{"path": "unmaskingrobert00houdgoog.pdf", "page": 1, "folder": "", "text": "Google\nThis is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a\nproject\nto make the world's books discoverable online.\nIt has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject\nto\ncopyright\nor\nwhose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books\nare our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover.\nMarks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book's long journey from the\npublisher to a library and finally to you.\nUsage guidelines\nGoogle is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the\npublic\nand\nwe\nare\nmerely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to\nprevent abuse by commercial parties, including placing technical restrictions on automated querying.\nWe also ask that you:\n+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for\npersonal, non-commercial purposes.\n+\nRefrain\nfrom\nautomated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine\ntranslation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the\nuse of public domain materials for these purposes and may be able to help.\n+ Maintain attribution The Google \"watermark\" you see on each file is essential for informing people about this project and helping them find\nadditional materials through Google Book Search. Please do not remove it.\n+\nKeep\nit\nlegal\nWhatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just\nbecause we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users\nin\nother\ncountries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of\nany specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner\nanywhere in the world. Copyright infringement liability can be quite severe.\nAbout Google Book Search\nGoogle's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers\ndiscover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web\nat http://books.google.com/"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 3, "folder": "", "text": "UNITED\nSTERARIES"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 6, "folder": "", "text": "THF UNMANKING\nROBER"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 8, "folder": "", "text": "8061\n'00 3H.L\nMEN\nINICHOH\n18\nNIGNOH -\nJO\nDNINSVINNO TH.L"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 9, "folder": "", "text": "313341\nCopyright, 1906\nCopyright, 1907\nCopyright, 1908\nBy HARRY HOUDINI\nEntered at Stationer's Hall, London, England\nAll rights reserved\nComposition. Electrotyping and Printing by\nThe Publishers Printing Company\nNew York, N. Y., U.S.A."}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 10, "folder": "", "text": "Dedication\nThis Book is affectionately dedicated to the memory of\nmy father,\nRev. M. S. Weiss, Ph.D., LL.D.,\nwho instilled in me love of study and patience in research"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 12, "folder": "", "text": "CONTENTS\nPAGE\nINTRODUCTION,\n7\nCHAPTER\nI. SIGNIFICANT EVENTS IN THE LIFE OF ROBERT-\nHOUDIN,\n33\nII. THE ORANGE-TREE TRICK,\n5I\nIII. THE WRITING AND DRAWING FIGURE,\n83\nIV. THE PASTRY Cook OF THE PALAIS ROYAL,\nII6\nV. THE OBEDIENT CARDS-THE CABALISTIC CLOCK-THE\nTRAPEZE AUTOMATON,\nI4I\nVI. THE INEXHAUSTIBLE BOTTLE,\n.\n176\nVII. SECOND SIGHT,\n. 200\nVIII. THE SUSPENSION TRICK,\n. 222\nIX. THE DISAPPEARING HANDKERCHIEF,\n245\nX. ROBERT-HOUDIN'S IGNORANCE OF MAGIC AS BE-\nTRAYED BY His OWN PEN,\n. 264\nXI. THE NARROWNESS OF ROBERT-HOUDIN'S \"MEMOIRS,\" 295\n[5]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 14, "folder": "", "text": "INTRODUCTION\nT\nHIS book is the natural result of the moulding,\ndominating influence which the spirit and wri-\ntings of Robert-Houdin have exerted over my\nprofessional career. My interest in conjur-\ning and magic and my enthusiasm for Robert-Houdin\ncame into existence simultaneously. From the moment\nthat I began to study the art, he became my guide and hero.\nI accepted his writings as my text-book and my gospel.\nWhat Blackstone is to the struggling lawyer, Hardee's\n\"Tactics\" to the would-be officer, or Bismarck's life and\nwritings to the coming statesman, Robert-Houdin's books\nwere to me.\nTo my unsophisticated mind, his \"Memoirs\" gave to\nthe profession a dignity worth attaining at the cost of\nearnest, life-long effort. When it became necessary for\nme to take a stage-name, and a fellow-player, possessing\na veneer of culture, told me that if I would add the letter\n\"i\" to Houdin's name, it would mean, in the French\nlanguage, \"like Houdin,\" I adopted the suggestion with\nenthusiasm. I asked nothing more of life than to become\nin my profession \"like Robert-Houdin.\"\nBy this time I had re-read his works until I could re-\ncite passage after passage from memory. Then, when\nFate turned kind and the golden pathway of success\nled me into broader avenues of work, I determined that\nmy first tour abroad should be dedicated to adding new\n[7]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 53, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nretired to his home at St. Gervais. Here he continued\nto work along mechanical and electrical lines, and in 1855\nhe again came into public notice, winning awards at the\nExhibition for electrical power as applied to mechanical\nuses. In 1856, according to his autobiography, he was\nRobert-Houdin's grave, in the cemetery at Blois, France. From a photo-\ngraph taken by the author, especially for this work, and now in the Harry\nHoudini Collection.\nsummoned from his retirement by the Government to\nmake a trip to Algeria and there intimidate revolting\nArabsby1 the exhibition of his sleight-of-hand tricks. These\nwere greatly superior to the work of the Marabouts or\nArabian magicians, whose influence was often held re-\nsponsible for revolts. What Robert-Houdin received for\n[ 46 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 54, "folder": "", "text": "EVENTS IN THE LIFE OF ROBERT-HOUDIN\nperforming this service is not set forth in any of his works.\nHe spent the fall of 1856 in Algeria.\nFrom the date of his return to St. Gervais to the time\nof his death, June 13th, 1871, Robert-Houdin devoted\nhis energies to improving his inventions and writing his\nR\nBas-relief on Robert-Houdin tombstone. From a photograph taken by the\nauthor, especially for this work, and now in the Harry Houdini Collection.\nbooks, though, as stated before, it was generally believed\nby contemporary magicians that in the latter task he\nentrusted most of the real work to a Parisian journalist\nwhose name was never known.\nHe was survived by a wife, a son named Emile, and\na step-daughter. Emile Houdin managed his father's\ntheatre until his death in 1883, when the theatre was\n[ 47 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 55, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nsold for 35,000 francs. The historic temple of magic\nstill stands under the title of \"Th\u00e9\u00e2tre Robert-Houdin,\"\nunder the management of M. Mclies, a maker of mo-\ntion picture films.\nDuring my investigations in Paris, I was shocked to\n-\nThe last photograph taken of Robert-Houdin and used as the frontispiese for\nthe original French edition of his \"Memoirs,\" published in 1868.\nfind how little the memory of Robert-Houdin was revered\nand how little was known of France's greatest magician.\nIn fact, I was more than once informed that Robert-\nHoudin was still alive and giving performances at the\ntheatre which bears his name.\n1 48 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 56, "folder": "", "text": "EVENTS IN THE LIFE OF ROBERT-HOUDIN\nContemporary magicians of Robert-Houdin and men\nof high repute in other walks of life seem to agree that\nRobert-Houdin was an entertainer of only average merit.\nAmong the men who advanced this theory were the late\nHenry Evanion of whose deep interest in magic I wrote\nin the introduction, Sir William Clayton who was Robert-\nHoudin's personal friend in London, Ernest Basch who\nsaw Robert-Houdin in Berlin, and T. Bolin of Moscow,\nRussia, who bought all his tricks in Paris and there saw\nRobert-Houdin and studied his work as a conjurer.\nRobert-Houdin's contributions to literature, all of\nwhich are eulogistic of his own talents, are as follows:\n\"Confidence et R\u00e9v\u00e9lations,\" published in Paris in\n1858 and translated into English by Lascelles Wraxall,\nwith an introduction by R. Shelton Mackenzie.\n\"Les Tricheries des Grecs\" (Card-Sharping Exposed),\npublished in Paris in 1861.\n\"Secrets de la Prestidigitation\" (Secrets of Magic),\npublished in Paris in 1868.\n\"Le Prieur\u00e9\" (The Priory, being an account of his\nelectrically equipped house), published in Paris in 1867.\n\"Les Radiations Lumineuses,\" published in Blois in\n1869.\n\"Exploration de la R\u00e9tinue,\" published in Blois, 1869.\n\"Magic et Physique Amusante\" (\u0153uvre posthume),\npublished in Paris in 1877, six years after Robert-Houdin's\ndeath.\nIn his autobiography, Robert-Houdin makes specific\nclaim to the honor of having invented the following\ntricks: The Orange Tree, Second Sight, Suspension,\nThe Cabalistic Clock. The Inexhaustible Bottle, The\n4\n[ 49 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 57, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nPastry Cook of the Palais Royal, The Vaulting Trapeze\nAutomaton, and the Writing and Drawing Figure.\nHis fame, which has been sung by writers of magic\nwithout number since his death, rests principally on the\ninvention of second sight, suspension, and the writing and\ndrawing automaton. It is my intention to trace the true\nhistory of each of these tricks and of all others to which\nhe laid claim as inventor, and show just how small a\nproportion of the credit was due to Robert-Houdin and\nhow much he owed to magicians who preceded him\nand whose brain-work he claimed as his own.\n[50]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 58, "folder": "", "text": "CHAPTER II\nTHE ORANGE-TREE TRICK\nR\nOBERT-HOUDIN, on page I79 of the American\nedition of his \"Memoirs,\" thus describes the\norange-tree trick, which he claims as his inven-\ntion: \"The next was a mysterious orange-tree,\non which flowers and fruit burst into life at the request of\nthe ladies. As the finale, a handkerchief I borrowed\nwas conveyed into an orange purposely left on the tree.\nThis opened and displayed the handkerchief, which two\nbutterflies took by the corners and unfolded before the\nspectators.\"\nOn page 245 of the same volume he presents the\nprogramme given at the first public performance in the\nTh\u00e9\u00e2tre Robert-Houdin, stating:\n\"The performance will be composed of entirely novel\nExperiments invented by M. Robert-Houdin. Among\nthem being The Orange-Tree, etc.\"\nNow to retrace our steps in the history of magic as set\nforth in handbills and advertisements of earlier and con-\ntemporaneous newspaper clippings describing their in-\nventions.\nUnder the title of \"The Apple-Tree\" this mechanical\ntrick appeared on a Fawkes programme dated I730. This\nwas II5 years before Robert-Houdin claimed it as his\ninvention. In I732, just before Pinchbeck's death, it\n[ 51 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 362, "folder": "", "text": "INDEX\nPAGE\nPAGE\nModern Magician\n239\nOrigin of Flowers\n222\nMorley's Memoirs of Bartho-\nOriginal Billing used by Mys-\nlomew Fair\n16\nterious Lady\n215\nMorse, S. F. B\n24I\nMortimer, Dr. W. Golden\n207\nPastel Portrait of Cagliostro. 248\nMortimer's Mysteries\n207\nPastry Cook of the Palais\nMoving Pictures\n67\nRoyal\n116,172,193\nMysterious Lady, Billing used\nPedestal Clock\n166\nby\n215\nPepper, Mr\n299\nMysterious Lady, Cut of\n216\nPererilli, Count\n235\nMystic Bell Trick, The\n163\nPhantasmagoria, A de Phil-\nipsthal Programme\n102,103\nNaconnier, Fran\u00e7oise Mar-\nPhilipsthal's Programme of\nguerite Olympe\n33\n806\n173\nNarrowness of Robert-Hou-\nPhillippe, 23, 45, 116, 129,\ndin's Memoirs\n295\n133, 135, 184, 185, 193, 195\nNatural Magic, by Johann\nPhillippe Lithograph and his\nChristian Wiegleb\n14\nScotch Assistant Domingo. 134\nNatural Magic, by Simon\nPhillippe Pastel Portrait\n130\nWitgeest\nI 2\nPhillippe Poster\n132,184\nNatural Magic Frontispiece\n13\nPhillippe Poster featuring\nNatural Magick in XX Bookes\nthe Infernal Bottle\n184\nby John Baptist Porta\nI 2\nPhilosophy, Course of Exper-\nNeve, Richard\n14\nimental\n181\nNeve, Richard, Frontispiece,\nPhoto-engraving of Bartolo-\nWork on Magic\n17\nmeo Bosco\n301\nNewspaper, The Lady's\n177\nPhotograph of Alexander\nNiblo's Garden\n24I\nHeimburger\n238\nNoriet, M\n35\nPhotograph of Bosco's Grave 306\nNouveau Manuel Complet\nPhotograph of Mme. Bosco.\n305\nSorciers, les sc\u00e8nes de Ven-\nPinchbeck, Christopher,\ntriloquie\n279\n52, 54, 56, 58\nNouveile Magie Blanche D\u00e9-\nPinchbeck, Christopher, Jr.,\nvoil\u00e9e et Cours Complet de\na very rare Mezzotint\n57\nPrestidigitation\n278\nPinchbeck, Christopher, Sr.,\nThe Oldest and Rarest\nObedient Cards, The\n141-156\nMezzotint in the Wor'd\nOld and New Magic\n16\nPertaining to the History\nOld London Fairs\n16\nof Magic\n53\nOld Showman, The\n16\nPinchbeck, Clipping from\nOpre\n140\nLondon Daily Post of Nov.\nOrange Trick\n51-55\n30. 1729\n54\n[329]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 363, "folder": "", "text": "INDEX\nPAGE\nPAGE\nPinetti, 23,35, 38, 52, 69, 71,\nProgramme of de Philipsthal\n73, 76, 171, 209, 2II, 213,\nBenefit\nIIO\n221, 298, 300, 301, 302\nProgramme of D\u00f6bler\n188\nPinetti, Chevalier\n182\nProgramme of Macallister\n192\nPinetti, Clipping featuring\nPunch\n177\nSecond Sight\n210\nPunch Cartoon reproduced,\nPinetti, Engraving of\n7\u00b2\nproving J. H. Anderson's\nPinetti, Signora\n211,213\nInexhaustible Bottle Trick 186\nPocket, Conjurer's\n160\nPolk, President\n243\nRamo Samee Handbill 282,286\nPolonnese\n1 7 2\nRannin Lithograph\n269\nPonsin, J. N\n278\nRannin Lithograph showing\nPorta, John Baptist\n12\nWalking on Swords\n269\nPorta, John Baptist, Por-\nRare Poster of Learned Goose 220\ntrait of\nII\nRaynaly, Mons. E\n69\nPortrait of Buck\n257\nRecreations, Hooper's\n2II\nPortrait of Compars Herr-\nRecreations, Physical a n d\nmann\n194\nMathematical, by Guyot\n143\nPortrait of Eugene Bosco\n315\nRecr\u00e9ations Physiques\n279\nPortrait of Henry E. Evanion\n22\nRedmond, Professor\n289\nPortrait of Henri Robin\n198\nReproduction of an Engrav-\nPortrait of Robert and\ning of Chinese Trick Climb-\nHaidee Heller\n202\ning into the Air\n227\nPortrait of Wiljalba Frikell\nReproduction of an Illustra-\nin His Youth\n297\ntion in \"Aufschl\u00fcsse zur\nPoster of Robert-Houdin on\nMagie'\n169\nwhich his Complete Reper-\nReproduction of Cartoon in\ntoire Appears\n224\nPunch, 1843, proving An-\nPoster used by Anderson in\nderson's Inexhaustible Bot-\nLondon, 1848\n313\ntle Trick\n186\nPoster used by Falck of Koe-\nReproduction of Handbill\nnigsberg\n183\nused to Advertise Master\nPoster used by Heller\n206\nM'Kean\n212\nPresident Polk\n235,243\nReproduction of Handbills\nPrint showing Cabinet Trick. 290\nused by Mysterious Lady. 216\nProgramme, Farewell, of D\u00f6-\nRobert, Jean-Eugene,\nbler\n189\n33,34,35,40\nProgramme of Anderson 848 309\nRobert, Prosper\n33\nProgramme of Ching Lau\nRobertson, E. G\n76\nLauro\n231\nRobin, Henri, 197,199,217\nProgramme of Compars Herr-\n289,296,297,298\nmann\n196,197,232\nRobin, Henri, Portrait of\n198\n[330]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 364, "folder": "", "text": "Anderson Poster Featuring Card Trick Used in 836-37\n142\nAnderson Poster Used in 1838\n147\nAnderson Poster Used in London, 1848\n313\nAnderson's Billing of 1838 Featuring \"Napoleon's Trick\n150\nAnderson's Book Cover Design\n148\nAnderson's Inexhaustible Bottle Trick\n186\nAnderson's, J. H., Birthplace\n145\nAnderson's Opening Programme, 1848\n309\nAnderson's Poster, Exposing Barney' Eagle's Tricks\n154,155\nAstley, Philip, Esq\n19\nBamberg, David Leendert\n140\n\" Barney,\" alias The Impostor Wizard, Window Poster Issued by\nAnderson\nI 55\nBarnum, P. T\n88\nBasch, Ernst\n139\nBertram, Charles (James Bassett)\n20\nBlitz, Signor Antonio\n18\nBologna Bill Used in 1812\n170\nBologna Poster Used in 1820\n118\nBosco, Bartolomeo, in His Prime\n301\nBosco, Eugene\n315\nBosco, Grave of\n306\nBosco, Madame, the only Photograph of\n3\u00b05\nBottle Trick, Inexhaustible\n186\nBrahmin, The Suspension\n229\nBreslaw's Frontispiece on Book on Magic, \"The Last Legacy,\"\nI44\n(i]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 365, "folder": "", "text": "ILLUSTRATIONS\nPAGR\nBreslaw Lithograph\n164\nBuck, English Conjurer, Only Portrait Known\n257\nBuck Handbill Dated 1844\n261\nCabalistic Art\n254\nCabalistic Art Featured on Marriott Programme in 1831\n255\nCabalistic Art Featured on Testot Programme in 1826\n254\nCabinet Trick Offered by Davenport Brothers\n200\nCagliostro, Comtesse de, Portrait of\n251\nCagliostro, l'Almanach de, The Brahmin's Suspension\n229\nCagliostro, Rare Pastel Portrait\n248\nCharles Poster Used in 1820.\n128\nChinese Magicians\n227\nChing Lau Lauro Handbill\n23X\nClipping Advertising the Writing and Drawing Figures Exhibited\nby Jacquet Droz\n99\nClipping of 1812 Proving the Partnership of de Philipsthal and\nMaillardet\n197\nClipping Used by Christopher Pinchbeck in 728\n54\nClock Trick, Eckartshausen's\n160\nCornillot, M., Reproduction of Handbill\n81\nDavenport Brothers' Announcement\n292\nDavenport Brothers\n14\nDavenport Brothers' Cabinet Trick\n200\nDavenport Brothers in Their Prime, Portraits of\n288\nDecremps, Henri\n74\nDecremps Signature\n76\nD\u00f6bler, Farewell Programme\n180\nD\u00f6bler, Ludwig, Portrait\n187,\n100\nD\u00f6bler Programme\n19.1\nD\u00f6bler Programme Dated 1842\n188\nDomingo Macallister\n134\nDon Carlos, \"the Double-sighted Dog Billing Used\n221\nDroz Automaton\n96,98\nDroz Figure of Cupid\n80\nDroz, Henri-Louis Jacquet\n94\nDroz, Jacquet, Drawing Figure\nTOO\nDroz, Pierre Jacquet, Portrait of\n02\nDroz Writing Automaton Specimens in 1796\n86\nDutchwoman, Decoration Used to Advertise\n214\nEagle, Barnardo, Frontispiece from Eagle's Book\n153\nEagle, Barney, Poster\n156\nEckartshausen's Automatic Rope Vaulter\n169\n[ii]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 366, "folder": "", "text": "ILLUSTRATIONS\nPAGE\nEckartshausen's Clock Trick\n160\nEngraving, Reproduction of, from an Old German Encyclopedia\n227\nEvanion, Henry Evans\n22\nExposure of Barney Eagle\n154,155\nFaber, Professor, Hanger Advertising Talking Machine\n9\u00b0\nFalck Poster Used in 1835\n183\nFawkes Advertisement\n60,61,62\nFawkes Clipping\n64,65,66,67\nFawkes, Isaac, Portrait\n59\nFrikell, Herr und Frau\n3\u00b0\nFrikell Villa\n28\nFrikell, Wiljalba, in His Youth\n297\nGarnerin Poster Used in 1815\n120\nGoose Poster\n220\nGyngell, Lithograph\n126\nGyngell, Portrait of\n122\nGyngell Poster Used in 1816\nI2I\nGyngell Programme of 1823\n125\nHaddock Advertisement, 1706\n166\nHandbill Advertising the Fake Automatic Artist, 1826\nIII\nHardeen, Theo. Weiss\n25\nHeimburger, Alexander, Illustration\n24\u00b0\nHeimburger, Alexander, Portrait of\n238\nHeimburger, Alexander, Poster\n242\nHeller, Robert and Haidee, Portraits.\n202\nHeller, Robert, Grave of\n208\nHeller, Robert, Programme of 1851, only one in existence\n204\nHeller Poster Used in 1853\n206\nHerrmann, Compars, Billings\n196,19\nHerrmann, Compars, Portrait\n194\nHerrmann, Compars, Programme\n232\nHocus-Pocus, Frontispiece Second Edition, 1635\n10\nHofzinser, Johann Nep, Engraving\n162\nHogarth's Engraving Entitled 'Taste'\n7\u00b0\nHone's Every Day Book,\" Reproduction of page 226\n68\nHoudin and Son Emile\n201\nHoudin Bas-Relief\n47\nHoudin Grave\n46\nHoudin, Robert\n8,24,34,41,48\nHoudin, Robert, Favorite Lithograph for Advertising Purposes\n38\nHoudin, Robert, First Appearance before Queen Victoria\n39\nHoudin, Robert, Poster Used at Sadler's Wells, 1853\n44\n[iii]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 367, "folder": "", "text": "ILLUSTRATIONS\nPAGE\nHoudin, Robert, Poster Used at St. James Theatre, London\n40\nHoudin, Robert, Poster Used for Emile Houdin Benefit, 1848\n43\nHoudin, Robert, Poster Used in London, 1848\n42\nHoudin, Robert, Poster Used in 1852\n223,224\nHoudin, Robert, Poster Used to Advertise His Trapeze Perform-\nance\n167\nHoudin, Robert, Programme for the Opening of Robert Houdin's\n*\nTheatre in Paris\n37\nHoudin, Robert, The only Poster Showing his Complete Stage-\nsetting\n36\nHoudini, Harry\nFrontispiece\nIndian Basket Trick\n276,277,279\nIndian Juggler's Handbill\n283\nIngleby's Book Frontispiece\n259\nIngleby Handbill Dated 1808\n258\nJacobs, M., Lithograph\n158\nJacobs Poster Featuring the Travelling Card\n151\nJefferini Handbill Dated 1833\n256\nKatterfelto\n165\nKatterfelto Clipping of 1782\n161\nLauro, Ching Lau, Handbill\n23I\nLe Confiseur Galant\n139\nLeschot, Jean Fr\u00e9d\u00e9ric, Portrait\n95\nLouis Programme of 1815\n108\nMacallister, Andrew, Portrait\n193\nMacallister, Domingo\n134\nMacallister Programme\n192\nM'Kean, Master, Front and Back of Original Handbill distributed\nin London Streets in 1831\n213\nManfrede, Blasius de Manfre or Blaise, Rare Woodcut\n272\nMarchand, Floram\n275\nMarriot Programme Featuring Cabalistic Art in 1831\n255\nMysterious Lady Billing\n215\nMysterious Lady Cut\n2 1 6\nNeve, Richard, Frontispiece, 1715\n17\nPhilipsthal, de, Poster Used in 1811\n104\nPhilipsthal Programme of 1806\n173\nPhilipsthal Programme of 1803\n102,103\nPhillippe and Assistant Domingo\n134\nPhillippe Lithograph, 1842\n137\nPhillippe Poster\n184\nPhillippe Poster Used in 845-46\n132\n[iv]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 368, "folder": "", "text": "INDEX\nPAGE\nPAGE\nHenri, Second Sight. 218\nSpirit Bell\n24\nl'Almanach de Ca-\nSuspension, Brahmin Illustra-\nTO\n229\ntion\n229\nge, George, & Co\n278\nSuspension Chloriforeene.\n233\nJules de\n116, 128\nSuspension Chloriforeene\nlarence Theatre\n256\nLithograph\n234\nInn\n166\nSuspension, Ethereal\n222,312\nSuspension featured by Com-\nW\n217\npars Herrmann, a Pro-\nerz\n28q\ngramme of 1848\n232\nRamo, Handbill. 282, 286\nSuspension Trick\n222\nJames\n25\nSuspension Trick, As Mrs.\nJames, Poster\n26\nLeona A. Anderson ap-\nberg\n267\npeared\n236\n112, 116,172,181 182\nSuspension Trick, Programme\nPoster\n114\nPresenting, by Alexander\nProgrammeof 1821, 182\nHeimburger\n242\nProgramme used in\nSuspension Trick used by\n113\nRobert-Houdin\n224\nic Amusements\n35\nSight\n200\nTalking Machine, Hanger\nSight, by M. and Mme.\nAdvertisement\n88\n218\nTaste, Engraving by Hogarth\n7\u00b0\nSight, Illustration\n201\nTestot Handbill\n253\nSight of the Young\nTestot, M. F\u00e9lix\n255\nlanders\n214\nTestot Programme featuring\nde la Prestidigitation 49\nCabalistic Art\n254\nof Conjuring and\nTheatre, Adelphia\n256\n265,278\nTheatre, Garrick\n286\nof Magic\n49,302\nTheatre, Liverpool\n256\nof Stage Conjuring.\nTheatre, Robert-Houdin\n47\n279,281,299\nTheatre, Royal Clarence\n256\n230\nThe Secrets of Conjuring and\nonfectioner's\n166\nMagic\n265-278\nre of Decremps\n75\nThe Secrets of Stage Conjur-\nElder & Co\n54\ning\n279, 281, 299\nof American Magi-\nThe Temple of the Muses\n56\n397\nThe Trapeze Automaton....\n166\nens of Penmanship\nThe Trapeze Performer\n168\nited by Droz's Writing\nThe Trapeze Tumbler\n222\nmaton in 1796 and\nThiodon Bill of 1825\n173.1 174\nrespectively\n84\nThree Talented Highlanders. 214\n[331]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 369, "folder": "", "text": "INDEX\nPAGE\nPAGB\nTolmaque\n289\nTrick, Suspension\n49,222,31\nTom and Jerry\n230\nTrick, Suspension, Ethereal,\nTom Thumb, Gen\n24I\n222-312\nTorrini, 35,38,52,140,209,\nTrick, Suspension, Chlorifo-\n250,300,301\nreene\n233\nToulet, Mlle. Louise\n289\nTrick, Suspension, of Sheshal 230\nTours de Cartes et de Gibe-\nTrick, The Inexhaustible Bot-\nci\u00e8re\n279\ntle\n49,312\nTravelling Bottle\n185,188\nTrick, The Pastry Cook of the\nTravelling Card, Poster of\nPalais Royal\n49\nJacobs.\n151\nTrick, The Vaulting Trapeze\nTribune, New York\n240,241\nAutomaton\n49, 141\nTrick, Apple-Tree\n5 I\nTrick, Watch in Loaf of\nTrick, Basket, Illustrations,\nBread\n276,277,279\nTrick, Writing and Drawin~\nTrick, Bell\n242\nFigure\n49\nTrick Cabinet of the Daven-\nTwo Elegant Automata\n172\nport Brothers\n290\nTrick, Chinese, of Climbing\nUnmasking of Robert-Hou-\ninto Air\n227\ndin\n33\nChinese, Reproduction\nUre, Andrew, M.D\nof\n227\nT. rick Clock, Diagram of\nI 60\nVan Esten, Mr\n168\nTrick Disappearing Hand-\nVaucanson\n41,95\nkerchief\n245-254\nVerlag. Heusers\n287\nTrick, Indian Basket,\nVoisin\n163\n276,277,291\nTrick. Magic Clock. Diagram\nWalking Cards, The\n156\nof\n160\nWater-spouter\n272,273,275\nTrick, Mystic\n163\nWater-spouter and Juggler\n27.\nTrick, Obedient Card, fea-\nWebster, Daniel\n243\ntured on a Barney Eagle\nWeiss, Rev. M. S.,\nPoster\n156\ndedication page\nTrick, Orange-Tree\n51-55\nWeiss, Ehrich (Harry Hot-\nTrick, Orange-Tree, Diagram\ndini)\nFrest. spi\u00e8ce\nof\n52\nWeiss, Theodore Hardeen 1\n25\nTrick, Rope-tying\n293\nWhite Magic\n35\nTrick, Second Sight 49,200,312\nWhite Magic Exposed\nTrick, Secret of Trained Bird\nWhite, John\nI2\nand Bell\n243\nWhite, John, Portrait of\n15\nTrick, Shoulder of Mutton\nWiegleb, Johann Cliristian\n14\nand Card\n257\nWillmann, Carl\n305\n1-\nGENERAL BOOKBINDING co.\n125ST\nC34\n6017\n75\n53\nED\nQUALITY CONTROL MARK"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 372, "folder": "", "text": "3 6105 004 841 255\n&'\nSTANFORD UNIVERSITY LIBRARIES\nSTANFORD AUXILIARY LIBRARY\nSTANFORD, CALIFORNIA 94305-6004\n(650) 723-9201\nsalcirc@sulmail.stanford.ed\nAll books are subject to recall.\nDATE DUE\nJUN\nJUC0 1 1002\n2022"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 59, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nappeared on a programme used by Christopher Pinchbeck,\nSr., and the younger Fawkes. In 1784 it was included in\nthe r\u00e9pertoire of the Italian conjurer, Pinetti, in the guise\nof \"Le Bouquet-philosophique.\" In 1822 the same\ntrick, but this time called \"An Enchanted Garden,\"\nwas featured by M. Cornillot,\nwho appeared in England as the\npupil and successor of Pinetti.\nThe trick was first explained\nin public print by Henri De-\ncremps in 1784 when his famous\nexpos\u00e9 of Pinetti was published\n0\nunder the title of \"La Magie\nBlanche D\u00e9voil\u00e9e,\" and in 1786-\n87 both Halle and Wiegleb ex-\nposed the trick completely in\ntheir respective works on magic.\nThat Robert-Houdin was an\nDiagram of the orange-tree\nomnivorous reader is proven by\ntrick, from Wiegleb's The\nNatural Magic,\" published in\nhis own writings. That he knew\n1794.\nthe history and tricks of Pinetti\nis proven by his own words, for in Chapter VI. of his\n\"Memoirs\" he devoted fourteen pages to Pinetti and the\nlatter's relations with Torrini.\nNow to prove that the tree tricks offered by Fawkes,\nPinchbeck, Pinetti, Cornillot, and Robert-Houdin were\npractically one and the same, and to tell something of\nthe history of the four magicians who featured the trick\nbefore Robert-Houdin had been heard of:\nUnquestionably, the real inventor of the mysterious\ntree was Christopher Pinchbeck, who was England's\n[52]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 60, "folder": "", "text": "Pinchestic\nstopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the\norld pertaining to the history of magic. From the Harry Houdini Collection.\n[ 53 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 61, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nleading mechanical genius at the close of the seventeenth\ncentury and the beginning of the eightcenth. He was a\nman of high repute, whose history is not that of the\ncharlatan, compiled largely from tradition, but it can be\nAt YOUNGS Gront Riem, the of unite\nMall, faring de Hay-Market, feem The\nGAAND TREATHE of the MUSES, jaft\nfind Mr. PINCHBECK,\nTHIS wonderful Machine is the Altonifh-\nmen et of that fee it. the Magnificra\u00e7e of bs\nthe Deliescy of the Painitag und Seulprure, and the\ngreat variety of moving Figures makes it the moit fur-\npriling Piece of An thaz has ever yer appear'd in Europe.\nIt regrefenta a Landfeape, witha view of the Sea. termina-\nsing infentibly NE 4 vall wich Shipsfailing, plying\nto doubling Capes, and diminithing by degrees\nan des difappear, Swans in . River filling and pluming\nDuck Hunring to Perfection, and grest variety\nMotions Likewife Pi\u00e9ture, re-\nOEPUTUS in playing amang rhe Bealts\nfiere the very T res, as well du Bnnes, are feea 10 move,\nas if animared and compell'd by the Hamony of bia Harp.\nIt allo perfoins on feveral Infrumenta great variety of moit\nexcellent Pieces of Mulick compos'd by Mr. HANDRE, Co-\nRELET Bosescims, and orher celebtated\nwich fuch wonderful Exa\u00e4nel, that fearce any Hand em\nequal. It liacwife imitates the fwee Hamony of any Avi-\nary of Birds, wherein the refpeltive Notes of the Nightin-\ngale, Woodfark, Cuckoo, &c. are performed 10 to gieat a\nPerfebtion, as not to be dillioguillid from Nature it felf.\nWirh feveral other grand 100 dious to men-\ntiow, Prices rs. 25, 6 d. and To be feem from to\nin the Morning rill To Nighr, by two, or more, without\nlofe of Time.\nNate, This curious Machine will be removed ia a few\nDays next Deas but oxie to the Leg Tavem in Fleetflieet,\nClipping from the London Daily Post of November 30th, 1798. Used by\nChristopher Pinchbeck before he joined Fawkes. From the Harry Houdini\nCollection.\ncorroborated by court records, biographical works, and\nencyclopaedias, as well as by contemporaneous newspaper\nclippings.\nAccording to Vol. XLV. of the \"Dictionary of National\nBiography,\" edited by Sidney Lee and published in 1896\nby Smith, Elder & Co., 15 Waterloo Place, London:\n\"Christopher Pinchbeck was born about 1670, possibly\n[ 54 ]\n1"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 62, "folder": "", "text": "THE ORANGE-TREE TRICK\nin Clerkenwell, London. He was a clockmaker and\ninventor of the copper and zinc alloy called after his name.\nHe invented and made the famous astronomico-musical\nclock. In Appleby's Weekly Journal of July 8th, I721,\nAt FAWKFS's THEATRE,\nIn near the Hay-market, will\nbe prefentedite following Entertaimments.\nFirtt,\nH IS Diverting and Incomparable\nfeveral Thingscatirely new.\nof HAND, in whichie performe\nN. n. In particular be caufera Tree to grow up in a Flower-\nPot upon the Table, which will blow and bear ripe Fruit in.a\nMinute's Time,\nSecond, His Famous linde\nThind, The CLOCN, with two moving Pilures\nTascly made b, Mr. Pinchbeck.\nFourth, The Vest TIAN MACKINE, being the huen Piece\net Workmaufhip in the World, for moving other\nCariofities.\nFifth, The ANTIFICIAL Vrow of the wherein\nis very nateraly imitared the Formament fpangled with Multitude\nof Stari; the Moon's Increale and D\u00e9create the Pawa of Day il\nthe diffufing his Lightar has Rifing : the beautiful Redneis of\nthe Horizin at hts a in a fine Summer Evening, The\nOccait it alfo repreferred, with Ships under Sail,\nMiles the Water, Difance; and their others they pafs B near by that Fort, their Shadows as &cc, the' are they at leea levent lis\n28 muy\neach other with Guits, the Report anddeccho of which are as\nplaialy heard as the from Places they Anpear to be.\nEvery Weck are diffevent\nNore, Every Night tlats Week will be\nfollowing\n1. The Ciry of Granz In the Drifredom of Stirla in Germany.\n11. The Clry of Autwerp Nin Brabant in\nIII. The City of Grand Cairo in Egres.\nIV The City of Africa.\nevery Evening precifely ar SFx n\u00b0 Clock.\nPic AL Middle Upper 64\nAnd thanhe Company may not be with Coll, theve\nis Contrivanzes TO keep der Warn.\nNote, Gendeaco and may have a privale Performance,\ngiving Noute the Sight befort.\nAdvertisement from the London Daily Post during 1730, showing the orange\ntree as offered by the senior Fawkes, just previous to his death. From the\nHarry Houdini Collection.\nit was announced that Christopher Pinchbeck, inventor\nand maker of the astronomico-musical clock, is removed,\nfrom St. George's Court (now Albion Place) to the sign\nof the \"Astronomico-Musical Clock\" in Fleet Street, near\nthe Leg Tavern. He maketh and selleth watches of all\nsorts and clocks as well for the exact indication of the\n[55]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 63, "folder": "", "text": "THE UNMASKING OF ROBERTT-HOUDIN\ntime only as astronomical, for showing the various\nmotions and phenomena of planets and fixed stars.'\nMention is also made of musical automata in imitation of\nsinging birds and barrel organs for churches, as among\nPinchbeck's manufactures.\n\"Pinchbeck was in the habit of exhibiting collections\nof his automata at fairs, sometimes in conjunction with a\njuggler named Fawkes, and he entitled his stall \"The\nTemple of the Muses,' 'Grand Theatre of the Muses,\nor 'Multum in Parvo.' The Daily Journal of August\n27th, 1729, announced that the Prince and Princess of\nWales went to the Bartholomew Fair to see hisexhibition,\nand there were brief advertisements in The Daily Post of\nJune 1 2th, 1729, and the Daily Journal of August 22d\nand 23d, I729. There is still a large broadside in the\nBritish Museum (1850 C. 10-17) headed 'Multum in\nParvo,' relating to Pinchbeck's exhibition, with a blank\nleft for place and date, evidently intended for use as a\nposter. Ile died November 18th, 1732; was buried No:\nvember 2ist, in St. Denison's Church, Fleet Street.\n\"In a copy of the Gentlemen's Magasine, printed 1732\npage 1083, there is an engraved portrait by I. Faber,\nafter a painting by Isaac Wood, a reproduction of which\nappears in 'Britten's Clock and Watch Maker,' page I22.\nHis will, dated November roth, 1732, was proved in\nLondon on November 18th.\"\nDuring one of his engagements at the Bartholomew\nFair, Pinchbeck probably met Fawkes, the cleverest\nsleight-of-hand performer that magic has ever known,\nand the two joined forces. Pinchbeck made all the auto-\nmata and apparatus thereafter used by Fawkes, and, in\n[56]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 64, "folder": "", "text": "A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work\nof Cunningham, the greatest designer, and William Humphrey, the greatest\nportrait etcher of his day. From the Harry Houdini Collection.\n[57]\n:"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 65, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nsold for 35,000 francs. The historic temple of magic\nstill stands under the title of \"Th\u00e9\u00e2tre Robert-Houdin,\"\nunder the management of M. Melies, a maker of mo-\ntion picture films.\nDuring my investigations in Paris, I was shocked to\n-\nThe last photograph taken of Robert-Houdin and used as the frontispiese for\nthe original French edition of his \"Memoirs,\" published in 1868.\nfind how little the memory of Robert-Houdin was revered\nand how little was known of France's greatest magician.\nIn fact, I was more than once informed that Robert-\nHoudin was still alive and giving performances at the\ntheatre which bears his name.\n1 48 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 66, "folder": "", "text": "EVENTS IN THE LIFE OF ROBERT-HOUDIN\nContemporary magicians of Robert-Houdin and men\nof high repute in other walks of life seem to agree that\nRobert-Houdin was an entertainer of only average merit.\nAmong the men who advanced this theory were the late\nHenry Evanion of whose deep interest in magic I wrote\nin the introduction, Sir William Clayton who was Robert-\nHoudin's personal friend in London, Ernest Basch who\nsaw Robert-Houdin in Berlin, and T. Bolin of Moscow,\nRussia, who bought all his tricks in Paris and there saw\nRobert-Houdin and studied his work as a conjurer.\nRobert-Houdin's contributions to literature, all of\nwhich are eulogistic of his own talents, are as follows:\n\"Confidence et R\u00e9v\u00e9lations,\" published in Paris in\n1858 and translated into English by Lascelles Wraxall,\nwith an introduction by R. Shelton Mackenzie.\n\"Les Tricheries des Grecs\" (Card-Sharping Exposed),\npublished in Paris in 1861.\n\"Secrets de la Prestidigitation\" (Secrets of Magic),\npublished in Paris in 1868.\n\"Le Prieur\u00e9\" (The Priory, being an account of his\nelectrically equipped house), published in Paris in 1867.\n\"Les Radiations Lumineuses,\" published in Blois in\n1869.\n\" \"Exploration de la R\u00e9tinue,\" published in Blois, 1869.\n\"Magic et Physique Amusante\" (\u0153uvre posthume),\npublished in Paris in 1877, six years after Robert-Houdin's\ndeath.\nIn his autobiography, Robert-Houdin makes specific\nclaim to the honor of having invented the following\ntricks: The Orange Tree, Second Sight, Suspension,\nThe Cabalistic Clock. The Inexhaustible Bottle, The\n4\n[ 49 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 67, "folder": "", "text": "invention of second sight, suspension, and the writing and\ndrawing automaton. It is my intention to trace the true\nhistory of each of these tricks and of all others to which\nhe laid claim as inventor, and show just how small a\nproportion of the credit was due to Robert-Houdin and\nhow much he owed to magicians who preceded him\nand whose brain-work he claimed as his own.\n[50]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 68, "folder": "", "text": "CHAPTER II\nTHE ORANGE-TREE TRICK\nR\nOBERT-HOUDIN, on page I79 of the American\nedition of his \"Memoirs,\" thus describes the\norange-tree trick, which he claims as his inven-\ntion: \"The next was a mysterious orange-tree,\non which flowers and fruit burst into life at the request of\nthe ladies. As the finale, a handkerchief I borrowed\nwas conveyed into an orange purposely left on the tree.\nThis opened and displayed the handkerchief, which two\nbutterflies took by the corners and unfolded before the\nspectators.\"\nOn page 245 of the same volume he presents the\nprogramme given at the first public performance in the\nTh\u00e9\u00e2tre Robert-Houdin, stating:\n\"The performance will be composed of entirely novel\nExperiments invented by M. Robert-Houdin. Among\nthem being The Orange-Tree, etc.\"\nNow to retrace our steps in the history of magic as set\nforth in handbills and advertisements of earlier and con-\ntemporaneous newspaper clippings describing their in-\nventions.\nUnder the title of \"The Apple-Tree\" this mechanical\ntrick appeared on a Fawkes programme dated 1730. This\nwas 115 years before Robert-Houdin claimed it as his\ninvention. In 1732, just before Pinchbeck's death, it\n[ 51 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 69, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nappeared on a programme used by Christopher Pinchbeck,\nSr., and the younger Fawkes. In 1784 it was included in\nthe r\u00e9pertoire of the Italian conjurer, Pinetti, in the guise\nof \"Le Bouquet-philosophique.\" In 1822 the same\ntrick, but this time called \"An Enchanted Garden,\"\nwas featured by M. Cornillot,\nwho appeared in England as the\npupil and successor of Pinetti.\nThe trick was first explained\nin public print by Henri De-\ncremps in 1784 when his famous\nexpos\u00e9 of Pinetti was published\nB\nunder the title of \"La Magie\nBlanche D\u00e9voil\u00e9e,\" and in 1786-\n87 both Halle and Wiegleb ex-\nposed the trick completely in\ntheir respective works on magic.\nThat Robert-Houdin was an\nDiagram of the orange-tree\ntrick, from Wiegleb's The\nomnivorous reader is proven by\nNatural Magic,\" published in\nhis own writings. That he knew\n1794.\nthe history and tricks of Pinetti\nis proven by his own words, for in Chapter VI. of his\n\"Memoirs\" he devoted fourteen pages to Pinetti and the\nlatter's relations with Torrini.\nNow to prove that the tree tricks offered by Fawkes,\nPinchbeck, Pinetti, Cornillot, and Robert-Houdin were\npractically one and the same, and to tell something of\nthe history of the four magicians who featured the trick\nbefore Robert-Houdin had been heard of:\nUnquestionably, the real inventor of the mysteriot\ntree was Christopher Pinchbeck, who was England\n[52]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 70, "folder": "", "text": "and\n-\nPinchester\nChristopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the\nworld pertaining to the history of magic. From the Harry Houdini Collection.\n[ 53"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 71, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nleading mechanical genius at the close of the seventeenth\ncentury and the beginning of the eighteenth. He was a\nman of high repute, whose history is not that of the\ncharlatan, compiled largely from tradition, but it can be\n& YOUNGS Reem the of Leal-\nMall, facing rke Hay-Market, fern The\nGRAND TREATAL of the MUSES, jaje\nMr. PINCHBECK,\nTHIS wonderful Machine is the Altonifh-\net all that feeit. the of be Struc-\ntue, the Delicacy of the Paining quit and the\ngrast valiety of moving Figures m-k-s i the mott\npriling Piece of An that has ever yer appear'd in Earope.\nIt di Landfeape, witha view of the Sea. termina-\nto sieg PL dey difeppear, - doubling Avaft Swans Capes, in and River With diminifhing filling Shipsfailing, by plurning degrees plying\n. and\nDuck Hunilig to Perfection ard greas variety\nM Motions Likewife Pifture, N-\nla * Fore\u00df playing umong the\nRere the very T ces, well as Banes, ere feen TO move,\nas if animared and compell'4 bythe Hamony of bia Haxp.\nIt alle perfoims on feveral Inftruments great of molt\nexcellent Pieces of Mulich compos'd by Mz. H FANDEL, Co\nRELLS ALEINONI, and orher celebtated\nwith fuch wonderful Exadneti, that fearce any Hand can\nequal, It the fweet Hazmony of any AVI-\nary of Bieds, wherein the refpective Notes of the Nightin-\ngate, Woodlatk, Cuckoo, &cc. are performed to fo giear a\nPerfedion, NS not ro be from Naruze it fell.\nWirh feveral orher to men-\ntion, Frices 55. 25. 6.d. and - To be feeo from 10\nin The Morning vill to Night, by two, DE more, wichout\nlofs if Fins.\nNate, This curions Machine will be removed ia a few\nDays Deas but oute to the Leg Tavem in Ficerflieer,\nClipping from the London Daily Post of November 30th, 1798. Used by\nChristopher Pinchbeck before he joined Fawkes. From the Harry Houdini\nCollection.\ncorroborated by court records, biographical works, and\nencyclopaedias, as well as by contemporaneous newspaper\nclippings.\nAccording to Vol. XLV. of the \"Dictionary of National\nBiography,' edited by Sidney Lee and published in 1896\nby Smith, Elder & Co., 15 Waterloo Place, London:\n\"Christopher Pinchbeck was born about 1670, possibly\n[ 54 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 72, "folder": "", "text": "THE ORANGE-TREE TRICK\nin Clerkenwell, London. He was a clockmaker and\ninventor of the copper and zinc alloy called after his name.\nHe invented and made the famous astronomico-musical\nclock. In Appleby's Weekly Journal of July 8th, 1721,\nMe FAWKFS's THEATRE,\nIn Tames-freet, near the Hay-marker, will\nbe prefented tbe following Entertainments:\nFirft,\nH\nIS Diverting and Incomparable\nfeveral Thingreatirely new.\nDERTERITY of HAND, in which he purforme\nN. B. In particular he caufesa Tree to grow up in a Flower-\nPot upon the Table, which will blow and beay ripe Pruis in a\nMinute's Time.\nSecond, His\nThird, The MUNICAL CLOCK, with EWO moving\nlately made by Mr. Pjochbeck,\nFourth, The Vast FIAN MACHINS, belag the Piece\nof Workmaufhip in the World, for moving Pidures aud other\nCuriofities.\nFifth, The ASTIFICIAL Vazw of the WORED, wherein\nEs very naturaDly imicated the Firmament fpangled wall a Maltifuide\nof Stari; the Moon's Increale and Decreale the Pawa of Day :\nthe diffuling bis Lightar his Rifing the beautiful Redne(s of\nthe Horizon at lis Sercing. as in a fine Summee Eyening. The\nR allo repre(ented, wih Ships under Sail, 28 fevent\nMiles Diffance; ethers fo neas that their Shadows are Teen lia\nde Water, and as they pars by any Fort, Caftle, &c, they\nesch other with their Goms, the Report and-Ecchool which are \u00e0s\nplainly heard es cho' from the cal Places they appear to be.\nEvery Week are\nNote, Every Night during this Wick will be\n1. The Ciry of Grarz Dalsedom of Stitia in Germang.\n11. The Cirs of Autwerp in io Flandess.\nIIT. The City d Grand Caleo to Egypt.\nIV The City of Algrervia Africa.\nBrginning CWITY livening precifely ar Nix o' Clock.\nPir DE Midde Unper\nAudtharthe Company naay with Cold, there\nis Contrivances the Warm.\nNote, and Lades may have a privas\ngiving Nouce the Night before.\nAdvertisement from the London Daily Post during 1730, showing the orange\ntree as offered by the senior Fawkes, just previous to his death. From the\nHarry Houdini Collection.\nit was announced that Christopher Pinchbeck, inventor\nand maker of the astronomico-musical clock, is removed,\nfrom St. George's Court (now Albion Place) to the sign\nof the \"Astronomico-Musical Clock\" in Fleet Street, near\nthe Leg Tavern. He maketh and selleth watches of all\nsorts and clocks as well for the exact indication of the\n[ 55 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 73, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\ntime only as astronomical, for showing the various\nmotions and phenomena of planets and fixed stars.'\nMention is also made of musical automata in imitation of\nsinging birds and barrel organs for churches, as among\nPinchbeck's manufactures.\n\"Pinchbeck was in the habit of exhibiting collections\nof his automata at fairs, sometimes in conjunction with a\njuggler named Fawkes, and he entitled his stall \"The\nTemple of the Muses,' Grand Theatre of the Muses,'\nor 'Multum in Parvo.' The Daily Journal of August\n27th, 1729, announced that the Prince and Princess of\nWales went to the Bartholomew Fair to see hisexhibition,\nand there were brief advertisements in The Daily Post of\nJune I 2th, 1729, and the Daily Journal of August 22d\nand 23d, I729. There is still a large broadside in the\nBritish Museum (1850 C. 10-17) headed 'Multum in\nParvo,' relating to Pinchbeck's exhibition, with a blank\nleft for place and date, evidently intended for use as a\nposter. He died November 18th, 1732; was buried No-\nvember 2ist, in St. Denison's Church, Fleet Street.\n\"In a copy of the Gentlemen's Magasine, printed 1732,\npage 1083, there is an engraved portrait by I. Faber,\nafter a painting by Isaac Wood, a reproduction of which\nappears in 'Britten's Clock and Watch Maker,' page 122.\nHis will, dated November roth, 1732, was proved in\nLondon on November r8th.\"\nDuring one of his engagements at the Bartholomew\nFair, Pinchbeck probably met Fawkes, the cleverest\nsleight-of-hand performer that magic has ever known,\nand the two joined forces. Pinchbeck made all the auto-\nmata and apparatus thereafter used by Fawkes, and, in\n[56]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 74, "folder": "", "text": "-\nChristopher linchlul\nA very rare mezzotint of Christopher Pinchbeck, Jr., combining the work\nCunningham, the greatest designer, and William Humphrey, the greatest\ntrait etcher of his day. From the Harry Houdini Collection.\n[57]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 75, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nFawkes, he had a master-producer of his tricks. Christo-\npher Pinchbeck never appeared on the program used by\nFawkes, save as the maker of the automata or apparatus,\nbut directly after the death of the elder Fawkes, and\na few months before his own, the elder Pinchbeck ap-\npeared with the son of his deceased partner, and was\nadvertised as doing \"the Dexterity of Hand\" performance.\nThis indicates that he was inducting young Fawkes into\nall the mysteries of the profession at which the two elder\nmen, as friends and business partners, had done so well.\nChristopher Pinchbeck was survived by two sons,\nEdward and Christopher, Jr. Edward, the elder, suc-\nceeded to his father's shop and regular business. He was\nborn about 1703, and was well along in years when he\nentered into his patrimony, which he advertised in The\n`Daily Post of November 27th, 1732, as follows: \"The\ntoys made of the late Mr. Pinchbeck's curious metal are\nnow sold only by his son and sole executor, Mr. Edward\nPinchbeck.\"\nThis announcement settles forever the oft-disputed\nquestion as to whether the alloy of copper and zinc which\nbears the name of Pinchbeck was invented by Christopher\nPinchbeck, Sr., or by his son Christopher, Jr.\nAll newspaper and magazine descriptions of the auto-\nmata invented by the elder Pinchbeck indicate that his\nhand was as cunning as his brain was inventive, for they\nshowed the most delicate mechanism, and included entire\nlandscapes with figures of rare grace in motion.\n\"Christopher, the second son of Christopher Pinch-\nbeck the elder,\" continues the biographical sketch, \"was\nborn about I7IO and possessed great mechanical ingenuity.\n[ 58 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 76, "folder": "", "text": "THE ORANGE-TREE TRICK\nWhile the elder son, Edward, was made executor and\ncontinued his father's trade in a quiet, conservative\nfashion, the younger son struck out along new lines and\nThe Wet died the Mr.\n- for bis by\nmax\nFAWKES\nThe best portrait of Isaac Fawkes in existence. The original, now in the\nHarry Houd\u00edni Collection, is supposed so have been engraved by Sutton\nNichols. It is said that there is only one more of these engravings extant.\nbecame even more famous as an inventor than his brill-\niant father had been.\n[ 59 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 77, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\n\"He was a member and at one time president of the\nSmeatonian Society, the precursor of the Institution of\nCivil Engineers. In 1702 he devised a self-acting pneu-\nmatic brake for preventing accidents to the men employed\nin working wheel-crancs. In The Gentlemen's Magazine\nfor June, 1765, page 296, it is recorded that Messrs.\nPinchbeck and Norton had made a complicated astro-\nit the Conk and Half Moan Tavern in\nTemple- Bar,\nr\nHE famons Mr. FAWKS\nperformi moft furpriting Trick by\nDesterity of Hand, with Regi,\ncurions India Birds, Mice and Money,\nWhich Curionits no Perfon In the\ndom cari presend to thom To-\ngether with the Activity of Body\nperform'd by his Polture Maller, bring 9\nBoy about Ten Years of Age, who Far -\nceeds all that ever in Eumpe. Who Transforms his Body\ninto fuch a various Shapes, 21 Curpaties human Faith to believe\nour Geting. Likewite the Rezilan Searamouch Dance, with two\nfour Note, Legs, We have and the bur had Printe. the Body, Honour and prefent Majchy Headi,\none to the Admiration of all\nto perterm before bis\nling George, att the Quality of the whote Kirg-\ndom. with great Applaufe. Beginning evary Evening precifely it\nN.B. Any Gentiemen or Ladies may have 2 private Performance\nany Tirm of the Day, giving an Mour's Notick.\nAn early Fawkes advertisement, clipped from a London paper of 1795.\nFrom the Harry Houdini Collection.\nnoinical clock for the Queen's house, some of the cal-\nculations of the wheel having been made by James Fer-\nguson, the astronomer. There is no proof that Pinchbeck\nand Norton were ever in partnership, and there are now\ntwo clocks answering to the description at Buckingham\nPalace, one by Pinchbeck, with four dials and of a very\ncomplicated construction, and another by Norton.\n\"Pinchbeck took out three patents: the first (No: 892),\ngranted 1768, was for an improved candlestick with a\n[60]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 78, "folder": "", "text": "THE ORANGE-TREE TRICK\nspring socket for holding the candle firmly, and an\narrangement whereby the candle always occupied an\nupright position, however the candlestick might be held.\nIn 1768 (patent No. 899) he patented his nocturnal\nremembrancer, a series of tablets with notches, to serve\nas guides for writing in the dark. His snuffers (No. III9)\npatented 1776, continued to be made in Birmingham\nThe Daily Poft.\n`KIDAY, January 21, 1726.\nS's and POWEL's Theatre, in\nin James-freet, mear the Hay-Marlet,\nbe\nving Entertainments, viz.\n1726\nFIRST his furprizing Dex-\nHand, far exceeding all thatever\nPerform in this Kingdera. ad The fancus\nPoftare-Mafter. de The Mafics) Closk, that\nPlay variety of Tunts, on the Orgia, Fluse,\nand Sine-\nFlageleig with Hirds, felf. Whilling and\nfrom Life the it Bath: And The 4th. wiole\nPowyl's\nPlay\nof The Prineefs Elisabeth, er Rife of bugge\nPunch: With the Comical Humonrs of Enquire Punch, and his Foot-\nman Gudgeon. Perfoim'd by the Richeft Bnd Figures that ever\nwas fees in England. Concluding with an Piece of Ma-\nchinery, after the Italian Manner, repreferring the Eplendid Palace of\nDiana breaking into Domble and Triple Prefpeds, with all the Changes of\nSrents and Decorations belonging to the Play. N. B. The poors will be\nopen'devery Day at Five a Clock. And in Regird that Gentlemen and La-\ndies thall not be difappointed, we beghi exalty as Six, and none to bead-\nmitred afuer. Prices: S. . S. snd6d\nA clipping from the Taily Post, London showing that Fawkes combined\nforces with Powel, the famous Bartholomew Fair puppet man. From the\nHarry Houdini Collection.\nuntil the last forty years or so, when snuffers began to\ngo out of use. In I774 he presented to the Society of Arts\na model of a plough for mending roads. Pinchbeck's\nname first appears in the London directory in 1778, when\nit replaced that of Richard Pinchbeck, toyman, of whom\nnothing is recorded.\n\"Christopher Pinchbeck, Jr., was held in considerable\nesteem by George III., and he figures in Wilkes' London\n[61]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 79, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nMuseum (ii-33) in 177\u00b0 in the list of the party who\ncalled themselves the King's friends. He died March 17th,\n1783, aged 73, and was buried in St. Martin's-in-the-\nFields. His will, which was very curious, is printed in\nfull in The Horological Journal of November, 1895. One\nof his daughters married William Hebb, who was described\nas 'son-in-law and successor of the late Mr. Pinchbeck\nat his shop in Cockspur Street' (imprinted on Pinchbeck's\nportrait), whose son Christopher Henry Hebb (1772-\n1861) practised as a surgeon in Worcester. There is in\nexistence a portrait of Christopher Pinchbeck the younger,\nby Cunningham, engraved by W. Humphrey.\"\nThe mezzotints of the Pinchbecks, father and son,\nherewith reproduced, are extremely rare, and when I un-\nearthed them in Berlin I felt myself singularly favored\nin securing two such treasures of great value to the history\nof magic. S. Wohl, the antiquarian and dealer from\nwhom they were purchased, acquired them during a tour\nof old book and print shops in England, and thought them\nportraits of one and the same person; but by studying the\nnames of the artists and the engravers on the two pic-\ntures, it will be seen that they set forth the features of\nfather and son, as indicated by the biographical notes\nquoted above.\nOf the early history of Fawkes, whose brilliant stage\nperformance lent to the Pinchbeck automata a new lustre,\nlittle is known. It is practically impossible to trace his\nfamily history. His Christian name was never used on\nhis billing nor published in papers or magazines, and\nafter repeated failures I was about to give up the task\nof discovering it, when in I904, aided by R. Bennett,\n[62]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 80, "folder": "", "text": "THE ORANGE-TREE TRICK\nthe clerk of St. Martin's-in-the-Field: Parish Church,\nTrafalgar Square, London, England, I came upon the rec-\nord of his burial. This record, which I found after many\ndays' search among musty, faded parchments, showed\nthat his Christian name was Isaac, and that he died May\n25th or 29th, I731, and was buried in St. Martin's-in-\nthe-Fields Parish Church.\nThe records further show that he was buried in the\nAi FAWKES's Booth in the Upper Moor-\nfields, will be prejented the\nFIRST wonderfal his Famous Dexterity of Pofture-Mafter, Bndy exceeds all Europe. The\nthat\nMulical Temple of Arts with two moving the one a\nConcert of the oher the Siege and of Gibraltar,\nof Machine being Parnaftus, the with finelt with three Piece Apollo moving of \u20aclock-work andthe Pidtures, in the Mufes the firft World. playing on reprefents Bay 3d, the various\nAnother\nHill\nNine\nInfiraments of Mulick, the bext a beauriful View of a River, with\nSyms and other Fowls and Filh, fporting as the' Alive, The lait\ngives a Profpe\u00dft of the New Palace Yard, with the whole Pro-\ncellion of the late Coronation of their prefent Majefties murch-\ning from the Hall to the Abbey,\nNote, Half the Performasce can't be in this Adver-\ntifement.\nNore, We thow twice yvery Evening the Firft beginning at Five,\nthe other & Seven.\nClipping from the London Post during 1728, showing the oldest evidence\nprocurable of the original \"Two a Night\" performance. From the Harry\nHoudini Collection.\nchurch vault, the coffin being carried by six men. Prayers\nwere said in the church, candles were used, and the great\nbell was tolled. As the fees amounted to \u00a36 I2S., a goodly\nsum for those days, all signs indicate that the funeral was\non a scale more costly and impressive than the ordinary.\nFawkes was worth at his death \u00a310,000, which was\nconsidered an enormous sum in those days. Every\npenny of this he made performing at the fairs.\nThe earliest announcements of Fawkes' performance\nin my collection are dated 1702 and include advertise-\n[63]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 81, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nments headed \"Fawkes and Powel,\" \"Fawkes and\nPhillips,\" and \"Fawkes and Pinchbeck.\" Powel was the\nfamous puppet man, Phillips a famous posture master\n(known to-day as contortionist), and Pinchbeck was the\ngreatest of mechanicians. Fawkes seems to have pos-\nsessed a singular gift for picking out desirable partners.\nFrom this mass of evidence I am producing various\nThis prefent Evening,\nRoom, over the Piazza's, at the\nto the Ray Market, the Famoes, FAWKES pet.\nformi molt by Mand, with\nCurinution al that Kind, being what has\nthew by any of Pelfon with the Agiviry\nof\nin\nBody by before Pitture the Allo or rest performed theye will\nbe Dunces by twe Poiture ID They\ncrimm the and ty be bure Foor righ, and Plemy\nDance an tentian with Dis\nand but one Body ta the Admination of all ato\nIng and of the Slack Reprain fishio\nas war never performed by any other\nprec Gly at and th-jors\nDay N. Mow the Clentlemen Place abole, and Hours every any\nN. may bave: privat\u00e9\nRE an he\ntof this longer whan the Stalon - to that be\nAcani ay and Ladies Eancies by Desterity of\nHand for thake owa Diverion\nBy Permifion,\nA\nthe Chriftian Coffee-houle at Smithfield\nBano the prefent Evening DE will performent\n- by Mr. CLENCH of who imiratey the\nHom, Pack of Roundi, the Tham Doctor, old\ndeungen Man, und the Beits 1 the Doubte Courtel, the Organ\nwith three Volerity sul are perforged with bis Natural\nVolie 4 allo - Ellex song by Mt. Clench, after which ma nare\n- can puform.\nClipping from the London Post, February 7th, 1724, in which Fawkes\nannounces his retirement and offers to teach his tricks to all comers. Below this\nannouncement is the advertisement of Clench, famous as an imitator and an\ninstrumentalist.\nclippings. By a peculiar coincidence one of these I\nbelieve offers the most authentic and earliest record of\n\"two a night\" performances in England.\nIn my collection are a number of other clippings from\nthe press of the same year, in April and May, 1728, but\nnone of them says \"twice a night,\" therefore I judge\n[64]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 82, "folder": "", "text": "THE ORANGE-TREE TRICK\nthat the custom of giving two performances in a night\nwas tried previously to April, 1728, and then abandoned,\nor after the first of May.\nIn the London Post of February 7th, 1724, Fawkes\nannounced an exhibition \"in the Long Room over the\npiazza at the Opera House in the Haymarket.\" At this\ntime he also advertised the fact that he was about to retire\nand was exposing all his tricks. The clipping of that\ndate from my collection has the following foot-note:\n\"Likewise he designs to follow this business no longer\nTHISTO give Notice, That the famous\nMr. at his Booth in WeR-Smirhield, the\nfollowine moft farprizing Trickt, after a new M. chad, vis. He takes\nao rempry Bag. lays it on the Toble, and tarns it feveral Times infide\nouf, then commanda 100 Eags our of it, and feveral Showers of real\nGold and Silve: then the Bag beginning to fwen, feveral Sons of\nwild Fowls ron out of ir upon the Table. He throws up a Pack of\nCards, and carter them to be living Birds flying aholt the Room. He\ncaufes\nbe\nany\nPilt\u00e9rel. 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\nScalfold 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\nToo\never He\nbelow his Legs, and rifes again wishnut any help of his Handv. He\nhimfilf 6 Forte hetween two Chairs, while he plays uport the\ningenious 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\n100\nlaft Shows beginnion ar 3. 31 and 7. in the Evening, With . good\nMulick. Pric 12 d.\nClipping from the London Daily Post of August, 1735, in which Fawkes\nadvertises his admission price as twelvepence. From the Harry Houdini\nCollection.\nthan this season; so he promises to learn any lady or\ngentleman his fancies in dexterity of hand for their own\ndiversion.\"\nWhen Fawkes was not in partnership with some puppet\nshowman, he always advertised his own puppets as \"A\ncourt of the richest and largest figures ever shown in\nEngland, being as big as men and women! \" His ad-\nmission charges varied, but I2 pence seemed his favorite\n5\n[65]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 83, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nfigure. About six years before his death he had his own\ntheatre in James Street, near the Haymarket, in which\nhe exhibited for months at a time before and after fairs.\nI reproduce a clipping from my collection showing\nFawkes' last program. Here it will be seen that his first\ntrick was causing a tree to grow up in a flower-pot on the\ntable, and bear fruit in a minute's time. In The Gentle-\nmen's Magazine, that oft-quoted and most reliable peri-\nodical, of February 15th, 1731, readers were informed\nthat the Algerian Ambassadors witnessed Fawkes' per-\nWe hear that young Fawkes and Pinchheck are now arrived in\nTown from the Bath and Saliabury; where they have, da the\nmoft agreeable Mariger, entersained the Nobility and Quality with\ntheir very lurprieing and to whom the Tate\nMr. Fawken, in his Life-tjme, had communicated all thofe wogder-\nfal Secrets which gave fuch univerfal Satisfaction to all his Specla\ntors : And we are likewife affored, that every Particular is preenvo\nin its utmoft Perfection, viz. His Artiticial View of the World\nhis Turprizing Dexterity of Mand, in which he caufes a Tree to\ngrow out of a Flower-Pot on the Table, which u Home and bears\nripe Fruit in a Minute's Time; his famous little Pefture-Mafter of\nleven Years old, not to be equal'd in Europe, who likewile per-\nforms on the flack Rope to Admitation - his enternaining Muncal\nClock, with two beautiful moving Piltures, and an Aviary of Bardr,\nar natural as Life itlelf; alla a curious Venesian Maching, an w'i\nby all Artifis to be the fmefi Piece of Workmanfhip in the World;\nau which furgrizing Entersalnments we hear will be perf rm'd nex\nWeek at the late Mr. Fawkes's Theatre, at the old Tennis-Court\nin James-fireet near the day-market. 1732\nClipping from the London Post, showing that young Fawkes collaborated\nwith Pinchbeck and together they offered the orange-tree trick in 1739. From\nthe Harry Houdini Collection.\nformance. At their request he showed them \"a prospect\nof Algiers, and raised up an apple-tree which bore ripe\nfruit in less than a minute's time, which several of the\ncompany tasted of.\"\nFawkes, too, had a son, and thus the partnership and\nthe friendship which had existed between the elder\nFawkes and the elder Pinchbeck were carried on by the\nsecond generation. All of the marvellous apparatus made\n[66]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 84, "folder": "", "text": "THE ORANGE-TREE TRICK\nby Pinchbeck the elder, for Fawkes, may have been\nbequeathed by the latter to his son, but, in 1732, Pinch-\nbeck the elder and Fawkes the younger were in a booth\ntogether, and Pinchbeck was advertised as doing \"the\ndexterity of hand\" performances. After Christopher\nAs FAWKES, Great Theatrical Booth,\nIn Weft Smithfield, faceing the White Hart Alt-\nkonfe near Cow-lane End,\nD\nURING the fhort Time of Bartholomew-\nFair, which liegins out Monday next, the 23d Triftant,\nand ends the Thorfday following, the Publick will be di-\nverted with the fediniving Entertainments, which have\ngain'd fuch great Applanfe, viz.\nFirit, Fawkes's ducomparable Dexteriry of Hand, who\nperforins feveral forpriling Tricks entirely new and\nvery curions.\nSecondiy, The amazing Mulical Clock, witli two curious\nMiving Pictures.\nThirdiy, The famous yourg Pofore-Mafter, who\nvauls the flack Rope to the Admiration of all that have\nfech him, and far exceeds any riung of the Kind in Enrope:\nFourthly, The Temiple of Aris, wbich is the fineft Piece\nof Workmanibip in the World, the Machmery confifting\nof valt Variery of Moving Figtires, and many other inimi-\ntable Curioliries.\nFiftlily, That fine Piece of Machinery, the Artificial\nView of the World, wherelo are Hiww Variery of duffercar\nProfpecis; parricniarly the chree following, viz.\n. of Windfor Caltle, wich a View of\nthe River of Tliames,\n2. The City of Grand Cairo da Egypt.\n3. A Proficet of the Town, Fort and Bay of Gibraltar,\nN. B. To begia every Day at Ten in the Moruing and\nEnd at Ten at Niglio\nAus 16 9736\nClipping from the London Post, August 16th, 1736, when young Fawkes was\nplaying alone. From the Harry Houdini Collection.\nPinchbeck, Sr., died, young Fawkes started out on his\nown account. In I746, according to an advertisement in\nmy collection, a Fawkes and a Pinchbeck were together\nagain, so the son of Pinchbeck must have joined the\nyounger Fawkes for exhibition purposes. The accom-\npanying clippings from contemporary publications trace\nthe history of young Fawkes, and prove that the tree\n[67]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 85, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nwhich bore fruit in a minute's time was still on his pro-\ngramme.\nFor many years it was supposed that only one portrait\nof Fawkes was in existence, but it now seems that three\nwere made. I publish them all, something which no one\nhas ever before been able to do. One was taken from\na Setchels fan published about 1728, although some\nReproduction of page 1996 of Hone's \"Every-Day Book\" in the Harry\nHoudini Collection. This is a portrait of Fawkes, engraved on a fan by\nSetchels in 1721 or 1728. Fans like these were distributed at the Bartholomew\nFair.\nauthorities say I72I. It appeared in Hone's \"Every-\nDay Book,\" page 1226. Another, I believe, was en-\ngraved by Sutton Nicols, as Hone mentions it in his\ndescription of Fawkes. In the fan engraving, it will be\nnoticed that there appears a man wearing a star on his\n[68]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 86, "folder": "", "text": "THE ORANGE-TREE TRICK\nleft breast. It is said that this is Sir Robert Walpole,\nwho was Prime Minister while Fawkes was at the height\nof his success, and who was one of the conjurer's great\nadmirers. Hogarth also placed Fawkes in one of his\nengravings as the frontispiece of a most diverting\nbrochure on \"Taste,\" in which he belittles Burlington\nGate. This makes the third portrait from my collec-\ntion herewith reproduced.\nAccording to an article contributed by Mons. E. Ray-\nnaly in the Illusionniste of June, 1903, the orange tree\nnext appeared in the r\u00e9pertoire of a remarkable peasant\nconjurer, whose billing Mons. Raynaly found among\n\"Affiches de Paris.\" This performer was billed as the\nPeasant of North Holland, and gave hourly performances\nat the yearly fairs at Saint-Germain.\nIt is more than possible that he purchased this trick\nfrom Fawkes or Pinchbeck, having seen it at the Bar-\ntholomew Fair in England.\nHe featured the orange tree as follows: \"He has a\nPhilosophical Flower Pot, in which he causes to grow on\na table in the presence of the spectators trees which flower,\nand then the flowers fall, and fruit appears absolutely\nripe and ready to be eaten.\"\nHis posters are dated I746-47 and 1751.\nThe next programme on which the mysterious tree ap-\npears is a Pinetti handbill, dated in London, 1784, when\nthe following announcement was made:\n\"Signore Pinetti will afterwards present the assembly\nwith a Tree called Le Bouquet-philosophique composed\nof small branches of an orange-tree, the leaves appearing\ngreen and natural. He will put it under a bottle, and at\n[69 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 87, "folder": "", "text": "MASQUERADE\nMasquerade and opera at Burlington Gate. Reproduction of Hogarth's engraving entitled \"Taste,\"\nbelittling the artistic taste of London. This caricature verifies the Fawkes advertisement, reproduced\non page 64, for here the conjurer is pictured leaning from the window of the 'long room\" and calling\nattention to his performances. From the Harry Houdini Collection."}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 88, "folder": "", "text": "own composition, the leaves will begin to change and\nthe bouquet will produce natural flowers and various\nfruits.\"\nPinetti is one of the most fascinating and picturesque\nfigures in the history of magic. His full name was Joseph\nPinetti de Willedal, and, like Pinchbeck and Fawkes, he\nwas a man of parts and readily made friends with the\nnobility. In fact, there is some question as to whether\nhe did not come of a noble family.\nHe was born in 1750 in Orbitelle, a fortified town once\nclaimed by Tuscany. What can be gleaned regarding\nhis early history goes to prove that his family connections\nwere excellent and his education of the best. One of his\nportraits, reproduced herewith, shows a half-crown of\nlaurel decorating the frame, and on one side of the bust is\na globe, while in the rear of the picture is a stack of books.\nThis would establish his claim that he was once a professor\nof physics and geography. In fact, the legend beneath\nthe portrait, being translated from the French, runs:\n\"I. I. Pinetti Willedal de Merci, Professor and Dem-\nonstrator of Physics, Chevalier of the Order of St. Philipe,\nGeographical Engineer, Financial Counselor of H.R.H.\nPrince of Linbourg Holstein, Born in Orbitelle in 1750.\"\nAs it has so often happened in the history of savants\nand students, there ran in Pinetti's blood a love of the mys-\nterious with that peculiar strain of charalatanism which\nwent to make up the clever performer in old-time magic.\nEvidently he resigned his duties as a professor for the\nmore picturesque life of the travelling magician, and he is\nfirst heard from in this capacity in the French provinces\n[71]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 89, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nin 1783. His fame quickly carried him to Paris, where\nin I784 he appeared before the court of Louis XVI.\nHis arrival was most opportune, for just then all Paris\nI.I.PINETTI\nRitterund Konigh: Freus Hopphyficus\nby yeiner infeclungin Hamburg\nA wood-cut used by Pinetti during his engagement at Hamburg, Germany, in\nOctober, 1796. From the Harry Houdini Collection.\nand, for that matter, all Europe had been aroused to a\nnew interest in magic by the brilliant Cagliostro.\nFrom Paris he went to London, playing at the Hay-\nmarket and creating a sensation equal to that which he\nmade in France. Later he toured Germany, playing in\n[72]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 90, "folder": "", "text": "THE ORANGE-TREE TRICK\nBerlin and Hamburg. Next he went back to his native\nland, Italy, but later returned to Germany for a second\nengagement. In 1789 he appeared in Russia and never\nI.I.PINETTI willidal de merdi profes\net demonstrateus de philoso, chevalier de Cordre de pt\nargenieur glographe it Constiller der france\nprince de hotatein\nOrlandle\npreidar the and\nThe only authentic portrait of Pinetti in existence, the only known copy\nextant being in the Harry Houdini Collection.\nleft that country. There he married a Russian girl,\ndaughter of a carriage manufacturer. They had two\nchildren. Pinetti would have left enormous wealth, but\n[73]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 91, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nin his later years he became interested in ballooning,\nthe sensation of the hour, and spent his entire fortune\non balloon experiments. He died in Bartichoff, Volhinie,\naged fifty years.\nPinetti was a man of rare inventive genius and almost\nN\u00b0 a Beduer en and\nHenri Decremps, the French author who exposed and endeavored to ruin\nPinetti, but succeeded only in immortalizing him.\nreconstructed the art of conjuring, so numerous were his\ninventions. For half a century after his death his suc-\ncessors drew upon Pinetti's inventions and r\u00e9pertoire for\ntheir programmes. Naturally such ability aroused bitter\njealousies, especially as Pinetti made no attempt to con-\n[74]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 92, "folder": "", "text": "THE ORANGE-TREE TRICK\nciliate his contemporaries, either magicians or writers on\nmagic. He issued one book, whose title-page reads:\n\"Amusements Physiques et Differentes Exp\u00e9riences Di-\nvertissements, Compos\u00e9es et Execut\u00e9es, tant a Paris que\ndans les diverses Courts de l'Europe. Par M. Joseph\nPinetti de Willedal, Romain, Chevalier de l'Ordre M\u00e9rite\nde Saint-Phillipe, Professeur de Math\u00e9matiques et de\nPhysiques, Prot\u00e9g\u00e9 par toute la Maison Royale de France,\nPensionnaire de la Cour de Prusse, etc., 1785.'\nThe work, however, was not a clear and lucid explana-\ntion of his methods and tricks. In fact some of his con-\ntemporaries claimed that he deliberately misrepresented\nhis methods of performing tricks. Among these writers\nwas Henri Decremps, a brilliant professor of mathematics\nand physics in Paris, who proceeded to expose all of\nPinetti's tricks in the book referred to in the preceding\nchapter, \"La Magie Blanche D\u00e9voil\u00e9e.\" This work was\nin five volumes and was so popular in its day that it was\ntranslated into nearly every modern language. The fol-\nlowing explanation of the trick is taken from page 56 of the\nEnglish translation, entitled \"The Conjurer Unmasked :\n\"The branches of the tree may be made of tin or\npaper, so as to be hollow from one end to the other in\norder that the air which enters at the bottom may find its\nexit at the top of the branch. These branches are so\nadjusted that at intervals there appear twigs made from\nbrass wire, but the whole so decorated with leaves made\nfrom parchment that the ensemble closely resembles\nnature.\n\"The end of each branch is dilated to contain small\npieces of gummed silk or very fine gold-beater's skin,\n[75]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 15, "folder": "", "text": "INTRODUCTION\nlaurels to the fame of Robert-Houdin. By research and\nstudy I would unearth history yet unwritten, and record\nunsung triumphs of this great inventor and artiste. The\npen of his most devoted student and follower would\nawaken new interest in his history.\nAlas for my golden dreams! My investigations brought\nforth only bitterest dis-\nappointment and sad-\ndest of disillusionment.\nStripped of his self-\nwoven veil of romance,\nRobert-Houdin stood\nforth, in the uncom-\npromising light of cold\nhistorical facts, a mere\npretender, a man who\nwaxed great on the\nbrainwork of others, a\nmechanician who had\nboldly filched the in-\nventions of the master\ncraftsmen among his\npredecessors.\n\"Memoirs of Robert-\nHoudin, Ambassador,\nRobert-Houdin in his prime, immedi-\nAuthor and Conjurer,\nately after his retirement. From the\nHarry Houdini Collection.\nWritten by Himself,'\nproved to have been\nthe penwork of a brilliant Parisian journalist, em-\nployed by Robert-Houdin to write his so-called auto-\nbiography. In the course of his \"Memoirs,\" Robert-\n[8]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 16, "folder": "", "text": "INTRODUCTION\nHoudin, over his own signature, claimed credit for the\ninvention of many tricks and automata which may be\nsaid to have marked the golden age in magic. My in-\nvestigations disproved each claim in order. He had\nannounced himself as the first magician to appear in\nregulation evening clothes, discarding flowing sleeves and\nheavily draped stage apparatus. The credit for this revo-\nlution in conjuring belonged to Wiljalba Frikell. Robert-\nHoudin's explanation of tricks performed by other\nmagicians and not included in his repertoire, proved so\nincorrect and inaccurate as to brand him an ignoramus\nin certain lines of conjuring. Yet to the great charm of\nhis diction and the romantic development of his personal\nreminiscences later writers have yielded unquestioningly\nand have built upon the historically weak foundations of\nhis statements all the later so-called histories of magic.\nFor a time the disappointment killed all. creative\npower. With no laurel wreath to carve, my tools lay idle.\nThe spirit of investigation languished. Then came the\nreaction. There was work to be done. Those who had\nwrought honestly deserved the credit that had been taken\nfrom them. In justice to the living as well as the dead\nthe history of the magic must be revised. The book,\naccepted for more than half a century as an authority\non our craft, must stand forth for what it is, a clever\nromance, a well-written volume of fiction.\nThat is why to-day I offer to the profession of magic,\nto the world of laymen readers to whom its history has\nalways appealed, and to the literary savants who dip into\nit as a recreation, the results of my investigations. These,\nI believe, will show Robert-Houdin's true place in the\n[9]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 17, "folder": "", "text": "INTRODUCTION\nhistory of magic and give to his predecessors, in a pro-\nfession which in each generation becomes more serious\nand more dignified, the credit they deserve.\nMy investigations cover nearly twenty years of a busy\na\nor\nfocus\nb2\nthe\nFrontispiece of \"Hocus Pocus,\" Second Edition, 1635, one of the earliest\nworks on magic. From the Harry Houdini Collection.\nprofessional career. Every hour which I could spare\nfrom my professional work was given over to study in\nlibraries, to interviews with retired magicians and col-\nlectors, and to browsing in old bookstores and antique\n[10]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 18, "folder": "", "text": "INTRODUCTION\nshops where rare collections of programs, newspapers,\nand prints might be found.\nIn order to conduct my researches intelligently, I was\ncompelled to pick up a smattering of the language of\nJOH BAPT PORTA\nCa Philosoph, Madamatitor and Atrologic zus\ngovo. on\nJohn Baptist Porta, the Neapolitan writer on magic. From an old woodcut\nin the Harry Houdini Collection.\neach country in which I played. The average collector\nor proprietor of an old bookshop is a canny, suspicious\nindividual who must accept you as a friend before he\nwill uncover his choicest treasures.\nAs authorities, books on magic and kindred arts are\npractically worthless. The earliest books, like the magi-\ncian stories written by Sir John Mandeville in 1356, read\nlike prototypes of to-day's dime novels. They are thrill-\n[ II ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 19, "folder": "", "text": "INTRODUCTION\ning tales of travellers who witnessedmagical performances,\nbut they are not authentic records of performers and\ntheir work.\nOne of the oldest books in my collection is \"Natural\nand Unnatural Magic\" by Gantziony, dated 1489. It\nis the author's script, exquisite in its German chirography,\nartistic in its illuminated illustrations, but worthless as an\nhistorical record, though many of the writer's descriptions\nand explanations of old-time tricks are most interesting.\nEarly in the seventeenth century appeared \"Hocus\nPocus,\" the most widely copied book in the literature of\nmagic. The second edition, dated 1635, I have in my\nlibrary. I have never been able to find a copy of the\nfirst edition or to ascertain the date at which it was\npublished.\nA few years later, in 1658, came a very important con-\ntribution to the history of magic in \"Natural Magick in\nXX. Bookes,\" by John Baptist Porta, a Neapolitan.\nThis has been translated into nearly every language.\nIt was the first really important and exhaustive work on\nthe subject, but, unfortunately, it gives the explanation\nof tricks, rather than an authentic record of their in-\nvention.\nIn 1682, Simon Witgeest of Amsterdam, Holland,\nwrote an admirable work, whose title reads \"Book of\nNatural Magic.\" This work was translated into German,\nran through many an edition, and had an enormous sale\nin both Holland and Germany.\nIn 1715, John White, an Englishman, published a\nwork entitled \"Art's Treasury and Hocus Pocus; or a\nRich Cabinet of Legerdemain Curiosities.\" This is\n[iz]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 93, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nwhich are to catch the figures of the flowers and fruit\nwhen the latter expand by the air driven through the\nbranches to which they were fastened by a silk thread.\n\"The tree or nosegay is then placed on a table, through\nDecremer\nwhich runs a glass tube to supply\nair from beneath the stage, where\na confederate works this end of\n\"\nthe trick, and causes the tree to\n'grow' at the prearranged sig-\nnal.\"\nDecremps's signature writ-\nten by himself on the last\nLater it was described as being\npage of a copy of his book\nnow in the Harry Houdini\naccomplished entirely by springs,\nLibrary.\nand real oranges were first stuck\non the tree by means of pegs or\npins, and the leaves were so secured around them that at\nfirst appearance they could not be seen. Then a piston\nwas used to spread all the leaves, another that forced\nthe blossom up through the hollow branches, etc.\nPinetti's personality was almost` as extraordinary as\nhis talents. A handsome man who knew how to carry\nhimself, acquiring the graces and the dress of the nobility,\nhe became rather haughty, if not arrogant, in his bearing.\nHe so antagonized his contemporaries in the fields of\nmagic and literature that he was advertised as much by\nhis bitter enemies as by his loving friends. Many of his\nmethods of attracting attention to himself were singularly\nlike those employed by modern press agents of theatrical\nstars. He never trusted to his performances in theatres\nand drawing-rooms to advertise his abilities, but demon-\nstrated his art wherever he appeared, from barber-shops\nto caf\u00e9s.\n[76]\n-"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 94, "folder": "", "text": "THE ORANGE-TREE TRICK\nPerhaps the best pen pictures of Pinetti and his methods\nare furnished by E. G. Robertson in his \"Memoirs.\"\nRobertson was a contemporary of Pinetti, and, like him,\na pioneer in ballooning. His \"Memoirs,\" written in the\nFrench language, were published in 1831. The following\nextracts from this interesting book tell much of Pinetti's\nlife in Russia and of his professional history as tradi-\ntion and actual acquaintance had presented it to M.\nRobertson:\n'Pinetti had travelled a great deal and for a long time\nhad enjoyed a great European reputation. He had done\neverything to attain it. There was never a man that\ncarried further the art of the 'charlatisme.' When he\narrived in a town where he intended to give a show, he\ntook good care to prepare his public by speeches, which\nwould keep it in suspense. In St. Petersburg great and\nincredible examples of mystification and of prestidigi-\ntation were told about him.\n\"One day he went to a barber-shop to get shaved, sat\ndown in the chair, had the towel tied around his neck,\nand laid his head back ready for the lather. The barber\nleft him in this position to get hot water, and when he\nreturned, guided by force of habit, he applied the lather\nwhere the chin should be, but he found feet, arms, hands,\nand body in a coat, but no head! Such lamentations!\nNo more head! What could it mean? He opened the\ndoor, and, frightened to death, ran away. Pinetti then\nwent to the window and called the barber back. He\nhad put his head in his coat in such a clever way, covering\nit with his handkerchief, that the surprise and the fright\nof the barber were quite natural. Of course this barber\n{ 77 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 95, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\n8\nthe\nJOSEPH\nPINETT!\nwh\nDay genier placess to bunke de A le Preferrer\nPINE T T2) Bown to ample des Arts, does inition\nour 2 Phinique or of Medications\nFrontispiece of Pinetti's book, \"Amusements Physiques,\" pub-\nlished in Paris. 1785, one of the first treasures of the Evanion Collec-\ntion purchased by the author.\n[78]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 96, "folder": "", "text": "THE ORANGE-TREE TRICK\ndid not fail to spread over the whole town that he had\nshaved a man who could take his head off and on to his\nwish.\n\"Pinetti met in a summer-garden a young Russian who\nsold small cakes. He bought a few cakes, bit into them,\nand complained of finding a hard substance. The youth\nprotested, but Pinetti opened the cake before him and\nfound inside a gold piece. The magician pocketed the\ngold piece, bought another cake, then a third cake, and in\nfromph Pinettin If Hammeth Willed\nPinetti's autograph, written by him on the back of the frontispiece, reproduced\non page 78. Original in the Harry Houdini Collection.\neach case found a new gold piece inside. He tried to buy\nthe rest of the cakes. The passers-by had in the mean\ntime come round the seller, and everybody wanted to buy\nas well. The market seemed to be all right, a ducat for\na\nkopeck! Twelve francs for a cent! The young man\nrefused to sell any more, hurried away, and when alone\nopened the cakes that were left. He found only the\nsubstances of which the cakes were made-nothing else.\n[79]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 97, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nHe had two left, so he hurried back to offer these to\nPinetti. Pinetti bought them from him, opened them\nand showed in each one the gold piece, which the young\nman could not find in the two dozen cakes which he had\nspoilt. The poor boy bit his lips and looked at Pinetti\nwith wondering, frightened eyes. This little adventure\nwas advertised here, there, and everywhere, and was told\nin the clubs and in the society gatherings, and very soon\nthe name of Pinetti gave the key to the enigma, and\nPinetti was in demand by everybody.\n\"When Pinetti came on the stage, he had the knack of\nattracting members of the nobility around his table, by\nletting them learn some small secrets. This would render\nthem confederates in working his tricks. He would appear\nin rich suits, embroidered in gold, which he changed\nthree and four times in the evening. He would not\nhesitate to deck himself in a quantity of foreign decora-\ntions. In Berlin it was told how Pinetti would go through\nthe streets, in a carriage drawn by four white horses. He\nwas clad in fine embroidery and decorated with medals\nof all nations. Several times it happened that, as he\npassed by, the soldiers would call arms and salute, taking\nhim for a prince. One day the King of Prussia rode out\nin his modest carriage drawn by two horses. Ahead of\nhim drove the supposed prince. When the King witnessed\nthe mistake made by his soldiers, he made inquiries as\nto the rank of this man to whom his men were paying\nsuch honor, then gave the Cavalier Pinetti twenty-four\nhours to get beyond Prussia's borders.\"\nWhatever may be said of Pinetti's charlatanism, it\nmust be admitted that he gave to the art of conjuring a\n[80]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 98, "folder": "", "text": "THE ORANGE-TREE TRICK\ngreat impetus which was felt for several generations. It\nis not remarkable, therefore, that when the French magi-\ncian Cornillot appeared in London in 1822 he announced\nhimself as the pupil and successor of Pinetti. This was\nExtraordinary Chemical Iliustrations,\nand FEATS or LEGERDEMAIN,\nM. CORNILLOT,\nPUPIL AND SUCCESSOR OF THE FANED PINETTI,\nSeppostfully\ninforme the of the K tropolia, that be contiones . gire\nEvery WEDNESDAY,\nAt the Paul's Head Cateaton Street,\nAnd every MONDAY, THURSDAY, and SATURDAY,\nAt the Great Room, in Spring Gardene.\nAMAZUNG ust\nPEILOSOPEY AND CHEMISTRY,\nAnd FEATS OF LEGERDEMAIN,\nWhish hore escited the admiretion of the le all - principal Toome of -\n-\n-\n-\n-\nde\n-\nTes GARDEN, eli Ninde of Revers - - Se - - and\n-\n-\nassudy. - the - of - The de dess - .\nNovel Sahibilie\nGLASS or -\npurprising Ibemical\nde\nPURSTITS MYSTSRIOUS PENDULUN, which - - - -\nTheaghte of - Reholders \u00e1. \" - pasplesing - gredune - - -\naparationa, b, the ald of -\nTHE GRAND TRIUMPH OF PINETTI.\nOF TUR sum. chich - - - estenales Thestra.\nTes INCONCBIVABLE CHALLESOS or being . encessuive - Incresse of\nis - - of\nTHE GRAND TRIUMPH OF COMUS,\nBrough - perfoctice by a. CORNILLOT,\nANAZING PERFORMANCE OF CAUSING A LIVING PERSON\nTo be is . plase chese be - - beea\nRevillimitate Thunder 80 naturally, that it will be thought to proceed from the Clouds\nThese - be varied t, of lisporiments esth the Presente,\nPome -- Feste of Legordomale, the preseding Eshibitions.\nx\n-\n-\nDotal\n-\n/ - - de - Preparations - f\nBoncer\ns. - Opm Pofermances degla precionly, to T. T6,\n- Asse, N. - de at - - of - - may le\n-\nde\nSeht 18:11\n.. - - - -\nReproduction of a handbill distributed on the streets of London in Sep-\ntember, 1829. The orange-tree trick is on the bill under the name of \"En-\nchanted Garden.\" From the Harry Houdini Collection.\nwhen Robert-Houdin was seventeen years of age,\ntwenty-three years before he made his professional d\u00e9but,\nand on Cornillot's programme we find another version\nof the now famous and almost familiar tree trick. As\nwill be seen from the accompanying reproduction of a\nCornillot handbill, the tree now appears as \"An En-\nchanted Garden,\" and, if the wording of the bill is to be\n6\n[81]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 99, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nbelieved, Cornillot had improved the trick and was using\nmore than one tree or plant.\nCornillot remained in England for some time and is\nclassed among the conjurers of good repute. Another\nbill in my collection shows that he played at the Theatre\nof Variety, Catherine Street, Strand, in October, 1823.\nHe was then assisted by several singers and dancers,\nincluding the famous Misses Hamilton and Howe, pupils\nof M. Corri. In his company was also an Anglo-Chinese\njuggler, who, in addition to feats of juggling, \"swallows\nan egg, a sword, and a stone, a la Ramo Samee.\"\nTo sum up the evidence against Robert-Houdin in\nthis particular trick: Four magicians of high repute gave\npublic performances before Robert-Houdin knew and\noperated the orange-tree trick. Three eminent writers\nexposed it clearly and accurately. Robert-Houdin, as\nan indefatigable student of the history of magic, must\nhave known of the trick and its modus operandum. He\nmay have purchased it from Cornillot, or as a clever\nmechanician he had only to reproduce the trick invented\nby his predecessors, train his confederate in its operation-\nand-by his cleverly written autobiography-attempt to\nestablish his claim to its invention.\n[ 82 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 100, "folder": "", "text": "CHAPTER III\nTHE WRITING AND DRAWING FIGURE\nI\nN his \"Memoirs\" Robert-Houdin eulogizes the vari-\nous automata which he claims to have invented. The\npicturesque fashion in which he describes the tre-\nmendous effort put forth ere success crowned his la- ,\nbors would render his arguments most convincing-if\nstern historical facts did not contradict his every statement.\nOne of the most extraordinary mechanical figures\nwhich he exploits as his invention was the writing and\ndrawing figure, which he exhibited at the Quinquennial\nExhibition in 1844, but never used in his public perform-\nances, though he asserts that he planned to exhibit it\nbetween performances at his own theatre. This au-\ntomaton, he says, laid the foundation of his financial\nsuccess and opened the way to realizing his dream of\nappearing as a magician.\nOn page 196 of his \"Memoirs,\" American edition, he\nstarts his romantic description of its conception and\nmanufacture. According to this he had just planned what\npromised to be the most brilliant of his mechanical in-\nventions when financial difficulties intervened. He was\nobliged to raise two thousand francs to meet a pressing\ndebt. He applied to the ever-convenient Monsieur G--\nwho had bought automata from him before. He described\nthe writing and drawing figure minutely to his patron,\n[83]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 101, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN 1\nwho immediately agreed to advance two thousand five\nhundred francs, and if the figure was completed in eight-\neen months, two thousand five hundred francs more were\nto be paid for it, making five thousand francs in all. If\nthe figure was never completed, then Monsieur G\nwas\nWriting and drawing figure claimed by Robert-Houdin as his invention.\nFrom Manning's Robert-Houdin brochure.\nto reimburse himself for the amount advanced by select-\ning automatic toys from Robert-Houdin's regular stock.\nAfter liquidating his debt, Robert-Houdin retired to\nBelleville, a suburb of Paris, where for eighteen months\nhe worked upon the figure, seeing his family only twice a\nweek, and living in the most frugal fashion.\nHe employed a wood-carver to make the head, but the\nresult was so unsatisfactory that in the end he was\nobliged, not only to make all the complicated machinery\nwhich operated the figure, but to carve the head itself,\n[84]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 102, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nwhich, he adds, in some miraculous fashion, resembled\nhimself. This resemblance, however, cannot be traced\nin existing cuts of the figure.\nThe chapter devoted to this particular automaton is\nso diverting that I quote literally from its pages, thus\ngiving my readers an opportunity to take the true measure\nof the writer and the literary style of his \"Memoirs.\"\nHere is his description of his moment of triumph:\n\"I had only to press a spring in order to enjoy the\nlong-waited-for result. My heart beat violently, and\nthough I was alone I trembled at the mere thought of\nthis imposing trial. I had just laid the first sheet of\npaper before my writer and asked him this question\n:\n'Who is the author of your being?' I pressed the spring,\nand the clockwork started-began acting. I dared hardly\nbreathe through fear of disturbing the operations. The\nautomaton bowed to me, and I could not refrain from\nsmiling on it as on my own son. But when I saw the eyes\nfix an attentive glance on the paper-when the arm, a\nfew seconds before numb and lifeless, began to move\nand trace my signature in a firm hand-the tears started\nin my eyes and I fervently thanked Heaven for granting\nme success. And it was not alone the satisfaction I ex-\nperienced as an inventor, but the certainty I had of\nbeing able to restore some degree of comfort to my\nfamily, that caused my deep feeling of gratitude.\n\"After making my Sosia repeat my signature a thou-\nsand times, I gave it this question: 'What o'clock is it?'\nThe automaton, acting in obedience to the clock, wrote,\n'It is two in the morning.' This was a timely warning.\nI profited by it and went straight to bed.\"\n[85]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 103, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nRobert-Houdin injects a little humor into this chapter,\nfor he relates that as Moli\u00e8re and J. J. Rousseau con-\nsulted their servants, he decided to do likewise; so early\nthe next morning he in-\nLebe hich ulu schoene vited his portress and\nStadt Dresden\nher husband, Auguste, a\nstone-mason, to be pres-\nelse Sode\nent at the first perform-\nance of the figure. The\nLes Androides\nmason's wife chose the\nquestion, \"What is the\nvienment reveir\nemblem of fidelity?\"\nThe automaton replied\nleur pays\nby drawing a pretty lit-\ntle greyhound, lying on\nSpecimens of penmanship executed by\nthe Droz writing automaton in 1796 and\na cushion. The stone-\n1906 respectively. From the brochure\nmason wished to see the\nissued by the Society of History and\nArchaeology, Canton of Neuchatel, Switz-\nworks, saying: \"I under-\nerland.\nstand about that sort of\nthing, for I have always greased the vane on the church\nsteeple, and have even taken it down twice.\"\nWhen the work was completed, according to page\n208 of the American edition of his \"Memoirs,\" he\nreturned to Paris, collected the remaining two thousand\nfive hundred francs due him from Monsieur G\n,\nto whom he delivered the figure, and two thousand\nfrancs more on an automatic nightingale made for a\nrich merchant of St. Petersburg. Incidentally he men-\ntions that during his absence his business had pros-\npered, but he fails to state who managed it for him,\nand here is where I believe credit should be given Opre,\n[86]\n-"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 104, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nthe Dutch inventor, who was unquestionably Robert-\nHoudin's assistant for years.\nIn 1844 he claims to have borrowed the writing and\ndrawing figure from the obliging Monsieur G-\nto\nexhibit it at the Quinquennial Exposition, where it\nattracted the attention of Louis Philippe and his court,\nthus insuring its exhibitor the silver medal.\nAt this point Robert-Houdin deliberately drops the\nwriting and drawing figure, leaving his readers to believe\nthat it was returned to its rightful owner, Monsieur G\n,\nbut, unfortunately for his claims, another historian steps\nin here to cast reflections on Monsieur G- owner-\nship of the figure. This writer is the world's greatest\nshowman, the late P. T. Barnum, who purchased the\nfigure at this same exposition of 1844, paying for it a\ngoodly sum, and this incident is one of the significant\nomissions of the Robert-Houdin \"Memoirs.\" Either\nRobert-Houdin sold the figure to Mr. Barnum for Mon-\nsieur G\n, or such a person as Monsieur G\nnever\nexisted, for in his own book Mr. Barnum writes:\n\"When I was abroad in 1844 I went to Paris expressly\nto attend the \"Quinquennial Exposition'-a exhibition\nthen held every five years. I met and became well ac-\nquainted with a celebrated conjurer, as he called himself,\nRobert-Houdin, but who was not only a prestidigitateur\nand legerdemain performer, but a mechanic of absolute\ngenius. I bought at the exposition the best automaton he\nexhibited and for which he obtained a gold medal. I\npaid a round price for this most ingenious little figure,\nwhich was an automaton writer and artist. It sat on a\nsmall table, pencil in hand; and, if asked, for instance,\n[87]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 105, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nfor an emblem of \"fidelity,' it would instantly draw the\npicture of a handsome dog; if love was wanted, a cupid\nwas exquisitely pencilled. The automaton would also\nanswer many questions in writing. I took this curiosity\nThe late P. T. Barnum, the world's greatest showman, who bought the\nwriting and drawing figure from Robert-Houdin, and wrote at length of the\nFrench conjurer is his autobiography. Born July 5, 1810. Died April 7,\n1891. From the Harry Houdini Collection.\nto London, where it was exhibited for some time at the\nRoyal Adelaide Gallery, and then I sent it across the\nAtlantic to my American Museum, where it attracted\ngreat attention from the people and the press. During\nmy visit, Houdin was giving evening legerdemain per-\n[88]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 106, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nformances, and by his pressing invitation I frequently\nwas present. He took great pains, too, to introduce me\nto other inventors and exhibitors of moving figures,\nwhich I liberally purchased, making them prominent\nfeatures in the attractions of the American Museum.\"\nBarnum then continued to describe Robert-Houdin's\ngreatness and his cleverness in the use of electricity.\nThe showman was always a welcome guest at the magi-\ncian's house, and he relates how, at luncheon time,\nThe figure of Cupid as executed by the Droz drawing figure. From the\nbrochure issued by the Society of History and Archacology, Canton of Neu-\nchatel, Switzerland.\nRobert-Houdin would touch a knob and through the\nfloor would rise a table, laden with inviting viands. These\ndetails in the Barnum book make it all the more inex-\nplicable that Robert-Houdin should omit all mention of\nthe great showman's name in his \"Memoirs.\"\nJust at this time the amusement-seeking public\nseemed greatly interested in automata, so it was only\nnatural that Barnum, great showman that he was, should\nscour Europe for mechanical figures. Soon after he\npurchased the writing and drawing figure claimed by\n[89]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 107, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nRobert-Houdin, he brought to America a talking figure\ninvented by Professor Faber of Vienna, to which he\nrefers most entertainingly\nPALAIS ROYAL,\nin his address to the pub-\nArgyll Street, Oxford Circus, W.\nlic dated 1873:\nTALKING\n\"The Museum depart-\nment contains 100,000\ncuriosities, including Pro-\nfessor Faber's wonderful\ntalking machine, costing\nme $20,000 for its use\nfor six months; also the\nNational Portrait Gallery\nof one hundred life-size\npaintings, including all\nthe Presidents of the\nUnited States, etc.; John\nRogers' groups of historic\nstatuary; almost an end-\nMACHINE\nless variety of curiosities,\n1\nThc Exhibition is not limited to simple talking. but is enhanced by an\nincluding numberless au-\nesplanstora description of the method of producing the various sounds,\nwords, and sentences, visitors alsc-being aliowed to inspect every part of the\nMachice. It is rot only interesting to the Scieutific as illustrating the theory\ntomaton musicians, mech-\nacoustics, bat to the Rublic in general, especially to the young.-to\nwhom it offers an ineshoustible fund of wonder ald\nEXHIBITING DAILY From 11 a.m., till 10 p.m.\nanicians, and moving\nAdmission, 1s. Reserved Seats, 2s. Children, 6d.\nscenes, etc., etc., made in\nHanger advertising the Professor Faber\nParis and Geneva.\"\ntalking machine, exhibited by P. T. Bar-\nnum during 1873 in his museum de-\nIt can be imagined how\npartment. This automaton was the first\ntalking figure. From the Harry Houdini\nwonderful this talking\nCollection.\nmachine must have been\nwhen Barnum gave it special emphasis, selecting it from\nthe hundreds of curios he had on exhibition. As this\ntalking machine is probably forgotten, I will reproduce\n[90]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 108, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nthe bill used at the time of its appearance in London,\nEngland.\nWhen Barnum was in London in 1844, with Gen. Tom\nThumb, who was then performing at the Egyptian Hall,\nhe first saw the automatic talking machine and engaged\nit to strengthen his show. Thirty years later Prof.\nFaber's nephew was the lecturer who explained to the\nAmerican public the automaton's mechanism and also\nthe performer who manipulated the machine.\nBarnum always speaks of the talking automaton as\nbeing a life-size figure, but the pictures used for adver-\ntising purposes show that it was only a head.\nThe fate of both the talking automaton and the writing\nand drawing figure is shrouded in mystery. If they were\nin the Barnum Museum when the latter was swept by\nfire in 1865, they were destroyed. If they had been taken\nback to Europe, they may now be lying in some cellar or\nloft, moth-eaten and dust-covered, ignominious end for\nsuch ingenious brain-work and handicraft.\nSo much for the claims of Robert-Houdin. Now to\ndisprove them.\nThe earliest record of a writing figure I have found is\nin the \"Dictionary of Arts, Manufactures, and Mines,\"\ncompiled by Andrew Ure, M.D., and published in New\nYork in 1842 by Le Roy Sunderland, 126 Fulton Street.\nOn page 83, under the heading of \"Automaton,\" is this\nstatement:\n\"Frederick Von Knauss completed a writing machine\nat Vienna in the year 1760. It is now in the model cabinet\nof the Polytechnic Institute, and consists of a globe two\nfeet in diameter, containing the mechanism, upon which\n[ 91 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 109, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nsits a figure seven inches high and writes, upon a sheet\nof paper fixed to a frame, whatever has been placed\nbeforehand upon a regulating cylinder. At the end of\neach line it raises and\nmoves its hand sideways,\nin order to begin a new\nline.\"\nThis does not answer the\ndescription of the figure\nwhich Robert-Houdin\nclaims, but it is inter-\nesting as showing that\nmechanical genius ran\nalong such lines almost\na hundred years before\nRobert-Houdin claims to\nhave invented the famous\nPTS JAQUET DROZ.\nautomaton.\nThe writing and draw-\nof\ning figure claimed by Rob-\nothe tres humble Soumm's\nert-Houdin as his original\ninvention can be traced\nph e\nback directly to the shop\ndoor of Switzerland's most\nPortrait and autograph of Pierre\nnoted inventor, Pierre\nJacquet-Droz Born 1721, died 1790.\nFrom the brochure issued by the\nJacquet-Droz, who with\nSociety of History and Archaology,\nCanton of Neuch\u00e2tel, Switzerland.\nhis son, Henri-Louis, laid\nthe foundation of the\nfamous Swiss watch- and music-box industry.\nIn the latter part of the eighteenth century, probably\nabout 1770, the Jacquet-Drozes turned out a drawing.\n[92]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 110, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nfigure which also inscribed a few set phrases or titles of\nthe drawings. In mechanism, appearance, and results\nit tallies almost exactly with the automaton claimed by\nRobert-Houdin as originating in his brain. The Jacquet-\nDroz figure showed a child clad in quaint, flowing gar-\nments, seated at a desk. The Robert-Houdin figure\nwas modernized, and showed a court youth in knee\nbreeches and powdered peruque, seated at a desk. The\nJacquet-Droz figure drew a dog, a cupid, and the heads\nof reigning monarchs. The Robert-Houdin figure, made\nseventy-five years later, by some inexplicable coincidence\ndrew a dog as the symbol of fidelity, a cupid as the em-\nblem of love, and the heads of reigning monarchs.\nThe history of the Jacquet-Drozes is written in the\nannals of Switzerland as well as the equally reputable\nannals of scientific inventions, and cannot be refuted.\nPierre Jacquet-Droz was born July 28th, 1721, in a\nsmall village, La-Chaux-de-Fonds, near Neuch\u00e2tel, Switz-\nerland. According to some authorities, his father was\na clock-maker, but the brochure issued by \"Soci\u00e9t\u00e9\nd'Histoire et l'Arch\u00e9ologie\" of the city of Neuch\u00e2tel, which\nhas recently acquired many of the Jacquet-Droz auto-\nmata, states that he was the son of a farmer and was sent\nto a theological seminary at Basle. Here the youth's\nnatural talent for mechanics overbalanced his interest\nin \"isms\" and \"ologies,\" and he spent every spare\nmoment at work with his tools. On his return to his\nnative town he turned his attention seriously to clock-\nand watch-making, constructing a marvellous clock with\ntwo peculiar hands which, in passing each other, touched\nthe dial and rewound the clock.\n[ 93 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 111, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nAt this time his work attracted the attention of Lord\nKeith, Governor of Neuch\u00e2tel, then a province of Prussia,\nwho induced the young inventor to visit the court of\nFerdinand VI. of Spain, providing the necessary intro-\nductions. Pierre Jacquet-\nDroz remained for some time\nin Madrid and made a clock\nof most complicated pattern.\nThis was a perpetual calen-\ndar. For hands, he utilized\nartificial sunbeams, shooting\nout from the sun's face which\nformed the dial, to denote\nthe hours, days, etc. With\nthe money received from the\nHenri-Louis Jacquet-Droz, son\nSpanish monarch he returned\nof Pierre Jacquet-Droz, and the\nto Switzerland to find that his\nsuperior of his father as a mecha-\nnician. Born Oct. 13th, 1752, died\nson, Henri-Louis, had inher-\nNovember 15th, 1791. From the\nJaquet-Droz brochure, issued by\nited his remarkable inventive\nthe Neuch\u00e2tel Society of History\nand Archaeology.\ngifts. He sent his boy to\nNancy to study music, draw-\ning, mechanics, and physics. During his son's absence\nin all probability he produced the first of the marvellous\nautomata which made the Jacquet-Drozes famous the\nmodern world over, namely, the writing figure.\nWith the return of Henri-Louis Jacquet-Droz from\ncollege commenced what may be termed the golden age\nof mechanics in Switzerland. Associated with father\nand son were the former's pupils or apprentices, Jean-\nFr\u00e9d\u00e9ric Leschot, Jean-David Maillardet, and Jean Pierre\nDroz, a blood relation who afterward became director of\n[ 94]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 112, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nthe mint at Paris and a mechanician of rare talent. Jean\nPierre Droz is credited with having invented a machine\nfor cutting, stamping, and embossing medals on the face\nand on the edges at one insertion.\nThe output of this shop and its staff of gifted workers\nincluded the first Swiss music\nbox, the singing birds which\nsprang from watches and jewel\ncaskets, the drawing figure\nwhich was an improvement on\nthe writing figure, the spinet\nplayer, and the grotto with\nits many automatic animals of\ndiminutive size but exquis-\nite workmanship. Years were\nJean-Fr\u00e9d\u00e9ric Leschot.\nBorn 1747, died 1824. Por-\nspent in perfecting the various\ntrait published by Soci\u00e9t\u00e9 des\nArts de Gen\u00e8ve. Presented to\nautomata, and none of them\nthe author by Mons. Blind\n(Magicus) of Geneva.\nhave been equalled or even\napproached by later mechanicians and inventors.\nHenri-Louis Jacquet-Droz was conceded to be the supe-\nrior of his father, Pierre Jacquet-Droz. In a German en-\ncyclopaedia which I found at the King's Library, Munich,\nit is stated that when Vaucanson, celebrated as the in-\nventor of \"The Flute Player,\" \"The Mechanical Duck,\"\n\"The Talking Machine,\" etc., saw the work of the\nyounger Droz, he cried loudly, \"Why, that boy com-\nmences where I left off!\"\nAccording to the brochure issued by the Society\nof History and Archaology, Canton of Neuch\u00e2tel,\nand an article contributed by Dr. Alfred Gradenwits\nto The Scientific American of June 22d, 1907, the\n95 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 113, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nwriting and drawing figures are made and operated\nas follows:\n\"The writer represented a child of about four years\nof age, sitting at his little table, patiently waiting with\nthe pen in his hand\nuntil the clockwork\nis started. He then\nsets to work and,\nafter looking at the\nsheet of paper before\nhim, lifts his hand\nand moves it toward\nthe ink-stand, in\nwhich he dips the\npen. The little fel-\nlow then throws off\nan excess of ink and\nslowly and calmly,\nlike an industrious\nchild, begins writing\non the paper the\nprescribed sentence.\nHis handwriting is\ncareful, conscien-\nThe Jacquet-Droz writing automaton.\nFrom the brochure issued by the Society of\ntiously distinguishing\nHistory and Archaology, Canton of Neu-\nch\u00e2tel, Switzerland.\nbetween hair strokes\nand ground strokes,\nalways observing the proper intervals between letters\nand words and generally showing the sober and de-\ntermined character of the handwriting usual at the\ntime in the country of Neuch\u00e2tel. In order, for in-\n[96]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 114, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nstance, to write a T, the writer begins tracing the\nletter at the top, and after slightly lifting his hand half-\nway, swiftly traces the transversal dash, and continues\nwriting the original ground stroke.\n\"How complicated a mechanism is required for insur-\ning these effects will be inferred from the illustration, in\nwhich the automaton is shown with its back opened.\nIn the first place a vertical disk will be noticed having\nat its circumference as many notches as there are letters\nand signs. Behind this will be seen whole columns of\ncam-wheels, each of a special shape, placed one above\nanother, and all together forming a sort of spinal column\nfor the automaton.\n\"Whenever the little writer is to write a given letter,\na pawl is introduced into the corresponding notch of the\ndisk, thus lifting the wheel column and transmitting to the\nhand, by the aid of a complicated lever system and Cardan\njoints arranged in the elbow, the requisite movements for\ntracing the letter in question. The mechanism comprises\nfive centres of motion connected together by chains.\n\"In the 'Draftsman,' the mechanism is likewise ar-\nranged in the body itself, as in the case of the 'Writer.'\nThe broad chest thus entailed also required a large head,\nwhich accounts for the somewhat bulky appearance of\nthe two automatons. With the paper in position and a\npencil in hand, the 'Draftsman' at first traces a few\ndashes and then swiftly marks the shadows, and a dog\nappears on the paper. The little artist knowingly ex-\namines his work, and after blowing away the dust and\nputting in a few last touches, stops a moment and then\nquickly signs, 'Mon Toutou' (My pet dog). The motions\n7\n[ 97 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 115, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nView of the mechanism which operates the Jacquet-Droz writing automaton.\nFrom the brochure issued by the Society of History and Archaeology, Canton of\nNeuch\u00e2tel, Switzerland.\n[98]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 116, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nof the automaton are quite natural, and the outlines of\nhis drawings extremely sharp. The automaton when\ndesired willingly draws certain crowned heads now be-\nlonging to history; for example, a portrait of Louis XV.,\nof Louis XVI., and of Marie Antoinette.\"\nThe automata made by the Jacquet-Drozes and their\nconfr\u00e8res were exhibited in all the large cities of Great\nthe Greas Koom, No. 6, King.\nCovent Carlen, to be This Day,\nSPECTACLE MECHANIQU\nWECHANICAL EXHIBITION, From\n7776\nin this Exhibition it rivaled by Atts ons\nwritri whatever le di\u00e9tated to it, another drawsg\nand finillics in a maiterly Mannir feveral curious De-\nagna; mother plays divers Ain on the Herplichord,\nThere is alfo a Pafforal S ene, in which is introdued\n* great Number of Figures; the Trees and\nbear Fruit, the Sheep bleat, the Dog barks, and the\nBinde fing: lo diffinety imitation Nature that\nthey exceed every Ascount that ean be given of thera,\nnot anly for the Variety but for the of their\ndifferent Operations. Their Mechanifm every\nThing that has ever appeared, infomuch that it may\nbe faid they will \u00cdpeak for themfelves.\nThe Tidte of viewing it will be from Twelve to\nOue, from One to Two, from Two to Three, and la\nthe Evenin4 from Seven to Eight, from ight to Nine,\nand from Nine to Tea.\nMr. JAQUET DROZ, the Iaventor, will attend\nen Eleven at Niglit, in ofder to accom hodale thoft\nLadian or Gentle that may chule to lee this Exhi-\nbirth after the Hour of Ten.\nAdmiftance Five\nconunted every Day, and\nClipping from the London Post, 1776, advertising the writing and drawing\nfigures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry\nHoudini Collection.\nBritain and Continental Europe. According to the pro-\ngrammes and newspaper notices in my collection, Henri-\nLouis Jacquet-Droz acted as their first exhibitor. As\nproof I am reproducing a Droz programme from the\nLondon Post, dated 1776.\n[99]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 117, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nIn support of this advertisement, note what the same\npaper says in what is probably a criticism of current\namusements:\n\"This entertainment consists of three capital mechan-\nical figures and a pastoral scene, with figures of an inferior\nsize. The figure on the left-hand side, a beautiful boy\nas large as life, writes anything that is dictated to him, in\na very fine hand. The second on the right hand, of the\nsame size, draws various landscapes, etc., etc., which he\nHeads of King George and Queen Charlotte, executed in their presence by\nthe Jacquet-Droz drawing figure in 1774. From the brochure issued by the\nSociety of History and Archarology. Canton of Neuch\u00e2tel, Switzerland.\nfinishes in a most accurate and masterly style. The\nthird figure is a beautiful young lady who plays several\nelegant airs on the harpsichord, with all the bass accom-\npaniments; her head gracefully moving to the tune, and\nher bosom discovering a delicate respiration. During her\nperformance, the pastoral scene in the centre discovers\na variety of mechanical figures admirably grouped, all\nof which seem endued, as it were, with animal life, to\nthe admiration of the spectator. The last curiosity is a\ncanary bird in a cage, which whistles two or three airs in\n[ IOO]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 118, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nthe most natural manner imaginable. Upon the whole,\nthe united collection strikes us as the most wonderful\nexertion of art which ever \"frod before so close on the\nheels of nature. The ingeniou; artist is a young man,\na native of Switzerland.\"\nThe inventory of Jacquet-Droz, Tr.; dated 1786,\nquotes the \"Piano Player\" as valued at 4,800 livres, the\n\"Drawing Figure\" at 7,200 livres, while the\nhad been ceded to him by his father for 4, 800- liyres, in\nconsideration of certain improvements and modifications\nwhich Henri-Louis Jacquet-Droz made in the original\ninvention. This shows that while the elder Droz did not\ndie until 1790, his son controlled the automata previous\nto this date, for exhibition and other purposes.\nDuring his later years Henri-Louis Jacquet-Droz was\ninduced to take the automata to Spain. His tour was\nunder the direction of an English manager, who, possibly\nfor the purpose of securing greater advertisement, an-\nnounced the figures as possessed of supernatural power.\nThis brought them under the ban of the Inquisition, and\nJacquet-Droz was thrown into prison. Eventually he\nmanaged to secure his freedom, and, breathing free air\nonce more, like the proverbial Arab, he silently folded\nhis tent and stole away, leaving the automata to their\nfate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in\n1791, a year after his father's death.\nThe English manager, however, tarried in Spain.\nThe figures were \"tried\" and as they proved motionless\nthe case was dropped. The Englishman then claimed the\nautomata as his property and sold them to a French\nnobleman. Their owner did not know how to operate\n[ IOI ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 119, "folder": "", "text": "Performances. The utmoft Efforts of Imitators have not begn able to produce the Effect intended; and he is too\ngrateful for the liberal Encouragement he has received in the Metropolis, not to, caution the Public againit thofe\npurious Copies, which, failing of the Perfection they iffume, can only difguft and difappoint the Spectators.\nM. D.E PHILIPSTHAL\nWill have the Honour to EXHIBIT (as ufual) his\nOptical Illufions and Mechanical Pieces of Art.\nAt the LYCEUM, and at no other Place of Exhibition in London.\nSELECT PARTIES may be accommodated with a MORNING REPRESENTATION at any appointed Hour, on Sending timely Notice.\nTo prevent Miftakes, the Public are requited to Notice, that the PHANTASMAGORIA is on the Left-hand, on the Ground Floor, and\nthe\nen the Right-hand, up Staise,"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 120, "folder": "", "text": "The OPTICAL PART of the EXHIBITION\nWill PHANTOM or AUTARITIONS of the DEAD or ABSENT, in a way more complestely illufive than has ever been offered\nto\nthe\nEyc\n`public Theatre, as the Objects freely originate in the Air, and unfold themfelves under various Forms and Sizes, fuch as\nhas hitherto painted them, occafionally affuming the Figure and moit perfea Refemblance of the Heroes and other diflin-\nguifhed of paft and prefent Times.\nThis SPECTROLOGY, which profelles to expofe the Pra\u00f1ices of artful Impoftors and pretended Exorcifts, and to open the Eyes of thofe\nwho abfurd Belief in Grosts or DISEMSODIED Spraiti, will, it is prefumed, afford allo to the Speclator ao interefting and\npleafing and in order to render thefe Apparations more interefting. they will be introduced during the Progrefs of a tremendous\nThunder Storm, accompanied with vivid Lightning, Hail, Wind, &c.\nThe MECHANICAL PIECES of ART\nInclude the following principal Objeat, a auere detailed Account of whith will be given during their Exhibition: vis.\nTwo elegant ROPE DANCERS, the one, reprefenting a Spaniard nearly Six Feet high, will difplay feveral Monifhing Feats on the Rope,\nmark the Time of the Mulic with a fmall Whiftle, fmoke his Pipe, &c.-The other, called Pajanzo, being the Figure of a young\nfprightly\nBoy.\nwill furpafs the former in Skill apd Agility.\nThe INGENIOUS SELF-DEFENDING CHEST-The fuperior Excellence and Utility of this Piece of Mechanifm i., that the Proprietor\nhas always Safe-guard againft Depredators; for the concealed Battery of Four Pieces of Artillery only appears and difcharges itfelf when\na\nStranger tries to force open the Chett--This has been ackmowledged by feveral Profeftional Men tp be a of Machanifu, and may with\nequal Advantage be applied to the Protection of Property in Counting-houfes, Poft-Chaifes, &c.\n'The MECHANICAL PEACOCK, which fo exaCily imitates the Actions of that ftately Bird, that it has frequently been thought Alive. It\neats, drinks, &c. at command, unfold its Tail in a beilliant Circle, and in every refpeat feems endowed with an intuitive Power of attending to\nthe Thoughts of the Company.\nThe BEAUTIFUL COSSACK, enclosed in a (mall Box, apens it when ordered, and pecfents herfelf to the Spectators in a black Habit\nwhich, as foon as defired, the changes with aftonifhing Quick lefs into a moit Elegant Gala Dre\u00eds, compliments the Company, and dances\nafter the Manner of the Coffacks; the will alfo refolve different Queftions. Sc. G.\nThe SELF-IMPELLED WINDMILL. which is put in Motion, or fands All by the moit momentary Signal from- the Spectators, and in \u00e0\nManner which apparently does away the Ides of all Mechanical Agency.\nThe whole to conclude with a fuperb OPTICAL and MECH\u00c1NICAL FIRE-WORK, replete with a Variety of brilliant and fanciful)\nChanges.\n\u00b01\u00b0 Doors to be opened at SEVEN 'Clock, the Commencement at EIGHT,\nBOXES, 4s.-PIT, 2S.\nYOUNG, Printes Er ses Sireet, Covent Garden.\nA de Philipsthal programme of 1803 before the writing and drawing figure came under his control.\nFrom the Harry Houdini Collection."}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 121, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nthem, so their great value was never realized by his\nfamily. After his death, during a voyage to America,\nUNDEA THE SANCTION or\nthey lay neglected in the\nass aoval LETTERS\nPHILIPSTHAL and MAILLARDET's\ncastle of Mattignon, near\nRoyal Museum,\nBayonne. After changing\nFROM LONDON,\nhands many times, about\n-\n-\n-\n-\n-\n-\nWill Opee for Pablic Isepectica,\nAt de ASSEMBLY ROOM, BRIDGWATER.\n1803 they passed into the\nO. FRIDAY the 99d. of MARCH instast,\n- a - - che - - - provide de alle -\nhands of an inventor named\nof - - INGENIOUS MISCES of\nMartin, and were controlled\n,\nby his descendants for nearly\nasvas sereas \" Tate PLACE,\n-\na hundred years. One of his\nSUPERI\nfamily, Henri Martin, of\nMusical Automaton.\n.\nDresden, Germany, exhibit-\nAire\n-\n-\n-\nTHE MECHANICAL.\ned them in many large cities,\nDrawing and Writing-Master;\numa soe. de - - the n -\nand advertised them for sale\n-\n- The - - - - Pase -\n-\nAn Old Necromancer,\nat 15,000 marks in the\n- b . - - - - - -\nexample - - - -\nA NOST\nMuenchener Blaetter of May\nBEAUTIFUL GOLD BOX,\n- - le - - or PARADESE - - - - -\net\n13th, 1883. After Martin's\n- -- - - - - - - -\n- - - - - - - The -\n-\nTHE LITTLE SPANIARD,\ndeath, his widow succeeded\n- - BANCE - nat as AT CONMANO, The -\n- - - - \" - in - - - - -\n-\nA BEAUTIFUL SOURIE DO'R,\nin disposing of them to Herr\nser IN PEARES\n-\n-\n-\n- la - - - -\n- - - Direction, - Om\nMarfels, of Berlin, who had\nAN\nETHIOPEAN CHENILLE DOR,\nBEAUTIFULLY ENAMELLED\nthem repaired with such\nAND\nA TARANTULA. SPIDER:\ngood results that in the fall\n- - - - - - - - -\nas from to Fur 2.\n- - - I - - - of\nof 1906 he sold them for\nThe f , se - the Recoing, - de la. -\n-\n-\n75,000 francs, or about\n& - -\n$15,000, to the Historical\nPoster used, March 29nd, 1811,\nSociety of Neuch\u00e2tel. In\nby de Philipsthal and Maillardet dur-\ning their partnership, on which the\nApril, 1907, the writing fig-\nwriting and drawing figure is fea-\ntured. From the Harry Houdini\nure, the drawing figure, and\nCollection.\nthe spinet player were on\nexhibition in Le Locle, Chaux-de-Fonds, and Neuch\u00e2tel.\n[ IO4 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 122, "folder": "", "text": "THE WRITING AND DRAWING FIGURE\nSo far we have traced only the original writing and\ndrawing figure. This has been done purely to show\nthat even if Robert-Houdin had been capable of building\nsuch an automaton, he would not have been its real in-\nventor, but would merely have copied the marvellous\nwork of the Jacquet-Drozes. Now to trace the figure\nwhich in 1844 he claimed as his invention.\nWith the fame of the Neuch\u00e2tel shop spreading and\nthe demand for Swiss watches increasing, Maillardet and\nJean Pierre Droz, apprentices or perhaps partners of\nPierre Jacquet-Droz and Henri-Louis Jacquet-Droz,\nremoved to London and there set up a watch factory.\nAbout this time Maillardet invented a combination\nwriting and drawing figure which was pronounced by\nexperts of the day slightly inferior to the work of the two\nJacquet-Drozes. However, it must have been worthy\nof exhibition, for it appeared at intervals for the next\nfifty years in the amusement world, particularly in Lon-\ndon. At first Maillardet was not its exhibitor nor was his\nname ever mentioned on the programmes and newspaper\nnotices, but later his name appeared as part owner and ex-\nhibitor. As the Swiss watches had created a veritable sen-\nsation and were snatched up as fast as produced, it is quite\nlikely that he had no time to play the r\u00f4le of showman.\nThe figure first appeared in London in 1796, when the\nLondon Telegraph of January 2nd carried the adver-\ntisement reproduced on the next page.\nHaddock had no particular standing in the world of\nmagic, and it is more than likely that he rented the auto-\nmata which he exhibited, or merely acted as showman\nfor the real inventors.\n[ 105 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 123, "folder": "", "text": "The Conve\nThe be TU\nde Polite\nthe\nOpens \u00e9very ant de\nPerformasca\n41 Jour passa em pegins at (glu\nHESE Arch admitred Pieces of Mechanisan,\nwhied not hunian trat\nto posses\u00e9 al consile of\n4 Figure, a hoy ef tom\nbe brom - and apt to\nseurd\na round,\nThe Modalai ed\nlowing the Perter,\ngate and an - - thir Dour\napem, the and auy a Geb\nToy whaterier Vroit they and det\nasal bring the Rhid\nbe\n- the as often as Lie\nampo\nDE\na\n- valled for, / the are drompa un) and\nbe given in charge to a Warch Dog, in\nand en any pegson away or tenching\nthem witt begin (o-bark, and contique to do so they\nare The Thent Figarre to thes Re\nthe which WH be\nfrombelind the Home, will enter the Door, the\nChiningy, and giva the of -\nreveral timesy the and corrie wirk\nin Bag firti of\nThe LIQUOR MERCHANT und WATER SERVERI\nTheie are on a Platform of bet square, which\n(as the former Pi\u00e9ces) will be placed on a Table, The\nLiguor Mercliaut stands nt DE small Cask, from which a\nwill drivie every kind of Spiras, Wine, &c.\nThe a and\nTumbler with Water, - enlied for. -Fourth,\nTHE. RIGHLANI\nA Figute in the Dess, stands on a Time-guere\nand Hour wnd Mrouter whewey by SIPIN\nbig its on/a Trege: a Answer\n(by motion) to\n(n Aridimetic, and gives the jaistantly as any\nof Pounds, Yards, Ac, any given Price: beats\nTime to Muic, &c.\nSTable the different Places with Demplaced on, con-\ntains an ORGAN, on which the Proprietor intradaces n.\nlew) Notes: also, The MACHINE\nORGAN, will play occasionally Neveral Pleces of Music,\nAirs Country Dances, Re.\nMr.HADDOCK flattere himself THE ANDROIDES\nwill be found niore exizious than any\n\u00e9ver before offered to this Principtes of\nentituly The Theatre is seatis, fired\nand every thing calculated to MA e to -\npolite and discerning Audience\nHoses 4s. Gaflery -\nAdmittance, after the Two Half Price,\nThe lass netoly Two\nHaddock advertisement in the London Telegraph, January, 1796, in which\nhe features the writing automaton as an androide. From the Harry Houdini\nCollection.\n[ 106]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 124, "folder": "", "text": "THE UNMASKING OF ROBERT-HOUDIN\nIn quite a few works on automata, notably Sir David\nBrewster's \"Letters on Natural Magic,\" Collinson is\nquoted as having interviewed Maillardet as the inventor\nof the combination writing and drawing figure. The\nFranklin Journal of June, 1827, published in Philadel-\nphia, Pa., credits this figure to Maillardet and gives the\nfollowing description: \"It was the figure of a boy kneeling\non one knee, holding a pencil in his hand, with which he\nexecuted not only writing but drawings equal to those of\nRATIONAL ENTERTAPNMEN'PS during\nLEPSTAL and AUTOMATICAL\nTHWATRE Strand, will open svery\nEventeg: The l'erformances consist of a grost many loge=\ntion. n pircesol For further Mechaniser- perticolars with the and see highese Optical hand Recreations, bille The apprubs- whole which\nous\nmarks of\nunder the Mr. LODIS, Asaistanc Engineer, who\nwill his otmost exeratona to promate the\nProprietors. that of offering to an enlightened Public a\nConra\u00e9 of of a,superiar natuze,\n35. Ph Cattery\nand bayin preciedly at 9. Places for the Boxes may DU taken\nat\nmarch1812\nClipping from the London Telegraph in March, 1819, proving the partner-\nship of de Philipsthal and Maillardet in an \"Automatical Theatre.\" The Mr.\nLouis mentioned in the advertisement as assistant engineer later secured pos-\nsession of the writing and drawing figure. From the Harry Houdini Collection.\nthe masters. When the figure began to work, an attend-\nant dipped the pencil in ink, and fixed the paper, when,\non touching a spring, the figure wrote a line, carefully\ndotting and stroking the letters.\"\nThe Robert-Houdin figure did not kneel, but this\nchange could be made by a mechanician of ordinary\nability.\nThe writing and drawing figure does not reappear on\namusement programmes in my collection until 1812, when\nit was featured by De Philipsthal, the inventor of \"Phan-\n[ 107 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 125, "folder": "", "text": "Ebeatte,\nMr. Louis's\nROYAL, MECHANICAL, and OPTICAL\nDarhibition\nwall continue open Four Nights longer only, with the Addition of a New Pirca.\nMonday, April 1,1815, Wednesday, Thurday and Friday following,\nthe 5th, 6th, and 7th.\nAnd, in erder to make his Exhibition mill more wartly of the Public Patrosage, the\nProprietor bege leave to inform them, that, in Addition to the whale Selection already\nexhibited with UNBOUNDED APPLAUSE, he will introduce, every Evening,\nA SUPERB MECHANICAL\nPeacocl\nAS LARGE AS LIFE,\nIn its Natural Plumage!\nWhich imitates, so closely, the CRIES, ACTIONS, and ATTITUDES of that stately and\nbeautiful Bird, that it is not unfrequently supposed to be an absolute living Animal.\nproperly trained to act as as Amasing Deception.\nAhbongh - Description cas property itlestrate these . Ast. yet to merey to the\npablic sa des of their and of the imitative powers with waxh these Figares -\nesplanation mbitted, they exb.bited the follewing -\n\" are . manaer\nTWO ELEGANT AUTOMATA,\nAs large as melare, the - . POLONNESE, the - . sov.\nNething cae the adroicable of these Pieces. The large Figure - alment\nwith bumse Faculties, eshiliting the esual feste of . Mope- Dancer, in the felless of hfs. The -\nFigare . envested with equally astonishing powere of activa. To sech ledice - are spectasore it - be\n.\nvery that these exertious do not escite thowe - whird arese\nthe aight of Pigares freught with lite. performies feas ettended with - mech dange.\nA Superb MUSICAL LADY,\nRepreseeting the BELLE BOXLANE, whe pleye with the grentess preceise Sistere Arra, every -\npreveede\nfrove\nthe\npresere\nof\nthe\nand\nfeet,\n-\nthe\napprepriate\nkeys,\n-\nkeing\npersea,\nwith\nthe\nof her besd. eyes, and eye-hds, . directed to the heye. The compect and well preperticeed forma,\nand easy enaffected air of thie Female Figure, have been gvessly and considured by\nthe very best jedges - happy combission of the asta of Desige - Nechaniom, whish predeces . the\nsame tiase the of respiratice.\nTHE MSCHANICAL\nDRAWING AND WRITING MASTER,\nA JUVENILE ARTIST. The figure of Ecy, who, with every actice of resi life will escrate is presence\nof the compeey, of Drawing and Vriting, seperier - the best of the - if\nSigure\nwere\ndestatute\nof\n\"\nweeld\nbe\npicteresque,\nbut\nwhee,\nwsth\nthe\ncase\nand\nof\nwell\neducated youth, \" saites the power of produciag such perfect imitation of estere, as almet se - the\nGree's Mythology. whee spesking of figures formed est of sordid clay. which, by Premethers,\natarted isto life and, extreerdisary as the fable apprera, it ie equalled, it not by the wenderfal\nof thie \u00f3gure.\nAN OLD NECROMANCER,\n- fairly be decominaled the Brisad Ench\u00e4nter, for few af the fabled vales comcersing the -\nof these purking - \" their native groves of Preidical whene vagie quella impred\nevery bregh, could - bryand the realities of the whe the ques-\nthat are - him. with the precition of - Oracle any from the\napisit\u00e9 - - - the anciest - for this sapient Sine's Decisione origisate\nin of the perhanical powers,\nThe Liute @paniarb:\nThis ragalated by mutic, le which be Weape sime with eritical\nand\nexactass. The agility at this he are fermed with\n- by which it the ef making harre.\nand acimity. of the whinh is - will gire the\n* ides et the of the\nA BIRD OF PARADISE,\nSapers Cold - - te ler in\n- bea. The - of die piece af reay le - and\nfor delinacy of\n- de - Orginal, - - d\ndecience of Optics.\nThe Proprister - - . of IDEAL PERSPECTIVE\nPROSPECTS of the ELYSIAN FIELDS,\nAnd other vnews. The effert predured, - if lighoqued by the Mees, is whoch ERIAL\nSPERITS and SHADIS of great - will -marge - being - pisce of the Scieace of OPTICA,\nand of whiph the - dert of - - - - to predace the hs.\nThe whole to seit\u00e0 - s - of brillions Nechonical and\nFire-Works,\nA Louis programme of April 3rd, 1815, in which the writing and drawin\nfigure is advertised as a juvenile artist. It also features a bird of paradi:\nautomaton which Robert-Houdin claimed to have invented thirty years late\nFrom the Harry Houdini Collection.\n[08]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 20, "folder": "", "text": "INTRODUCTION\nHet Natuurlijk\nTOVER-BOECK\nof\nSPEEL =TONEEL\nder\nKONSTEN\nFrontispiece from Simon Witgeest's \"Book of Natural Magic\" (1682),\nshowing the early Dutch conception of conjuring. From the Harry Houdini\nCollection.\n[*3]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 21, "folder": "", "text": "INTRODUCTION\nfully as reliable a book as the earlier \"Hocus Pocus\"\nbooks, but it is not so generally known.\nRichard Neve, who was a popular English conjurer\njust before the time of Fawkes, published a book on\nsomewhat similar lines in I715.\nGermany contributed the next notable works on magic.\nFirst came Johann Samuel Halle's \"Magic or the Magical\nPower of Nature,\" printed in Berlin, in 1784. One of\nhis compatriots, Johann Christian Wiegleb, wrote eighteen\nbooks on \"The Natural Magic\" and while I shall\nalways contend that the German books are the most\ncomplete, yet they cannot be accepted as authorities save\nthat, in describing early tricks, they prove the existence\nof inventions and working methods claimed later as\noriginal by men like Robert-Houdin.\nEnglish books on magic were not accepted seriously\nuntil the early part of the ninetcenth century. In Vol.\nIII. of John Beckmann's \"History of Inventions and\nand Discoveries,\" published in 1797, will be found a\nchapter on \"Jugglers\" which presents interesting matter\nregarding magicians and mysterious entertainers.\nI\nquote from this book in disproving Robert-Houdin's\nclaims to the invention of automata and second-sight.\nAbout 1840, J. H. Anderson, a popular magician,\nbrought out a series of inexpensive, paper-bound vol-\numes, entitled \"A Shilling's Worth of Magic,\" \"Parlor\nMagic,\" etc., which are valuable only as giving a glimpse\nof the tricks contemporary with his personal successes.\nIn 1859 came Robert-Houdin's \"Memoirs,\" magic's\nclassic. Signor Blitz, in 1872, published his reminis-\ncences, \"Fifty Years in the Magic Circle,\" but here\n[14 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 22, "folder": "", "text": "INTRODUCTION\nC\nJOHN WHITE, Autbor of\nART's Treafury, and Hocus\nPocus ; or a Rich Cabinet of\nLegerdemain Curiofities.\nJohn White, an English writer on magic and kindred arts in the early part\nof the eighteenth century. Only portrait in existence and published for the\nfirst time since his book was issued in 1715. From the Harry Houdini Col-\nlection.\n[\n15"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 23, "folder": "", "text": "INTRODUCTION\nagain we have a purely local and personal history, without\ngeneral value.\nThomas Frost wrote three books relating to the history\nof magic, commencing about 1870. This list included\n'Circus Life and Circus Celebrities,' \"The Old Show-\nmen and the Old London Fairs,\" and \"Lives of the\nConjurers.\" These were the best books of their kind up\nto the time of their publication, but they are marked by\nglaring errors, showing that Frost compiled rather than\ninvestigated, or, more properly speaking, that his in-\nvestigations never went much further than Morley's\n\"Memoirs of Bartholomew Fair.\"\nCharles Bertram who wrote \"Isn't it Wonderful?\"\nclosed the nincteenth-century list of English writers on\nmagic, but his work is marred by mis-statements which\neven the humblest of magicians could refute, and, like\nFrost, he drew heavily on writers who preceded him.\nSo far, in the twentieth century, the most notable con-\ntribution to the literature of magic is Henry Ridgely\nEvans' \"The Old and the New Magic,\" but Mr. Evans\nfalls into the error of his predecessors in accepting as\nauthoritative the history of magic and magicians fur-\nnished by Robert-Houdin. He has made no effort\nwhatever to verify or refute the statements made by\nRobert-Houdin, but has merely compiled and re-written\nthem to suit his twentieth-century readers.\nThe true historian does not compile. He delves for\nfacts and proofs, and having found these he arrays his\nindisputable facts, his uncontrovertible proofs, to refute\nthe statements of those who have merely compiled. That\nis what I have done to prove my case against Robert-\n[r6 ]"}
{"path": "unmaskingrobert00houdgoog.pdf", "page": 24, "folder": "", "text": "INTRODUCTION\nFrontispiece from Richard Neve's work on magic, showing him performing\nthe egg and bag trick about 1715. Photographed from the original in the\nBritish Museum by the author.\n2\n[ (17 ]"}