norman, about fifty years of age, living
in the Rue St. Honoré. It is said that this extraordinary
man will swallow whole walnuts, shell and all, a tobacco
FLORAM MARCHAND.
Water spouter & Juggler.
Floram Marchand. From an old, undated English 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 ]"
unmaskingrobert00houdgoog.pdf,305,,"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 effort to kill the
living animals that he takes in his mouth, but boasts that
he feels them moving in his stomach.""
[276]"
unmaskingrobert00houdgoog.pdf,306,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
In my collection is the handbill of a stonc-swallower
who exhibited at No. IO 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 ]"
unmaskingrobert00houdgoog.pdf,307,,"THE UNMASKING OF ROBERT-HOUDIN
ern 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 Dévoilée et Cours Complet
de Prestidigitation,"" in two volumes, by J. N. Ponsin,
published in Paris in 1853; ""Grande Initiation au
vraie Pratique des Célèbres Physiciens-Prestidigitateurs,'
Paris, 1855; ""Nouveau Manuel Complet Sorciers, les
[278]"
unmaskingrobert00houdgoog.pdf,308,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
scènes de Ventriloquie exécutées et communiquées par M.
Conte, Physicien du Roi,"" Paris, 1837; ""Anciens et Nou-
vaux Tours d'Escamotage,"" of which there are innumer-
able editions; ""Le Manuel des Sorciers. Recréations Phy-
siques, Mathématiques, Tours de Cartes et de Gibecière;
suivre, des Jeux de Société,"" Paris, 1802.
His third work, ""Magie et Physique Amusante,"" trans-
POSITION OF BOY
IN BASKET
Position of the ""vanished"" Hindoo while concealed in the basket. From the
Harry Houdini Collection.
lated by Professor Hoffmann under the title of ""The
Secrets of Stage Conjuring,"" and published in English
in 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]"
unmaskingrobert00houdgoog.pdf,309,,"THE UNMASKING OF ROBERT-HOUDIN
starts his dramatic tale of inventing a detector lock by
which he protected a rich neighbor, M. de l'Escalopier,
from robbery, and incidentally in return secured funds
with which to open his theatre in the Palais Royal. In
his ""Mémoirs"" 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
l'Escalopier 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 l'Escalopier 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]
-"
unmaskingrobert00houdgoog.pdf,310,,"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 his. book ""Centurie 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 IO4:
[281]"
unmaskingrobert00houdgoog.pdf,311,,"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
THEJUSTLY CELEBRATED
RAMO SAMEE,
CHIEF OF
The Indian Jugglers,
Neving Saushed Are Proviscal Eagagements, will,
O. MONDAY. JULY 16.
Aad. for a short persod so through the ahole of
Estraordinary Fente of Strength and Agility,
222, PICCADILLY,
Consusting of e Reviso of with
FOUR BRASS BALLS
THE SIZE OF ORANGES.
possi
over these le almost miraculous, he casses them to describe every
DRICIONTALLY, PERPENDICULANLY, OBLIQUELY, TRANSTERSELY ROUND -
- UNDER in and ABOUT ius MEAD, is large and -
the whole is at the - timin. This being the gread - of
- activity, of the "" and appidity of actica. These who Dave set * -
- - of ite escellence.
SEVERAL FEATS OF BALLANCING
is which la will estroduce the
Building a Canopy with his Tongue
ON THE TOP OF HIS NOSE
.
AND RENOVING THE SAME WITE SURPRIZING INGENUITY
yas
Spinning of a Tepion a Point as fiue as a Needle,
ave
BALANCING THE SAME ON IIIS CHIN,
- * now to the Audiesce while revolving es the
and by the word of command, restores it to the - Equilibries and
whee Grot Spea.
TRS.
WONDERFUL FEAT WITH LARGE KNIVES
ase
SW.ALLOWING A STONE THE arze OF AN EGC.
Aloo. bie maniy Activity is
Throwing a Large Ballthe size of an
18-pound Shot
To parts of bie Body, with the greated - be places * botwodh N and by -
thance to averal other parts of Frame: bot finally, with manterly jerti, throws the wand
spring, throws It over bis Shoulder, from whence it alights os the bond of Nio Ara, asd
without the améstance of bie after several other achievements, be will concludo -
SEVERAL NOVEL FEATS.
ylenical
Performances to commence every Day at One o Clock, and every Evening
a Sight Sa ech.Childres Half-prics;
CA whe
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]"
unmaskingrobert00houdgoog.pdf,312,,"For Six Nights only.
BY PERMISSION OF
the Night the Atayor.
In the Large Room, opposite the Custom-House,
IN WHITEFRIAR-GATE
The Inhabitanits of HULL and its yicinity are respeeifully informed, that
On Wednesday Evening, Aug. 26, 1818.
And Thursday, Priday, Satarday, Monday ind Eveninge following,
The Indian
Jugglers
Will exhibil their unrivalled Performances:
These extraordinary Indians are Natives of Seringapatani, and have been eihibiting for some
tume past in the Metropolis, before many of the Nobility, who unanimiously pronouaced them to
be the first Masters of the Art in this Kingdom.
Amongst the semerous Performances the follewing may be acticed:
Various Deceptions with Cups and Balls;
CHANGING SAND TO DIFFERENT COLOURS;
A SERIES or
EVOLUTIOS
With Four hollow Brass Balls, about the size of Oranges.
The pewer of the Jeggiot over these is miraculess he causes them to describe every possible Circle-horidontally,
pendiculasiy, obliquely. transversely, rosed his Legs, under bis abost his Head, in small and lange Circumferences,
with wondross rapidity, and keeping the whole is Motion at the same timo. This being the solo fruit of Elort, Activity.
quickesse of Eye, and rapidity of Motion, ao one who has not witocsacd it can form as iden of its excellenco. This part of
the Performsece will be accumpanied with Music
STRINGING BEADS WITH HIS MOUTH,
Ae the rame time terning Ringt with bi, Fingers and Tees.
Wonberful geat with Large
TOGETHER WITH SEVERAL
Feats of Balancing,
la which ome of the Indians hes a School Doy's common Peg-top, which be commences to spia with great relocity in bis
hand, and from theace conveys it os a point as hac as a Needle, Which is balenced on his Chie, and in this situation makes
et bow to the Company, while revelving on the before -mentioned point, and afterwards restorce it b, the Werd of Commund,
to the Equilibriam sad Stcadiness as whes first spea.
Erecting a curious Pagoda on the top of his Nose,
AND ASNOVING THE SANE WITH INGENUITY.
His manly activity in throwing a Large Ball, the size.
of an Eighteen-pound Shot,
To parts of his Body, with the greatest case be places it betwcen bis Foet, and throws is over his Shoulder,
whes it alights on his Ara. and thea with the greatest throws it on the back part of his Neck, and after display.
ing . variety of Gambols of this sort, be finally, bet with a masterly jerk,
Throws this Ball of Twelve Pounds round his Head,
the assistence of his llands; and several other Achievements, too sumerous to mestion in the limits of a lland
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]"
unmaskingrobert00houdgoog.pdf,313,,"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 ""patter,"" 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]"
unmaskingrobert00houdgoog.pdf,314,,"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-
il
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.
He gets very angry and with fierce looks, ejaculations,
and 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
its 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 intelligent 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"
unmaskingrobert00houdgoog.pdf,315,,"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]"
unmaskingrobert00houdgoog.pdf,316,,"possibility, and no chance whatever, that it was either by
accident or practised trickery to produce such wonderful
materializations. Robert-Houdin, May 18th, 1847.'
He further shows his ignorance of séances as offered
in his times, by his attempt to describe the methods em-
ployed by the Davenport Brothers, to whom he devotes
chapter XIII., which might be described as a chapter of
errors.
These picturesque American entertainers, the Daven-
[287]"
unmaskingrobert00houdgoog.pdf,317,,"THE UNMASKING OF ROBERT-HOUDIN
port Brothers, hailed from Buffalo, N. Y., U. S. A. Ira
Erastus was born September 17th, 1839, and William
Henry, February ist, 1841. They fairly startled the
world by their so-called manifestations of spiritualism
during the 60's, and were alternately lauded and reviled
for their performances.
[288]"
unmaskingrobert00houdgoog.pdf,318,,"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,
Mlle. 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
Étrangers, Paris, September 27th, 1865:
""Messrs. Davenport: Yesterday I had the pleasure of
being present at the séance 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]"
unmaskingrobert00houdgoog.pdf,319,,"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
G
171
The cabinet trick offered by the Davenport Brothers. From an old print in the
Harry Houdíni Collection.
[290]"
unmaskingrobert00houdgoog.pdf,320,,"ROBERT-HOUDIN'S IGNORANCE OF MAGIC
retired from public life, 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 assumes
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
[ 29I ]"
unmaskingrobert00houdgoog.pdf,321,,"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
S T. GEORGE'S HALL,
LANGZAX PLACE.
RETURN
BROTHERS DAVENPORT
AMD
M R. FAY.
Tz BROTHERS DAVENPORT and Mr. FAY have the honour
to announce that, after a tour of three years over the greater part
of the Continent of Europe, they have returned once more, and
probably for the last time, to this Metropolia, where they will give
a few Séances previous to their departure for the United States.
During their European tour they have given Séances in Paris,
Berlin, Vienna, Moscow, St. Petersburgh, and nearly every great
Continental Capital; and have had the honour of appearing before
their Majesties the Emperors of France and Russia, the Royal
Family of Prussia, and great numbers of the most Distinguished
Personages in Europe. Many thousands of persons of the highest
rank and intelligence have witnessed the astonishing experiments
given in their presence.
Throughout the Northern American States, from 1853 until
their first visit to England in 1864, they were seen by hundreds
of thousands of persona.
In England, their first Séance was given in private, to a most
distinguished party of men of science and letters, who gave their
most unequivocal testimony to the excellence and perfection of
their experiments.
Two Séanoss of the and Mr. Fax will be
given at
ST. GEORGE'S HALL. LANGHAM PLACE,
On THURSDAY EVENING, APRIL 23rd,
And SATURDAY EVENING, APRIL 25th, 1868,
at Eight o'clock.
STALLS, - 8s.
BALCONY, - Se.
ADMISSION,
ONE SHILLING.
Announcement used by the Davenport Brothers on their return to London,
England, after their tour of the Continent in April, 1868. From the Harry
Houdini Collection.
[ 292]"
unmaskingrobert00houdgoog.pdf,322,,"ROBERT HOUDIN'S IGNORANCE OF MAGIC
she will be unable to slip her wrists. I do not mean by
this any hand-cuff that will not come to any size, or the
common cuffs which when locked will lock only to a
certain size, but I mean a cuff 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 séances, 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
[ 293 ]"
unmaskingrobert00houdgoog.pdf,323,,"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 )"
unmaskingrobert00houdgoog.pdf,324,,"CHAPTER XI
THE NARROWNESS OF ROBERT-HOUDIN'S ""MEMOIRS""
T
HE 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
lives of the men who penned them, but which abound in
diverting anecdotes and character studies of the men and
women among whom the writer moved. They are not
autobiographies alone, but vivid, broad-minded pen-
Pictures of the period in which the writer was a vigorous,
respect-compelling figure. Memoirs written with a view
to settling old scores seldom live to accomplish their ends.
I he narrowness and pettiness of the writer, which intelli-
gent reading of history is bound to disclose, destroy all
Other 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.
Whenever he writes of himself, his pen seems fairly to
scintillate. Whenever he refers to other magicians of
his times, his pen lags and drops on the pages blots
which 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 Émile, apparently because
[ 295 ]
i"
unmaskingrobert00houdgoog.pdf,325,,"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]"
unmaskingrobert00houdgoog.pdf,326,,"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 début under
Minnel
Wiljalba Frikell in his youth, showing the peculiar costume worn by con-
jurers at that time. The author secured this portrait a few weeks before
Frikell's death and sent it to the veteran conjurer, who was amazed to learn
that this print was in existence. Now in the Harry Houdini Collection.
Mitchell's direction, and was presenting, trick for trick,
the répertoire claimed by Robert-Houdin as original with
him. Henri Robin disputed Robert-Houdin's claim to
having invented the inexhaustible bottle, and proved his
case, as will be seen by reference to chapter VIII. Jacobs
[ 297 ]"
unmaskingrobert00houdgoog.pdf,327,,"THE UNMASKING 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 outlived his own
in England-his efforts to belittle these men are unworthy
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 published 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 Française, 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, L'Alma-
[298]"
unmaskingrobert00houdgoog.pdf,328,,"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 announced. He therefore offered sleight-of-hand, pure
and simple, with the aid of a few tables, chairs, and other
commion 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
[ 299 ]"
unmaskingrobert00houdgoog.pdf,329,,"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 IO4
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 répertoire
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]"
unmaskingrobert00houdgoog.pdf,330,,"NARROWNESS OF ROBERT-HOUDIN'S ""MEMOIRS""
by Torrini, as is set forth on page IO4. 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 Bosco 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
[301]"
unmaskingrobert00houdgoog.pdf,331,,"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
[302]"
unmaskingrobert00houdgoog.pdf,332,,"NARROWNESS OF ROBERT-HOUDIN'S ""MEMOIRS""
time the bird trick was not in his répertoire 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-Houdin'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 IIth, 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]"
unmaskingrobert00houdgoog.pdf,333,,"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 1814 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]"
unmaskingrobert00houdgoog.pdf,334,,"NARROWNESS OF ROBERT-HOUDIN'S ""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]"
unmaskingrobert00houdgoog.pdf,335,,"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.
A
Bar tolomeo
Besco
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]"
unmaskingrobert00houdgoog.pdf,336,,"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 modern 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 sunlight 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
célèbre Bartolomeo Bosco.-Né a Turin le II Janvier,
1793; décédé à 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. Torn 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]"
unmaskingrobert00houdgoog.pdf,337,,"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-staryed 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]"
unmaskingrobert00houdgoog.pdf,338,,"STRAND THEATRE,
Will be Opened on TUESDAY, Dec. 20th,
And CONTINUE OPEN DURING THE HOLIDAYS, with the
IMPROVED SOIREES MYSTERIEUSES
PROFESSORJ.H.ANDERSON
Wão - reterend free . T- DENMARK, NORWAY, SWEDEN, RUSSIA, and GERNANY. and bed
bence
of
performing
the
shale
of
the
MONARCHY of Northern EUROPE!
On TUESDAY EVENING, Dec. 26th, 1848,
HE MAKE His APPEABASCE AND GITE MIS
ROVAL
Illestrative of the Fallacy of Magic, Necromancy, Witcheraft, and Demonolegy
-
late
KISU
ales sel the - the KING - - Falase
NICHULAS
of
-
-
-
the
Imponal
-
,
il
the
the
de
N
-
these
THE EMPERON DEPERIAL THE COURT - the
-
SI
te
and
the
- ALA THE or NOSTBLAN the - - -
be
-
and
be
-
the
SHEAT
MANTER
of
wher - Mod-re
YOU MUST POSITIVELY NAYEA LOOK AT PROFESSOR ANDERSON'S
MACIC SKETCH BOOK
SKETCH-BOON
THE GREATEST WONDER
OF THE
AGE!
BOYAL PROGBAMNE of SCIENTIFIC WONDERS:
PART
PART "".
The ENCHANTED HANDEERCETEPS.
SECOND SIGNT; its Fallacy illustrated.
... CHANGEANLE IUTTLE and MISTIC
ANINATED
Grand EYDRAULIC EXPERIEEJT.
The EYSTIC VOLUNE:
m the ESTONISHING NON-EFFECT or PREASTRE
The MAGIC BANK, : Fishing extraerdinary.
GRAND NECHANICAL AMALGA.
EXTRAGRBINARY ELECTRIC EXPERIMENT,
ASDERMONS nons
That uf ecading six WATCHLA threagh esy Geerlemse's
SCRAPS EXTRAORDIKARY.
Grand POT-POURRI of
The MYSTIC BEEAKFAST.
The chole . conclude wish the LAST NEW WONDER of
Profence
The Learned Doves, the Broken Ring, Dissolving
Orange, and Enchanted Walnut.
SUSPENSION CHLOROFOREENE,
(3, Master JOR. MENAY ANDERSO%)
CEILD of the AIR: or. Jack in the Bex.""
R.
-
- bre See . inhale - perties of
- the MISTER ANDERSON.
and - rieep. He will the dioples the Estrandinary .be
Drng. which bee bailled the whole a the Noducal
CEAPEAU DE LA DIABLE
Germany. and evert Cosnity ANDERSON ***
secratly evited. THE CAULD witt. -LFEP IN THE All. III
osty SUPPORT , VEING TICK
in ..
Anderson's opening programme at the Strand Theatre, Christmas week,
1848, showing that he duplicated 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"
unmaskingrobert00houdgoog.pdf,339,,"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,
originality, 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]"
unmaskingrobert00houdgoog.pdf,340,,"IM SARL.
Dienstag, dem 25. Januar 1648.
Neue und ausserordentliche
VORSTELLUNG
im Gebiete der
NATÜRLICHEN' ZAUBEREI,
mit Hülfe der Experimental-Physik, Mechanik,
Electricität, Hydraulik und des Galvanismus,
gegeben von dem
grossen nordischen Zauberer
Professor
I.
ANDERSON aus London
bekannt in England unter dem Namen:
""THE GREAT WIZARD OF THE NORTH.""
Herr Professor Anderson schmeicheit sich mit der Hoffunn. dass seine Productio-
nea, welche in LONBON.PETERSBURG, BERLIN.STOCKHOLN, COPÉNHAGEN und zuletzt in HAMBURG
die chrendste Amerkennung fanden. sich auch der Theilnahme des hiesigem hochverehrlichen
Publikums erfreuen werden.
Progra me m.
Erste Abtheilung:
1. Zwei fliehende Schnapflücher.
2. Die wonderbare Mühle und der gelebrte Ägyptier.
3. Ein neues Zauberspiel, genannt die apsserordentliche Metamorphose.
4. Der Todte wird lebend, der Lebeade stirbt. (Neu.)
5. Ein schuell zubereitetes Frühstück.
6. Zum Erstenmale! Ausserordentliches Experiment: Herr Professor ANDERSON wird 6 Uhren
durch den Körper. eines der Anwesenden passiren lassen, ohne dass derselbe lndi-
gestionen bekomnit.
7. Ein grosses Manöver mit 12 Schnapflüchern.
8- Aus dem Hate irgend eines Anwesenden entwickeln sich auf den Wink des grossen
Zaubrers Tausende von Blumen-Bouquetts, Tausende von Flaggen aller Nationen,
Schuüren, Puppen ect. sowie ein vollständiges zweischläfriges Federbett.
Zweite Abtheilung:
1. Banknoten und Preussische Thalerscheine halten die Feuerprobe.
2 Die gehorsame Flasche.
3. Die sprechenden und tanzenden Thaler.
4. Das Wasser wird lebend.
5. Die schnelle Wäsche. Ein gitter Rath für unerfahrne Hausmütter.
6. Die ägyptischen Wunder.
Preise der Plätze
Erster Platz 16 Ggr. Zweiter Platz 8 Ggr. Gallerie 4 Ggr.
Cassen-Oeffnung 6 Uhr. Anfang 7 Uhr.
Eatrée-Billets sind am Tage der Vorstellung im Ballhofs-Saale bei
Herrn Evers, zu erhalten.
Handbill used by Anderson in Germany. January, 1848, when Robert-
Houdin claimed that he was playing in the English provinces. From the
Harry Houdini Collection.
[311]"
unmaskingrobert00houdgoog.pdf,341,,"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 offering. What could he 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 réper-
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 offer in opposition to Robert-
Houdin's nuch-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 répertoire. ""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 London,
as is proven in chapter IX. of this book.
Therefore, if Anderson's programme was passé and
uninteresting, so also must have been the one offered by
Robert-Houdin!
[312]"
unmaskingrobert00houdgoog.pdf,342,,"NARROWNESS OF ROBERT-HOUDIN'S ""MEMOIRS""
STRAND THEATRE
Festively the Last wight of
PEOFESSOR
NND ERSON'S
ASTONISHING SOIRKES MYSTEBLEUSES,
TO sa THE
Legitimate Wonders of the Nineteenth Century!
NEW WONDERS OF WITCACHAFT, An NAGIC!
This Evening, THURSDMY, Jau.
-
the - APPEGRANCE AND
1848
ROVAL ENTERTAINMENT,
Mistrative of the Fallecy of Magle,
-
THE
GREATEST WONDER OF
THE
AGE
SON
WILLE
CONDENSEL CHLOROFORM
68
MUST SEC
SUAPRISING
SGAIN
MAZING
BEATS
NOYAL PROGRAMNE of SCIENTIZIC WONDERS
PAST
PART n.
The RECHANTED
- CMANGEABLE some -
SIGET; its Fallacy illustrated.
CANDLE with - ANIMATED MOUCHOS
The EFSTIC VOLUNS
Grand EYDRAULIO
- NON.EFTUCT on
The BANE, 2 Fishing
GRAND
SCRAP 8008
ELECTRIS
SCAAPS
Thes of aux WATCHES -
The EYSTIO
Grand POTROUREI of
The Learned Deves, the Broken
The - - - LAST woudsa,
ANDER-INS
Orange, and Exchanted
SUSPENSION CILOROFOREENE
cma of the Am; Jack in the
(8, your NENUT
""Jack sa de MASTER ANDERSOS
S. - - bie . - purcles of
ered - - Me - - - - Elhet of
Drag. - 2 ** -
CEAPEAU DU BIASLE
=
-
ANDURMON
-
-
THS will IN THE AIR, ""
^ - - . n -
ONLT SUPPOS? A VALKING STICS.
Poster used by Anderson during his closing week at the Strand Theatre,
London, January 11th, 1848. From the Harry Houdini Collection.
[ 313 ]"
unmaskingrobert00houdgoog.pdf,343,,"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 OF NECROMANCY.
""Regarded seriously, this picture would be found a
puff in very bad taste; but as a caricature it is excessively
[314]"
unmaskingrobert00houdgoog.pdf,344,,"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 puffer's pockets.""
Reference to my collection of Anderson programmes
Eugene Bosco, son of the original Bosco. From the Harry Houdini
Collection.
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
[315]"
unmaskingrobert00houdgoog.pdf,345,,"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
IIth, 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 1851. 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]"
unmaskingrobert00houdgoog.pdf,346,,"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 répertoire 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 ré-
pertoire, Anderson offered tricks of which Robert-Houdin
knew nothing, and for years to come he constantly recon-
[317]"
unmaskingrobert00houdgoog.pdf,347,,"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 public had wearied of him. A
popular performer, like 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
[318]"
unmaskingrobert00houdgoog.pdf,348,,"NARROWNESS OF ROBERT-HOUDIN'S ""MEMOIRS""
the hand of another man, who at his instigation belittled
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 ]"
unmaskingrobert00houdgoog.pdf,352,,"ILLUSTRATIONS
PAGE
Phillippe, Reproduction of Pastel Portrait
13°
Pinchbeck, Jr., Christopher, A Very Rare Mezzotint
57
Pinchbeck, Sr
53
Pinetti Clipping of 1784
2T0
Pinetti, I. I., Portrait of
73
Pinetti, I. I., Woodcut Used in 1796
72
Pinetti's Autograph
79
Pinetti's Book Frontispiece
78
Porta, John Baptist
II
Poster of the Learned Goose
220
Poster Used for Benefit of de Philipsthal, 1829
IIO
Programmes and Posters Reproduced, 26, 37,39.40,42,43,44.81,
102, 193, 104, 108, IIO, III, II3, II4, 118, 120, 121, 125, 132,
147. 150, 151, 154, I 55, 156, 161, 167, 170, 173, 182, 183, 184,
188,189,191,192,196,197,204,206,212,214,215,216,220,
221,223,224,231,232,234,242,253.254,255,256,258,261,
269,272,282,283,292,309,311.
3°3
Rannin Lithograph, Showing Him Doing Sword-Walking Act
269
Robin, Henri
198
Robin, M. and Mme., in Second Sight
218
Samee, Ramo, Handbill
282
Savren, James, Poster Used by, in 1855
26
Schmidt Programme Used in 1827
113
Schmidt Poster
IT4
Schmidt Programme of 1821
182
Suspension Chloriforeene Lithograph
234
Thiodon Bill of 1825
173
Testot, Programme Featuring Cabalistic Art in 1826
254
Testot Rare Handbill Printed about 1800
253
Water Spouter
272
Water Spouter and Juggler
275
White, John
15
Whole Art of Legerdemain, Frontispiece from Ingleby's Book
259
Wiegleb's Diagram of Orange-Tree Trick
52
Witgeest's, Simon, Frontispiece from Book of Natural Magic, 1682
13
Writing and Drawing Figure from Manning's Robert-Houdin
Brochure
84
Young, E. W., Lithograph
152"
unmaskingrobert00houdgoog.pdf,353,,:
unmaskingrobert00houdgoog.pdf,354,,"INDEX
PAGE
PAGE
Adelphia Theatre
256
185, 191, 233,235,289,297
Advertisement from the Lon-
308-310
don Daily Post during 1730
Anderson, Mrs. Hannah
146
showing the Orange Tree
Anderson, Mrs. Leona A., as
as Offered by the Senior
she Appeared in the Sus-
Fawkes
55
pension Trick
236
Album des Soirées
217
Anderson Poster,
Alexander the Conjurer
233
Alexander the Conjurer, Illus-
Anderson Window Poster Ex-
tration
240
posing Barney Eagle
155
Allen, Prof. George
267
Announcement used by Day-
Althotas
251,252
enport Brothers
292
American Magicians, Society
Antonio
302
of
307
Apple-tree Trick
5r
Anatomie of Legerdemain
180
Appleby's Weekly
55
Anciens et Nouveaux Tours
A rts, Manufactures a n d
d'Escamotage
279
Mines, Dictionary of
9. I
Anderson and Son Lithograph
Astley, Philip, Esq., An His-
presenting
'Suspension
torical Circus Director
19
Chloriforeene""
234
Astley, Philip, Esq., Portrait
Anderson Billing of 1838
150
of
19
Anderson's Book Cover-de-
Astor Library
24I
sign
148
Astronomic Musical Clock
55
Anderson Handbill used in
Aufschlüsse zur Magie, Repro-
Hannover, Germany
311
duction of an Illustration. 169
Anderson, J. H., 14, 23, 25,
Autograph a n d Portrait,
119,131,145
Pierre Jacquet-Droz
92
Anderson, J. H., Lithograph,
Autograph of Decremps,
75
186,317
Automata, Two Elegant
172
Anderson, J. H., Portrait of
Automaton Chess Player, 266, 267
Wife and Son
146
Automaton Trapeze
166
Anderson, J. H., Very Rare
Automaton Writer of Jac-
Poster used in 1838, 147,
quet-Droz
96
[321]
1"
unmaskingrobert00houdgoog.pdf,355,,"INDEX
PAGE
PAGE
Balls, Crystal
222
Bosco
235,298,302,393
Balsamo, Joseph
250
Bosco, Bartolomeo, Photo-
Bamberg
235
engraving of
3°
Barnum, P. T....43.85.241) 296
Bosco's Grave, Photograph of 306
Barnum, P. T., Portrait of
86
Bosco, Madame, Photogmaph
Barrel, The Inexhaustible
180
of
305
Bartholomew Fair Memoirs,
Bottle, Inexhaustible, 176,
by Morley
16
181, 84, 186, 188, 195, 222
Basch, Ernst
49.138
Bottle, Infernal, Poster used
Basch, Ernst, and Le Confi-
by Phillippe
184
seur Galant, Photograph
139
Bottle, Magic
192
Basket Trick, Indian
276,277
Bottle of Sobriety and In-
Basket Trick, Indian Boy. II-
ebriety
182
lustration
279
Bottle, Travelling
185
Batuta, Ian
226
Box, Crystal
222
Beckett, Mr
219
Brahmin Suspension Hlus-
Beckmann
211
tration
220
Beckmann's, John, History of
Breslaw
3.143.103.209, 221
Inventions and Discoveries
Breslaw, Book on Magic,
Published in 1797
14
Frontispiece of
144
Bell Trick
242
Breslaw Lithograph
164
Benton
143
Breslaw, Triple Colored Lith-
Berthoud's Treatise on
ograph of
164
Clockmaking
35
Brewster, Sir David
181
Bertram, Charles
16
Brick-mason Macallister
193
Bertram, Charles, Portrait of
20
Britten's Clock and Watch
Billing used by Mysterious
Maker
56
Lady
215
Broken Heart, The
286
Billing used for the dog, Don
Buck, Only Known Por-
Carlos.
221
trait
257
Biography, Dictionary of
Buck Handbill
261
National
54
Bismarck
7
Cabalistic Art featured on
Blackstone
7
Marriott Programme
255
Blitz, Signor,
4.235.267
Cabalistic Art featured on
Blitz, Signor Antonio, Por-
Testot Programme
254
trait of
18
Cabalistic or Obedient Clock,
Boaz
23
156-157
Bolin, T
49,163
Cabinet Trick offered by
Bologna
116
Davenport Brothers
200
Bologna Bill of 1812
170
Cabinet Trick Print
290
Bologna Poster
118
Cagliostro.
72.250.252,254
[322]"
unmaskingrobert00houdgoog.pdf,356,,"INDEX
PAGE
PAGE
Cagliostro, Comtesse de, rare
Clipping from the London
Portrait
251
Telegraph in March, 1812 107
Cagliostro, l'Almanach
209
Clock and Watch Maker,
Cagliostro, Pastel Portrait of 248
Britten's
56
Calhoun
243
Clock, Astronomic Musical.
55
Card in the Pocket
183
Clock Pedestal
166
Card Trick as featured by
Clock Trick, Diagram Ex-
Anderson in 1836-1837
142
poses
160
Cards, The Obedient
141-156
Clockmaking, Berthoud's
Caroly's L'Illusionniste
199
Treatise on
35
Castinia, Sieur
166
Confectioner's Shop
166
Century of Inventions
281
Confidences d'un Prestidigita-
Charles
116,127
teur
300
Charles Poster dated about
Confidence et Révélations
49
821
128
Conjurer Unmasked, The,
Chess Congress, Book of First
74.75.168
American
267
Conjurer's Pocket, The
160
Chess Player, Automaton, 266, 267
Comment on Devient Sorcier 265
Chinese Trick, Reproduction
Cook, the Pastry, of the
of an Engraving
227
Palais Royal
116,172
Ching Lau Lauro Suspension 230
Cornillot
25.52
Ching Lau Lauro Programme 231
Cornillot Handbill
79
Ching Ling Foo.
240
Count Pererilli
235
Chloriforeene Suspension.
233
Course of Experimental Phi-
Chloriforeene Suspension,
losophy
18:
Lithograph
234
Creation of Flowers
Igo
Chronicle, The
177
Crystal Balls
222
Cireus Director Astley
10
Crystal Box
222
Circus Life and Circus Celeb-
Cupid, The Figure of, as ex-
rities
16
ecuted by the Droz Draw-
Clay, Henry
243
ing Figure
87
Clayton, Sir William
49
Clipping from Newspaper fea-
Dale, E. J
207
turing Pinetti, Second Sight 2T0
Davenport Brothers,
Clipping from Newspaper of
149, ,287.289.291,316
Jacquet-Droz
101
Davenport Brothers, An-
Clipping from Newspaper of
nouncement of
202
Katterfelto, from 1782
161
Davenport Brothers, Cabinet
Clipping from the London
Trick of
290
Daily Post of Nov. 3°,
Davenport Brothers, Photo-
1728, used by Christopher
graphs of
288
Pinchbeck
54
Dean, Henry
180
[323]"
unmaskingrobert00houdgoog.pdf,357,,"93
Decremps's Signature
75
Droz, Pierre Jacquet-, Por-
De Liska
25
trait and Autograph
92
De Philipsthal 110,171,173,174 Droz Writing Automatons,
De Philipsthal Poster
104
Specimens of Penmanship
De Philipsthal, Programme
respectively in 1796 and
of Benefit of
IIO
1906
84
De Philipsthal Programme
Dunkell
197
of 1806
173
Dutchwoman's
Decoration
Der Moderne Zauberer
239
used to Advertise
214
Desaguliers, Dr
181
Diagram Exposes the Magic
Eagle, Barney
149
Clock Trick
160
Eagle's, Barney, Tricks Ex-
Diagram of Orange - tree
posed on an Anderson Pos-
Trick
52
ter
154,155
Diavolo, Antonio
166
Eagle's Book, Frontispiece 153
Dictionary of Arts, Manufac-
Eagle's Poster featuring the
tures and Mines
9I
Obedient Clock Trick
156
Dictionary of National Biog-
Eckeberg, John Carlton
181
raphy
54
Eckartshausen, Hofrath
Disappearing Handkerchief,
von
143, 160, 163, 169
245-254
Egyptian Wine
252
Döbler, 25, 45, 182, 185, 187,
Escalopier, M. del
280
188,192
Ethereal Suspension
222,312
Döbler, Ludwig, Rare Por-
Evanion, Henry Evans, 20,
trait of
187,190
2I, 23, 25, 26, 49, 124,259
Döbler Programmes. 188, 189,191
Evanion, Henry Evans, Por-
Dom Pedro
243
trait of
22
Don Carlos, Billing used by
221
Evanion, Letter from Gyn-
Don Carlos, Double-sighted
gell
124
Dog, Billing
22I
Evans, Henry Ridgely, The
Double-sighted Dog, Don
Old and the New Magic
16
Carlos
219
Exploration de la Rétinue
49
Downs, T. Nelson
265
Exposes the Magic Clock
Droz, Henri-Louis Jacquet-,
Trick, Diagram
160
Portrait of
94
Exposing Barney Eagle's
Droz, Jacquet-. Clipping
IOI
Tricks on an Anderson
Droz, Jacquet-, View of Mech-
Poster
154,155
anism of Writing Automa-
ton
98
Faber, I
56
1324]"
unmaskingrobert00houdgoog.pdf,358,,"INDEX
PAGE
PAGE
Faber, Prof
88
Gantziony, Natural and Un-
Falaise, James de
275
natural Magic, dated 1489 I 2:
Falck of Koenigsberg,
Garde Française
222
182, 183, 184
Garnerin
116,119
Falck of Koenigsberg Poster 183
Garnerin Poster
I20
Fantastic Portfolio
222
Garrick Theatre
286
Father of English Prose
226
Gazette, Evening
24I
Fawkes
14, 51, 52, 56,58
Gentlemen's Magazine
56
Fawkes Advertisement
55,60
Globe, The
177
Fawkes, Isaac, Portrait of, 59, 68
Goose, Learned
219
Fawkes Newspaper Clipping,
Goose, Learned, Poster
220,
61, 63, 64, 65, 66, 67
Grande Initiation au vraie
Feliciani, Seraphinia, Com-
Pratique des Célèbres Phy-
tesse de Cagliostro, rare
siciens-Prestidigitateurs.
278:
Portrait
251
Grave of Bartolomeo Bosco
306
Fifty Years in the Magic Cir-
Grave of Robert Heller
208.
cle
267
Grave of Robert-Houdin
46.
Flora's Gift
183,100
Grisy, Count Edmond de
38:
Flowers, Creation of
190
Guillon, Marie Catherine
33:
Flowers, Origin of
222
Gun Delusion, The
128,155
Frikell, Herr und Frau, Por-
Gutle, Johann Conrad
163,
trait of
3°
Guyot's Physical and Math-
Frikell, Villa
28
ematical Recreations
14.3.
Frikell, Wiljalba, 9, 26,27
Gyngell,
29,31.32,235,296,299
25,116,121,124,166,172
Frikell, Wiljalba, in his
Gyngell's Colored Lithograph 126.
Youth
297
Gyngell's Letter to Evanion 124
Frontispiece from Breslaw's
Gyngell's Portrait
I22
Book on Magic
144
Gyngell's Poster
I2I
Frontispiece from Eagle's
Gyngell's Programme
125
Book
259
Frontispiece from Hocus Po-
Haddock
105,116,117
cus, second edition of 1635,
Haddock Advertisement
106
IO-12
Halle, Johann Samuel
14
Frontispiece from Ingleby's
Halle's, Johann Samuel, Ma-
Book, Whole Art of Leger-
gic or The Magical Power
demain
259
of Nature
14.
Frontispiece from Richard
Hamilton
45, 28q.
Neve's Book on Magic
17
Handbill Advertising the
Frontispiece from Simon
Fake Automatic Artist
III
Witgeest
13
Handbill of Buck
261
Frost, Thomas.
16,228
Handbill of Ingleby
258:
1325]"
unmaskingrobert00houdgoog.pdf,359,,"INDEX
PAGE
PAGE
Handbill of Jefferini
256
History of Inventions
211
Handbill of Original Indian
History of Inventions and
Jugglers
283
Discoveries, by John Beck-
Handbill of Ramo Samee.
282
mann
14
Handbill of Testot
253
Hobbs, Hart & Cou, London 28:
Handbill, Reproduced Front
Hocus-Poeus
43. TSo
and Back, used to Adver-
Hoeus-Pocus, Frontispiece
tise Master M'Kean
: 212
second edition. 1635
10,12
Handbill used by Anderson
Hoffmann, Professor,
in Germany
311
265, 278,279. 281, 286
Handkerchief, Disappearing,
Hofzinser, Johann Nep., rare
245-254
Engraving of
162
Hardee's ""Tactics""
7
Hooper's Recreations
211
Heads of King George and
Houdin, Cecile Eglantine
33
Queen Charlotte, executed
Houdin. Emile
47
in their Presence by Droz
Houdin, Emile, Benefit Post-
Drawing Figure in 1774
100
er at St. James Theatre in
Hebb, William
62
1848.
42
Heimburger, Alexander, II-
Houdin, Favorite Lithograph
lustration
24°
for Advertising Purposés
Heimburger, Alexander. Pho-
used by Robert-Houdin
38
tograph of
238
Houdin, Jean-Eugene Ro-
Heimburger, Alexander, Pro-
bert- Portrait taken in 1868
34
gramme, the Suspension
Houdin Poster announcing
Trick
242
the Appearance of Robert-
Heimburger, Herr
233.237
Houdin before Queen Vic-
Heller, Robert
205,207
toria and her Court
39
Heller, Robert and Haidee,
Houdin Poster used during
Portraits of
202
an Eastern Engagement at
Heller, Robert, Grave
208
the St. James Theatre,
Heller, Robert, Programme. - 204
London
49
Heller, Robert, Poster
206
Houdin Programme for the
Henry, M
116,125
Opening of Robert-Houdin
Herald, New York
241
Theatre in Paris, July 3.
Herrmann, Alexander
179
845
37
Herrmann, Compars,
Houdin, Robert-, 7. 16, 23,
25, 195,233,235,296,297,299
35. 38. 45,
Herrmann, Compars, Best
50, 52. 195. 197. 235
Portrait in Existence
194
Houdin, Robert-, and Son
Herrmann. Compars, Billing 196
Emile, Illustration pre-
Herrmann, Compars, Pro-
senting Second Sight......
201
grammes
197,232
Houdin. Robert-, as he ap-
[326]"
unmaskingrobert00houdgoog.pdf,360,,"INDEX
PAGE
PAGE
peared to the English Crit-
Indian Jugglers Handbill 283
ics. Reproduced from the
Inexhaustible Bottle, The,
Illustrated London News,
176, 181, 184, 186, 188, 195, 222
December 23, 1848
4t
Infernal Bottle Poster used
Houdin, Robert-, Bas-relief
by Phillippe in 1838
184
on Tombstone
47
Ingleby Handbill
258
Houdin, Robert-) Grave of
46
Ingleby the Senior
256,258
Houdin, Robert-, last Photo-
Ingleby's Book, Frontispiece,
graph taken and used as
Whole Art of Legerdemain 259
the Frontispiece for Mem-
Introduction
7
oirs.
48
Inventions, History of
211
Houdin. Robert-, only Poster
showing his Complete Stage
Jacobs, M.
149,296,297
Setting
36
Jacobs, M. Portrait of
158
Houdin, Robert-, Portrait
8
Jacobs, M., Poster
151
Houdin, Robert-, Poster on
Jefferini Handbill
256
which His Complete Reper-
Jefferini. Mr
256
toire Appears
223
Jeux de Société
279
Houdin, Robert- Poster used
Jugglers, Indian, Handbill
283
in London in 1848
42
Journal des Sciences
268
Houdin. Robert-, Poster used
Journal. The Court
177
ito Advertise His Trapeze
Performance
167
Katterfelto
23,161,166
Houdin, Robert- Poster when
Katterfelto Clipping of 1782. 161
he Played at Sadler'sWells,
Katterfelto Portrait
165
London, in 1853
44
Kempelen, M. de
266
Houdin, Robert-, Rare Litho-
King George and Queen Char-
graph
24
lotte Heads, executed by
Houdini, Harry, Portrait,
the Droz Drawing Figure
Frontispiece
in 1774
TOO
How to Become a Wizard
278
Koin King, The, T. Nelson
Hulton, Charles
181
Downs
265
Kraus, K. K
260
Illusionniste, The
199
Illustration of Hindoo Basket
Lady's Newspaper
177
Trick
276,277,279
L'Almanach Cagliostro
299
Illustration of the Brahmin
La Magie Blanche Dévoilée,
Suspension
229
or White Magic Exposed,
Inaudi
203
35.52.211
Indian Basket Trick,
Learned Goose
210
276,277,279
Learned Goose Poster
220
Indian Jugglers
275
Le Confiseur Galant
137
[327]"
unmaskingrobert00houdgoog.pdf,361,,"INDEX
PAGE
PAGE
Lee, Sidney
54
lin in 1784 by Johann
Le Manuel des Sorciers
279
Samuel Halle
14
Le Prieuré
49
Magic, The Old and the New,
L'Escalopier, Count de
43,280
by H. R. Evans
16
Les Radiations Lumineuses.
49
Magie des XIX. Jahrhun-
Les Secrets de la Prestidigita-
derts von Uriarte
287
tion et de la Magie
278
Magie et Physique amusante,
Les Tricheries des Grecs
49
49,279
Letter to Evanion from Gyn-
Mahomet
285
gell
124
Maillardet
105
Letters on Natural Magic
181
Mandeville, Sir John
11,226
Le Voltigeur Trapeze
166
Manfrede, Blaise
271,274
Lewis, Angelo J
265
Manfrede, Blaise, Wood-cut. 272
Lithograph of Rannin doing
Marchand, Floram
274
the Sword-walking Act
269
Marchand, Floram, Publica-
Lithograph showing All of
tion
275
Phillippe's Tricks
137
Marriott, the Celebrated, Pro-
Liverpool Theatre
256
gramme featuring Cabal-
Lives of the Conjurers
16,228
istic Art
255
London Daily Post Clipping
Martin, Henri
104
of Christopher Pinchbeck,
Martinka, Francis J
207
from Nov. 30, 1728
54
Maskelyne
IIO
London Telegraph Clipping
Masonic Order
252
of March, 1812
107
Materia Prima
252
Louis Programme
108,171
Mechanism, View of Jacquet-
Droz Writing Machine
98
Macallister
134,135,195
Melies, M
48
Macallister, Andrew, Por-
Memoirs of Marquis de Mer-
trait of
193
ville
287
Macallister, Brick-mason.
193
Memoirs, Robert-Houdin's,
Macallister Programme
192
14-51, 52, 176, 203, 217,
M'Kean, Louis Gordon
213
2 22,225,245,266,268,280,
M'Kean, Master, Handbill
212
295,296,300,302,318
MacKenzie, R. Shelton
49,265
Merode, Cleo de
3I
Maëlzel
266,267
Merville, Memoirs of Marquis
Mag, Miss Matilda
289
de
287
Magazine, Gentlemen's
56
Mezzotint of Christopher
Magic Bottle
192
Pinchbeck, Jr
57
Magic, Natural and Unnat-
Mezzotint of Christopher
ural, by Gantziony
1 2
Pinchbeck, Sr
53
Magic, or the Magical Power
Mitchell, Dr. J. K
266
of Nature, printed in Ber-
Mitchell, John
45,297
[328]"
unmaskingrobert00houdgoog.pdf,362,,"INDEX
PAGE
PAGE
Modern Magician
239
Origin of Flowers
222
Morley's Memoirs of Bartho-
Original Billing used by Mys-
lomew Fair
16
terious Lady
215
Morse, S. F. B
24I
Mortimer, Dr. W. Golden
207
Pastel Portrait of Cagliostro. 248
Mortimer's Mysteries
207
Pastry Cook of the Palais
Moving Pictures
67
Royal
116,172,193
Mysterious Lady, Billing used
Pedestal Clock
166
by
215
Pepper, Mr
299
Mysterious Lady, Cut of
216
Pererilli, Count
235
Mystic Bell Trick, The
163
Phantasmagoria, A de Phil-
ipsthal Programme
102,103
Naconnier, Françoise Mar-
Philipsthal's Programme of
guerite Olympe
33
806
173
Narrowness of Robert-Hou-
Phillippe, 23, 45, 116, 129,
din's Memoirs
295
133, 135, 184, 185, 193, 195
Natural Magic, by Johann
Phillippe Lithograph and his
Christian Wiegleb
14
Scotch Assistant Domingo. 134
Natural Magic, by Simon
Phillippe Pastel Portrait
130
Witgeest
I 2
Phillippe Poster
132,184
Natural Magic Frontispiece
13
Phillippe Poster featuring
Natural Magick in XX Bookes
the Infernal Bottle
184
by John Baptist Porta
I 2
Philosophy, Course of Exper-
Neve, Richard
14
imental
181
Neve, Richard, Frontispiece,
Photo-engraving of Bartolo-
Work on Magic
17
meo Bosco
301
Newspaper, The Lady's
177
Photograph of Alexander
Niblo's Garden
24I
Heimburger
238
Noriet, M
35
Photograph of Bosco's Grave 306
Nouveau Manuel Complet
Photograph of Mme. Bosco.
305
Sorciers, les scènes de Ven-
Pinchbeck, Christopher,
triloquie
279
52, 54, 56, 58
Nouveile Magie Blanche Dé-
Pinchbeck, Christopher, Jr.,
voilée et Cours Complet de
a very rare Mezzotint
57
Prestidigitation
278
Pinchbeck, Christopher, Sr.,
The Oldest and Rarest
Obedient Cards, The
141-156
Mezzotint in the Wor'd
Old and New Magic
16
Pertaining to the History
Old London Fairs
16
of Magic
53
Old Showman, The
16
Pinchbeck, Clipping from
Opre
140
London Daily Post of Nov.
Orange Trick
51-55
30. 1729
54
[329]"
unmaskingrobert00houdgoog.pdf,363,,"INDEX
PAGE
PAGE
Pinetti, 23,35, 38, 52, 69, 71,
Programme of de Philipsthal
73, 76, 171, 209, 2II, 213,
Benefit
IIO
221, 298, 300, 301, 302
Programme of Döbler
188
Pinetti, Chevalier
182
Programme of Macallister
192
Pinetti, Clipping featuring
Punch
177
Second Sight
210
Punch Cartoon reproduced,
Pinetti, Engraving of
7²
proving J. H. Anderson's
Pinetti, Signora
211,213
Inexhaustible Bottle Trick 186
Pocket, Conjurer's
160
Polk, President
243
Ramo Samee Handbill 282,286
Polonnese
1 7 2
Rannin Lithograph
269
Ponsin, J. N
278
Rannin Lithograph showing
Porta, John Baptist
12
Walking on Swords
269
Porta, John Baptist, Por-
Rare Poster of Learned Goose 220
trait of
II
Raynaly, Mons. E
69
Portrait of Buck
257
Recreations, Hooper's
2II
Portrait of Compars Herr-
Recreations, Physical a n d
mann
194
Mathematical, by Guyot
143
Portrait of Eugene Bosco
315
Recréations Physiques
279
Portrait of Henry E. Evanion
22
Redmond, Professor
289
Portrait of Henri Robin
198
Reproduction of an Engrav-
Portrait of Robert and
ing of Chinese Trick Climb-
Haidee Heller
202
ing into the Air
227
Portrait of Wiljalba Frikell
Reproduction of an Illustra-
in His Youth
297
tion in ""Aufschlüsse zur
Poster of Robert-Houdin on
Magie'
169
which his Complete Reper-
Reproduction of Cartoon in
toire Appears
224
Punch, 1843, proving An-
Poster used by Anderson in
derson's Inexhaustible Bot-
London, 1848
313
tle Trick
186
Poster used by Falck of Koe-
Reproduction of Handbill
nigsberg
183
used to Advertise Master
Poster used by Heller
206
M'Kean
212
President Polk
235,243
Reproduction of Handbills
Print showing Cabinet Trick. 290
used by Mysterious Lady. 216
Programme, Farewell, of Dö-
Robert, Jean-Eugene,
bler
189
33,34,35,40
Programme of Anderson 848 309
Robert, Prosper
33
Programme of Ching Lau
Robertson, E. G
76
Lauro
231
Robin, Henri, 197,199,217
Programme of Compars Herr-
289,296,297,298
mann
196,197,232
Robin, Henri, Portrait of
198
[330]"
unmaskingrobert00houdgoog.pdf,364,,"Anderson Poster Featuring Card Trick Used in 836-37
142
Anderson Poster Used in 1838
147
Anderson Poster Used 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
I 55
Barnum, P. T
88
Basch, Ernst
139
Bertram, Charles (James Bassett)
20
Blitz, Signor Antonio
18
Bologna Bill Used in 1812
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
3°5
Bottle Trick, Inexhaustible
186
Brahmin, The Suspension
229
Breslaw's Frontispiece on Book on Magic, ""The Last Legacy,""
I44
(i]"
unmaskingrobert00houdgoog.pdf,365,,"ILLUSTRATIONS
PAGR
Breslaw Lithograph
164
Buck, English Conjurer, Only Portrait Known
257
Buck Handbill Dated 1844
261
Cabalistic Art
254
Cabalistic Art Featured on Marriott Programme in 1831
255
Cabalistic Art Featured on Testot Programme in 1826
254
Cabinet Trick Offered by Davenport Brothers
200
Cagliostro, Comtesse de, Portrait of
251
Cagliostro, l'Almanach de, The Brahmin's Suspension
229
Cagliostro, Rare Pastel Portrait
248
Charles Poster Used in 1820.
128
Chinese Magicians
227
Ching Lau Lauro Handbill
23X
Clipping Advertising the Writing and Drawing Figures Exhibited
by Jacquet Droz
99
Clipping of 1812 Proving the Partnership of de Philipsthal and
Maillardet
197
Clipping Used by Christopher Pinchbeck in 728
54
Clock Trick, Eckartshausen's
160
Cornillot, M., Reproduction of Handbill
81
Davenport Brothers' Announcement
292
Davenport Brothers
14
Davenport Brothers' Cabinet Trick
200
Davenport Brothers in Their Prime, Portraits of
288
Decremps, Henri
74
Decremps Signature
76
Döbler, Farewell Programme
180
Döbler, Ludwig, Portrait
187,
100
Döbler Programme
19.1
Döbler Programme Dated 1842
188
Domingo Macallister
134
Don Carlos, ""the Double-sighted Dog Billing Used
221
Droz Automaton
96,98
Droz Figure of Cupid
80
Droz, Henri-Louis Jacquet
94
Droz, Jacquet, Drawing Figure
TOO
Droz, Pierre Jacquet, Portrait of
02
Droz Writing Automaton Specimens in 1796
86
Dutchwoman, Decoration Used to Advertise
214
Eagle, Barnardo, Frontispiece from Eagle's Book
153
Eagle, Barney, Poster
156
Eckartshausen's Automatic Rope Vaulter
169
[ii]"
unmaskingrobert00houdgoog.pdf,366,,"ILLUSTRATIONS
PAGE
Eckartshausen's Clock Trick
160
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
9°
Falck Poster Used in 1835
183
Fawkes Advertisement
60,61,62
Fawkes Clipping
64,65,66,67
Fawkes, Isaac, Portrait
59
Frikell, Herr und Frau
3°
Frikell Villa
28
Frikell, Wiljalba, in His Youth
297
Garnerin Poster Used in 1815
120
Goose Poster
220
Gyngell, Lithograph
126
Gyngell, Portrait of
122
Gyngell Poster Used in 1816
I2I
Gyngell Programme of 1823
125
Haddock Advertisement, 1706
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
196,19
Herrmann, Compars, Portrait
194
Herrmann, Compars, Programme
232
Hocus-Pocus, Frontispiece Second Edition, 1635
10
Hofzinser, Johann Nep, Engraving
162
Hogarth's Engraving Entitled 'Taste'
7°
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]"
unmaskingrobert00houdgoog.pdf,367,,"ILLUSTRATIONS
PAGE
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
223,224
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 1782
161
Lauro, Ching Lau, Handbill
23I
Le Confiseur Galant
139
Leschot, Jean Frédéric, Portrait
95
Louis Programme of 1815
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 1831
213
Manfrede, Blasius de Manfre or Blaise, Rare Woodcut
272
Marchand, Floram
275
Marriot Programme Featuring Cabalistic Art in 1831
255
Mysterious Lady Billing
215
Mysterious Lady Cut
2 1 6
Neve, Richard, Frontispiece, 1715
17
Philipsthal, de, Poster Used in 1811
104
Philipsthal Programme of 1806
173
Philipsthal Programme of 1803
102,103
Phillippe and Assistant Domingo
134
Phillippe Lithograph, 1842
137
Phillippe Poster
184
Phillippe Poster Used in 845-46
132
[iv]"
unmaskingrobert00houdgoog.pdf,368,,"INDEX
PAGE
PAGE
Henri, Second Sight. 218
Spirit Bell
24
l'Almanach de Ca-
Suspension, Brahmin Illustra-
TO
229
tion
229
ge, George, & Co
278
Suspension Chloriforeene.
233
Jules de
116, 128
Suspension Chloriforeene
larence Theatre
256
Lithograph
234
Inn
166
Suspension, Ethereal
222,312
Suspension featured by Com-
W
217
pars Herrmann, a Pro-
erz
28q
gramme of 1848
232
Ramo, Handbill. 282, 286
Suspension Trick
222
James
25
Suspension Trick, As Mrs.
James, Poster
26
Leona A. Anderson ap-
berg
267
peared
236
112, 116,172,181 182
Suspension Trick, Programme
Poster
114
Presenting, by Alexander
Programmeof 1821, 182
Heimburger
242
Programme used in
Suspension Trick used by
113
Robert-Houdin
224
ic Amusements
35
Sight
200
Talking Machine, Hanger
Sight, by M. and Mme.
Advertisement
88
218
Taste, Engraving by Hogarth
7°
Sight, Illustration
201
Testot Handbill
253
Sight of the Young
Testot, M. Félix
255
landers
214
Testot Programme featuring
de la Prestidigitation 49
Cabalistic Art
254
of Conjuring and
Theatre, Adelphia
256
265,278
Theatre, Garrick
286
of Magic
49,302
Theatre, Liverpool
256
of Stage Conjuring.
Theatre, Robert-Houdin
47
279,281,299
Theatre, Royal Clarence
256
230
The Secrets of Conjuring and
onfectioner's
166
Magic
265-278
re of Decremps
75
The Secrets of Stage Conjur-
Elder & Co
54
ing
279, 281, 299
of American Magi-
The Temple of the Muses
56
397
The Trapeze Automaton....
166
ens of Penmanship
The Trapeze Performer
168
ited by Droz's Writing
The Trapeze Tumbler
222
maton in 1796 and
Thiodon Bill of 1825
173.1 174
respectively
84
Three Talented Highlanders. 214
[331]"
unmaskingrobert00houdgoog.pdf,369,,"INDEX
PAGE
PAGB
Tolmaque
289
Trick, Suspension
49,222,31
Tom and Jerry
230
Trick, Suspension, Ethereal,
Tom Thumb, Gen
24I
222-312
Torrini, 35,38,52,140,209,
Trick, Suspension, Chlorifo-
250,300,301
reene
233
Toulet, Mlle. Louise
289
Trick, Suspension, of Sheshal 230
Tours de Cartes et de Gibe-
Trick, The Inexhaustible Bot-
cière
279
tle
49,312
Travelling Bottle
185,188
Trick, The Pastry Cook of the
Travelling Card, Poster of
Palais Royal
49
Jacobs.
151
Trick, The Vaulting Trapeze
Tribune, New York
240,241
Automaton
49, 141
Trick, Apple-Tree
5 I
Trick, Watch in Loaf of
Trick, Basket, Illustrations,
Bread
276,277,279
Trick, Writing and Drawin~
Trick, Bell
242
Figure
49
Trick Cabinet of the Daven-
Two Elegant Automata
172
port Brothers
290
Trick, Chinese, of Climbing
Unmasking of Robert-Hou-
into Air
227
din
33
Chinese, Reproduction
Ure, Andrew, M.D
of
227
T. rick Clock, Diagram of
I 60
Van Esten, Mr
168
Trick Disappearing Hand-
Vaucanson
41,95
kerchief
245-254
Verlag. Heusers
287
Trick, Indian Basket,
Voisin
163
276,277,291
Trick. Magic Clock. Diagram
Walking Cards, The
156
of
160
Water-spouter
272,273,275
Trick, Mystic
163
Water-spouter and Juggler
27.
Trick, Obedient Card, fea-
Webster, Daniel
243
tured on a Barney Eagle
Weiss, Rev. M. S.,
Poster
156
dedication page
Trick, Orange-Tree
51-55
Weiss, Ehrich (Harry Hot-
Trick, Orange-Tree, Diagram
dini)
Frest. spièce
of
52
Weiss, Theodore Hardeen 1
25
Trick, Rope-tying
293
White Magic
35
Trick, Second Sight 49,200,312
White Magic Exposed
Trick, Secret of Trained Bird
White, John
I2
and Bell
243
White, John, Portrait of
15
Trick, Shoulder of Mutton
Wiegleb, Johann Cliristian
14
and Card
257
Willmann, Carl
305
1-
GENERAL BOOKBINDING co.
125ST
C34
6017
75
53
ED
QUALITY CONTROL MARK"
unmaskingrobert00houdgoog.pdf,372,,"3 6105 004 841 255
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