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unmaskingrobert00houdgoog.pdf,302 | unmaskingrobert00houdgoog.pdf | 302 | what is most extraordinary is that this water, which he threw out with violence, appeared red like wine. And when he had discharged it into two different bottles, it was red in one and russet like beer in the other; as soon as he shifted the bottles to the contrary sides, they changed their complexion respectively to that of wine or beer, and so successively so long as he continued vomiting; in the mean time, I observed that the water grew less discolored in proportion as he continued to discharge. This was the first act. Then he ranged his two dozen of bottles oppo- site to him on a table, and exposed to everybody's view. Then he took an equal number of bottles, plunged them anew into the bucket, swallowed them too, and returned 18 [ 273 ] | |
unmaskingrobert00houdgoog.pdf,168 | unmaskingrobert00houdgoog.pdf | 168 | very names he had used - le - - - peter - of - - - tous - - - PART ASTER THE OVERTURE and the style of his billing. The - display of the - - The Vases or Cups of Divination, umo uses onta All three of these men san CARD. TH" ama OF PARADIEL suas . ao wow warma . THE MADIC PEDESTAL GIGANTIC DICE. were professional magi- NOTUALLING OFFICE, or CANDLE COOKERY. CIRCASSIAN CANS. BUONAPARTES FEATHER, or cians before Robert-Hou- Magicien. FRENCH BOLL AND HANDKERCHIEF. MYSTERIOUS WALNUTS. Opere Glase - Carda. The Rose and Wedding Rang. din appeared, and Ander- Ast - " - quete - - hore - - cquelled by - othee Performee. PART IL-OTERTURE, son was his very active Aller - Ms. JACOSA, THI 5 LANDLORD AT HOME; Or, Gout and Hoarseness versus Family Grievances. contemporary. - - hands - - - - - - A Jacobs bill is here 1 - - - = - - - - - 1 - - - = - - - - reproduced, showing the - by - - - - - - - - - - - las - - - - - the - - - - - - - - de year - - - - de thei card trick featured among . - the - the - The --- - - - - . a the gh - - - - and leag - - - - - - - - - The Freach - - - - other attractions. The - - - - - - - bes - the - - a - - - the and - de - - - lithograph of Jacobs used the in this connection is an & the actual likeness and I bc- Jacobs poster, featuring "The Travelling lieve it to be as rare as it Card." From the Harry Houdini Collec- tion. is timely. [ 151 ] | |
unmaskingrobert00houdgoog.pdf,313 | unmaskingrobert00houdgoog.pdf | 313 | under the robe of the magician, whose attitude favors this concealment. As the basket trick is the Hindoo magician's most wonderful offering, a truthful account of his methods of performing the same may be interesting. In the first place, Robert-Houdin's explanation is impossible and un- reasonable because the Hindoo magician does not wear flowing robes in which the child could be concealed. Every Hindoo performer I have ever seen wore short trousers and was barefooted. The correct method of performing the trick, which has been handed down through generations of Hindoos, is as follows: The boy subject is placed in a net in which he is firmly tied, after having had his big toes and thumbs fastened down with bandages. Then, with many a grunt and a groan, he is lifted into the basket. The subject, however, pretends that the basket is too small, so he is really seated on one side and keeps his back in the air. This is done to give the appearance eventually that it was impossible for him to crouch down or around the basket. The lid of the basket is now placed on his back, and a large sheet is thrown over the entire apparatus, which conceals from the audience every movement made by the subject. Now commences the Hindoo "patter," in reality yells, groans, and incantations, while the magician and his assistant strike the basket with swords or canes, stamp on the ground, gnash their teeth, etc. Gradually the [284] | |
unmaskingrobert00houdgoog.pdf,144 | unmaskingrobert00houdgoog.pdf | 144 | to play the drum, violin, and triangle. A contemporary of Henry was Charles, the great ven- triloquist, who varied his performance as did all ventrilo- quists of his day, by presenting "Philosophical and Mechanical Experiments" to make up a two-hour-and-a- half performance. Charles made several tours of the English provinces, and played in London at intervals. On a London programme which is undated, but which announces M. Charles as playing at Mr. Wigley's Large Room, Spring Gardens, the second automaton on his list is described as "The Russian Inn, out of which comes a little Woman and brings the Liquor demanded for." Two of his programmes dated Theatre Royal, Hull, April, 1829, now in my collection, carry a pathetic foot-note written in the handwriting of the collector through whom they came into my possession : "The audiences on both the evenings were extremely small, and the money was refunded." By referring to the chapter on the writing and drawing figure, Chapter III, Page II3, a Schmidt programme of 1827 will be found, in which he features "The En- [127] | |
unmaskingrobert00houdgoog.pdf,316 | unmaskingrobert00houdgoog.pdf | 316 | possibility, and no chance whatever, that it was either by accident or practised trickery to produce such wonderful materializations. Robert-Houdin, May 18th, 1847.' He further shows his ignorance of séances as offered in his times, by his attempt to describe the methods em- ployed by the Davenport Brothers, to whom he devotes chapter XIII., which might be described as a chapter of errors. These picturesque American entertainers, the Daven- [287] | |
unmaskingrobert00houdgoog.pdf,88 | unmaskingrobert00houdgoog.pdf | 88 | own composition, the leaves will begin to change and the bouquet will produce natural flowers and various fruits." Pinetti is one of the most fascinating and picturesque figures in the history of magic. His full name was Joseph Pinetti de Willedal, and, like Pinchbeck and Fawkes, he was a man of parts and readily made friends with the nobility. In fact, there is some question as to whether he did not come of a noble family. He was born in 1750 in Orbitelle, a fortified town once claimed by Tuscany. What can be gleaned regarding his early history goes to prove that his family connections were excellent and his education of the best. One of his portraits, reproduced herewith, shows a half-crown of laurel decorating the frame, and on one side of the bust is a globe, while in the rear of the picture is a stack of books. This would establish his claim that he was once a professor of physics and geography. In fact, the legend beneath the portrait, being translated from the French, runs: "I. I. Pinetti Willedal de Merci, Professor and Dem- onstrator of Physics, Chevalier of the Order of St. Philipe, Geographical Engineer, Financial Counselor of H.R.H. Prince of Linbourg Holstein, Born in Orbitelle in 1750." As it has so often happened in the history of savants and students, there ran in Pinetti's blood a love of the mys- terious with that peculiar strain of charalatanism which went to make up the clever performer in old-time magic. Evidently he resigned his duties as a professor for the more picturesque life of the travelling magician, and he is first heard from in this capacity in the French provinces [71] | |
unmaskingrobert00houdgoog.pdf,67 | unmaskingrobert00houdgoog.pdf | 67 | invention of second sight, suspension, and the writing and drawing automaton. It is my intention to trace the true history of each of these tricks and of all others to which he laid claim as inventor, and show just how small a proportion of the credit was due to Robert-Houdin and how much he owed to magicians who preceded him and whose brain-work he claimed as his own. [50] | |
unmaskingrobert00houdgoog.pdf,32 | unmaskingrobert00houdgoog.pdf | 32 | his chief anxiety was for the future of his wife and then for his own decent burial. When these sad offices had been provided for, he became more peaceful, and when I rose to leave him, knowing that we had met probably for the last time, he drew forth his chiefest treasure, a superb book of Robert-Houdin's programmes, his one [25] | |
unmaskingrobert00houdgoog.pdf,242 | unmaskingrobert00houdgoog.pdf | 242 | enormous poster which would be unintelligible if reduced to a size suitable for reproduction. It is now a part of my collection and reads as follows: "The Holland Maid, Twenty Years of Age, from Am- sterdam, whose powers, both in her residence there and in all other places to which she has gonc, have excited the Formemance of the ISTEOUS LADY. 8 The peculiar acquirements and faculties of this highly Talented Lady are almost beyond the reach of description. By some unknown and EXTRAORDINARY ENDOYMENT She is enable. to declare the names of articles produced by the company, although aitting at a distance of 50 to 60 feet, with her face turned from the audience? She will also divine the whispered wish ot any one. although satisfactorily out of hearing. She will also, describe the dress, ornaments, &c. of any iudividual who may wish it, with an accuracy truly surprising; upon a card being selected from a pack, she will declare its name; but as the performance varies and depends in a great measure on the pleasure of the company, no regular routine can be speci- Sied, but of this the company may rest assured that every consistent stiort will be used to gratify and afford them satisfaction. Reproduction of original billing matter used by the mysterious lady who offered second sight in the United States in 1841-42-43. From the Harry Houdini Collection. great astonishment and much applause, and she will also in this place endeavor to obtain the same tribute of public applause. She will after the exhibition place herself before the eyes of all the spectators on the outside and gravely stand thereon and at all times give an answer of assurance to any one present to whom her judgment in all questions gives the most accurate response. She con- trives also by her acuteness to discover and reply to the [ 215] | |
unmaskingrobert00houdgoog.pdf,70 | unmaskingrobert00houdgoog.pdf | 70 | and - Pinchester Christopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the world pertaining to the history of magic. From the Harry Houdini Collection. [ 53 | |
unmaskingrobert00houdgoog.pdf,146 | unmaskingrobert00houdgoog.pdf | 146 | acquaintance of Jules de Rovere, the first to employ a title now generally given to fashionable conjurers." And after Rovere, Phillippe, who is by far the most important presenter of the Pastry Cook of the Palais Royal, as bearing upon Robert-Houdin's claims. For Phillippe's early history we must depend largely upon Robert-Houdin's "Memoirs." According to these, Phillippe started life as a confectioner or maker of sweets, and his real name was Phillippe Talon. According to an article published in L'Illusionniste in January, 1902, he was born in Alias, near Nîmes, December 25th, 1802, and died in Bokhara, Turkey, June 27th, 1878. Like many a genius and successful man, his early history was written in a minor key. According to Robert- Houdin his sweets did not catch the Parisian fancy, and he went to London, where at that time French bonbons were in high favor. But for some reason he failed in 9 [129] | |
unmaskingrobert00houdgoog.pdf,37 | unmaskingrobert00houdgoog.pdf | 37 | [OE] | |
unmaskingrobert00houdgoog.pdf,3 | unmaskingrobert00houdgoog.pdf | 3 | UNITED STERARIES | |
unmaskingrobert00houdgoog.pdf,239 | unmaskingrobert00houdgoog.pdf | 239 | UNDER THE PATRONAGE OF His Most Gracious Majesty WILLIAMIV. The Wonderfal DOUBLE" SIGHTED Phaeno- menon: Young Master M 'KEAN, Since his arrival in London, has had the honor of performing (on Friday, Dec. 23rd. 1831,) before their Master M'KEAN, only . Years old! ONK or Most Gracious Majesties & Prince George. GREATEST PRODIGIES of the Age His Grace the Duke of Argyle. Has just returned from the Pavilion at Brighton: His Grace the Duke of Gordon. Towhich plare be lad de heaer of a Sperial Conmand, aud is again exhibiting his mest His Grace the Bruke of St. Albans and Duchess. At the Egyptian Hall Bazaar, Piccadilly. Her Grace the Dachess of Nortbumberland. The Rt. Hon. the Earl of Coventry. In addition to his performance before thair MASESTIES and their Court, this The Rt. Hon. the Earl of Errol. extraordinary Child, siace his arrisal in Town, has had the bonor to exhibit his sur- prising talent before several of the Nobility of the highest rank, wheee admiration and The Rt. Hon. the Earl of Bellast. astoniehment have heen uniformly expresaed in the strongest terma. The Rt. Hon. the Earl and Countess of Morley. The fuculty which be possesses has defied the research of all the Medical men, by whom he has been seen-a faculty. which enables him to distingruish colour, read either The Rt. Hon the Countess of Essex. print or manuscript, tell the hour of the day on a watch, or declare any other fact as pra- The Rt. Hon. Lord Adolphus Fitzelarence misely R$ the cleverest sighted person, although his eyes are at the time, completely The Rt. Hon. Lord Augustus Fitzelarence. blindfolded, and his back turned to the object of examination. Anning other aurprising performances, may be mentimed the fallowing The Rt. Hon. the Viscountess Faulkland. He will read in English, Latin, French, or Italian. Any one present may insert The Rt. Hon. Lord and Lady Dever names or figures ad libitum, and he will instantly presounce the same, and tell the Sir Edward, Sir Arthur Berkeley, & Lady Paget. name of esch figure separately, and their … | |
unmaskingrobert00houdgoog.pdf,44 | unmaskingrobert00houdgoog.pdf | 44 | To=bay, Thursbay, July 3, 1845, first Representation OF The fantastic Goirces OF Robert-Toubin, Automata, Sleight-of-Hand, Magic. The Performance will be composed of entirely novel Experiments invented by M. ROBERT-HOUDIN, Among them being : The Cabalistic Clock Obedient Cards Auriol and Debureau The Miraculous Fish The Orange-Tree The Fascinating Owl The Mysterious Boquet The Pastrycook of the Pierrot in the Egg Palais Royal To Commence at Cight o'clocli. open at balf:past beurn. Price of Places: Upper Boxes, I fr. 50 C.; Stalls, 3 fr.; Boxes, 4 fr.; Dress Circle, 5 fr. Programme for the opening of Robert-Houdin's theatre in Paris. Repro- duced from the American edition of his *Memoirs." [ 37] | |
unmaskingrobert00houdgoog.pdf,139 | unmaskingrobert00houdgoog.pdf | 139 | The original Gyngell, a portrait reproduced from the book on magie written by this famous Bartholomew Fair conjurer. From the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,221 | unmaskingrobert00houdgoog.pdf | 221 | The original Compars Herrmann, who was Robert-Houdin's very active rival during the latter's first engagement in London. Best portrait now in existence, and only one showing Herrmann in his prime. Original photograph loaned for this work by James L. Kernan. of Baltimore, Md., U. S. A. [194] | |
unmaskingrobert00houdgoog.pdf,120 | unmaskingrobert00houdgoog.pdf | 120 | The OPTICAL PART of the EXHIBITION Will PHANTOM or AUTARITIONS of the DEAD or ABSENT, in a way more complestely illufive than has ever been offered to the Eyc `public Theatre, as the Objects freely originate in the Air, and unfold themfelves under various Forms and Sizes, fuch as has hitherto painted them, occafionally affuming the Figure and moit perfea Refemblance of the Heroes and other diflin- guifhed of paft and prefent Times. This SPECTROLOGY, which profelles to expofe the Prañices of artful Impoftors and pretended Exorcifts, and to open the Eyes of thofe who abfurd Belief in Grosts or DISEMSODIED Spraiti, will, it is prefumed, afford allo to the Speclator ao interefting and pleafing and in order to render thefe Apparations more interefting. they will be introduced during the Progrefs of a tremendous Thunder Storm, accompanied with vivid Lightning, Hail, Wind, &c. The MECHANICAL PIECES of ART Include the following principal Objeat, a auere detailed Account of whith will be given during their Exhibition: vis. Two elegant ROPE DANCERS, the one, reprefenting a Spaniard nearly Six Feet high, will difplay feveral Monifhing Feats on the Rope, mark the Time of the Mulic with a fmall Whiftle, fmoke his Pipe, &c.-The other, called Pajanzo, being the Figure of a young fprightly Boy. will furpafs the former in Skill apd Agility. The INGENIOUS SELF-DEFENDING CHEST-The fuperior Excellence and Utility of this Piece of Mechanifm i., that the Proprietor has always Safe-guard againft Depredators; for the concealed Battery of Four Pieces of Artillery only appears and difcharges itfelf when a Stranger tries to force open the Chett--This has been ackmowledged by feveral Profeftional Men tp be a of Machanifu, and may with equal Advantage be applied to the Protection of Property in Counting-houfes, Poft-Chaifes, &c. 'The MECHANICAL PEACOCK, which fo exaCily imitates the Actions of that ftately Bird, that it has frequently been thought Alive. It eats, drinks, &c. at command, unfold its Tail in a beilliant Circle, and in every ref… | |
unmaskingrobert00houdgoog.pdf,123 | unmaskingrobert00houdgoog.pdf | 123 | The Conve The be TU de Polite the Opens évery ant de Performasca 41 Jour passa em pegins at (glu HESE Arch admitred Pieces of Mechanisan, whied not hunian trat to possesé al consile of 4 Figure, a hoy ef tom be brom - and apt to seurd a round, The Modalai ed lowing the Perter, gate and an - - thir Dour apem, the and auy a Geb Toy whaterier Vroit they and det asal bring the Rhid be - the as often as Lie ampo DE a - valled for, / the are drompa un) and be given in charge to a Warch Dog, in and en any pegson away or tenching them witt begin (o-bark, and contique to do so they are The Thent Figarre to thes Re the which WH be frombelind the Home, will enter the Door, the Chiningy, and giva the of - reveral timesy the and corrie wirk in Bag firti of The LIQUOR MERCHANT und WATER SERVERI Theie are on a Platform of bet square, which (as the former Piéces) will be placed on a Table, The Liguor Mercliaut stands nt DE small Cask, from which a will drivie every kind of Spiras, Wine, &c. The a and Tumbler with Water, - enlied for. -Fourth, THE. RIGHLANI A Figute in the Dess, stands on a Time-guere and Hour wnd Mrouter whewey by SIPIN big its on/a Trege: a Answer (by motion) to (n Aridimetic, and gives the jaistantly as any of Pounds, Yards, Ac, any given Price: beats Time to Muic, &c. STable the different Places with Demplaced on, con- tains an ORGAN, on which the Proprietor intradaces n. lew) Notes: also, The MACHINE ORGAN, will play occasionally Neveral Pleces of Music, Airs Country Dances, Re. Mr.HADDOCK flattere himself THE ANDROIDES will be found niore exizious than any éver before offered to this Principtes of entituly The Theatre is seatis, fired and every thing calculated to MA e to - polite and discerning Audience Hoses 4s. Gaflery - Admittance, after the Two Half Price, The lass netoly Two Haddock advertisement in the London Telegraph, January, 1796, in which he features the writing automaton as an androide. From the Harry Houdini Collection. [ 106] | |
unmaskingrobert00houdgoog.pdf,35 | unmaskingrobert00houdgoog.pdf | 35 | The Author standing in front of Villa Frikell at Kötohenbroda, Germany. where the master magician, Wiljalba Frikell, assent the yearn of his life. From the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,6 | unmaskingrobert00houdgoog.pdf | 6 | THF UNMANKING ROBER | |
unmaskingrobert00houdgoog.pdf,102 | unmaskingrobert00houdgoog.pdf | 102 | THE WRITING AND DRAWING FIGURE which, he adds, in some miraculous fashion, resembled himself. This resemblance, however, cannot be traced in existing cuts of the figure. The chapter devoted to this particular automaton is so diverting that I quote literally from its pages, thus giving my readers an opportunity to take the true measure of the writer and the literary style of his "Memoirs." Here is his description of his moment of triumph: "I had only to press a spring in order to enjoy the long-waited-for result. My heart beat violently, and though I was alone I trembled at the mere thought of this imposing trial. I had just laid the first sheet of paper before my writer and asked him this question : 'Who is the author of your being?' I pressed the spring, and the clockwork started-began acting. I dared hardly breathe through fear of disturbing the operations. The automaton bowed to me, and I could not refrain from smiling on it as on my own son. But when I saw the eyes fix an attentive glance on the paper-when the arm, a few seconds before numb and lifeless, began to move and trace my signature in a firm hand-the tears started in my eyes and I fervently thanked Heaven for granting me success. And it was not alone the satisfaction I ex- perienced as an inventor, but the certainty I had of being able to restore some degree of comfort to my family, that caused my deep feeling of gratitude. "After making my Sosia repeat my signature a thou- sand times, I gave it this question: 'What o'clock is it?' The automaton, acting in obedience to the clock, wrote, 'It is two in the morning.' This was a timely warning. I profited by it and went straight to bed." [85] | |
unmaskingrobert00houdgoog.pdf,118 | unmaskingrobert00houdgoog.pdf | 118 | THE WRITING AND DRAWING FIGURE the most natural manner imaginable. Upon the whole, the united collection strikes us as the most wonderful exertion of art which ever "frod before so close on the heels of nature. The ingeniou; artist is a young man, a native of Switzerland." The inventory of Jacquet-Droz, Tr.; dated 1786, quotes the "Piano Player" as valued at 4,800 livres, the "Drawing Figure" at 7,200 livres, while the had been ceded to him by his father for 4, 800- liyres, in consideration of certain improvements and modifications which Henri-Louis Jacquet-Droz made in the original invention. This shows that while the elder Droz did not die until 1790, his son controlled the automata previous to this date, for exhibition and other purposes. During his later years Henri-Louis Jacquet-Droz was induced to take the automata to Spain. His tour was under the direction of an English manager, who, possibly for the purpose of securing greater advertisement, an- nounced the figures as possessed of supernatural power. This brought them under the ban of the Inquisition, and Jacquet-Droz was thrown into prison. Eventually he managed to secure his freedom, and, breathing free air once more, like the proverbial Arab, he silently folded his tent and stole away, leaving the automata to their fate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in 1791, a year after his father's death. The English manager, however, tarried in Spain. The figures were "tried" and as they proved motionless the case was dropped. The Englishman then claimed the automata as his property and sold them to a French nobleman. Their owner did not know how to operate [ IOI ] | |
unmaskingrobert00houdgoog.pdf,112 | unmaskingrobert00houdgoog.pdf | 112 | THE WRITING AND DRAWING FIGURE the mint at Paris and a mechanician of rare talent. Jean Pierre Droz is credited with having invented a machine for cutting, stamping, and embossing medals on the face and on the edges at one insertion. The output of this shop and its staff of gifted workers included the first Swiss music box, the singing birds which sprang from watches and jewel caskets, the drawing figure which was an improvement on the writing figure, the spinet player, and the grotto with its many automatic animals of diminutive size but exquis- ite workmanship. Years were Jean-Frédéric Leschot. Born 1747, died 1824. Por- spent in perfecting the various trait published by Société des Arts de Genève. Presented to automata, and none of them the author by Mons. Blind (Magicus) of Geneva. have been equalled or even approached by later mechanicians and inventors. Henri-Louis Jacquet-Droz was conceded to be the supe- rior of his father, Pierre Jacquet-Droz. In a German en- cyclopaedia which I found at the King's Library, Munich, it is stated that when Vaucanson, celebrated as the in- ventor of "The Flute Player," "The Mechanical Duck," "The Talking Machine," etc., saw the work of the younger Droz, he cried loudly, "Why, that boy com- mences where I left off!" According to the brochure issued by the Society of History and Archaology, Canton of Neuchâtel, and an article contributed by Dr. Alfred Gradenwits to The Scientific American of June 22d, 1907, the 95 ] | |
unmaskingrobert00houdgoog.pdf,108 | unmaskingrobert00houdgoog.pdf | 108 | THE WRITING AND DRAWING FIGURE the bill used at the time of its appearance in London, England. When Barnum was in London in 1844, with Gen. Tom Thumb, who was then performing at the Egyptian Hall, he first saw the automatic talking machine and engaged it to strengthen his show. Thirty years later Prof. Faber's nephew was the lecturer who explained to the American public the automaton's mechanism and also the performer who manipulated the machine. Barnum always speaks of the talking automaton as being a life-size figure, but the pictures used for adver- tising purposes show that it was only a head. The fate of both the talking automaton and the writing and drawing figure is shrouded in mystery. If they were in the Barnum Museum when the latter was swept by fire in 1865, they were destroyed. If they had been taken back to Europe, they may now be lying in some cellar or loft, moth-eaten and dust-covered, ignominious end for such ingenious brain-work and handicraft. So much for the claims of Robert-Houdin. Now to disprove them. The earliest record of a writing figure I have found is in the "Dictionary of Arts, Manufactures, and Mines," compiled by Andrew Ure, M.D., and published in New York in 1842 by Le Roy Sunderland, 126 Fulton Street. On page 83, under the heading of "Automaton," is this statement: "Frederick Von Knauss completed a writing machine at Vienna in the year 1760. It is now in the model cabinet of the Polytechnic Institute, and consists of a globe two feet in diameter, containing the mechanism, upon which [ 91 ] | |
unmaskingrobert00houdgoog.pdf,104 | unmaskingrobert00houdgoog.pdf | 104 | THE WRITING AND DRAWING FIGURE the Dutch inventor, who was unquestionably Robert- Houdin's assistant for years. In 1844 he claims to have borrowed the writing and drawing figure from the obliging Monsieur G- to exhibit it at the Quinquennial Exposition, where it attracted the attention of Louis Philippe and his court, thus insuring its exhibitor the silver medal. At this point Robert-Houdin deliberately drops the writing and drawing figure, leaving his readers to believe that it was returned to its rightful owner, Monsieur G , but, unfortunately for his claims, another historian steps in here to cast reflections on Monsieur G- owner- ship of the figure. This writer is the world's greatest showman, the late P. T. Barnum, who purchased the figure at this same exposition of 1844, paying for it a goodly sum, and this incident is one of the significant omissions of the Robert-Houdin "Memoirs." Either Robert-Houdin sold the figure to Mr. Barnum for Mon- sieur G , or such a person as Monsieur G never existed, for in his own book Mr. Barnum writes: "When I was abroad in 1844 I went to Paris expressly to attend the "Quinquennial Exposition'-a exhibition then held every five years. I met and became well ac- quainted with a celebrated conjurer, as he called himself, Robert-Houdin, but who was not only a prestidigitateur and legerdemain performer, but a mechanic of absolute genius. I bought at the exposition the best automaton he exhibited and for which he obtained a gold medal. I paid a round price for this most ingenious little figure, which was an automaton writer and artist. It sat on a small table, pencil in hand; and, if asked, for instance, [87] | |
unmaskingrobert00houdgoog.pdf,126 | unmaskingrobert00houdgoog.pdf | 126 | THE WRITING AND DRAWING FIGURE tasmagoria." The nature of the inventions grouped under this title can best be judged from the reproduction of a De Philipsthal programme, dated 1803-04, and reproduced in the course of this chapter. All evidence goes to prove, however, that De Philipsthal did not control the writing and drawing figure exclusively, but that it was the joint property of himself and his partner, Maillardet. One of their joint programmes is also reproduced. Wherever De Philipsthal appears as an independent entertainer, the writing and drawing figure is missing from his billing. Later the writing and drawing automaton came into the possession of a Mr. Louis, who, as it will be seen from the billing, acted as assistant engineer to De Philipsthal and Maillardet. Louis evidently controlled the wonderful little automaton in the years 1814-15. The last De Philipsthal programme in my possession is dated Summer Theatre, Hull, September 15th, 16th, 17th, 18th and 19th, 1828, when he advertises only "rope dancers and mechanical peacock," and features "special uniting fire and water" and "firework experiments." He must have died between that date and April, 1829, for a programme dated at the latter time announces a benefit at the Théâtre Wakefield for the widow and children of De Philipsthal, "the late proprietor of the Royal Mechanical and Optical Museum." This benefit programme contains no allusion to the writing and drawing figure, which goes to prove that it had not been his property, or it would have been handed down to his estate. In May, 1826, an automaton was exhibited at 161 Strand, a bill regarding which is reproduced. This mechanical figure, however, should not be confounded [ 109 ] | |
unmaskingrobert00houdgoog.pdf,114 | unmaskingrobert00houdgoog.pdf | 114 | THE WRITING AND DRAWING FIGURE stance, to write a T, the writer begins tracing the letter at the top, and after slightly lifting his hand half- way, swiftly traces the transversal dash, and continues writing the original ground stroke. "How complicated a mechanism is required for insur- ing these effects will be inferred from the illustration, in which the automaton is shown with its back opened. In the first place a vertical disk will be noticed having at its circumference as many notches as there are letters and signs. Behind this will be seen whole columns of cam-wheels, each of a special shape, placed one above another, and all together forming a sort of spinal column for the automaton. "Whenever the little writer is to write a given letter, a pawl is introduced into the corresponding notch of the disk, thus lifting the wheel column and transmitting to the hand, by the aid of a complicated lever system and Cardan joints arranged in the elbow, the requisite movements for tracing the letter in question. The mechanism comprises five centres of motion connected together by chains. "In the 'Draftsman,' the mechanism is likewise ar- ranged in the body itself, as in the case of the 'Writer.' The broad chest thus entailed also required a large head, which accounts for the somewhat bulky appearance of the two automatons. With the paper in position and a pencil in hand, the 'Draftsman' at first traces a few dashes and then swiftly marks the shadows, and a dog appears on the paper. The little artist knowingly ex- amines his work, and after blowing away the dust and putting in a few last touches, stops a moment and then quickly signs, 'Mon Toutou' (My pet dog). The motions 7 [ 97 ] | |
unmaskingrobert00houdgoog.pdf,116 | unmaskingrobert00houdgoog.pdf | 116 | THE WRITING AND DRAWING FIGURE of the automaton are quite natural, and the outlines of his drawings extremely sharp. The automaton when desired willingly draws certain crowned heads now be- longing to history; for example, a portrait of Louis XV., of Louis XVI., and of Marie Antoinette." The automata made by the Jacquet-Drozes and their confrères were exhibited in all the large cities of Great the Greas Koom, No. 6, King. Covent Carlen, to be This Day, SPECTACLE MECHANIQU WECHANICAL EXHIBITION, From 7776 in this Exhibition it rivaled by Atts ons writri whatever le diétated to it, another drawsg and finillics in a maiterly Mannir feveral curious De- agna; mother plays divers Ain on the Herplichord, There is alfo a Pafforal S ene, in which is introdued * great Number of Figures; the Trees and bear Fruit, the Sheep bleat, the Dog barks, and the Binde fing: lo diffinety imitation Nature that they exceed every Ascount that ean be given of thera, not anly for the Variety but for the of their different Operations. Their Mechanifm every Thing that has ever appeared, infomuch that it may be faid they will Ípeak for themfelves. The Tidte of viewing it will be from Twelve to Oue, from One to Two, from Two to Three, and la the Evenin4 from Seven to Eight, from ight to Nine, and from Nine to Tea. Mr. JAQUET DROZ, the Iaventor, will attend en Eleven at Niglit, in ofder to accom hodale thoft Ladian or Gentle that may chule to lee this Exhi- birth after the Hour of Ten. Admiftance Five conunted every Day, and Clipping from the London Post, 1776, advertising the writing and drawing figures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry Houdini Collection. Britain and Continental Europe. According to the pro- grammes and newspaper notices in my collection, Henri- Louis Jacquet-Droz acted as their first exhibitor. As proof I am reproducing a Droz programme from the London Post, dated 1776. [99] | |
unmaskingrobert00houdgoog.pdf,106 | unmaskingrobert00houdgoog.pdf | 106 | THE WRITING AND DRAWING FIGURE formances, and by his pressing invitation I frequently was present. He took great pains, too, to introduce me to other inventors and exhibitors of moving figures, which I liberally purchased, making them prominent features in the attractions of the American Museum." Barnum then continued to describe Robert-Houdin's greatness and his cleverness in the use of electricity. The showman was always a welcome guest at the magi- cian's house, and he relates how, at luncheon time, The figure of Cupid as executed by the Droz drawing figure. From the brochure issued by the Society of History and Archacology, Canton of Neu- chatel, Switzerland. Robert-Houdin would touch a knob and through the floor would rise a table, laden with inviting viands. These details in the Barnum book make it all the more inex- plicable that Robert-Houdin should omit all mention of the great showman's name in his "Memoirs." Just at this time the amusement-seeking public seemed greatly interested in automata, so it was only natural that Barnum, great showman that he was, should scour Europe for mechanical figures. Soon after he purchased the writing and drawing figure claimed by [89] | |
unmaskingrobert00houdgoog.pdf,110 | unmaskingrobert00houdgoog.pdf | 110 | THE WRITING AND DRAWING FIGURE figure which also inscribed a few set phrases or titles of the drawings. In mechanism, appearance, and results it tallies almost exactly with the automaton claimed by Robert-Houdin as originating in his brain. The Jacquet- Droz figure showed a child clad in quaint, flowing gar- ments, seated at a desk. The Robert-Houdin figure was modernized, and showed a court youth in knee breeches and powdered peruque, seated at a desk. The Jacquet-Droz figure drew a dog, a cupid, and the heads of reigning monarchs. The Robert-Houdin figure, made seventy-five years later, by some inexplicable coincidence drew a dog as the symbol of fidelity, a cupid as the em- blem of love, and the heads of reigning monarchs. The history of the Jacquet-Drozes is written in the annals of Switzerland as well as the equally reputable annals of scientific inventions, and cannot be refuted. Pierre Jacquet-Droz was born July 28th, 1721, in a small village, La-Chaux-de-Fonds, near Neuchâtel, Switz- erland. According to some authorities, his father was a clock-maker, but the brochure issued by "Société d'Histoire et l'Archéologie" of the city of Neuchâtel, which has recently acquired many of the Jacquet-Droz auto- mata, states that he was the son of a farmer and was sent to a theological seminary at Basle. Here the youth's natural talent for mechanics overbalanced his interest in "isms" and "ologies," and he spent every spare moment at work with his tools. On his return to his native town he turned his attention seriously to clock- and watch-making, constructing a marvellous clock with two peculiar hands which, in passing each other, touched the dial and rewound the clock. [ 93 ] | |
unmaskingrobert00houdgoog.pdf,132 | unmaskingrobert00houdgoog.pdf | 132 | THE WRITING AND DRAWING FIGURE did not know of its existence and mechanism. And if Robert-Houdin had invented the same mechanism it is hardly possible that his design would have run in pre- cisely the same channel as that of Jacquet-Droz and Maillardet, in having the figure draw the dog, the cupid, and the heads of monarchs. In those days humble mechanicians, however well they were known in their own trade, were not exploited by the public press. Nor did they employ clever journalists to write memoirs lauding their achievements. And so it happened that for years the names of Jacquet-Droz and Maillardet were unsung; their brainwork and handi- craft were claimed by Robert-Houdin, who had mastered the art of self-exploitation. To-day, after a century and a half of neglect, the laurel wreath has been lifted from the brow of Robert-Houdin, where it never should have been placed, and has been laid on the graves of the real inventors of the writing and drawing figure, Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz and Jean- David Maillardet. [115] | |
unmaskingrobert00houdgoog.pdf,128 | unmaskingrobert00houdgoog.pdf | 128 | THE WRITING AND DRAWING FIGURE chair before an easel, ready to draw portraits in short order. The figure was shown to the audience, then re- placed on the chair, whereupon a man under the platform the Triump of Mechanisu. NEW . EXHIBITION IN THE WESTERN EXCHANGE. THE AUTO.MATON ARTIST. IL ENTRANCES TO THE EXHIBITION ARE IN Old Bond Street & in Burlington Arcade : Open from Ten o'Clock till Dusk. Admittance to see the Performance, 1 Shilling. Profile Likenesses, 18. 6d. in addition. o The Proprieters conceive that an Automatical Figure, accurately effect ing that whuch has bitherto required a powerful ment. exertion, and a correct eye, needs no further introduction of its extraordiuary quality, than ao intimation of the fact, that it is THE ONLY AUTOMATON IN THE WORLD THAT TAKES LIKENESSES. Without further comment, the Proprietors merely add the information, that- this Figure exerutes a Profile Likeness, sue one minute, from any person who chooses to Nt. The Automaton will, if required, take the Profiles of Busts of Public Characters, which are placed in the Roum, and which will enable. persons, who may doubt the possibility of apy mechanical contrivance taking an accurate likeness, to compare thein with the originals. Inncs, Printer, 61, Wella-s. Oxford-st. Handbill advertising the fake automatic artist, exhibited also at 161 Strand, London, May 7th, 1826. From the Harry Houdini Collection. would thrust his arm through the figure and draw all that was required of the automaton. The fake was short-lived, even at the yearly fairs, and now has sunk too low for them. [ III ] | |
unmaskingrobert00houdgoog.pdf,122 | unmaskingrobert00houdgoog.pdf | 122 | THE WRITING AND DRAWING FIGURE So far we have traced only the original writing and drawing figure. This has been done purely to show that even if Robert-Houdin had been capable of building such an automaton, he would not have been its real in- ventor, but would merely have copied the marvellous work of the Jacquet-Drozes. Now to trace the figure which in 1844 he claimed as his invention. With the fame of the Neuchâtel shop spreading and the demand for Swiss watches increasing, Maillardet and Jean Pierre Droz, apprentices or perhaps partners of Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz, removed to London and there set up a watch factory. About this time Maillardet invented a combination writing and drawing figure which was pronounced by experts of the day slightly inferior to the work of the two Jacquet-Drozes. However, it must have been worthy of exhibition, for it appeared at intervals for the next fifty years in the amusement world, particularly in Lon- don. At first Maillardet was not its exhibitor nor was his name ever mentioned on the programmes and newspaper notices, but later his name appeared as part owner and ex- hibitor. As the Swiss watches had created a veritable sen- sation and were snatched up as fast as produced, it is quite likely that he had no time to play the rôle of showman. The figure first appeared in London in 1796, when the London Telegraph of January 2nd carried the adver- tisement reproduced on the next page. Haddock had no particular standing in the world of magic, and it is more than likely that he rented the auto- mata which he exhibited, or merely acted as showman for the real inventors. [ 105 ] | |
unmaskingrobert00houdgoog.pdf,130 | unmaskingrobert00houdgoog.pdf | 130 | THE WRITING AND DRAWING FIGURE ADMISSION REDUCED, Bores, 2..-Pil, la.-Gallery, 6d. PORNING ons SEILLING sacm. By Permission of the Right Worshipful the Mayor. The Nebility, Gentry, and Inhabitaste of Hull and its Vicinity are most respoctiolly informed that the Grand MECHANICAL AND Magical Theatre, (FROM THE GOTHIC HALL, ITAYMARKET, LONDOX.) IS NOW OPEN EVERY DAY AND EVENING, AND witl. CONTINUS ao voa A SMORT TIMS ONLY, ATT THE APOLLO SALOON, Nexty erected by Mr. Kirhwood, at the y Wellinglon-Strees, QUEEN-STREST, NULL. THE AUTOMATA COMPRISE THS FOLLOWING AUBJECTS: The Juvenile Artist! Whese in DRAWING and warmino (alterestely) ie the presence of the Compeay, defy all essempte regard thew beauts sed of dealge ... - the of an Yeare ) THE MUSICAL LADY, de performe agee - siegses Seger OROAN, of plessing Airs. The of her - - of the .... feit " arearing Aderrent She bows gracefully to the Audieses, hee " - the leago, sele . predessé b, the of ber Segen, esta the escoptee of Sele - - - played 3, the fost Dawona, - serpase, is sed ever, Prefesses of the ant hooping correst to the Nome of the THE MAGICIAN, the selovest ... delight. b, the eages be reteres to every pregessé le - The of the bitherle pussied all the first. reste à TAS WALKING FIGURE, moriag b, Ite see eseltee ise serpeise, It ever Assn Deje to . thing etterly - cort to predese égare expeble a A MAGNIFICENT CLASSIC rase! NADE FOR THE EMPEROR NAPOLEON. A BOLDES TWO SIBERIAN MICE.---AN EGYPTIAN LIZARD. An Ethiopian Caterpillar. A Tarantula Spider. A BEAUTIFUL HUMMING BIRD: - - of T.es e.ebly - ... sed other precion asd le the 4 sevemests eftea dessivo the bebeider no - de , the of - BELF-ACTING PIANO FORTE. TES STAGE PERFORMANCE WILL COMMENCE WITH RAMO SAMMEE, Litte Figere - corrent'y estera " the time ", .. pereese eill also weipher - also - the of ea, bee bese drees *** - pech. The Enchanted Dutch Coffee-House, , - - . the Trevellers visging the SeM the doos opres-the attesde .. pree.dee enth - be may - ler. THE CABINET OF SAFETY, de - of eas . - be . the o… | |
unmaskingrobert00houdgoog.pdf,63 | unmaskingrobert00houdgoog.pdf | 63 | THE UNMASKING OF ROBERTT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' 'Grand Theatre of the Muses, or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June 1 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. Ile died November 18th, 1732; was buried No: vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732 page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page I22. His will, dated November roth, 1732, was proved in London on November 18th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
unmaskingrobert00houdgoog.pdf,263 | unmaskingrobert00houdgoog.pdf | 263 | THE UNMASKING OF ROBERT-IIOUDIN IXTRADREIMARY MEW RECEPING IN THE AIR CORDENSED " 'Suspension Chloriforcene,' as presented be Anderson and his son, from a lithograph used by him on his return from the Continent, December, 1848. From the Harry lloudini Collection. [234] | |
unmaskingrobert00houdgoog.pdf,267 | unmaskingrobert00houdgoog.pdf | 267 | THE UNMASKING OF ROBERT-HOUDIX In 1904 I paid the old master a second visit. To his professions of pleasure at meeting me once more, he added the gift of several rare programmes now in my col- Alexander Heimburger, a veteran conjurer who presented the suspension trick in 1845-46 during his American tour. From a photograph in the Harry Houdini Collection. lection, and when our hands met in a farewell clasp he told me that he had set all things in order and was ready for the coming of the Grim Reaper. Soon after that visit, [ 238] | |
unmaskingrobert00houdgoog.pdf,101 | unmaskingrobert00houdgoog.pdf | 101 | THE UNMASKING OF ROBERT-HOUDIN 1 who immediately agreed to advance two thousand five hundred francs, and if the figure was completed in eight- een months, two thousand five hundred francs more were to be paid for it, making five thousand francs in all. If the figure was never completed, then Monsieur G was Writing and drawing figure claimed by Robert-Houdin as his invention. From Manning's Robert-Houdin brochure. to reimburse himself for the amount advanced by select- ing automatic toys from Robert-Houdin's regular stock. After liquidating his debt, Robert-Houdin retired to Belleville, a suburb of Paris, where for eighteen months he worked upon the figure, seeing his family only twice a week, and living in the most frugal fashion. He employed a wood-carver to make the head, but the result was so unsatisfactory that in the end he was obliged, not only to make all the complicated machinery which operated the figure, but to carve the head itself, [84] | |
unmaskingrobert00houdgoog.pdf,113 | unmaskingrobert00houdgoog.pdf | 113 | THE UNMASKING OF ROBERT-HOUDIN writing and drawing figures are made and operated as follows: "The writer represented a child of about four years of age, sitting at his little table, patiently waiting with the pen in his hand until the clockwork is started. He then sets to work and, after looking at the sheet of paper before him, lifts his hand and moves it toward the ink-stand, in which he dips the pen. The little fel- low then throws off an excess of ink and slowly and calmly, like an industrious child, begins writing on the paper the prescribed sentence. His handwriting is careful, conscien- The Jacquet-Droz writing automaton. From the brochure issued by the Society of tiously distinguishing History and Archaology, Canton of Neu- châtel, Switzerland. between hair strokes and ground strokes, always observing the proper intervals between letters and words and generally showing the sober and de- termined character of the handwriting usual at the time in the country of Neuchâtel. In order, for in- [96] | |
unmaskingrobert00houdgoog.pdf,183 | unmaskingrobert00houdgoog.pdf | 183 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,193 | unmaskingrobert00houdgoog.pdf | 193 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,315 | unmaskingrobert00houdgoog.pdf | 315 | THE UNMASKING OF ROBERT-HOUDIN which is a cross between the whistle of a locomotive with a cold, and a sawed-off and hammered-down flute in which has been inserted a tin whistle. As this nerve- racking music holds the spectators under its awful spell, the basket begins to rock, the contortionist-subject grad- ually raises himself inside the basket, and when the noise is at its height he straightens up in the basket and raises it with his back as far as it will go. To the uninitiated it actually appears as if he had returned to an empty basket in his original position. The trick is a marvellous decep- tion, but only a Hindoo can exhibit it with success, for no white person would ever indulge in the screechings, imbecilities, and contortions which are the spectacular and convincing features of the trick. Sometimes the trick is varied. Instead of the subject being found in his original position he is seen running toward the crowd as from a distance. This is accom- plished by having two subjects, one in the basket and one hidden on the outskirts of the crowd, who are "doubles" or at least who show a marked resemblance and are dressed exactly alike. The earliest programmes of Hindoo jugglers in my col- lection are dated 1818. The "Mr. Ramosamee" featured on this bill later split his name thus, "Ramo Samee," and was engaged to perform alone between the acts of "The Broken Heart" at the Garrick Theatre, London. From Ramo Samee, Continental and British magicians learned the trick of juggling brass balls. On page 135 Professor Hoffmann, in a foot-note, com- mends Robert-Houdin for the very impartial manner in which he approaches the question of spiritualism and [286] | |
unmaskingrobert00houdgoog.pdf,85 | unmaskingrobert00houdgoog.pdf | 85 | THE UNMASKING OF ROBERT-HOUDIN which bore fruit in a minute's time was still on his pro- gramme. For many years it was supposed that only one portrait of Fawkes was in existence, but it now seems that three were made. I publish them all, something which no one has ever before been able to do. One was taken from a Setchels fan published about 1728, although some Reproduction of page 1996 of Hone's "Every-Day Book" in the Harry Houdini Collection. This is a portrait of Fawkes, engraved on a fan by Setchels in 1721 or 1728. Fans like these were distributed at the Bartholomew Fair. authorities say I72I. It appeared in Hone's "Every- Day Book," page 1226. Another, I believe, was en- graved by Sutton Nicols, as Hone mentions it in his description of Fawkes. In the fan engraving, it will be noticed that there appears a man wearing a star on his [68] | |
unmaskingrobert00houdgoog.pdf,93 | unmaskingrobert00houdgoog.pdf | 93 | THE UNMASKING OF ROBERT-HOUDIN which are to catch the figures of the flowers and fruit when the latter expand by the air driven through the branches to which they were fastened by a silk thread. "The tree or nosegay is then placed on a table, through Decremer which runs a glass tube to supply air from beneath the stage, where a confederate works this end of " the trick, and causes the tree to 'grow' at the prearranged sig- nal." Decremps's signature writ- ten by himself on the last Later it was described as being page of a copy of his book now in the Harry Houdini accomplished entirely by springs, Library. and real oranges were first stuck on the tree by means of pegs or pins, and the leaves were so secured around them that at first appearance they could not be seen. Then a piston was used to spread all the leaves, another that forced the blossom up through the hollow branches, etc. Pinetti's personality was almost` as extraordinary as his talents. A handsome man who knew how to carry himself, acquiring the graces and the dress of the nobility, he became rather haughty, if not arrogant, in his bearing. He so antagonized his contemporaries in the fields of magic and literature that he was advertised as much by his bitter enemies as by his loving friends. Many of his methods of attracting attention to himself were singularly like those employed by modern press agents of theatrical stars. He never trusted to his performances in theatres and drawing-rooms to advertise his abilities, but demon- strated his art wherever he appeared, from barber-shops to cafés. [76] - | |
unmaskingrobert00houdgoog.pdf,327 | unmaskingrobert00houdgoog.pdf | 327 | THE UNMASKING OF ROBERT-HOUDIN was one of Anderson's cleverest imitators and a rival of Robert-Houdin in the English provinces. The adroit manner in which Robert-Houdin flays Pinetti, Anderson, and Bosco would arouse admiration were his pen-lashings devoted to men who deserved such treatment. Under existing circumstances-his debt to Bosco and Pinetti, whose tricks he filched remorselessly, and the fact that Andersoi.'s popularity outlived his own in England-his efforts to belittle these men are unworthy of one who called himself a man and a master magician. The truly great and successful man rises above petty jealousy and personalities. This, Robert-Houdin could not do, even when he sat pen in hand, in retirement, with the fear of competition removed. It seems almost incredible that Robert-Houdin should ignore Henri Robin in his "Memoirs," for Robin was one of the most interesting characters of that day. He still stands in magic's history as the Chesterfield of conjuring, a man of many gifts, charming address, and broad edu- cation. Even in his dispute with Robert-Houdin regard- ing the invention of the inexhaustible bottle, he never forgot his dignity, but proved his case by that most potent of arguments, a well-edited magazine published under his direction, in which an illustration showed him actually performing the trick in 1844, or a full three years before it appeared on Robert-Houdin's programme. Robert-Houdin was indebted to Robin for another trick, the Garde Française, introduced by Robert-Houdin in October, 1847. Henri Robin had precisely the same figure, doing precisely the same feats, in the garb of an Arab. An illustration from Robin's magazine, L'Alma- [298] | |
unmaskingrobert00houdgoog.pdf,329 | unmaskingrobert00houdgoog.pdf | 329 | THE UNMASKING OF ROBERT-HOUDIN truth about his so-called innovation, he must have given Frikell credit, wherefore he conveniently ignores Frikell completely. It is entirely characteristic of Robert-Houdin that he did not openly assail Pinetti in the pages of his "Mem- oirs." With cleverness worthy of a better cause, he quotes the bitter verbal attack as issuing from the lips of the friend and mentor of his youth, Signor Torrini. The major portion of chapter VI., pages 92 to IO4 inclusive, American edition of his autobiography, is de- voted to assailing Pinetti's abilities as a conjurer and his reputation as a man. Granted that Pinetti did put Tor- rini to shame on the Neapolitan stage, such revenge for a wholesale duplication of the magician's tricks might be termed almost human and natural. Had a minor magi- cian, amateur or professional, dogged the footsteps of Robert-Houdin, copying his tricks, the entire répertoire upon which he depended for a livelihood, thus endanger- ing his future, I doubt that even the author of "Confi- dences d'un Prestidigitateur" would have hesitated to un- mask and undo his rival. In fact, by reference to the editorial note, foot of page 421, American edition of Robert-Houdin's "Memoirs," it will be seen that in 1850 Robert-Houdin appealed to the law for protection in just such a case. An employee was sent to prison for two years, as judgment for selling to an amateur some of his master's secrets. But in attacking Pinetti, Robert-Houdin goes a step too far and falsifies, not directly but by innuendo, when he permits the impression to go forth that Pinetti was hounded and ruined both financially and professionally [300] | |
unmaskingrobert00houdgoog.pdf,277 | unmaskingrobert00houdgoog.pdf | 277 | THE UNMASKING OF ROBERT-HOUDIN tricks? Your Majesty will doubtless be still more sur- prised when I prove to your satisfaction that this coffer Reproduction of a very rare pastel portrait of Cagliostro. From the Harry Houdini Collection. as well as its contents was deposited in the chest of the orange-tree sixty years ago.' "I should like to believe your statement,' the King [ 248] | |
unmaskingrobert00houdgoog.pdf,143 | unmaskingrobert00houdgoog.pdf | 143 | THE UNMASKING OF ROBERT-HOUDIN tricks. On page II he thus describes the automaton un- der consideration : "Illusion Third. A curious mechanical trick; an inn, GYNGELL Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection. from which issues the hostess for orders, upon receiving which, she returns into the inn and brings out the various liquors as called for by the audience, and at last waiting [126] | |
unmaskingrobert00houdgoog.pdf,209 | unmaskingrobert00houdgoog.pdf | 209 | THE UNMASKING OF ROBERT-HOUDIN tory of that automaton. The programme published in that chapter is dated FOR SIX NIGHTS ONLY, - NOWDAY, - To of - - nive FRIDAY, - le fue 1827, and does not in- Mr. Schmidt's BENEFIT, - SATURDAY to - LAST NIONT of the clude the famous bottle, MECHANICAL OPTICAL THEATRE At the Mueic-Hall, because it was no longer a Albion-Street, Leeds. novelty in Herr Schmidt's zm. - respostfully the Ledice and of LEEDS Vielaity, that aftee - Years laboer be hee completed some AUTOMATAN NOPE DANCERS, - lasge - Life, which go through Variety of Evelations es - répertoire; but the ad- Tighs Repe. To Men of Selence they mest appess impossible, for though thay are estacity with the they from tt, and balance le WITHOUT the UST or THEIR HANDS, AND INSTANT. LY CONNECT TREMSELVER wire THE MACHINERY AGAIN vertisement reproduced herewith, dated 1821, schedules the bottle trick thus: "The Bottle of Sobriety and Inebriety, proving the inutility of a set of decanters, when Me. will also introduce Variety of interesting and amasing Pieces of Mechonion, never before exhibited in Loeda, RAMO SAMMEE, various liquors can be TNe - Nette Pigure will correctly inform the Company the Time by any Person's Watoh: be will also decipher Writing, and any Question proposed to bim. The Dutch Coffee House, produced by one." Thus As elegast little Bullding: on the Travellers ringing the bell the door opene-th attende and provides hém with any Liquor be may vall for. Schmidt antedated or SAPETY. which Proporty of any description can be placed on the direction of the Company : the contente will imporceptibly ebange from drawer into another, or evem bobind the glanses. The Bottle of Sobriety and Inebriely, Houdin's offering of the Proving . instilley of est of Decastora, when varions Liquors be produced by - THE MECHANICAL TEA CADDYS, Any Lady or Gentionna haring deaire to of any Article, locke in one Cuddy, trick by more than a yet - opaning the ether is is lomed there, althongt the Cadity le la the hand of any othes Porsoa. AN GLA… | |
unmaskingrobert00houdgoog.pdf,73 | unmaskingrobert00houdgoog.pdf | 73 | THE UNMASKING OF ROBERT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' Grand Theatre of the Muses,' or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June I 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. He died November 18th, 1732; was buried No- vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732, page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page 122. His will, dated November roth, 1732, was proved in London on November r8th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
unmaskingrobert00houdgoog.pdf,157 | unmaskingrobert00houdgoog.pdf | 157 | THE UNMASKING OF ROBERT-HOUDIN through that eminent family of conjurers known as the Bambergs of Holland. At this writing, "Papa" (David) Bamberg, of the fourth generation, is prominent on the Dutch stage, and his son Tobias David, known as Okito, of the fifth generation, is a cosmopolitan magician, pre- senting a Chinese act. According to the family history, traceable by means of handbills, programmes, and personal correspond- ence, the original Bamberg (Eliazar) had a vaulting fig- ure in his collection of au- tomata in I790, fifty years before Robert-Houdin be- came a professional enter- tainer. This figure was David Leendert Bamberg, of the made by Opre, to whom second generation of the Bamberg all conjurers of that time family. Born 1786; died 1869. The above daguerrotype was presented to looked for automata and the author by Herr Ernest Basch, and is the only one in existence. apparatus. David Leendert Bamberg, of the second gen- eration, who also had the vaulting figure, was the inti- mate friend and confidant of Opre and was authority for the statement that Opre's son sold in Paris the various automata made by his father, which later Robert- Houdin claimed as his own invention. It may be noted that Robert-Houdin never invented a single automaton after he went on the stage in 1845, and as Opre died in 1846, the coincidence is nothing if not significant. I40] | |
unmaskingrobert00houdgoog.pdf,275 | unmaskingrobert00houdgoog.pdf | 275 | THE UNMASKING OF ROBERT-HOUDIN three of the cards at hazard, and choose from them the place he might consider most suitable. "'Let us see,' Louis Philippe said, what this one says "I desire the handkerchiefs to be found beneath one of the candelabra on the mantelpiece." That is too easy for a sorcerer; so we will pass to the next card: "The handkerchiefs are to be transported to the dome of the Invalides." That would suit me, but it is much too far not for the handkerchiefs, but for us. Ah, ah!' the King added, looking at the last card, 'I am afraid, M Robert-Houdin, I am about to embarrass you. Do you know what this card proposes? 'Will your Majesty deign to inform me?' "It is desired that you should send the handkerchiefs into the chest of the last orange-tree on the right of the avenue.' Only that, Sire? Deign to order, and I shall obey.' "'Very good, then; I should like to see such a magio act: I, therefore, choose the orange-tree chest. "The King gave some orders in a low voice, and ] directly saw several persons run to the orange-tree, ir order to watch it and prevent any fraud. "I was delighted at this precaution, which must add to the effect of my experiment, for the trick was already arranged, and the precaution hence too late. "I had now to send the handkerchiefs on their travels. so I placed them beneath a bell of opaque glass, and taking my wand, I ordered my invisible travellers to pro- ceed to the spot the King had chosen. "I raised the bell; the little parcel was no longer there and a white turtle-dove had taken its place. [ 246] | |
unmaskingrobert00houdgoog.pdf,253 | unmaskingrobert00houdgoog.pdf | 253 | THE UNMASKING OF ROBERT-HOUDIN this date, he had used only the ordinary platform and rod. During the course of researches covering many years, during which I visited national libraries in various coun- tries, the first trace of the suspension trick was discovered in the writings of Ian Batuta, who flourished about the thirteenth century. He mentions two conjurers who per- formed before the court of the Mogul in Delhi. One of the men assumed the form of a cube and rose into the air, where he remained suspended. The other man then took off his shoe, struck it against a rock, and it also rose and hung in midair, close to the suspended conjurer or human cube. On being touched on the neck, the cube descended to the ground, and the conjurer resumed his natural form. The historical verity of this tale cannot be determined, and it may be classed with the familiar story which crops up periodically, describing the ball of cord thrown into the air for a youth to climb into the clouds. Once out of sight, the youth is said to draw the cord up after him; then presently a leg falls from the unseen heights, then another, followed by an arm, a rib or two, and so on until the entire body is scattered upon the ground, the head coming last with the neck standing upward. At the command of the magician, the body seems to crawl together, so runs the tale, and eventually the youth stands up to be examined by the astonished populace. These stories belong in the very first of the travellers' tales. In 1356 Sir John Mandeville, called by some au- thorities "the Father of English Prose," after travelling thirty-four years, published a book detailing some of his marvellous "witnessings." Though many of his stories [226] - | |
unmaskingrobert00houdgoog.pdf,121 | unmaskingrobert00houdgoog.pdf | 121 | THE UNMASKING OF ROBERT-HOUDIN them, so their great value was never realized by his family. After his death, during a voyage to America, UNDEA THE SANCTION or they lay neglected in the ass aoval LETTERS PHILIPSTHAL and MAILLARDET's castle of Mattignon, near Royal Museum, Bayonne. After changing FROM LONDON, hands many times, about - - - - - - Will Opee for Pablic Isepectica, At de ASSEMBLY ROOM, BRIDGWATER. 1803 they passed into the O. FRIDAY the 99d. of MARCH instast, - a - - che - - - provide de alle - hands of an inventor named of - - INGENIOUS MISCES of Martin, and were controlled , by his descendants for nearly asvas sereas " Tate PLACE, - a hundred years. One of his SUPERI family, Henri Martin, of Musical Automaton. . Dresden, Germany, exhibit- Aire - - - THE MECHANICAL. ed them in many large cities, Drawing and Writing-Master; uma soe. de - - the n - and advertised them for sale - - The - - - - Pase - - An Old Necromancer, at 15,000 marks in the - b . - - - - - - example - - - - A NOST Muenchener Blaetter of May BEAUTIFUL GOLD BOX, - - le - - or PARADESE - - - - - et 13th, 1883. After Martin's - -- - - - - - - - - - - - - - - The - - THE LITTLE SPANIARD, death, his widow succeeded - - BANCE - nat as AT CONMANO, The - - - - - " - in - - - - - - A BEAUTIFUL SOURIE DO'R, in disposing of them to Herr ser IN PEARES - - - - la - - - - - - - Direction, - Om Marfels, of Berlin, who had AN ETHIOPEAN CHENILLE DOR, BEAUTIFULLY ENAMELLED them repaired with such AND A TARANTULA. SPIDER: good results that in the fall - - - - - - - - - as from to Fur 2. - - - I - - - of of 1906 he sold them for The f , se - the Recoing, - de la. - - - 75,000 francs, or about & - - $15,000, to the Historical Poster used, March 29nd, 1811, Society of Neuchâtel. In by de Philipsthal and Maillardet dur- ing their partnership, on which the April, 1907, the writing fig- writing and drawing figure is fea- tured. From the Harry Houdini ure, the drawing figure, and Collection. the spinet player were on exhibition in Le Locle, Chaux-de-Fonds, and … | |
unmaskingrobert00houdgoog.pdf,303 | unmaskingrobert00houdgoog.pdf | 303 | THE UNMASKING OF ROBERT-HOUDIN them in water very transparent, rose-water, orange-flower- water, and brandy. "I have smelt the several odours of his liquors; nay, I have seen him set fire to a handkerchief dipt in that which smelt like brandy, and it burnt blue like spirituous liquors. Nay, he frequently promised at Venice to give the water back again in milk and oil. But I think he did not keep his word. In short, he concluded this scene with swallowing successfully thirty or forty glasses of water, always from the same bucket, and after having given notice to the company by his man (who served as an interpreter) that he was going to disembogue, he threw his head back, and spouting out the fair water, he made it spring up with an impetuosity like that of the strongest jet d'eau. This last feat delighted the people infinitely more than all the rest, and during the month he was at Francfort numbers from all parts came to see this slovenly exercise. Though he repeated it more than once a day he had more than four hundred specta- tors at a time. Some threw their handkerchiefs, and some their gloves upon the stage, that he might wet them with the water he had cast up, and he returned them differently perfumed, sometimes with rose-water, sometimes with orange-flower-water, and sometimes with brandy." Another famous juggler and water-spouter was Floram Marchand, whose picture is herewith reproduced. Judg- ing from his dress, he antedated Manfrede. Bell's Messenger of July r6th, 1816, tells of a sword- swallower whose work is extremely pertinent to this dis- cussion, and the clipping is quoted verbatim: "The French papers give a curious account of one [274] - | |
unmaskingrobert00houdgoog.pdf,49 | unmaskingrobert00houdgoog.pdf | 49 | THE UNMASKING OF ROBERT-HOUDIN their way to his workshop and aided him in his study of a profession which he still hoped to follow. During these discouraging times he was often assisted financially by ST, - regest ENTERTAINMENT Tuesday. Thursday Saturday Evenings, DAY. PERFORMANCE 90 Wednesday Morning. at Poster used in 1848 in London by Robert-Houdin. From the Harry Houdini Collection. one Monsieur G-- who either advanced money on his automata or bought them outright. In the same year, 1844, he retired to a suburb of Paris, and there, [42] | |
unmaskingrobert00houdgoog.pdf,131 | unmaskingrobert00houdgoog.pdf | 131 | THE UNMASKING OF ROBERT-HOUDIN their inventive genius and efforts. Modern mechanicians agree that such a performance would have been a physical impossibility, even had Robert-Houdin been the expert mechanician he pictured himself. To sum up the evidence: The writing and drawing Splendid and Unrivalled Exhibition ! (Fer . Shore peovions . is resoval - a The Nobility and Public are respectfully informed, that A MOST MAGNIFICENT AND COSTLY COLLECTION OF Mechanical and Musical AUTOIATONS! IS NOW EXHIBITING AT THE New Gothic Haymarket, ADJOINING THE LITTLE THEATRE: TOGETHER wirh A GRAND DISPLAY OF ANCIENT ARMOUR : Which carrounds the spacious and desoreted Mall. Also . Model of . MAN OF WAR, of Ninely-Four Guns, Of the most exquisite Workmenship, and Copper-Bottomed! The whouk the - Instructive and Ammoing ever le - THE MECHANICAL PART or this truly conderfel and exchenting which las beea with the avent distingushbed Patromage, in Paais and other parts of the comprisse the bullowing ABTIOU! These Performancea in DRAWING - WAITING la - of the Company, defy ell . kaph at in regard to marn, and of and This rich the of MECHANISN . sonderfally thet the motion - # - guat, saj oppropriele system efeperations, will ever readee " - of the highest interest - The fusical Lady ! Who performs, apon sia olggent Finger ORGAN.: variely of pire-ing Ain. The fas inating of bee and lovely motion ofthe Eyes, arver to securing bes She boes gracefully to the acdicace bes beaves, uf materally b, the leage and every note is produced by the touch of act Sager, with the lica of pata, and charge, which are played by the The Rope Dancer ! Wheed surpricing apoe the Tight Rope surgess, to - attitudes, and reclurions, every et the Art heepios correct timse to the Munie of the Mechinery Ebe Whene exeite the gresteet and delight.br the regacious be returne to every prepesed le his The essetrection of thus wonderfel seif- acting Fagure has lutherte pessied all the is Europe' This estraerdisary Figur, moves by afe ova povera, in every direction, the gr… | |
unmaskingrobert00houdgoog.pdf,325 | unmaskingrobert00houdgoog.pdf | 325 | THE UNMASKING OF ROBERT-HOUDIN the lad shared his stage triumphs. His other children he never mentions by name. The second wife, who, he grudgingly admits, stood valiantly by him in his days of poverty and disappointment, he does not honor by so much as stating her name before marriage. Rather, he refers to her as a person whom he was constrained to place in charge of his household in order that he might continue his experiments and his work on automata. A less gracious tribute to wifely devotion was never penned. But it is in dealing with contemporary magicians or those whose handiwork in bygone years he cleverly pur- loined and proclaimed as his original inventions, that the petty jealousy of the man comes to the surface. When- ever he desires to claim for himself credit due a prede- cessor in the world of magic, he either ignores the man's very existence or writes of his competitor in such a man- ner that the latter's standing as man and magician is lowered. Not that he makes broad, sweeping statements. Rather, he indulges in the innuendo which is far more dangerous to the party attacked. He never strikes a pen-blow which, because of its brutality, might arouse the sympathy of his readers for the object of his attack. Here, in the gentle art of innuendo and belittling, if not in the conjurer's art, Robert-Houdin is a master. In writing his "Memoirs" he deliberately ignores Compars Herrmann, Henri Robin, Wiljalba Frikell, M. Jacobs, and P. T. Barnum, all of whom he knew person- ally. He might have written most entertainingly of these men, but in each case he had an object in avoiding refer- ence to the acquaintance. P. T. Barnum knew the true history of the writing and drawing figure, as reference to [296] | |
unmaskingrobert00houdgoog.pdf,337 | unmaskingrobert00houdgoog.pdf | 337 | THE UNMASKING OF ROBERT-HOUDIN the floor of the den. Snakes-scores of them! Now the creature, half-animal, half-human, glances up to make sure that attention is riveted upon him, then grasps one of the serpents in his hideous hands and in a flash bites off its head. The writhing body falls back to the ground. You grip the railing in a sudden faintness. Has your brain deceived your eyes, or your eyes your brain ? If you are a conjurer you try to convince yourself that it is all a clever sleight-of-hand exhibition, but in your heart you know it is not true. This creature, so near a beast, has debauched his manhood for a few paltry dollars, and in dragging himself down has dragged down the name of a worthy, a brilliant, a world-famous performer. Of the twentieth-century Boscos there are, alas, many. You will find them all over the world, in street carnivals, side-shows, fair-booths, and museums, and why the public supports such debasing exhibitions I have never yet been able to understand. I have seen half-staryed Russians pick food from refuse-barrels. I have seen besotted Americans creep out from low dives to draw the dregs of beer-barrels into tomato cans. I have seen absinthe fiends in Paris trade body and soul to obtain their be- loved stimulant. I have heard morphine fiends in Russia promise to exhibit the effect of the needle in return for the price of an injection. But never has my soul so risen in revolt as at sight of this bestial exhibition with which the name of Bosco, a nobleman and a conjurer of merit, has been linked. Even more despicable than his attack upon Bosco is Robert-Houdin's flaying of John Henry Anderson. In this he is both unmanly and untruthful. Hinging his [308] | |
unmaskingrobert00houdgoog.pdf,207 | unmaskingrobert00houdgoog.pdf | 207 | THE UNMASKING OF ROBERT-HOUDIN target revolve, or, if the frame is used, by having a black velvet curtain pulled up by rapid springs or strong rubbers. While all this is going on, some one has brought on the stage the loaded bottle, and as no attention is called to this, by the time the watches have been restored to the owners the conjurer introduces the bottle trick, pours out the various liquors, and eventually breaks the bottle and reproduces the borrowed article tied about the neck of the guinea-pig or dove. Many names have been given to this trick. The old- time magicians who remained for months in one theatre had to change their programmies frequently, so for one night they would present the bottle without breaking it, and on the next they would break the bottle, so as to vary the trick. This bottle trick originated in "The Inexhaustible Barrel." The first trace that I can find of this wonder- ful barrel is in "Hocus Pocus, Jr., The Anatomie of Legerdemain," written by Henry Dean in 1635 (Second Edition). On page 2I is described a barrel with a single spout, from which can be drawn three different kinds of liquors. This was worked precisely on the same principle as was the inexhaustible bottle trick centuries. later, by shutting up the air-holes of compartments from which liquors were not flowing. Its first public appearance, according to the data in my collection, clipped from London papers of 1707 and I7I2, was when the "famous water-works of the late ingenious Mr. Henry Winstanly" were exhibited by his servants for the benefit of his widow; and the exhibition included [180] | |
unmaskingrobert00houdgoog.pdf,305 | unmaskingrobert00houdgoog.pdf | 305 | THE UNMASKING OF ROBERT-HOUDIN swallows the blade of a sabre about thirteen inches long of polished steel. This operation he performs very slowly, and with some precaution; though he evinces no symp- tom of pain. After every solid body that he swallows, he Position taken by the subject in the Indian basket trick before he is covered by the sheet. always takes a small dose of wine expressly prepared for him. He does not seem to make any effort to kill the living animals that he takes in his mouth, but boasts that he feels them moving in his stomach." [276] | |
unmaskingrobert00houdgoog.pdf,347 | unmaskingrobert00houdgoog.pdf | 347 | THE UNMASKING OF ROBERT-HOUDIN structed his programmes, keeping them strictly up-to- date. Anderson did die a poor man, but this was not because the amusement-loving public had wearied of him. A popular performer, like so many of his class he did not know how to invest his huge earnings. It is known that he gave $20,000 to various charities, while no record of Robert-Houdin's charities exists. He was burned out several times. He lost money through a bad con- tract made for his Australian tour. Certain investments dropped in value because of the Civil War in the United States, during which England sympathized with the South. Finally, during his American tour after the Civil War, Anderson played the Southern States, then steeped in bitterness toward the North, and was unfortunate enough to bill himself as "The Great Wizard of the North." This roused the Southern prejudice to white heat, he was al- most mobbed, and was finally driven from that section of the country. He went into bankruptcy, November 19th, 1866, and died at Darlington, County Durham, England, Feb. 3rd, 1874. His remains were interred, in accordance with his dying request, at Aberdeen, Scotland. So ends the true history of Robert-Houdin. The mas- ter-magician, unmasked, stands forth in all the hideous nakedness of historical proof, the prince of pilferers. That he might bask for a few hours in public adulation, he purloined the ideas of magicians long dead and buried, and proclaimed these as the fruits of his own inventive genius. That he might be known to posterity as the king of conjurers, he sold his birthright of manhood and honor for a mere mess of pottage, his "Memoirs," written by [318] | |
unmaskingrobert00houdgoog.pdf,309 | unmaskingrobert00houdgoog.pdf | 309 | THE UNMASKING OF ROBERT-HOUDIN starts his dramatic tale of inventing a detector lock by which he protected a rich neighbor, M. de l'Escalopier, from robbery, and incidentally in return secured funds with which to open his theatre in the Palais Royal. In his "Mémoirs" Robert-Houdin states that the opening of the theatre was made possible by the invention of the writing and drawing automaton whose history has been traced in chapter III. The reader can choose between the two stories. One is as plausible as the other. But to return to the detector lock. Count or M. De l'Escalopier having complained grievously to his humble neighbor, the watchmaker Robert-Houdin, that he and his family were being robbed, begged that the latter sug- gest some means of catching the thief. Robert-Houdin then recalled a childish device by which he had caught his school-fellows in the act of pilfering his desk, etc., and he proposed to the Count that the same device, elab- orated to meet the strength of a full-grown man, be at- tached to his wealthy patron's desk. As first planned, the detector lock was to shoot off a pistol on being tampered with, and then brand the hand of the thief with nitrate of silver. Count de l'Escalopier objected to branding a man for life, so Robert-Houdin substituted for the nitrate of silver a sort of cat's claw which would clamp down on the robber's hand and draw blood. The Count deposited ten thousand francs in his desk and caught the robber, his confidential servant, red-handed. The ten thousand francs he presented to Robert-Houdin as a reward for stopping the thefts. A charming tale this makes, but, unfortunately for Robert-Houdin's claims to originality, the detector lock [,280] - | |
unmaskingrobert00houdgoog.pdf,265 | unmaskingrobert00houdgoog.pdf | 265 | THE UNMASKING OF ROBERT-HOUDIN sonally that being pressed for time he had entrusted the writing of his "Memoirs" to a Parisian journalist. As he warmed up to these reminiscences, he held me spellbound. Had he risen from the grave to tell of his Mrs. Leona A. Anderson, daughter-in-law of John Henry Anderson, as she appeared with him in the suspension trick about 1868. From the Harry Houdini Collection. contemporaries, he could not have riveted my attention more securely. Here was a man of eighty-four, whose memory quick- [236] | |
unmaskingrobert00houdgoog.pdf,65 | unmaskingrobert00houdgoog.pdf | 65 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Melies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
unmaskingrobert00houdgoog.pdf,55 | unmaskingrobert00houdgoog.pdf | 55 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Mclies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
unmaskingrobert00houdgoog.pdf,109 | unmaskingrobert00houdgoog.pdf | 109 | THE UNMASKING OF ROBERT-HOUDIN sits a figure seven inches high and writes, upon a sheet of paper fixed to a frame, whatever has been placed beforehand upon a regulating cylinder. At the end of each line it raises and moves its hand sideways, in order to begin a new line." This does not answer the description of the figure which Robert-Houdin claims, but it is inter- esting as showing that mechanical genius ran along such lines almost a hundred years before Robert-Houdin claims to have invented the famous PTS JAQUET DROZ. automaton. The writing and draw- of ing figure claimed by Rob- othe tres humble Soumm's ert-Houdin as his original invention can be traced ph e back directly to the shop door of Switzerland's most Portrait and autograph of Pierre noted inventor, Pierre Jacquet-Droz Born 1721, died 1790. From the brochure issued by the Jacquet-Droz, who with Society of History and Archaology, Canton of Neuchâtel, Switzerland. his son, Henri-Louis, laid the foundation of the famous Swiss watch- and music-box industry. In the latter part of the eighteenth century, probably about 1770, the Jacquet-Drozes turned out a drawing. [92] | |
unmaskingrobert00houdgoog.pdf,41 | unmaskingrobert00houdgoog.pdf | 41 | THE UNMASKING OF ROBERT-HOUDIN sistent statements regarding his life. Such discrepancies arise as the mention of three chiklsen in one chapter and four in another, while he does net give the names of either Jean-Eugene Robert-Houdin. Photograph taken about 1868. From the HIarry Houdini Collection. wife, though he admits his obligation to both good women. According to his autobiography, Jean-Eugene Robert was sent to college at Orleans at the tender age of eleven, and remained there until he was eighteen. He was then placed in a notary's office to study law, but his mechanical [ 34] | |
unmaskingrobert00houdgoog.pdf,285 | unmaskingrobert00houdgoog.pdf | 285 | THE UNMASKING OF ROBERT-HOUDIN show that a popular test was to have articles passed fron the Adelphia Theatre t< ROYAL CLARENCE THEATRE, the gun which was being LIVERFOEL STREET, Under - - of - of . - Fes. se n - sess, watched by a sentinel. of - a Conto - - Thanks - - - - - - -- - - - - Pase of - - g - - - - - - - - - - Too - - - February 22d, 1833, to - CORNUCOP\E-COMICALLITY found a Mr. Jefferini FROJE REAL LIFR 1. at the Royal Clarence PART Theatre, Liverpool sera. ILLUBION Street, King's Cross, ILLUBION serra. Liverpool. He agreed to make "an article fly ILLUSION. at the rate of five hun- serv. sona. dred miles an hour, Mr. SHARP, from King's Cross to the CELETED the Centre of Greece." From the CITY THEATRE, will Displey bie Inimitable Powera, le - a the M. EFFERINI, The original Buck Ameng ther THAUIATURGICS featured on his pro- wa - IMPOSSIBILITIES, gramme a similar trick Ne - le - - Audience A Decanter of Pert Wime imto Pare Water. which he called "The we make - ", as 500 MILESA MINUTE Loaf Trick." On a bill arnas gmoss Contre of cassoz predose BOTTLE OF WINE dated October 26th, A LIVING PIG. 1840, it is announced as follows: "Watch in The Porformente conclude N. INFFERINIS CLASSICAL STUDIES a loaf. The magician or the ANOIENT MASTERS. Me. , - Contures - will command any gen- at Via, se - Sorce sozas . - PIT, GALLERY. " tleman's watch to dis- Rak Prier . - sozas - et The Ordese - be admitted - ramay - - de - - de abe w. a Nottee appear. It will be found Jefferini handbill, dated 1833, in which in a loaf at any baker's he announces that any article will be made to fly 500 miles a minute. shop in Town." The senior Ingleby changed the trick somewhat, sending out to any market for a [ 256] | |
unmaskingrobert00houdgoog.pdf,273 | unmaskingrobert00houdgoog.pdf | 273 | THE UNMASKING OF ROBERT-HOUDIN rod was fitted into a special place in the corset, also in the platform. This method was improved, first to make it a self-raising suspension, then eventually with a steel rod from the back of the stage, eliminating the use of both rods under the arms. Spectators and reviewers commented on the rigid, almost painful, carriage of Robert-Houdin's son during the performance, which they laid to the effect of ether. Unquestionably Robert-Houdin used this crude corset- and-rod method of working the trick. The fumes of ether which reached the audience, he admits, were caused by pouring a little ether over hot irons in the wings. But whatever the method employed by Robert-Houdin to secure the effects of "suspension éthéréenne," he was merely introducing a century-old trick, which other contemporary magicians were also exhibiting. The name of the real maker of the apparatus may never be known, but some clever mechanician supplied Robert-Houdin, Compars Herrmann, and John Henry Anderson with precisely the same method of working the trick, at pre- cisely the same time. Robert-Houdin alone was audacious enough to claim the invention as his own. [ 244] | |
unmaskingrobert00houdgoog.pdf,53 | unmaskingrobert00houdgoog.pdf | 53 | THE UNMASKING OF ROBERT-HOUDIN retired to his home at St. Gervais. Here he continued to work along mechanical and electrical lines, and in 1855 he again came into public notice, winning awards at the Exhibition for electrical power as applied to mechanical uses. In 1856, according to his autobiography, he was Robert-Houdin's grave, in the cemetery at Blois, France. From a photo- graph taken by the author, especially for this work, and now in the Harry Houdini Collection. summoned from his retirement by the Government to make a trip to Algeria and there intimidate revolting Arabsby1 the exhibition of his sleight-of-hand tricks. These were greatly superior to the work of the Marabouts or Arabian magicians, whose influence was often held re- sponsible for revolts. What Robert-Houdin received for [ 46 ] | |
unmaskingrobert00houdgoog.pdf,317 | unmaskingrobert00houdgoog.pdf | 317 | THE UNMASKING OF ROBERT-HOUDIN port Brothers, hailed from Buffalo, N. Y., U. S. A. Ira Erastus was born September 17th, 1839, and William Henry, February ist, 1841. They fairly startled the world by their so-called manifestations of spiritualism during the 60's, and were alternately lauded and reviled for their performances. [288] | |
unmaskingrobert00houdgoog.pdf,235 | unmaskingrobert00houdgoog.pdf | 235 | THE UNMASKING OF ROBERT-HOUDIN piston to touch the sole of the foot whenever the con- federate presses the bulb or pushes the button. From this array of facts it will be seen that second sight is and always has been a matter of well-drilled phrases or signals, prearranged rotation of articles, well-built The author at the long-neglected grave of Robert Heller, in Mt. Moriah Cemetery, Philadelphia, U. S. A. From a photograph in the Harry Houdini Collection. apparatus or well-trained confederates, but never a feat of actual thought-transferrence. Some of Robert-Houdin's ardent supporters insist that in claiming the invention or discovery of second sight, the French conjurer was merely an unconscious plagiarist, [208] | |
unmaskingrobert00houdgoog.pdf,215 | unmaskingrobert00houdgoog.pdf | 215 | THE UNMASKING OF ROBERT-HOUDIN only breaking this rule when presenting his show before H. M. Queen Victoria and the Prince Consort. He played the provinces, then went over to Dublin, where, although unable to speak English, he was a ver- itable sensation. In 1844 Döbler played a return STREET, ar. SATURDAY EVENING, date at the St. James APRIL. 10, 1842 la Ne - by Theatre, London, and sme LOUIS DOBLER, this time he had Ander- to - the of son as a rival at the Thé- - - - the gener NATURAL cummer âtre Royal Adelphia. MAGIC Döbler amassed a for- lass keil the - of - de - of Name - tune very rapidly; in fact - - - - NER MAJESTY THE QUEEN & H.R.M. THE PRINGE ALBERT. The - be divided inte Twe Para and with Mark - he retired in 1847, and by M. - Eigli - - PROGRABNE OF PERFORMANGE PART L never again appeared on The Magle Illumination, Tero Hundred Candles lighted by One Platol Shot The Magle Looking Olass. The Wandering The Travelling Bottle. The Witched Chair. the stage. He always ex- The Sympathetle Fruit. The Wonder The Corresponding Clooks. Kitchen. PART n. plained his early retire- Farmes The Magnetic Sword. The Notallie newer Zoots. Instantaneous The Great Necamotage. The Miracuions Washing ment by saying: "The More and There. Floga's aifta. vass THURSDAY. APRIL 91; and ou SATURDAY, APRIL ss. public loves me, and I PIt, Se. Gallery Stalls, is. ed. A - Orehostre Datte - be 9a. - - PRIVATE BOXEA, ITALLA - TICKETS - be - - Royal Librasy, ss, osd want it to always love me. Mr. asqunt's Librasy, Regent-street; Mr. sams's Librasy, Jamos's-streed; Andas - - of the Thestre, whieb le - - . Pivo I may return and be a # - - at as failure, so it is best to A Döbler programme from the Eva- know just when to stop." nion collection, dated 1842, now in the possession of the author. He died in a little village near Tunitz, on April 17th, 1864, when one of God's noblemen was laid to rest. "The Travelling Bottle" alluded to by Döbler in his programmes was nothing more or less than "The Inex- haustible Bottle." The following excerpt fr… | |
unmaskingrobert00houdgoog.pdf,279 | unmaskingrobert00houdgoog.pdf | 279 | THE UNMASKING OF ROBERT-HOUDIN on the celebrated alchemist's bottles of elixir and liquid gold, I had obtained from Torrini, who had been an old friend of Cagliostro's. "It is certainly the same,' my royal spectator answered, after comparing the two seals. Still, in his impatience to learn the contents of the parcel, the King quickly tore open the envelope, and soon displayed before the aston- ished spectators the six handkerchiefs, which, a few moments before, were still on my table." While the use of the Cagliostro seal really formed no part of the trick, its possession by Robert-Houdin goes to show how indefatigably he collected conjuring curios and how quick he was to utilize any part of his collection, and score thereby a brilliant showing. Cagliostro seals were by no means rare. This prince of charlatans had seals, like adventures, in great variety ; and in this connection, it is not out of place to tell some- thing of Cagliostro and thus explain why the parchment bearing his seal created such a sensation at St. Cloud. Cagliostro has no match in the annals of magic. Not a conjurer in the sense of being a public entertainer, he yet mystified and bewitched his thousands. Something of a physician, more of an alchemist, and altogether a charlatan, he left behind him a trail of brilliant chicanery, daring adventure, and ignominious failure and undoing unequalled in the history of Europe. Cagliostro was born Joseph Balsamo, in Palermo, Italy, June 8th, 1743. His parents were in humble cir- cumstances and he started his career as a novice in the Convent of Benfratelli, from which he was expelled for incorrigibility. Then he plunged into a life of dissipa- [250] | |
unmaskingrobert00houdgoog.pdf,261 | unmaskingrobert00houdgoog.pdf | 261 | THE UNMASKING OF ROBERT-HOUDIN of the iron rod from the back, which would have been in plain sight from the gallery. The stage would not permit the suspension to be worked out of range of the gallery gods. When Robert-Houdin went to London in 1848 he found Svesimg, the - Satreer performed by with - The BOTTLE, as the commend Tine PRINCESS'S THEATRE ALL KINDS-OF LIQUEURS. The Juggier of the Sum and Moon. - - The Bagic Sword, or the Skuful Player at - Blind-Man's Buil. GENERAL REQUEST SOUS and its isclated Bell. (Mechasic.) mose. The July Colums, of the Docile Cart. (Mechanic.) HERRMANN The Philanthrepic Banker. A Chinese Metamorphose. The Funtastic Glass. Pierro the Magician. (Mechanic)) The Marriage at Cana. The Disappearance of * * * The DOVES THE First Professor of Magic in the World The Miracle of Flowers (Mechanie,) The BANDEER of SATAN. Will give six MORE of his The Multiplication of Guinea Pigs. The Flower Garden. ENTERTAINING The Universal Thought. The Miraculous Production of Plumes. OIREES The Enchanted Vases. The Puzzled Choice, or four in one. EMIDA's o BALICE, or the GENEVA CLOCK wons. The Mysterions Chest. And MAGIQUE. - THE ONLY NIGHTS HK CAN REMAIN IN LONDON, many Provincial BONDAY Evening, August 21st. 1848, TORSBAY, 22ud, WEDNESDAY, 23rd, PRURSDAY, 24th, FRIDAY 25th, And SATURDAY, 26th, THE BENEFIT of M. HERRMANN And will be varied with NEW & WONDERFUL ILLUSIONS EN ERIMEENT T al. SUSPENSION ETHER MADAME HERRMANN selncomprehensible Handkerohief " MAND vases FILLED WITH -- Astenishing Frate ANTI-MACNETISM Gold Fish! This extraordinery Feat is executed in a plaia Evening Brees, and must be seem to be belleved. Dress Circle, 4s. Boxes, ** Pit, ** and Gallery, le as. the CLAIRVOYANCE loors open at half past Seven. Commence at Balf.price at Nime . Cleek a a A Compars Herrmann programme of 1848 in which suspension is featured. From the Harry Houdini Collection. [ 232] | |
unmaskingrobert00houdgoog.pdf,205 | unmaskingrobert00houdgoog.pdf | 205 | THE UNMASKING OF ROBERT-HOUDIN nel which has a tapering nozzle made specially for this purpose. The trick is generally started by proving to the audience that the bottle is empty. It is then filled with water, whichn is immediately poured out again, all this time the five pinholes being covered tightly with the hand or fingers which are holding the bottle. When a liquor is called for the performer raises the finger over the air-hole above that particular liquor, and the liquor will flow out. When a large number of liquors may be called for, the performer has one compartment filled with a perfectly colorless liquor, which he pours into glasses previously flavored with strong essences. Certain gins and cordials can be simulated in this fashion. Various improvements have been made in this bottle trick. For instance, after the bottle has yielded its various sorts of liquors, it is broken, and from the bottle the per- former produces some borrowed article which has been "vanished" in a previous trick and then apparently for- gotten. This may have been a ring, glove, or handker- chief, which will be discovered tied around the neck of a small guinea-pig or dove taken from the broken bottle. This is accomplished by having the bottle especially constructed. Its compartments end a few inches above the bottom of the bottle and the portion below having a wavy or cracked appearance, is made to slip on and off. The conjurer goes through the motions of actually break- ing the bottle by tapping it near the bottom with a small hammer or wand, and the appearance of the guinea-pig or lost article causes surprise, so that the pretended break- ing of the bottle passes unnoticed. | |
unmaskingrobert00houdgoog.pdf,283 | unmaskingrobert00houdgoog.pdf | 283 | THE UNMASKING OF ROBERT-HOUDIN monk fought for his life so effectually that it was he, and not Cagliostro, who escaped. Cagliostro was literally buried alive in a subterranean dungeon, as punishment for his final offence, and his wife immured herself in a Roman convent, where she died in 1794. In Paris, perhaps, Cagliostro enjoyed his greatest Free Masons' Lodge, Myton-Gate. MORE NEW PERFORMANCES. For THREE NIGHTS Longer. Mons. Felix Testot, Impressed with . dee - of graditude to the Pabilic for the patronage eviscad tewards the durlag stay le Sell, - - leave to solicit - that the Solection be - thate will - with the - Apprebades they hove alrendy - agee On Thursday, Friday, and Saturday Evenings, October 19, 20, and 21, 1896. Among other NEW FEATS, Mom , T. - that Font of THE NE PLUS ULTRA OF THE Cabalistic Art. The Company - be requested to favear M. T.T. with losa of . variety of of - persome as hase set lest asy thing will hove an apportucity to commend N to retere a the ardicios bet making theis choice to thate coppostive oveera. Ho ush thes the erticios to and be found immodiately, whorever the Company - regaire, that - asy, IN ANY PART OF the rown. The esecution of this Musice le Londes cassed of the greatent delight - the astiale bese - conveyed from the Adelphi Thentre to the greas Gast Se fert, Gee 6 night and day under the immediate charge of . Sondeal. It also - grestast and delight le Ozferd, where the articles berrowal were eseveyed freas - Reom, to the top of Usiveruity Chered, and - reponted feer eveelage la - almeet ble places. Alse le by the articles being esereyed to the top of Neleos's Mosement THE WICK PIDGEON. as WILL INTRODUCE THE NEW AND EITRAORDINARY Transformation of a BIRD INTO A CHILD! GROWING INTO LADY!! wia - other exporiments, which lore Nomal , t. performence with bie EVOLUTIONS and Fom CM bave geleed - appliente dese Dasus to be at Sovee and the to at FRONT SEATS, - - Testot programme, featuring Cabalistic Art" in 1826. From the Harry Houdini Collection. triumphs of charlatanism, … | |
unmaskingrobert00houdgoog.pdf,81 | unmaskingrobert00houdgoog.pdf | 81 | THE UNMASKING OF ROBERT-HOUDIN ments headed "Fawkes and Powel," "Fawkes and Phillips," and "Fawkes and Pinchbeck." Powel was the famous puppet man, Phillips a famous posture master (known to-day as contortionist), and Pinchbeck was the greatest of mechanicians. Fawkes seems to have pos- sessed a singular gift for picking out desirable partners. From this mass of evidence I am producing various This prefent Evening, Room, over the Piazza's, at the to the Ray Market, the Famoes, FAWKES pet. formi molt by Mand, with Curinution al that Kind, being what has thew by any of Pelfon with the Agiviry of in Body by before Pitture the Allo or rest performed theye will be Dunces by twe Poiture ID They crimm the and ty be bure Foor righ, and Plemy Dance an tentian with Dis and but one Body ta the Admination of all ato Ing and of the Slack Reprain fishio as war never performed by any other prec Gly at and th-jors Day N. Mow the Clentlemen Place abole, and Hours every any N. may bave: privaté RE an he tof this longer whan the Stalon - to that be Acani ay and Ladies Eancies by Desterity of Hand for thake owa Diverion By Permifion, A the Chriftian Coffee-houle at Smithfield Bano the prefent Evening DE will performent - by Mr. CLENCH of who imiratey the Hom, Pack of Roundi, the Tham Doctor, old deungen Man, und the Beits 1 the Doubte Courtel, the Organ with three Volerity sul are perforged with bis Natural Volie 4 allo - Ellex song by Mt. Clench, after which ma nare - can puform. Clipping from the London Post, February 7th, 1724, in which Fawkes announces his retirement and offers to teach his tricks to all comers. Below this announcement is the advertisement of Clench, famous as an imitator and an instrumentalist. clippings. By a peculiar coincidence one of these I believe offers the most authentic and earliest record of "two a night" performances in England. In my collection are a number of other clippings from the press of the same year, in April and May, 1728, but none of them says "twice a night," therefore I judge [64] | |
unmaskingrobert00houdgoog.pdf,243 | unmaskingrobert00houdgoog.pdf | 243 | THE UNMASKING OF ROBERT-HOUDIN least thought, not until then explored. She guesses the age of every one, whether they be married or not; how many children they have, of what sex, and whether they be living or dead at the present time, etc. She does the like for any one having a chance in the lottery, as to what is its number, and what will be its share of gains. She the MYSTERIOUS LADY, Reproduction of the cut used on the mysterious lady's handbills, distributed in America in 1841. From the Harry Houdini Collection. also guesses at every one of the most different sorts of coin, and even at the year with which they were stamped. She guesses at every number which any one shall secretly set down, even though it amount to upward a million. She moreover tells exactly whether any one be in the [216] | |
unmaskingrobert00houdgoog.pdf,71 | unmaskingrobert00houdgoog.pdf | 71 | THE UNMASKING OF ROBERT-HOUDIN leading mechanical genius at the close of the seventeenth century and the beginning of the eighteenth. He was a man of high repute, whose history is not that of the charlatan, compiled largely from tradition, but it can be & YOUNGS Reem the of Leal- Mall, facing rke Hay-Market, fern The GRAND TREATAL of the MUSES, jaje Mr. PINCHBECK, THIS wonderful Machine is the Altonifh- et all that feeit. the of be Struc- tue, the Delicacy of the Paining quit and the grast valiety of moving Figures m-k-s i the mott priling Piece of An that has ever yer appear'd in Earope. It di Landfeape, witha view of the Sea. termina- to sieg PL dey difeppear, - doubling Avaft Swans Capes, in and River With diminifhing filling Shipsfailing, by plurning degrees plying . and Duck Hunilig to Perfection ard greas variety M Motions Likewife Pifture, N- la * Foreß playing umong the Rere the very T ces, well as Banes, ere feen TO move, as if animared and compell'4 bythe Hamony of bia Haxp. It alle perfoims on feveral Inftruments great of molt excellent Pieces of Mulich compos'd by Mz. H FANDEL, Co RELLS ALEINONI, and orher celebtated with fuch wonderful Exadneti, that fearce any Hand can equal, It the fweet Hazmony of any AVI- ary of Bieds, wherein the refpective Notes of the Nightin- gate, Woodlatk, Cuckoo, &cc. are performed to fo giear a Perfedion, NS not ro be from Naruze it fell. Wirh feveral orher to men- tion, Frices 55. 25. 6.d. and - To be feeo from 10 in The Morning vill to Night, by two, DE more, wichout lofs if Fins. Nate, This curions Machine will be removed ia a few Days Deas but oute to the Leg Tavem in Ficerflieer, Clipping from the London Daily Post of November 30th, 1798. Used by Christopher Pinchbeck before he joined Fawkes. From the Harry Houdini Collection. corroborated by court records, biographical works, and encyclopaedias, as well as by contemporaneous newspaper clippings. According to Vol. XLV. of the "Dictionary of National Biography,' edited by Sidney Lee and published in 1896 by Smith, Eld… | |
unmaskingrobert00houdgoog.pdf,61 | unmaskingrobert00houdgoog.pdf | 61 | THE UNMASKING OF ROBERT-HOUDIN leading mechanical genius at the close of the seventeenth century and the beginning of the eightcenth. He was a man of high repute, whose history is not that of the charlatan, compiled largely from tradition, but it can be At YOUNGS Gront Riem, the of unite Mall, faring de Hay-Market, feem The GAAND TREATHE of the MUSES, jaft find Mr. PINCHBECK, THIS wonderful Machine is the Altonifh- men et of that fee it. the Magnificraçe of bs the Deliescy of the Painitag und Seulprure, and the great variety of moving Figures makes it the moit fur- priling Piece of An thaz has ever yer appear'd in Europe. It regrefenta a Landfeape, witha view of the Sea. termina- sing infentibly NE 4 vall wich Shipsfailing, plying to doubling Capes, and diminithing by degrees an des difappear, Swans in . River filling and pluming Duck Hunring to Perfection, and grest variety Motions Likewife Piéture, re- OEPUTUS in playing amang rhe Bealts fiere the very T res, as well du Bnnes, are feea 10 move, as if animared and compell'd by the Hamony of bia Harp. It allo perfoins on feveral Infrumenta great variety of moit excellent Pieces of Mulick compos'd by Mr. HANDRE, Co- RELET Bosescims, and orher celebtated wich fuch wonderful Exaänel, that fearce any Hand em equal. It liacwife imitates the fwee Hamony of any Avi- ary of Birds, wherein the refpeltive Notes of the Nightin- gale, Woodfark, Cuckoo, &c. are performed 10 to gieat a Perfebtion, as not to be dillioguillid from Nature it felf. Wirh feveral other grand 100 dious to men- tiow, Prices rs. 25, 6 d. and To be feem from to in the Morning rill To Nighr, by two, or more, without lofe of Time. Nate, This curious Machine will be removed ia a few Days next Deas but oxie to the Leg Tavem in Fleetflieet, Clipping from the London Daily Post of November 30th, 1798. Used by Christopher Pinchbeck before he joined Fawkes. From the Harry Houdini Collection. corroborated by court records, biographical works, and encyclopaedias, as well as by contemporaneous newspaper clippings. … | |
unmaskingrobert00houdgoog.pdf,281 | unmaskingrobert00houdgoog.pdf | 281 | THE UNMASKING OF ROBERT-HOUDIN languages. These two adventurers travelled in Egypt, and when Althotas died Cagliostro went to Naples and Rome, where he married a beautiful girdle-maker named Seraphinia Feliciani. This woman shared both his tri- umphs and his disgrace. In 1776 they arrived in London, where he announced himself as the Count di Cagliostro. The title was assumed, the name was borrowed from his mother's side of the house. Here for the first time Cag- liostro announced himself also a worker of miracles or wonders. He exhibited two mysterious substances, "Materia Prima," with which he transmuted all baser metals into gold, and "Egyptian Winc," with which he claimed to prolong life. His wife, who was just past twenty, he declared was more than sixty, her youthful appearance being due to the use of his elixir. He founded a spurious Egyptian rite in connection with the Masonic order which has been recognized as a blot upon Masonic history, and he claimed thousands of Masonic dupes. All over the Continent he and his beautiful wife travelled, now healing the poor for nothing, now duping the rich, but always living in a most picturesque, voluptuous fashion. He dipped into spiritualism and mesmerism, but wherever he went his converts followed after. In 1789, while in Rome, he was seized by that invincible power, the Holy Inquisition, and was condemned to death. Later Pope Pius VI. changed the sentence to life imprison- ment. Confinement made him more daring than ever. He asked for a confessor, and when a Capuchin monk was permitted to enter his cell in this capacity Cagliostro endeavored to choke him and escape in his robes. The [ 252] | |
unmaskingrobert00houdgoog.pdf,247 | unmaskingrobert00houdgoog.pdf | 247 | THE UNMASKING OF ROBERT-HOUDIN is offered not to belittle the human mediums, but to prove that from start to finish, from the day that Breslaw offered the trick to the present moment, when a number To the Public in general, and thofe of real Knowledge Particularly. To be teen from Tea m the Morning. 6ll Four is the Afternean At Mr. BECKET's, Thank Maker, No. 3r. HAY. - MARKET. Alter all thet has been produced in the Warld, fagacious of the Annial Species, Learnid Pig, the Dancing Dosa &c &c. and which have been acceptad, and acknew ledged with Truff, as WONDERS, Ivt in the fame time, of natural intelle that who could belleve, (exeept feeing,) that themeR Stupid and Infenfate of the CRE ATION Could be Brought to fuch a degree of Sagacity, and Wunderful Learning. of Hunenur Animal Tricks, as the Prodigious G S E, Pids ct Crede Lately arrived from Abroad. Whan spropity before acandid and Public, to levite them to fee, and be Fithe Durrag arfucha (for have a a a particalar sckined fram them - Agilitad as the misd - gevinally (s. Aveg OF LETE le will furdy find, and asknowlar ge to the Adfere A LEARNED GOOSE Who Performs the following Tricke, viz. Perfonning upon Cards, Maney and Watches; telling the Day of the Manth, andtle Month of the Year, as allo the value of any Plece, éither English or Foreign: all furte ard (meft prodigioully. and certainly unbelieuing to thaie who lonow the of . Gouse.) the tells Ladias and Gentlemen in the Company; uf any Perfon's thought ay at Lady drawing of the Pack, thoughever fo fectet blindfoldad at the faine time will And out the draw, It Te aut of the compsis efa Bilt, to enumerate all the Tricks the doa befides. Admittaner, Tua Shillings each Poyun. Rare poster announcing the performance of the learned goose, one of the first of the second-sight animal artists. Traced from the original poster in the British Museum by the author. of skilful so-called mind-readers still mystify the public, some sort of speaking or signal code has been used. Rob- [220] | |
unmaskingrobert00houdgoog.pdf,219 | unmaskingrobert00houdgoog.pdf | 219 | THE UNMASKING OF ROBERT-HOUDIN into Different Liquids-Sherry, Port, Champagne, Gin, BOWERY THEATRE Milk, Rum, and Water." The London Sun of Domes. Pit. 1-9 Conte Seate de Orchostra Beses. se Conte Domes for FIV Dellase Boots egee from 9 A. a April 18th, 1843, says: The Deors will open et asd the Seiree et . e'slesh. These le se Cheatrical Eshibition with these "Mr. Anderson, be- NIGHTLY JAMMED! THE GREAT WIZARD sides the feats by which MAGALLISTER! his reputation was es- tablished in his former bie Trimmbant Career, and sightly exhibite bie Grand and De'ginal exhibitions in the metro- Experimente in MAGXO, x. ac., in bie Gorgeous Temple before AMAZED THOUSANDS polis, performed with per- "Men of Mighty Words and Little Deeds! Whe elaim the sele right to the name el WIZARD try in vais to convince the werld of fect ease and success beis greatness!--They may well writhe under the exposure of their FRES SYSTEK, by which they seek to obtain es sudiesce, while the daily assouncement of ous TRIOKS under www show the strait to which they ase driven! They have learned " their cost, that some of greater difficulty " Feels rash in where Angels fear to tread." For the time bere. Macallister will perfores hie than those by which Herr GREAT LIGHT FEAT Döbler astonished the AND INSTANTLY Iliuminate the Interior of the Theatre world, such as serving AT A PISTOL SHOT Requert, will be repeated the several kinds of wines MYSTERIOUS DISAPPEARANCE ANDITS from the same bottle." " GREAT GUN .FEAT!" or, FEAT A LA Wm. TELL. was - sine Wendes the em origimal MAGIC BOTTLE - The Morning Adver- ANCALLISTERS tiser (London) of the ORICINY same date said BOTR KINDS OF LIQUOR "With the utmost ease OUT or MACALLIITER'S he produced from an BOTTLE world that cas empty bottle wine, water, produce kinds of Liques and the same Dottle. port, sherry, and cham- ednesday Evening, August 11, 1852 pagne, and immediately wm be gives the Mystorics of the ENCHANTEDPALACE afterward, under a blaze Programme used by Macallister at the of wax and gas, he broke Bowe… | |
unmaskingrobert00houdgoog.pdf,175 | unmaskingrobert00houdgoog.pdf | 175 | THE UNMASKING OF ROBERT-HOUDIN in the centre of the glass face, and revolves it. The arrow or hand is worked by a counterweight, controlled by the M. Jacobs, magician, ventriloquist, and bold imitator of John Henry Anderson. From a rare lithograph now in the Harry Houdini Collection. performer, who has it fixed before he hands it to the inno- cent spectator. The clock can be purchased from any [158] | |
unmaskingrobert00houdgoog.pdf,91 | unmaskingrobert00houdgoog.pdf | 91 | THE UNMASKING OF ROBERT-HOUDIN in his later years he became interested in ballooning, the sensation of the hour, and spent his entire fortune on balloon experiments. He died in Bartichoff, Volhinie, aged fifty years. Pinetti was a man of rare inventive genius and almost N° a Beduer en and Henri Decremps, the French author who exposed and endeavored to ruin Pinetti, but succeeded only in immortalizing him. reconstructed the art of conjuring, so numerous were his inventions. For half a century after his death his suc- cessors drew upon Pinetti's inventions and répertoire for their programmes. Naturally such ability aroused bitter jealousies, especially as Pinetti made no attempt to con- [74] | |
unmaskingrobert00houdgoog.pdf,89 | unmaskingrobert00houdgoog.pdf | 89 | THE UNMASKING OF ROBERT-HOUDIN in 1783. His fame quickly carried him to Paris, where in I784 he appeared before the court of Louis XVI. His arrival was most opportune, for just then all Paris I.I.PINETTI Ritterund Konigh: Freus Hopphyficus by yeiner infeclungin Hamburg A wood-cut used by Pinetti during his engagement at Hamburg, Germany, in October, 1796. From the Harry Houdini Collection. and, for that matter, all Europe had been aroused to a new interest in magic by the brilliant Cagliostro. From Paris he went to London, playing at the Hay- market and creating a sensation equal to that which he made in France. Later he toured Germany, playing in [72] | |
unmaskingrobert00houdgoog.pdf,289 | unmaskingrobert00houdgoog.pdf | 289 | THE UNMASKING OF ROBERT-HOUDIN humble travelling magicians whose names have been written most faintly in the annals of conjuring, and the much-vaunted trick "invented" by Robert-Houdin for the entertainment of his sovereign. The hall in which the matinée was given was located in Harlem, Borough of Manhattan, New York City, and I had decided that the handkerchiefs which were to make the flying journey should be "desired" by some one pres- ent to appear under the top step of the winding staircase in the Statue of Liberty, which is located in New York Harbor. This meant a half-hour ride from the hall to the boat in a Subway train; then a run across New York Harbor to the Statue. These boats left the dock on the hour and the half-hour, so I timed my performance to fill just half an hour, starting with some sleight-of-hand, the egg-bag trick, and swallowing a package of needles and bringing them up threaded, which latter trick was introduced into magical performances in Europe by K. K. Kraus in 1816. Just before 3:30 o'clock I borrowed three handkerchiefs and tied them together for casier handling. I had three handkerchiefs, similarly tied together, under my vest, and just at 3:30, I switched the two sets of handkerchiefs, so that the handkerchiefs furnished by the spectators were under my vest and the bogus handkerchiefs in my hand. First I dropped the bogus handkerchiefs on the table-trap, picking up the opaque glass cover with which they were to be hidden, and, by a carefully rehearsed bit of carelessness, dropped and broke it. Then, leaving the bogus handkerchiefs on the table trap, I stepped toward the wings, apparently to secure another glass bell [260] | |
unmaskingrobert00houdgoog.pdf,291 | unmaskingrobert00houdgoog.pdf | 291 | THE UNMASKING OF ROBERT-HOUDIN handkerchiefs were placed in the tin box, securely sol- dered, and then this box was placed inside a second iron box, which was locked. The "plant" was then taken upstairs and hidden under the top step. In the mean time, with my thoughts following my assistant every step of his trip, I was playing out my end of the game. The audience was supplied with blank cards on which they might write the name of the place where the handkerchiefs should reappear. This, of course, took some time, and when the cards, each folded to hide the writing thereon, were collected in a hat, I shook them up thoroughly, and then turned them out upon a plate, deftly adding, on the top, three cards which I had concealed in my hand. This was sleight-of-hand purely, and I next picked out those three prepared cards on each of which was written "Can you send the handker- chiefs under the top step of the Statue of Liberty ?" Explaining that I had in my hand three cards chosen at haphazard, I wished the final choice to be made by a disinterested party. A baby was finally chosen to select the card. Naturally, I refused even to take the slip of paper from the baby's hand, and one of the lodge members read the question. Murmurs of surprise and incredulity echoed from all over the hall. The test was too difficult! I then an- nounced that if the audience would select its own com- mittee, making sure to pick out men who could not be bribed, I would accompany them, and we would surely return with the handkerchiefs, sealed in double boxes, as found under the famous stairway. As an elaborate course luncheon was to be served, the committee had [ 262] | |
unmaskingrobert00houdgoog.pdf,135 | unmaskingrobert00houdgoog.pdf | 135 | THE UNMASKING OF ROBERT-HOUDIN gentleman may call for whatever fruit they please, and the figure will return and bring the kind required, which may be repeated and the fruit varied as often as the company orders: it will likewise receive flowers, or any Take Totice! The Magistrates of Southuark Rove sindly given to Nr. BOLOGNA, 10 and thoir At the Great Assembly Room, Three Tuns Tavern, His Grand Mechanical and Aufomaticel Which àss he - Years heen unrivalled, AND SANCTIONED BY THE LOKD .CHAMBERLAIN, Al-e receired wirk the most and distiaguisbed Approbation. Mr. BOLOGNA impressed with . deep - of the anny faveits be for Yeer received, From . liberal Public, availe himiself of this la offer a Entertainment which - quite distinct from that of . Theatries Demeription, A from its harmales tendency, je peculiarly the attract the Nutice and Support of theme whowe religiona forbid thew Participation in of a marked and decimive Character. This Present FRIDAY, March 10th, 1820, And Every Meilnesdag * Friday During Lent, The beea fitted up for the Reneption of the Public The will with the fellaring Carious Piecea of Aninated Objents Mechanism Clockwork. PART L-A Windmill. That will Gried mait any Carf chumen by the Company, with a Variety of Performances by Clock Muvement, Deceptiona with Buans, Watches. Ac. 2-1 Cabinet of Peculiar Construction. By which will Le Preduced . Variety of Deceptions with Cards a.-An Automaten Figure representing a Necromancer. Who will explain the Thoughts of auy ludividual in Company. - 4-A Distiller whe Stands by his Tus, From which, n Command, he Drawa Eighr Didereal Sorte of Léquar. 3.-1 curious Mechanical Frailerer and Confecsioner's Shop. Compit. whe will produce at Command, esch Variety of Freit A as may be usked for. PART 11. OMBRES CHINOIS; or, CHINESE SHADOWS, la which the following Sqapes will be inteedeced. a The MAGICIAN'. CAVE, wherein enveral Tricks & Netamerphoses will thke Plece. 2 REPRESENTATIO of . FOREST. in which will be intreduced the mont Vonderfal species of Natural Hist… | |
unmaskingrobert00houdgoog.pdf,299 | unmaskingrobert00houdgoog.pdf | 299 | THE UNMASKING OF ROBERT-HOUDIN forward or sidewise, the weapon would slice his body, resulting in instant death or horrible mutilation. I have watched cheap performers of this class of work, in dime museums or fairs, walk up a ladder of sharp swords which I had previously held in my hand. They would place the foot down with infinite precision and then press it into place. This position will not result in cutting, but let the performer slip or slide and the flesh would be cut instantly. I have also seen an acrobat, working in a circus, select two razors in first-class condition, place them on a socket with the edges of the razors uppermost, and with his bare hands he would do what is known as a hand-stand on the keen edges of the blades. This trick of absolute balance is acquired by persistent practice from youth up. Again Robert-Houdin errs wofully in comparing the sabre-swallower to the swallower of broken bottle-heels and stones. Sabre-swallowing is one trick, swallowing pebbles and broken glass belongs in quite a different class. And when I say this I do not mean powdered glass, but pieces of glass first broken, then chewed, and finally swallowed. On page 426 Robert-Houdin puts the two tricks in the same class, as follows: "When the trick of swallowing bottle-heels and pebbles was to be done, the Aïssaoua really put them in his mouth, but I believe, I may say certainly, that he removed them at the moment when he placed his head in the folds of the Mokadem's burnous. However, had he swallowed them, there would have been nothing wonderful about this, when we compare it with what was done some thirty [270] | |
unmaskingrobert00houdgoog.pdf,197 | unmaskingrobert00houdgoog.pdf | 197 | THE UNMASKING OF ROBERT-HOUDIN for lightness, of papier-maché. The figure is joined by its hands to a bar of iron, that passes through a partition, and is turned by a confederate; the arms are inflexible at the elbows, but move freely at the shoulders by means of a bolt that goes through the body; and the thighs and Mr. BOLOGNA, Jun's ma. Mechanical Exhibition, an the Sans Parei! Theatre, Strand. 18. Frendo Present Evening, 1819, And - bee - - - - - Theatre, The to Automaton Rope Dapeers, - - The Swan of Oblectation - of - - The - Mechanical Windmill, Woud of Commond. Tine CONJUROR from Constantinople - - - - truly PIRCES of CALLED. LILLIPUT ISLAND; Or Automator Shadows, Taken from the Justly Admired Oubres Chincia. - s. The Maginas's - - Ae A Grand Display of Experiments in HYDRAULICS. Called Fire and Water, FIRE-WORKS, A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection. legs move in the same manner at the hips and knees, and are stayed by pieces of leather to prevent them from bending in the wrong way. The bar is covered with hollow twisted tubes, and ornamented with artificial flowers, so as no part of it can be seen to turn; the confederate 170] | |
unmaskingrobert00houdgoog.pdf,187 | unmaskingrobert00houdgoog.pdf | 187 | THE UNMASKING OF ROBERT-HOUDIN for lightness, of papier-maché. The figure is joined by its hands to a bar of iron, that passes through a partition, and is turned by a confederate; the arms are inflexible at the elbows, but move freely at the shoulders by means of a bolt that goes through the body; and the thighs and Mr. BOLOGNA, Jun's Mechanical Exhibition, ma. an the Sans Parej! Theatre, Strand. Mard 18. Present Evening, And - Dope and dering Love, - - Theatre, leams The Two Automaton Rope Dapeers, - - - the Swan of Oblectation wa - - of - - - - impose - Pragiona, The - - Comme - be - of 4 - - - . - Mechanical Windmill, - Wend of Commond. `ine CONJUROR from Constantinople - - - truly PIECES of CALLED, LILLIPUT ISLAND; Or Automator Shadows, Taken from the Justly Admired Oubres Chincia. - Boone The - Ae CLASS m. A Grand Display of Experiments in HYIRAULICS. Called Fire and Water, Free - Me. - FIRE-WORKS, - The A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection. legs move in the same manner at the hips and knees, and are stayed by pieces of leather to prevent them from bending in the wrong way. The bar is covered with hollow twisted tubes, and ornamented with artificial flowers, so as no part of it can be seen to turn; the confederate [170] | |
unmaskingrobert00houdgoog.pdf,105 | unmaskingrobert00houdgoog.pdf | 105 | THE UNMASKING OF ROBERT-HOUDIN for an emblem of "fidelity,' it would instantly draw the picture of a handsome dog; if love was wanted, a cupid was exquisitely pencilled. The automaton would also answer many questions in writing. I took this curiosity The late P. T. Barnum, the world's greatest showman, who bought the writing and drawing figure from Robert-Houdin, and wrote at length of the French conjurer is his autobiography. Born July 5, 1810. Died April 7, 1891. From the Harry Houdini Collection. to London, where it was exhibited for some time at the Royal Adelaide Gallery, and then I sent it across the Atlantic to my American Museum, where it attracted great attention from the people and the press. During my visit, Houdin was giving evening legerdemain per- [88] | |
unmaskingrobert00houdgoog.pdf,83 | unmaskingrobert00houdgoog.pdf | 83 | THE UNMASKING OF ROBERT-HOUDIN figure. About six years before his death he had his own theatre in James Street, near the Haymarket, in which he exhibited for months at a time before and after fairs. I reproduce a clipping from my collection showing Fawkes' last program. Here it will be seen that his first trick was causing a tree to grow up in a flower-pot on the table, and bear fruit in a minute's time. In The Gentle- men's Magazine, that oft-quoted and most reliable peri- odical, of February 15th, 1731, readers were informed that the Algerian Ambassadors witnessed Fawkes' per- We hear that young Fawkes and Pinchheck are now arrived in Town from the Bath and Saliabury; where they have, da the moft agreeable Mariger, entersained the Nobility and Quality with their very lurprieing and to whom the Tate Mr. Fawken, in his Life-tjme, had communicated all thofe wogder- fal Secrets which gave fuch univerfal Satisfaction to all his Specla tors : And we are likewife affored, that every Particular is preenvo in its utmoft Perfection, viz. His Artiticial View of the World his Turprizing Dexterity of Mand, in which he caufes a Tree to grow out of a Flower-Pot on the Table, which u Home and bears ripe Fruit in a Minute's Time; his famous little Pefture-Mafter of leven Years old, not to be equal'd in Europe, who likewile per- forms on the flack Rope to Admitation - his enternaining Muncal Clock, with two beautiful moving Piltures, and an Aviary of Bardr, ar natural as Life itlelf; alla a curious Venesian Maching, an w'i by all Artifis to be the fmefi Piece of Workmanfhip in the World; au which furgrizing Entersalnments we hear will be perf rm'd nex Week at the late Mr. Fawkes's Theatre, at the old Tennis-Court in James-fireet near the day-market. 1732 Clipping from the London Post, showing that young Fawkes collaborated with Pinchbeck and together they offered the orange-tree trick in 1739. From the Harry Houdini Collection. formance. At their request he showed them "a prospect of Algiers, and raised up an apple-tree which bo… | |
unmaskingrobert00houdgoog.pdf,321 | unmaskingrobert00houdgoog.pdf | 321 | THE UNMASKING OF ROBERT-HOUDIN failed, too. Even if the entire thumb were cut away, I believe it would still be impossible to slip a rope that was properly bound around the wrist. You may take any cuff of the adjustable make, or a ratchet cuff, place it about a small woman's wrist, and you will find that even S T. GEORGE'S HALL, LANGZAX PLACE. RETURN BROTHERS DAVENPORT AMD M R. FAY. Tz BROTHERS DAVENPORT and Mr. FAY have the honour to announce that, after a tour of three years over the greater part of the Continent of Europe, they have returned once more, and probably for the last time, to this Metropolia, where they will give a few Séances previous to their departure for the United States. During their European tour they have given Séances in Paris, Berlin, Vienna, Moscow, St. Petersburgh, and nearly every great Continental Capital; and have had the honour of appearing before their Majesties the Emperors of France and Russia, the Royal Family of Prussia, and great numbers of the most Distinguished Personages in Europe. Many thousands of persons of the highest rank and intelligence have witnessed the astonishing experiments given in their presence. Throughout the Northern American States, from 1853 until their first visit to England in 1864, they were seen by hundreds of thousands of persona. In England, their first Séance was given in private, to a most distinguished party of men of science and letters, who gave their most unequivocal testimony to the excellence and perfection of their experiments. Two Séanoss of the and Mr. Fax will be given at ST. GEORGE'S HALL. LANGHAM PLACE, On THURSDAY EVENING, APRIL 23rd, And SATURDAY EVENING, APRIL 25th, 1868, at Eight o'clock. STALLS, - 8s. BALCONY, - Se. ADMISSION, ONE SHILLING. Announcement used by the Davenport Brothers on their return to London, England, after their tour of the Continent in April, 1868. From the Harry Houdini Collection. [ 292] | |
unmaskingrobert00houdgoog.pdf,257 | unmaskingrobert00houdgoog.pdf | 257 | THE UNMASKING OF ROBERT-HOUDIN escaping from a bladder or tube. When the screen or blanket was again withdrawn, the conjurer was standing on the ground. The mystery was supposed to have been solved when Sheshal, commonly known as "the Brahmin of the Air," exhibited the trick in 1832 in Madras. It was observed that his stool was ornamented with two inlaid stars, and it was suggested that one of these might conceal a socket for a steel rod, passing through the bamboo, and that another rod, screwed to the perpendicular one and con- cealed by the piece of hide, might be connected with a mechanism of the same metal, passing up the sleeve and down the back, and forming a circular seat. This con- jecture probably was not far from the truth, for while Frost is by no means the greatest of authorities on magic and magicians, in this particular instance I believe that his explanation of the trick is correct. The next authentic early information I have gathered regarding suspension concerns that wonderful performer who called himself Ching Lau Lauro. Presumably he was a Chinaman, and from the programmes in my collection he evidently appeared first in England, in 1828, when he was engaged to perform between scenes of various plays, including "Tom and Jerry," at the Coburg. I repro- duce on page 23I one of Ching Lau Lauro'sprogrammes. About 1833, or possibly a year earlier, he cut out some of his singing, and introduced the suspension with which he closed his performance. At this time he gave the entire programme. According to his programmes, in some places he excluded the public from the gallery, so I judge that his suspension was accomplished by the use [ 230] | |
unmaskingrobert00houdgoog.pdf,307 | unmaskingrobert00houdgoog.pdf | 307 | THE UNMASKING OF ROBERT-HOUDIN ern human ostriches have all wound up at city hospitals where surgeons have removed broken glass, knife blades, and other foreign matter by means of an operation. I quote the above instances simply to prove that the stones were actually swallowed and then disgorged, and not hidden, as Robert-Houdin claims, in the folds of the Mokadem's burnous. In this one chapter alone Robert-Houdin quotes six authorities in explaining the tricks he witnessed, which fact only strengthens my belief that he borrowed his tricks, as well as his explanations, from able and graphic writers on the art of magic. The next work descriptive of the conjurer's art offered by Robert-Houdin was "Les Secrets de la Prestidigitation et de la Magie." Under the title of "The Secrets of Con- juring and Magic; or, How to Become a Wizard," it was translated and edited by Professor Hoffmann and published in 1878 by George Routledge & Co., London and New York. Absolutely no originality is displayed in this book, and the majority of the tricks explained can be found in French books of a similar character which appeared be- fore Robert-Houdin turned author. The proof of this statement can be found by reading any of the following works upon which Robert-Houdin patently drew for his material: "Nouvelle Magie Blanche Dévoilée et Cours Complet de Prestidigitation," in two volumes, by J. N. Ponsin, published in Paris in 1853; "Grande Initiation au vraie Pratique des Célèbres Physiciens-Prestidigitateurs,' Paris, 1855; "Nouveau Manuel Complet Sorciers, les [278] |
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