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unmaskingrobert00houdgoog.pdf,107 | unmaskingrobert00houdgoog.pdf | 107 | THE UNMASKING OF ROBERT-HOUDIN Robert-Houdin, he brought to America a talking figure invented by Professor Faber of Vienna, to which he refers most entertainingly PALAIS ROYAL, in his address to the pub- Argyll Street, Oxford Circus, W. lic dated 1873: TALKING "The Museum depart- ment contains 100,000 curiosities, including Pro- fessor Faber's wonderful talking machine, costing me $20,000 for its use for six months; also the National Portrait Gallery of one hundred life-size paintings, including all the Presidents of the United States, etc.; John Rogers' groups of historic statuary; almost an end- MACHINE less variety of curiosities, 1 Thc Exhibition is not limited to simple talking. but is enhanced by an including numberless au- esplanstora description of the method of producing the various sounds, words, and sentences, visitors alsc-being aliowed to inspect every part of the Machice. It is rot only interesting to the Scieutific as illustrating the theory tomaton musicians, mech- acoustics, bat to the Rublic in general, especially to the young.-to whom it offers an ineshoustible fund of wonder ald EXHIBITING DAILY From 11 a.m., till 10 p.m. anicians, and moving Admission, 1s. Reserved Seats, 2s. Children, 6d. scenes, etc., etc., made in Hanger advertising the Professor Faber Paris and Geneva." talking machine, exhibited by P. T. Bar- num during 1873 in his museum de- It can be imagined how partment. This automaton was the first talking figure. From the Harry Houdini wonderful this talking Collection. machine must have been when Barnum gave it special emphasis, selecting it from the hundreds of curios he had on exhibition. As this talking machine is probably forgotten, I will reproduce [90] | |
unmaskingrobert00houdgoog.pdf,108 | unmaskingrobert00houdgoog.pdf | 108 | THE WRITING AND DRAWING FIGURE the bill used at the time of its appearance in London, England. When Barnum was in London in 1844, with Gen. Tom Thumb, who was then performing at the Egyptian Hall, he first saw the automatic talking machine and engaged it to strengthen his show. Thirty years later Prof. Faber's nephew was the lecturer who explained to the American public the automaton's mechanism and also the performer who manipulated the machine. Barnum always speaks of the talking automaton as being a life-size figure, but the pictures used for adver- tising purposes show that it was only a head. The fate of both the talking automaton and the writing and drawing figure is shrouded in mystery. If they were in the Barnum Museum when the latter was swept by fire in 1865, they were destroyed. If they had been taken back to Europe, they may now be lying in some cellar or loft, moth-eaten and dust-covered, ignominious end for such ingenious brain-work and handicraft. So much for the claims of Robert-Houdin. Now to disprove them. The earliest record of a writing figure I have found is in the "Dictionary of Arts, Manufactures, and Mines," compiled by Andrew Ure, M.D., and published in New York in 1842 by Le Roy Sunderland, 126 Fulton Street. On page 83, under the heading of "Automaton," is this statement: "Frederick Von Knauss completed a writing machine at Vienna in the year 1760. It is now in the model cabinet of the Polytechnic Institute, and consists of a globe two feet in diameter, containing the mechanism, upon which [ 91 ] | |
unmaskingrobert00houdgoog.pdf,109 | unmaskingrobert00houdgoog.pdf | 109 | THE UNMASKING OF ROBERT-HOUDIN sits a figure seven inches high and writes, upon a sheet of paper fixed to a frame, whatever has been placed beforehand upon a regulating cylinder. At the end of each line it raises and moves its hand sideways, in order to begin a new line." This does not answer the description of the figure which Robert-Houdin claims, but it is inter- esting as showing that mechanical genius ran along such lines almost a hundred years before Robert-Houdin claims to have invented the famous PTS JAQUET DROZ. automaton. The writing and draw- of ing figure claimed by Rob- othe tres humble Soumm's ert-Houdin as his original invention can be traced ph e back directly to the shop door of Switzerland's most Portrait and autograph of Pierre noted inventor, Pierre Jacquet-Droz Born 1721, died 1790. From the brochure issued by the Jacquet-Droz, who with Society of History and Archaology, Canton of Neuchâtel, Switzerland. his son, Henri-Louis, laid the foundation of the famous Swiss watch- and music-box industry. In the latter part of the eighteenth century, probably about 1770, the Jacquet-Drozes turned out a drawing. [92] | |
unmaskingrobert00houdgoog.pdf,110 | unmaskingrobert00houdgoog.pdf | 110 | THE WRITING AND DRAWING FIGURE figure which also inscribed a few set phrases or titles of the drawings. In mechanism, appearance, and results it tallies almost exactly with the automaton claimed by Robert-Houdin as originating in his brain. The Jacquet- Droz figure showed a child clad in quaint, flowing gar- ments, seated at a desk. The Robert-Houdin figure was modernized, and showed a court youth in knee breeches and powdered peruque, seated at a desk. The Jacquet-Droz figure drew a dog, a cupid, and the heads of reigning monarchs. The Robert-Houdin figure, made seventy-five years later, by some inexplicable coincidence drew a dog as the symbol of fidelity, a cupid as the em- blem of love, and the heads of reigning monarchs. The history of the Jacquet-Drozes is written in the annals of Switzerland as well as the equally reputable annals of scientific inventions, and cannot be refuted. Pierre Jacquet-Droz was born July 28th, 1721, in a small village, La-Chaux-de-Fonds, near Neuchâtel, Switz- erland. According to some authorities, his father was a clock-maker, but the brochure issued by "Société d'Histoire et l'Archéologie" of the city of Neuchâtel, which has recently acquired many of the Jacquet-Droz auto- mata, states that he was the son of a farmer and was sent to a theological seminary at Basle. Here the youth's natural talent for mechanics overbalanced his interest in "isms" and "ologies," and he spent every spare moment at work with his tools. On his return to his native town he turned his attention seriously to clock- and watch-making, constructing a marvellous clock with two peculiar hands which, in passing each other, touched the dial and rewound the clock. [ 93 ] | |
unmaskingrobert00houdgoog.pdf,111 | unmaskingrobert00houdgoog.pdf | 111 | THE UNMASKING OF ROBERT-HOUDIN At this time his work attracted the attention of Lord Keith, Governor of Neuchâtel, then a province of Prussia, who induced the young inventor to visit the court of Ferdinand VI. of Spain, providing the necessary intro- ductions. Pierre Jacquet- Droz remained for some time in Madrid and made a clock of most complicated pattern. This was a perpetual calen- dar. For hands, he utilized artificial sunbeams, shooting out from the sun's face which formed the dial, to denote the hours, days, etc. With the money received from the Henri-Louis Jacquet-Droz, son Spanish monarch he returned of Pierre Jacquet-Droz, and the to Switzerland to find that his superior of his father as a mecha- nician. Born Oct. 13th, 1752, died son, Henri-Louis, had inher- November 15th, 1791. From the Jaquet-Droz brochure, issued by ited his remarkable inventive the Neuchâtel Society of History and Archaeology. gifts. He sent his boy to Nancy to study music, draw- ing, mechanics, and physics. During his son's absence in all probability he produced the first of the marvellous automata which made the Jacquet-Drozes famous the modern world over, namely, the writing figure. With the return of Henri-Louis Jacquet-Droz from college commenced what may be termed the golden age of mechanics in Switzerland. Associated with father and son were the former's pupils or apprentices, Jean- Frédéric Leschot, Jean-David Maillardet, and Jean Pierre Droz, a blood relation who afterward became director of [ 94] | |
unmaskingrobert00houdgoog.pdf,112 | unmaskingrobert00houdgoog.pdf | 112 | THE WRITING AND DRAWING FIGURE the mint at Paris and a mechanician of rare talent. Jean Pierre Droz is credited with having invented a machine for cutting, stamping, and embossing medals on the face and on the edges at one insertion. The output of this shop and its staff of gifted workers included the first Swiss music box, the singing birds which sprang from watches and jewel caskets, the drawing figure which was an improvement on the writing figure, the spinet player, and the grotto with its many automatic animals of diminutive size but exquis- ite workmanship. Years were Jean-Frédéric Leschot. Born 1747, died 1824. Por- spent in perfecting the various trait published by Société des Arts de Genève. Presented to automata, and none of them the author by Mons. Blind (Magicus) of Geneva. have been equalled or even approached by later mechanicians and inventors. Henri-Louis Jacquet-Droz was conceded to be the supe- rior of his father, Pierre Jacquet-Droz. In a German en- cyclopaedia which I found at the King's Library, Munich, it is stated that when Vaucanson, celebrated as the in- ventor of "The Flute Player," "The Mechanical Duck," "The Talking Machine," etc., saw the work of the younger Droz, he cried loudly, "Why, that boy com- mences where I left off!" According to the brochure issued by the Society of History and Archaology, Canton of Neuchâtel, and an article contributed by Dr. Alfred Gradenwits to The Scientific American of June 22d, 1907, the 95 ] | |
unmaskingrobert00houdgoog.pdf,113 | unmaskingrobert00houdgoog.pdf | 113 | THE UNMASKING OF ROBERT-HOUDIN writing and drawing figures are made and operated as follows: "The writer represented a child of about four years of age, sitting at his little table, patiently waiting with the pen in his hand until the clockwork is started. He then sets to work and, after looking at the sheet of paper before him, lifts his hand and moves it toward the ink-stand, in which he dips the pen. The little fel- low then throws off an excess of ink and slowly and calmly, like an industrious child, begins writing on the paper the prescribed sentence. His handwriting is careful, conscien- The Jacquet-Droz writing automaton. From the brochure issued by the Society of tiously distinguishing History and Archaology, Canton of Neu- châtel, Switzerland. between hair strokes and ground strokes, always observing the proper intervals between letters and words and generally showing the sober and de- termined character of the handwriting usual at the time in the country of Neuchâtel. In order, for in- [96] | |
unmaskingrobert00houdgoog.pdf,114 | unmaskingrobert00houdgoog.pdf | 114 | THE WRITING AND DRAWING FIGURE stance, to write a T, the writer begins tracing the letter at the top, and after slightly lifting his hand half- way, swiftly traces the transversal dash, and continues writing the original ground stroke. "How complicated a mechanism is required for insur- ing these effects will be inferred from the illustration, in which the automaton is shown with its back opened. In the first place a vertical disk will be noticed having at its circumference as many notches as there are letters and signs. Behind this will be seen whole columns of cam-wheels, each of a special shape, placed one above another, and all together forming a sort of spinal column for the automaton. "Whenever the little writer is to write a given letter, a pawl is introduced into the corresponding notch of the disk, thus lifting the wheel column and transmitting to the hand, by the aid of a complicated lever system and Cardan joints arranged in the elbow, the requisite movements for tracing the letter in question. The mechanism comprises five centres of motion connected together by chains. "In the 'Draftsman,' the mechanism is likewise ar- ranged in the body itself, as in the case of the 'Writer.' The broad chest thus entailed also required a large head, which accounts for the somewhat bulky appearance of the two automatons. With the paper in position and a pencil in hand, the 'Draftsman' at first traces a few dashes and then swiftly marks the shadows, and a dog appears on the paper. The little artist knowingly ex- amines his work, and after blowing away the dust and putting in a few last touches, stops a moment and then quickly signs, 'Mon Toutou' (My pet dog). The motions 7 [ 97 ] | |
unmaskingrobert00houdgoog.pdf,115 | unmaskingrobert00houdgoog.pdf | 115 | THE UNMASKING OF ROBERT-HOUDIN View of the mechanism which operates the Jacquet-Droz writing automaton. From the brochure issued by the Society of History and Archaeology, Canton of Neuchâtel, Switzerland. [98] | |
unmaskingrobert00houdgoog.pdf,116 | unmaskingrobert00houdgoog.pdf | 116 | THE WRITING AND DRAWING FIGURE of the automaton are quite natural, and the outlines of his drawings extremely sharp. The automaton when desired willingly draws certain crowned heads now be- longing to history; for example, a portrait of Louis XV., of Louis XVI., and of Marie Antoinette." The automata made by the Jacquet-Drozes and their confrères were exhibited in all the large cities of Great the Greas Koom, No. 6, King. Covent Carlen, to be This Day, SPECTACLE MECHANIQU WECHANICAL EXHIBITION, From 7776 in this Exhibition it rivaled by Atts ons writri whatever le diétated to it, another drawsg and finillics in a maiterly Mannir feveral curious De- agna; mother plays divers Ain on the Herplichord, There is alfo a Pafforal S ene, in which is introdued * great Number of Figures; the Trees and bear Fruit, the Sheep bleat, the Dog barks, and the Binde fing: lo diffinety imitation Nature that they exceed every Ascount that ean be given of thera, not anly for the Variety but for the of their different Operations. Their Mechanifm every Thing that has ever appeared, infomuch that it may be faid they will Ípeak for themfelves. The Tidte of viewing it will be from Twelve to Oue, from One to Two, from Two to Three, and la the Evenin4 from Seven to Eight, from ight to Nine, and from Nine to Tea. Mr. JAQUET DROZ, the Iaventor, will attend en Eleven at Niglit, in ofder to accom hodale thoft Ladian or Gentle that may chule to lee this Exhi- birth after the Hour of Ten. Admiftance Five conunted every Day, and Clipping from the London Post, 1776, advertising the writing and drawing figures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry Houdini Collection. Britain and Continental Europe. According to the pro- grammes and newspaper notices in my collection, Henri- Louis Jacquet-Droz acted as their first exhibitor. As proof I am reproducing a Droz programme from the London Post, dated 1776. [99] | |
unmaskingrobert00houdgoog.pdf,117 | unmaskingrobert00houdgoog.pdf | 117 | THE UNMASKING OF ROBERT-HOUDIN In support of this advertisement, note what the same paper says in what is probably a criticism of current amusements: "This entertainment consists of three capital mechan- ical figures and a pastoral scene, with figures of an inferior size. The figure on the left-hand side, a beautiful boy as large as life, writes anything that is dictated to him, in a very fine hand. The second on the right hand, of the same size, draws various landscapes, etc., etc., which he Heads of King George and Queen Charlotte, executed in their presence by the Jacquet-Droz drawing figure in 1774. From the brochure issued by the Society of History and Archarology. Canton of Neuchâtel, Switzerland. finishes in a most accurate and masterly style. The third figure is a beautiful young lady who plays several elegant airs on the harpsichord, with all the bass accom- paniments; her head gracefully moving to the tune, and her bosom discovering a delicate respiration. During her performance, the pastoral scene in the centre discovers a variety of mechanical figures admirably grouped, all of which seem endued, as it were, with animal life, to the admiration of the spectator. The last curiosity is a canary bird in a cage, which whistles two or three airs in [ IOO] | |
unmaskingrobert00houdgoog.pdf,118 | unmaskingrobert00houdgoog.pdf | 118 | THE WRITING AND DRAWING FIGURE the most natural manner imaginable. Upon the whole, the united collection strikes us as the most wonderful exertion of art which ever "frod before so close on the heels of nature. The ingeniou; artist is a young man, a native of Switzerland." The inventory of Jacquet-Droz, Tr.; dated 1786, quotes the "Piano Player" as valued at 4,800 livres, the "Drawing Figure" at 7,200 livres, while the had been ceded to him by his father for 4, 800- liyres, in consideration of certain improvements and modifications which Henri-Louis Jacquet-Droz made in the original invention. This shows that while the elder Droz did not die until 1790, his son controlled the automata previous to this date, for exhibition and other purposes. During his later years Henri-Louis Jacquet-Droz was induced to take the automata to Spain. His tour was under the direction of an English manager, who, possibly for the purpose of securing greater advertisement, an- nounced the figures as possessed of supernatural power. This brought them under the ban of the Inquisition, and Jacquet-Droz was thrown into prison. Eventually he managed to secure his freedom, and, breathing free air once more, like the proverbial Arab, he silently folded his tent and stole away, leaving the automata to their fate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in 1791, a year after his father's death. The English manager, however, tarried in Spain. The figures were "tried" and as they proved motionless the case was dropped. The Englishman then claimed the automata as his property and sold them to a French nobleman. Their owner did not know how to operate [ IOI ] | |
unmaskingrobert00houdgoog.pdf,119 | unmaskingrobert00houdgoog.pdf | 119 | Performances. The utmoft Efforts of Imitators have not begn able to produce the Effect intended; and he is too grateful for the liberal Encouragement he has received in the Metropolis, not to, caution the Public againit thofe purious Copies, which, failing of the Perfection they iffume, can only difguft and difappoint the Spectators. M. D.E PHILIPSTHAL Will have the Honour to EXHIBIT (as ufual) his Optical Illufions and Mechanical Pieces of Art. At the LYCEUM, and at no other Place of Exhibition in London. SELECT PARTIES may be accommodated with a MORNING REPRESENTATION at any appointed Hour, on Sending timely Notice. To prevent Miftakes, the Public are requited to Notice, that the PHANTASMAGORIA is on the Left-hand, on the Ground Floor, and the en the Right-hand, up Staise, | |
unmaskingrobert00houdgoog.pdf,120 | 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,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,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,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,124 | unmaskingrobert00houdgoog.pdf | 124 | THE UNMASKING OF ROBERT-HOUDIN In quite a few works on automata, notably Sir David Brewster's "Letters on Natural Magic," Collinson is quoted as having interviewed Maillardet as the inventor of the combination writing and drawing figure. The Franklin Journal of June, 1827, published in Philadel- phia, Pa., credits this figure to Maillardet and gives the following description: "It was the figure of a boy kneeling on one knee, holding a pencil in his hand, with which he executed not only writing but drawings equal to those of RATIONAL ENTERTAPNMEN'PS during LEPSTAL and AUTOMATICAL THWATRE Strand, will open svery Eventeg: The l'erformances consist of a grost many loge= tion. n pircesol For further Mechaniser- perticolars with the and see highese Optical hand Recreations, bille The apprubs- whole which ous marks of under the Mr. LODIS, Asaistanc Engineer, who will his otmost exeratona to promate the Proprietors. that of offering to an enlightened Public a Conraé of of a,superiar natuze, 35. Ph Cattery and bayin preciedly at 9. Places for the Boxes may DU taken at march1812 Clipping from the London Telegraph in March, 1819, proving the partner- ship of de Philipsthal and Maillardet in an "Automatical Theatre." The Mr. Louis mentioned in the advertisement as assistant engineer later secured pos- session of the writing and drawing figure. From the Harry Houdini Collection. the masters. When the figure began to work, an attend- ant dipped the pencil in ink, and fixed the paper, when, on touching a spring, the figure wrote a line, carefully dotting and stroking the letters." The Robert-Houdin figure did not kneel, but this change could be made by a mechanician of ordinary ability. The writing and drawing figure does not reappear on amusement programmes in my collection until 1812, when it was featured by De Philipsthal, the inventor of "Phan- [ 107 ] | |
unmaskingrobert00houdgoog.pdf,125 | unmaskingrobert00houdgoog.pdf | 125 | Ebeatte, Mr. Louis's ROYAL, MECHANICAL, and OPTICAL Darhibition wall continue open Four Nights longer only, with the Addition of a New Pirca. Monday, April 1,1815, Wednesday, Thurday and Friday following, the 5th, 6th, and 7th. And, in erder to make his Exhibition mill more wartly of the Public Patrosage, the Proprietor bege leave to inform them, that, in Addition to the whale Selection already exhibited with UNBOUNDED APPLAUSE, he will introduce, every Evening, A SUPERB MECHANICAL Peacocl AS LARGE AS LIFE, In its Natural Plumage! Which imitates, so closely, the CRIES, ACTIONS, and ATTITUDES of that stately and beautiful Bird, that it is not unfrequently supposed to be an absolute living Animal. properly trained to act as as Amasing Deception. Ahbongh - Description cas property itlestrate these . Ast. yet to merey to the pablic sa des of their and of the imitative powers with waxh these Figares - esplanation mbitted, they exb.bited the follewing - " are . manaer TWO ELEGANT AUTOMATA, As large as melare, the - . POLONNESE, the - . sov. Nething cae the adroicable of these Pieces. The large Figure - alment with bumse Faculties, eshiliting the esual feste of . Mope- Dancer, in the felless of hfs. The - Figare . envested with equally astonishing powere of activa. To sech ledice - are spectasore it - be . very that these exertious do not escite thowe - whird arese the aight of Pigares freught with lite. performies feas ettended with - mech dange. A Superb MUSICAL LADY, Represeeting the BELLE BOXLANE, whe pleye with the grentess preceise Sistere Arra, every - preveede frove the presere of the and feet, - the apprepriate keys, - keing persea, with the of her besd. eyes, and eye-hds, . directed to the heye. The compect and well preperticeed forma, and easy enaffected air of thie Female Figure, have been gvessly and considured by the very best jedges - happy combission of the asta of Desige - Nechaniom, whish predeces . the same tiase the of respiratice. THE MSCHANICAL DRAWING AND WRITING MASTER, A JUVENILE ARTIST. The fig… | |
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,127 | unmaskingrobert00houdgoog.pdf | 127 | THE UNMASKING OF ROBERT-HOUDIN Theatre, Wakefield. with the original and THE LAST W. genuine writing and ROYAL MECHANICAL 4 OPTICAL MUSEUM. drawing figure. It now CARRIED ob vom THE - of THE WIDOW and CHILDREN seems to have lacked OF THE LATE MR. PRILIPSTHAL - P. - - - - - of Webofuld, - - - - - - - recefted bage . - * da be legitimacy and, from a Monday, - April, CLOSE - - lat De the - - what I can learn from MECHANICAL PIECES. - - - - - - - 1 - - - - - - - - - newspaper clippings, EXECUTION wasworkedlike "Zoe," mamn ar with a concealed con- or THE LITS sauprio os Mount Vesuvius. federate, or, like the vige TAEEN n REPRESENTING famous "Psycho" fea- HE THUILLERIES. with THE orea THE airea BRING visw oe tured by Maskelyne, it JER USALEM, With the Mount of Olives, was worked by com- -- - - The Viee . - The Ancient GATE at Southampton, pressed air. This bill Colled - Londing - is interesting solely be- - vas PALACA oe THE LATS cause I believe that Emperor Alexander. 2r our ras asvea REVA this fake automaton - PINS or THE Suspension Bridge exhibited at 161 Strand OVER AN ARM OF THB SEA AT MENAL COUNTY or CARNASVON TEAT or was the first figure of - the sort foisted on the CROTESQUE BALLIST. rue FAIRIES' MIDNIGHT REVEL, a, of hasy - public after the Baron The Tragic Scene of Cornelia, The Super " - whe auaso ALIVA, la - of - Romee Von Kemplen chess- Marvellous Tomb Scene / ! player, which is de- - - - a - Qoona, - - Prisco of - - The - - - Automata Rope-Dancera, scribed in Halle's work EN FULL IMITATION or ure, - - Ame - HYDR.UULICS on magic, published in allo 1784. HYDROSTATIC EXPERIMENTS, Fire aus - - In 1901, while in FIREWORKS, Germany, I saw a num- waice F- - ber of these automaton le - . . - SICHOLA, - - - - - - - - - - - - - Bexea, 6d.Pli, -Gellery, ed. artists, all frauds. The . - - - - BICHARD figure sat in a small IIO | |
unmaskingrobert00houdgoog.pdf,128 | unmaskingrobert00houdgoog.pdf | 128 | THE WRITING AND DRAWING FIGURE chair before an easel, ready to draw portraits in short order. The figure was shown to the audience, then re- placed on the chair, whereupon a man under the platform the Triump of Mechanisu. NEW . EXHIBITION IN THE WESTERN EXCHANGE. THE AUTO.MATON ARTIST. IL ENTRANCES TO THE EXHIBITION ARE IN Old Bond Street & in Burlington Arcade : Open from Ten o'Clock till Dusk. Admittance to see the Performance, 1 Shilling. Profile Likenesses, 18. 6d. in addition. o The Proprieters conceive that an Automatical Figure, accurately effect ing that whuch has bitherto required a powerful ment. exertion, and a correct eye, needs no further introduction of its extraordiuary quality, than ao intimation of the fact, that it is THE ONLY AUTOMATON IN THE WORLD THAT TAKES LIKENESSES. Without further comment, the Proprietors merely add the information, that- this Figure exerutes a Profile Likeness, sue one minute, from any person who chooses to Nt. The Automaton will, if required, take the Profiles of Busts of Public Characters, which are placed in the Roum, and which will enable. persons, who may doubt the possibility of apy mechanical contrivance taking an accurate likeness, to compare thein with the originals. Inncs, Printer, 61, Wella-s. Oxford-st. Handbill advertising the fake automatic artist, exhibited also at 161 Strand, London, May 7th, 1826. From the Harry Houdini Collection. would thrust his arm through the figure and draw all that was required of the automaton. The fake was short-lived, even at the yearly fairs, and now has sunk too low for them. [ III ] | |
unmaskingrobert00houdgoog.pdf,129 | unmaskingrobert00houdgoog.pdf | 129 | THE UNMASKING OF ROBERT-HOUDIN During this interim, that is between 1821 and 1833, the famous little figure seems to have been in the posses- sion of one Schmidt, who, according to the programmes in my collection, exhibited it regularly. In 1833 Schmidt is programmed in London, playing at the Surrey Theatre, when the writing and drawing figure is one of twenty-four automatic devices. A pro- gram, which, judging from its printing, is of a still later date, announces Mr. Schmidt and the famous figure at New Gothic Hall, 7 Haymarket, for a short period pre- vious to the removal of the exhibit to St. Petersburg. The dates of other programmes in my collection can be judged only from the style of printing which changed at different periods of the art's development. Some of these indicate that the writing and drawing figure was on exhibition during the early 40's in London at Paul's Head Assembly Rooms, Argyle Rooms, Regent Street, etc. It is more than likely, according to Robert-Houdin's own admission regarding his study of automata and his opportunities to repair those left at his shop, that at some time the writing and drawing figure was brought to Paris to be exhibited, needed repairing, and thus reached his shop. Whether it was bought by Monsieur G , whose interest in automata is featured in Robert-Houdin's "Memoirs," and brought to Robert-Houdin to repair, or whether Robert-Houdin bought it for a song, and repaired it to sell to advantage to his wealthy patron, cannot be stated, but I am morally certain that Robert-Houdin never constructed, in eighteen months, a complicated mech- anism on which the Jacquet-Drozes spent six years of [ 112] | |
unmaskingrobert00houdgoog.pdf,130 | 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,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,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,133 | unmaskingrobert00houdgoog.pdf | 133 | CHAPTER IV THE PASTRY COOK OF THE PALAIS ROYAL ONCERNING this trick, which Robert-Houdin claims as his invention, he writes on page 79 of his "Memoirs," American edition "The first was a small pastry cook, issuing from his shop door at the word of command, and bringing, according to the spectator's request, patties and refreshments of every description. At the side of the shop, assistant pastry cooks might be seen rolling paste and putting it in the oven." By means of handbills, programmes, and newspaper notices of magical and mechanical performances, this trick in various guises can be traced back as far as I796. Nine reputable magicians offered it as part of their reper- toire, and at times two men presented it simultaneously, showing that more than one such automaton existed. The dates of the most notable programmes or handbills selected from my collection are as follows: I, Haddock, 1797. 2, Garnerin, 1815. 3, Gyngell, 1816 and 1823. 4, Bologna, 1820. 5, Henry, 1822. 6, Schmidt, 1827. 7, Rovere, 1828. 8, Charles, 1829. 9, Phillippe, 1841. In 1827 Schmidt and Gyngell joined forces, yet both before and after this date each performer had the wonder- ful little piece of mechanism on his programme. In 1841, [ 116 | |
unmaskingrobert00houdgoog.pdf,134 | unmaskingrobert00houdgoog.pdf | 134 | THE PASTRY COOK OF THE PALAIS ROYAL four years before Robert-Houdin appeared as a public performer, Phillippe created a sensation in Paris, pre- senting among other automata "Le Confiseur Galant." In 1845, when Robert-Houdin included "The Pastry Cook of the Palais Royal" in his initial programme at his own theatre in Paris, Phillippe was presenting precisely the same trick at the St. James Theatre, London. Of this goodly company, however, Rovere and Phillippe deserve more than passing notice, as both were the con- temporaries of Robert-Houdin, and Rovere was his personal friend. Both also appear in Robert-Houdin's "Memoirs." The trick appears first, not as a confectioner's shop with small figures at work, but as a fruitery, then again as a Dutch Coffee-House and a Russian Inn, from which ten sorts of liquor are served. Finally, in 1823, it is feat- ured under the name that later made it famous, the Confectioner's Shop. Haddock, the Englishman who had the writing and drawing figure in his possession for some time, featured the fruitery on his programmes dated 1796. One of his advertisements from the London Telegraph is reproduced on page 106, in connection with the history of the writing and drawing figure, but for convenience I am quoting here Haddock's own description of the fruitery trick, which was even more complicated than the famous Pastry Cook of the Palais Royal: "A model of the neat rural mansion, and contains the following figures: First, the porter, which stands at the gate, and on being addressed, rings the bell, when the door opens, the fruiteress comes out, and any. lady or [ 117] | |
unmaskingrobert00houdgoog.pdf,135 | 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,136 | unmaskingrobert00houdgoog.pdf | 136 | THE PASTRY COOK OF THE PALAIS ROYAL begin to bark, and continue to do so until they are re- turned. The next figure belonging to this piece is the little chimney-sweeper, which will be seen coming from behind the house, will enter the door, appear at the top of the chimney, and give the usual cry of "Sweep' several times, descend the chimney, and come out with his bag full of soot." In 1820, Haddock's programme, including the fruitery, appears with only a few minor changes as the répertoire of Bologna, a very clever conjurer who afterward became the assistant of Anderson, the Wizard of the North, and who made most of the latter's apparatus. On the Bologna programme, for a performance to be given at the Great Assembly Room, Three Tuns Tavern, the shop trick is described thus: "A curious Mechanical Fruiterer and Confectioner's Shop, kept by Kitty Comfit, who will produce at Command such Variety of Fruit and Sweet- meats as may be asked for." The marvellous little shop does not appear again on programmes of magic until 1815, when Garnerin features it as "The Dutch Coffee-House." On the programme used by Garnerin in that year for a benefit which he gave for the General Hospital at Birmingham, England, it is feat- ured as No. IO: "A Dutch Coffee-House, a very surprising mechanical piece, in which there is the figure of a Girl, six inches high, which presents, at the Command of the Spectators, ten different sorts of Liquors." This programme is of such historical value that I repro- duce it in full. It will show that this particular mechanical trick is by no means the most important feature of Gar- nerin's répertoire. In fact his fame is based on his [ 119] | |
unmaskingrobert00houdgoog.pdf,137 | unmaskingrobert00houdgoog.pdf | 137 | THE UNMASKING OF ROBERT-HOUDIN ballooning, and he is said to have been the inventor of the parachute. The ascen- sion of the nocturnal balloon, also scheduled on this programme, is an limitation of the one which Garnerin arranged in honor of Bonaparte's coronation in 1805. On that occasion the balloon started at Paris and de- scended in Rome, a dis- For the Benefit of the tance of five hundred General Hospital miles which was covered This present TUESDAY, October 10, 1815. in twenty-two hours. AN EXHIBITION Garnerin was a con- THE WONDERS OF temporary of both Pinetti Art and Nature, and Robertson and was M. GARNERIN, with them in Russia AND M. DE LA ROCHE, IN THE GREAT ROOM. AT THE SHAKESPEARE TAVERN, when Pinetti dissipated his fortune in balloon ex- 1.-TWO BEAUTIFUL FIGURES, or - playing on the FLUTE, which by the - chilfel Combination, perfores - Instrument, and either alome any of the musical Piecee contained be Thay resuma, or change Tunes, . the - of the Specistora The Metions 4 periments. In their cor- the Heed, Fingere, and Egre, are plainly - 9-THE THREE VASES, Thet Light, Estinguish, and Re WAX TAPER. 3.-TIE. CANARY FIGURE, respondence, both Pinetti e Masterpiere of the meat prefound mechamirel TINDER nox. and Robertson spoke la the EVENING at Half past SEVEN, in Addition to these vederful Performancoa, pill be theve Veriety of Tricks with Cardo, and-3, the Ascension of a Nocturnal Balloon, slightingly of Garnerin, le Imitation of the one M. - from Paria, - - Evening of Corea- . 1006, and which drecreded at Nome, 900 Miles, in -VARIOUS EXPERIMENTS UPON THE PNEUMATIC but the Frenchman's pro- 1.-4 FIGURE that DISCOVERS the THOUGHT8. The with -THE COLUMN OF MAGNETICAL GLASS, Fer the igvisitle Ascension Card, grammes all indicate that 9. AN EXHIBITION or > Clap of bunber, of - of he was not only a success- 10.-A DUTCH COFFEE HOUSE, A Garnerin poster of 1815, advertising ful aëronaut, but a ma- " ADutch Coffee House,' whose automatic hostess serves refreshments at command. gician who could present a From the… | |
unmaskingrobert00houdgoog.pdf,138 | unmaskingrobert00houdgoog.pdf | 138 | THE PASTRY COOK OF THE PALAIS ROYAL In 1816 the elder Gyngell featured the trick on his programmes as "The Russian Inn," and in THEATRE, 1823 he changed it to Catherine Street, "The Confectioner's STRAND. Shop." These pro- Mr. GYNGELL, Sen. grammes are reproduced Respoctfully informs the Public, the following Entertaismento continuing de be with the most reptirous Applouse, will be Reposted as the most convincing This Present Thursday, February 15th, 1816, And Every Evening till further Notice. evidence against the Os which Occasion Mz. G. intrests a eace . offer his most grateful Thenks be gest, and solicits a continunce of foture Patronage. As a Stúmelus Mr. G. will inteoduce insumorable & unprecedented Noveltion, nover exhibited here. & perticuler FIRST. claims of Robert-Houdin. A PEDESTAL CLOCK, Se oingularly constructed, that it is obedient a the Word of Command. The Did The Gyngell family is removed, it becomes a MILLAR: which, by the Power of Mechanism alone, will changa, and produce any stated sumber of Binck and White Bella, er both tagether. SECOND. one of the most interest- Representation of a Russian Inn, The Hessess of which will attend with any Liquor that is called for, sed sutire whem requested. These, segether with a Trunk a curious Construction, containing Lagsage, a besutiful Buress, Ring Boues, Caddies, Milla, &cs. &c. acc. ing in the history of all so equally ingenious and that it is impossible to eay which is the - w o NOR a F U L & chort Wed Ne G. with . the hie Auliences, by - Impose - them the of MAGIC, the of these Fissso - magic. The Christian is the Mes: but Friend - plain Trath, - avesse . every of COSJURATION, is With - intreduse them - the they veally are, Wonderful Pieces of Mechanism !!! name of the founder of Nr. GYNGELL will epen the Performance wuh Mathomatical. and the family I have never EXPERIMENTTS, To every Port of this Penformance weuld an . Sut eventy aighe years clapord le theservice of the Public (during which it hes - hie constant been able to ascertain, . render bie … | |
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,140 | unmaskingrobert00houdgoog.pdf | 140 | THE PASTRY COOK OF THE PALAIS ROYAL at Flocton's death Gyngell received a portion of the former's wealth. Associated with him in his performances were his brother, two sons, and a daughter. The latter was not only a clever rope-dancer but a musician of more than ordinary ability and she often constituted the entire "orchestra." On Gyngell's programme offered in 1827 he proves himself a great showman, for he features Herr Schmidt's "Mechanical Automatons, Phantasmagoria, a laughing sketch entitled Wholesale Blunders, his son on the flying wire, during which he would throw a somersault through a balloon of real fire, a broadsword dance by Miss Louise and Master Gyngell, and Miss Louise's performance on the tight rope, clowned by Master Lionel." On a programme used in Hull, October 29th, 1827, a lottery was featured as follows: "On which occasion the first hundred persons paying for the gallery will be entitled by ticket to a chance of a Fat Goose, and the same number in the pit to have the same chance for a fat turkey. To be drawn for on the stage, in the same manner as the State Lottery." According to Thomas Frost, Gyngell died in 1833 and was buried in the Parish Church, Camberwell. His children, however, continued the work so excellently planned by their father. The programmes herewith reproduced I purchased from Henry Evanion, who secured them directly from the last of the Gyngell family, as the accompanying letter, now a part of my collection, will show: [123] | |
unmaskingrobert00houdgoog.pdf,141 | unmaskingrobert00houdgoog.pdf | 141 | THE UNMASKING OF ROBERT-HOUDIN DOVER, February 10th, 1867. MR. EVANION DEAR SIR-Yours of the 5th inst. I received just as I was leaving Folkestown, and it was forwarded from Guilford. I am sorry I have not one of my old bills with me, neither do I think any of my family could find one at home. I may have some among my old conjuring things, and when I return to Guilford I will look them over and send you what I can find. I was sorry I was not at home when you were in Guil- ford, for I feel much pleasure in meeting a responsible profes- sional. I am not certain when I shall return, but most likely not for six wecks. I will keep your address; so should you change your residence, write to me about that time. I was looking over some old papers some time last sum- mer, and found a bill of my father's, nearly 60 years ago, when his great trick was cutting off the cock's head and restoring it to life again. And a great wonder it was considered and brought crowded rooms. I was Master Gyngell, the wonderful performer on the slack wire; and now in my 7ist year I am lecturer, pyrotechnist, and high-rope walker, for I did that last summer. My life has been a simple one of ups and downs. Iam, dear sir, yours truly, J. D. G. GYNGELL. The signature of this letter, "J. D. G. Gyngell," clears up considerable uncertainty regarding the names of the two Gyngell sons. At times the clever young tight-rope performer has been spoken of as Joseph, and at others as Gellini. It is quite probable that the two names were really part of one, and the full baptismal name was "Joseph D. Gellini." It was as Gellini Gyngell that he met Henry Evanion at Deal, February 20th, 1862, when the latter was performing as a magician at the Deal and Walmer Institute, while Gellini Gyngell gave an exhibi- tion of fireworks and a magic-lantern display on the [124] | |
unmaskingrobert00houdgoog.pdf,142 | unmaskingrobert00houdgoog.pdf | 142 | THE PASTRY COOK OF THE PALAIS ROYAL South Esplanade. A fine notice of both performances zus nast zums TOUBTREN TEARS, was published in the Deal And the Patrosage of - - respoctable Fomilico of Vicinity. Telegram of February 23d, AT THE LARGE HORNS when the hope was ex- ROOM, TAVERN, pressed that Gyngell's col- Bermondsey Square. lection, taken among those - - of - of a - - à - - - of the - - - . - - ". - required - . - - - be On THURSDAY, FRIDAY. and MONDAY EFENINGS, who enjoyed his outdoor MAY let, Snd. & sth. 1823. performance, repaid him GYNGELL, Sen's for his admirable enter- Amusing & Instructing Entertainments - AT VAUXHALL GARDENS, tainment. Gyngell was 1 - novon oe vua MR. GYNGELL, landlord of the Bowling Green Tavern at this time, and travelled as an MATHEMATICAL, PIIILOSOPHICAL, & UNCOMMON, Experiments; entertainer only at inter- - - vals. PEDDSTAL -- coFECTOER'S SHOP, The next appearance of wits - - ebe em preduce - Sind of Confoctionary colled fue. gos THE TURKISH PILLAR, the trick is in a book pub- on, PERFITUAL NOTION. lished by M. Henry, a ven- triloquist, who played Lon- AUTOMATON ROPE VAULTER, don and the provinces from 4 Figure representing . Chills Youre oll, - - - - EPOLUTIONS ON THE TIGHT BOPE, - - - 1820 to 1828. During an - - - - del - - - - form TheMusical Glasses engagement at the Adel- - a & - . - - - - - - de - - phia Theatre, London, . - - - - a - - - . - - which according to the pro- LITTLE WORLD; on. LES ONDRES CHINON, of - - - gramme was about 1822, One Hundred Moving Figures: ame Henry published a book Clowa, with a Comic Dence,--Ma Benjamia. entitled "Conversazione; GYMNASTIC EXERCISES, - or, Mirth and Marvels," A Gyngell programme of 1823, adver- tising A Confectioner's Shop," whose in which he interspersed attendant will serve automatically any witty conversation with sort of confectionery demanded. From the Harry Houdini Collection. descriptions of his various 125 | |
unmaskingrobert00houdgoog.pdf,143 | unmaskingrobert00houdgoog.pdf | 143 | THE UNMASKING OF ROBERT-HOUDIN tricks. On page II he thus describes the automaton un- der consideration : "Illusion Third. A curious mechanical trick; an inn, GYNGELL Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection. from which issues the hostess for orders, upon receiving which, she returns into the inn and brings out the various liquors as called for by the audience, and at last waiting [126] | |
unmaskingrobert00houdgoog.pdf,144 | unmaskingrobert00houdgoog.pdf | 144 | to play the drum, violin, and triangle. A contemporary of Henry was Charles, the great ven- triloquist, who varied his performance as did all ventrilo- quists of his day, by presenting "Philosophical and Mechanical Experiments" to make up a two-hour-and-a- half performance. Charles made several tours of the English provinces, and played in London at intervals. On a London programme which is undated, but which announces M. Charles as playing at Mr. Wigley's Large Room, Spring Gardens, the second automaton on his list is described as "The Russian Inn, out of which comes a little Woman and brings the Liquor demanded for." Two of his programmes dated Theatre Royal, Hull, April, 1829, now in my collection, carry a pathetic foot-note written in the handwriting of the collector through whom they came into my possession : "The audiences on both the evenings were extremely small, and the money was refunded." By referring to the chapter on the writing and drawing figure, Chapter III, Page II3, a Schmidt programme of 1827 will be found, in which he features "The En- [127] | |
unmaskingrobert00houdgoog.pdf,145 | unmaskingrobert00houdgoog.pdf | 145 | THE UNMASKING OF ROBERT-HOUDIN chanted Dutch Coffee-House, an elegant little building. On the traveller ringing the bell, the door opens, the host- ess attends and provides VENTRILOQUISM. him with any liquor he L. CHARLES, may call for." PROVEÍSOS - MECHANICAL SCLENCES, Schmidt seems to have AVD FIRST VENTRILOQUIST, confined his exhibitions from the Continens; UNDEIR THE PRIVILEGE AND PATRONAGS or to London and the prov- H1S MAJESTY THE KING OF PRUSSIA, And Duke of Mecklenburg Schwerin; inces and was often con- Hes the Heaeur ur acgeant the Nebility, Gentry, and the Public at large, thut he has just errived from the Continem, and will perform during this and the Three Meaths of Jenuery, Februery, and Merch, as Ma. WIGLEY'S LARGE ROOM, nected with other magi- SPRING GARDENS, Hia Mechanie and Ventriloque Performances every Day, commencing pre- cians, including Gyngell cisely st Taree "Cleck, and Evening at Eight Clack, except Saturday and Sunday. and Buck. The latter Front Chairs, -Middle Seats, Seats, 1. N. B. The Room ie particularly WARM by . sew invented precess. TO THE PUBLIC. was an English conjurer, The SIEUR CHABLES will remuit. chart peried in Lendon, where be la repre seut all the ponsible of of which the humas voice is rapahis, by Netere and perfectid by Art. He will explais all the Myateries which were best known as the man resorted to ab forton times to impose uges the and supertitious, under the of ORACLES, This maneer of apraking ought to be looked upon - gith of Nature and of Chance rather than as an Art, siect it is impossible je teach is but to thow burn with the Therefore it in preved, that hewbe professits this Art must thost means which sill remain the troable the learond hare who was horribly injured talora to discuver a. The SIEUR CHARLES will perform the following Scenes. when presenting "The Part. 1. The modera Philcsopher or à Dialegue between two Meu of Scionce end their Servest Theee 11. Dialogue beteces Siek Man, bie Pagsician, a Friend, and Servant Gun Delusion." This Frov III. The Win… | |
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,147 | unmaskingrobert00houdgoog.pdf | 147 | THE UNMASKING OF ROBERT-HOUDIN London, and went on to Aberdecn, Scotland, where he was very soon reduced to sore straits. In his hour of Reproduction of pastel portrait of Phillippe. Only known likeness of the conjurer in existence. Made for him by a Vienna artist. Original now in the Harry Houdini Collection. extremity his cleverness saved the day. In Aberdeen at the same time was a company of actors almost as unfortu- nate as himself. They were presenting a pantomime [ 130] | |
unmaskingrobert00houdgoog.pdf,148 | unmaskingrobert00houdgoog.pdf | 148 | THE PASTRY COOK OF THE PALAIS ROYAL which the public refused to patronize. The young con- fectioner approached the manager of the pantomime and suggested that they join forces. In addition to the regular admission to the pantomime each patron was to pay sixpence and receive in return a paper of mixed sugar plums and a lottery ticket by which he might gain the first prize of the value of five pounds. In addition, Talon promised not only to provide the sweets free of cost to the management, but to present a new and start- ling feature at the close of the performance. The novel announcement crowded the house, the pantomime and the bonbons alike found favor, but the significant feature of the performance was young Talon's appearance in the finale in the rôle of "Punch," for which he was admirably made up. He executed an eccentric dance, at the finish of which he pretended to fall and injure himself. In a faint voice he demanded pills to relieve his pain, and a fellow-actor brought on pills of such enormous size that the audience stopped sympathiz- ing with the actor and began to laugh. But the pills all disappeared down the dancer's throat, for Talon was not only an able confectioner and an agile dancer, but a sleight-of-hand performer. From that hour he exchanged the spoon of the confectioner for the wand of the magician. The fortunes of both the pantomime and Phillippe, as he now called himself, improved. Quite probably he re- mained with the pantomime company until the close of the season and then struck out as an independent per- former. Another story which is gleaned from a biography of John Henry Anderson, the Wizard of the North, tells [131] | |
unmaskingrobert00houdgoog.pdf,149 | unmaskingrobert00houdgoog.pdf | 149 | THE UNMASKING OF ROBER'T-HOUDIN how Phillippe started his career as a pastry cook in the household of one Lord Panmure, and I quote this literally from the Anderson book, because I believe it to be truth- STRAND THEATRE, OPEN EVERY EVENING. Stalls S. nexes Se. PIS ls. Gallery MODERN MIRACLES. PART compree N. end convelled aed Fente . MAGICAL DELUSIONS: Including his peculas and enequalied ETAMORPHOSES AND ASTONISHING DECEPTIONS Part The Celebrated Cossack asd Automatos . or, the Chereed The Gallant Cunfectioner Dovee " the for Graise! The Taller Herlequie: Lesses Ladies," or . New Method Th. Firet Part terminate wirA the Admind GRAND DISTRIBUTION OF THE NATIONAL FLAGI! Ae of Tee beteese esch Part. PART " THE NEW BALLET RICHE D'AMOUR Due de Lency. Mile CONSTANCE CHIARINI, Le Narquise de Pompadour, (se ANUELO CHIARINL L. Petile PACLINE CHIARINI, Rigolard, In the couras of the Baliet, will be introduced LE MINUET OF LOUIS xv. PART / THE EXTRAURDINARY MERICAN BROTHERS their Uerque Scone, estitied OLYMPIC GAMBOLS, chich of thete they - FEATS OF AGILITY, - gressest and astenishment, and Malled of PART IV NICHT IN THE PALACE OF PEKIN, M. Phillippe perform some of the most Extraordinery Tours d'Adresse, sacluding his most brilliant and INDIAN AND CHINESE FEATS! consisting of the - surprising Feals eser attempled by any entitled The Enchanted Orange-The Mymie Sugar Loaf and Flying Handkercheefs Monsieur Meg and the Rose of from which will appras Scottich in full Costome, who will dance the Higbland Flag-The Magie Seppee of or, The Cook Benuched The Hat of Good hassuble including the Grend Europese Bessar and Flore's Gift. The Entertaismente ill cosclode with, EACH EVENINO, the Aslounding Supprieing emitled LES BASSINS DE NEPTUNE LES ET POISSONS D'OR AND THE GRAND EBIE! Unanimoualy presounced to be the most inexplicable Tovas DR Paverque and Nightly bose received ith the most rapteroue praie of ada - Dooss to be epened at a Quarter*past 7. Pesformance to commence Quastes so : The séose Pregremme us the most Novel le Londos… | |
unmaskingrobert00houdgoog.pdf,150 | unmaskingrobert00houdgoog.pdf | 150 | THE PASTRY COOK OF THE PALAIS ROYAL "It was at this time that he came in contact with a person who afterward, under the designation of M. Phillippe, became celebrated in France as a magician. Phillipee (for so was he named in Scotland) was origi- nally a cook in the services of the late Lord Panmure. Leaving that employment, he settled down and remained for a number of years in Aberdeen. He heard of the fame of the youthful magician, was induced to visit his "temple,' and was struck with his performances; and having made the acquaintance of Mr. Anderson, he solicited from him and obtained an insight into his pro- fession, and fac-similes of his then humble apparatus. Phillippe improved to such a degree upon the knowledge he thus acquired that, leaving England for France, he earned the reputation of being one of the most accom- plished magicians ever scen in the country." The date of his initial performance is not known, but he must have remained in Scotland, perfecting his act, for the earliest Phillippe programme in my collection is dated February 3d, 1837, when he opened at Waterloo Rooms, Edinburgh, and announced: "The high character which Mons. Phillippe has ob- tained from the Aberdeen, Glasgow, Greenock and Paisley Press, being the only four towns in Britain where he has made his appearance, is a sufficient guarantee to procure him a visit from the inhabitants of this enlightened Metropolis, where talent had always been supported when actually deserved." Evidently, however, Phillippe made rapid progress, for a programme dated Saturday, April 2ist, 1838, shows that his last daytime or matinée performance in Waterloo [133] | |
unmaskingrobert00houdgoog.pdf,151 | unmaskingrobert00houdgoog.pdf | 151 | THE UNMASKING OF ROBERT-HOUDIN Rooms was given under the patronage of such members of the nobility as the Right Honorable Lady Gifford, the Right Honorable Lady H. Stuart Forbes, etc. In an Phillippe and his Scotch assistant, Domingo. The latter became famous as a magician under the name of Macallister, introducing in America Phil. lippe's gift show. From a lithograph in the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,152 | unmaskingrobert00houdgoog.pdf | 152 | THE PASTRY COOK OF THE PALAIS ROYAL Edinburgh programme, dated probably 1837, he is shown as performing his tricks, clad in peculiar evening clothes, knickerbockers and waistcoat matching, with a mere suggestion of the swallow-tail coat. In his 1838 bill he is shown clad in the flowing robes of the old-time magician, and he advertises the Chinese tricks, notably the gold-fish trick, which demanded voluminous dra- peries. According to Robert-Houdin, Phillippe built a small wooden theatre in Glasgow. Humble as this building was, however, it brought a significant factor into Phil- lippe's life. This was a young bricklayer named Andrew Macallister who had a natural genius for tricks and models, and who became Phillippe's apprentice, later appearing as Domingo, his assistant on the stage, wearing black make-up. In either Edinburgh or Dublin Phillippe met the Chinese juggler or conjurer who taught him the goldfish trick and the secret of the Chinese rings. Armed with these two striking tricks, Phillippe deter- mined to satisfy his yearning to return to his native land, and in 1841 he appeared at the Salle Montesquieu, Paris. Later, the Bonne-Nouvelle, a temple of magic, was opened for Phillippe in Paris, and there he enjoyed the brilliant run to which Robert-Houdin refers in his "Memoirs." Phillippe was an indefatigable worker and traveller, and one brilliant engagement followed another. During the 40's he appeared, according to my collection of pro- grammes, all over Continental Europe, and in most of his programmes this paragraph is featured: [135] | |
unmaskingrobert00houdgoog.pdf,153 | unmaskingrobert00houdgoog.pdf | 153 | THE UNMASKING OF ROBERT-HOUDIN "PART III. "An unexpected present at once gratuitous and laugh- able, composed of twelve prizes, nine lucky and three unfortunate, in which the general public will participate." He also continued to distribute bonbons from an in- exhaustible source, probably a cornucopia, calling this trick "a new system of making sweetmeats, or Le Confiseur Moderne." During his first engagement in Vienna he had painted for advertising purposes a pastel portrait, showing him clad in his magician's robes at the finale of the goldfish trick. From this picture his later cuts were made. By some mistake he left the original pastel in Vienna, where I bought it at a special sale for my collection. It re- mains an exquisite piece of color work, even at this day. So far it is the only real likeness of Phillippe I have been able to unearth. In 1845-46 he was at the height of his popularity in London, where he had a tremendous run. In June, 1845, we find him playing at the St. James Theatre, under Mitchell's direction, and on September 29th, under his own management, he moves to the Strand, where he is still found in January of 1846. During all this time he featured The Pastry Cook of the Palais Royal under the title of "Le Confiseur Galant." As proofs that Phillippe used the pastry-cook trick both before and during Robert-Houdin's career as a magician, I offer several programmes containing accurate descrip- tions of the automaton, and also a page illustration from a current publication dated Paris, 1843, which shows the [136] | |
unmaskingrobert00houdgoog.pdf,154 | unmaskingrobert00houdgoog.pdf | 154 | THE PASTRY COOK OF THE PALAIS ROYAL confectioner or pastry-cook standing in the doorway of his house, while the key explaining the various tricks PP 68 reads: "No. 9. Le Confiseur galant et le Liquoriste impromptu." [137] | |
unmaskingrobert00houdgoog.pdf,155 | unmaskingrobert00houdgoog.pdf | 155 | THE UNMASKING OF ROBERT-HOUDIN Robert-Houdin devotes nearly an entire chapter to the history of Phillippe and a description of his tricks and automata, yet curiously forgets to mention the pastry cook, which he later claims as his own invention. Ernest Basch, formerly of Basch Brothers, conjurers, and the richest manufacturer of illusions in the world, claims that the original trick is now in his possession. Herr Basch is located in Hanover, Germany, where he builds large illusions only. The wonderful mechanical house passed to Basch by a bequest on the death of Baron von Sandhovel, a wealthy resident of Amsterdam, Holland. Von Sandhovel had bought the trick from the heirs of Robert-Houdin on the death of the latter, because he believed it to be the brain and handwork of Opre, a Dutch mechanician of great talent. Ernest Basch shares this belief, and with other well-read conjurers thinks that Opre was Robert-Houdin's assistant and built most of his automata, including The Pastry Cook of the Palais Royal, The Windmill or Dutch Inn, Auriel and Debureau, The French Gymnasts, The Harlequin, and The Chausseur. Opre was a man of ability, but lacked presence and personality properly to present his inventions. So far I have found his name in three places only: On the frontispiece of a Dutch book on magic, published in Amsterdam; in Ernest Basch's correspondence about conjurers; and on page 77 of Robert-Houdin's "Mem- oirs," when he speaks of Opre as the maker of the Harlequin figure which Torrini asked Robert-Houdin to repair during their travels. With such convincing proof, some of which was con- [138] | |
unmaskingrobert00houdgoog.pdf,156 | unmaskingrobert00houdgoog.pdf | 156 | THE PASTRY COOK OF THE PALAIS ROYAL temporary, that other men had exhibited The Pastry Cook of the Palais Royal in its identical or slightly different ######### CONPISEUR Ernest Basch and "Le Confiseur Galant," which he claims is the original Robert-Houdin "Pastry Cook of the Palais Royal." From a photograph in the Harry Houdini Collection. guise, it was daring indeed of Robert-Houdin to claim it as his own invention. The most direct information regarding Opre comes [ 139 ] | |
unmaskingrobert00houdgoog.pdf,157 | unmaskingrobert00houdgoog.pdf | 157 | THE UNMASKING OF ROBERT-HOUDIN through that eminent family of conjurers known as the Bambergs of Holland. At this writing, "Papa" (David) Bamberg, of the fourth generation, is prominent on the Dutch stage, and his son Tobias David, known as Okito, of the fifth generation, is a cosmopolitan magician, pre- senting a Chinese act. According to the family history, traceable by means of handbills, programmes, and personal correspond- ence, the original Bamberg (Eliazar) had a vaulting fig- ure in his collection of au- tomata in I790, fifty years before Robert-Houdin be- came a professional enter- tainer. This figure was David Leendert Bamberg, of the made by Opre, to whom second generation of the Bamberg all conjurers of that time family. Born 1786; died 1869. The above daguerrotype was presented to looked for automata and the author by Herr Ernest Basch, and is the only one in existence. apparatus. David Leendert Bamberg, of the second gen- eration, who also had the vaulting figure, was the inti- mate friend and confidant of Opre and was authority for the statement that Opre's son sold in Paris the various automata made by his father, which later Robert- Houdin claimed as his own invention. It may be noted that Robert-Houdin never invented a single automaton after he went on the stage in 1845, and as Opre died in 1846, the coincidence is nothing if not significant. I40] | |
unmaskingrobert00houdgoog.pdf,158 | unmaskingrobert00houdgoog.pdf | 158 | CHAPTER V THE OBEDIENT CARDS - THE CABALISTIC CLOCK - THE TRAPEZE AUTOMATON The Obedient Cards. T O trace here the history of three very com- mon tricks claimed by Robert-Houdin as his own inventions would be sheer waste of time, if the exposure did not prove beyond doubt that in announcing the various tricks of his répertoire as the output of his own brain he was not only flagrant and unscrupulous, but he did not even give his readers credit for enough intelligence to recognize tricks performed re- peatedly by his predecessors whom they had seen. Not satisfied with purloining tricks so important that one or two would have been sufficient to establish the reputation of any conjurer or inventor, he must needs lay claim to having invented tricks long the property of mountebanks as well as reputable magicians. The tricks referred to are the obedient card, the cabalistic clock, and the automaton known as Diavolo Antonio or Le Voltigeur au Trapèze. The obedient-card trick, mentioned on page 245 of the American edition of his "Memoirs," as "a novel ex- periment invented by M. Robert-Houdin," can be found on the programme of every magician who ever laid claim to dexterity of hand. Whether they accomplished the effect [ I4I ] | |
unmaskingrobert00houdgoog.pdf,159 | unmaskingrobert00houdgoog.pdf | 159 | THE UNMASKING OF ROBERT-HOUDIN by clock-work or with a black silk thread or a human hair, the result was one and the same. It has also been worked by using a fine thread with a piece of wax at the end. The wax is fastened to the card, and the thread draws it up. The simplest method of all is to place the thread è Card trick as featured by Anderson in 1836-37. From a poster in the Harry Houdini Collection. over and under the cards, weaving it in and out as it were, and then, by pulling the thread, to bring the different cards selected into view. So common was the trick that its description was written in every work on magic published from 1784 to the date of Robert-Houdin's first appearance, and in at least one volume printed as early as 1635. The majority [ 142 | |
unmaskingrobert00houdgoog.pdf,160 | unmaskingrobert00houdgoog.pdf | 160 | THE OBEDIENT CARDS of French encyclopaedias described the trick and exposed it according to one method or another, and Robert-Houdin admits having been a great reader of encyclopaedias. The trick first appears in print in various editions of "Hocus Pocus," twenty in all, starting with 1635. The majority contain feats with cards, showing how to bring them up or out of a pack with a black thread, a hair spring, or an elastic. In 1772 the rising-card trick was shown in Guyot's "Physical and Mathematical Recreations," also in the Dutch or Holland translations of the same work. In 179I it was minutely explained by Hofrath von Eck- artshausen, who wrote five different books on the sub- ject of magic. The fourth, being devoted principally to the art of the conjurer, was entitled "Die Gauckel- tasche, oder vollständiger Unterricht in Taschenspieler u. S. w.," which translated means "The Conjurer's Pocket or Thorough Instructions in the Art of Conjuring." The title was due to the fact that in olden days conjurers worked with the aid of a large outside pocket. The five books, published under the general title of "Aufschlüsse zur Magie," bear date of Munich, Germany. On page 138 of the third edition of Gale's "Cabinet of Knowledge," published in London in 1800, will be found a description of the rising-card trick as donc with pin and thread, and the same book shows how it is saccomplished with wax and a hair. This book seems to have been compiled from Philip Breslaw's work on magic, "The Last Legacy," published in r782. Benton, who published the English edi- tion of Decremps' famous work on magic, exposing Pinetti's répertoire, also described the trick. "Natural Magic," by [ 143 ] | |
unmaskingrobert00houdgoog.pdf,161 | unmaskingrobert00houdgoog.pdf | 161 | THE UNMASKING OF ROBERT-HOUDIN CONJURER UNMASKED OR the Ant of Height of hand Reproduction of frontispiece in Breslaw's book on magic, "The Last Legacy," published in 1782. Original in the Harry Houdini Collection. [ (444) | |
unmaskingrobert00houdgoog.pdf,162 | unmaskingrobert00houdgoog.pdf | 162 | THE OBEDIENT CARDS Astley, the circus man, and Hooper's "Recreations," in four volumes, published in 1784, expose the same trick. As to magicians who performed the trick, their names are legion, and only a few of the most prominent conjurers will be mentioned in this connection. The man who obtained the best effects with this trick was John Henry Anderson, who startled the world of magic and amusements by his audacity, in 1836, nine J. H. Anderson's birth place as drawn by him from memory. The follow- ing is written under the sketch in his own handwriting: A rough sketch of the farm house called ' Red Stanes,' on the estate of Craigmyle, Parish of Kincardine O'Neil, Aberdeenshire. The house was built by my grandfather, John Robertson, in the year 1796, and in it I was born on the 15th day of July, 1814. John Henry Anderson." Photographed from the original now in the possession of Mrs. Leona A. Anderson, by the author. years before Robert-Houdin trod the stage as a pro- fessional entertainer. Anderson was born in Kincardine, Scotland, in 1814, and started his professional career as an actor. He must have been a very poor one, too, for he states that he was once complimented by a manager for having brought bad acting to the height of perfection. Anderson was first known as the Caledonian magician, then assumed the title of the Wizard of the North, which 10 [ 145 ] | |
unmaskingrobert00houdgoog.pdf,163 | unmaskingrobert00houdgoog.pdf | 163 | THE UNMASKING OF ROBERT-HOUDIN John Henry Anderson, wife and son, from a rare photograph taken in 1847 or 1848. Said to be an especially good likeness of Mrs. Anderson and the only one extant. Photograph loaned by Mrs. Leona A. |Anderson, daughter-in- law of the " Wizard of the North." [146] | |
unmaskingrobert00houdgoog.pdf,164 | unmaskingrobert00houdgoog.pdf | 164 | THE OBEDIENT CARDS he said was bestowed on him by Sir Walter Scott. Thomas Frost belittles this statement, on the grounds that Scott was stricken with paralysis in 1830. However, Anderson became famous in 1829, so he should be given the benefit of the doubt. He was the greatest advertiser that the VICTORIA HOOMS, HULL LAST WEEE or GREAT MAGICIAN PERFORI DE HULL. REDUOTION OF PRICES fremt Sende of the Balcom, Bach Ditte, 1..j Gallery Sixpence caly The Avening, Friday, May Saterday, 19th; Menday, Sless Tuesday, Théreday, and Friday, will be pedivively the LAST - perform la Hell. 1838 on or TIIS ABOVE EVENINGS Naw TSTIC WONDERS! SPLENDID CHANGES! NECROMANCY: ART! WEITE ART! WYSTERY AND MACIC! UNEQUALLED, UNPARALLELED! so COME & SEE. TH . LAST WEEKS et Eight-pr heving claims agamet J. - these Dille ar Koscas Haows, 34, Very rare poster of 1838 in which John Henry Anderson is billed as "The Great Magician.' From the Ilarry Houdini Collection. world of magic has ever known, and he left nothing undone that might boom attendance at his performances. He started newspapers, gave masked balls, and donated thousands of dollars to charities. He was known in every [147] 1 | |
unmaskingrobert00houdgoog.pdf,165 | unmaskingrobert00houdgoog.pdf | 165 | SPIRITUALISM! THE DAVENPORTS BY PROFESSOR ANDERSON [ 148] | |
unmaskingrobert00houdgoog.pdf,166 | unmaskingrobert00houdgoog.pdf | 166 | THE OBEDIENT CARDS city of the world, and, when so inclined, built his own theatres. He sold books on magic during his own per- formances, and would sell any trick he presented for a nominal sum. His most unique advertising dodge was to offer $500 in gold as prizes for the best conundrums written by spectators during his performances. To make this scheme more effective, he carried with him his own printing-press and set it up back of the scenes. While the performance was under way, the conundrums handed in by the spectators were printed, and, after the performance, any one might buy a sheet of the questions and puns at the door. As every one naturally wanted to see his conundrum in print, Anderson sold millions of these bits of paper. In 1852, while playing at Metropolitan Hall, New York City, he advertised his conundrum con- test and sold his book of tricks, etc., and such notables as Jenny Lind and General Kossuth entered conundrums. He was among the first performers to expose the Daven- port Brothers, whose spiritualistic tricks and rope-tying had astonished America. Directly on witnessing a per- formance and solving their methods, Anderson hurried back to England and exposed the tricks. To sum up his history, he stands unique in the annals of magic as a doer of daring things. He rushed into print on the slightest pretext, was a hard fighter with his rivals and aired his quarrels in the press, and he was a game loser when trouble came his way. Not a brilliant actor or performer, he yet had the gift of securing excellent effects in his mise en scènc. He made and lost several fortunes, generally recouping as quickly as he lost. He was burned out several times, the most notable fire being [149] | |
unmaskingrobert00houdgoog.pdf,167 | unmaskingrobert00houdgoog.pdf | 167 | THE GREAT MAGICIAN, From the Munic Holl, Shefield, Commercial Rooma, Leeds, and the Exchange Rooma, Monchusier, - perform his Myatic Wonders, for . Short Time only, I N THE VICTORIA ROOMS, HULL. MR. J. H. ANDERSON, THE GREAT CALEDONIAN MAGICIAN: Desirous of gratifying the Ladies and Gentlemes of Hull, and ite Vicinity, Has the to announce bie intention of Performing for A SHORT TIME QNLY, his MYSTIC WONDERS! he hupes the anqualified approbation which was beatowed on hie exertions at Livergeol for - seccessive nighta, Manchanter for eighty signts, Leeda for fifty nights, Sheffleld furty nighta, Ediabungh une hundred and three aighia, Glangew alsty sighta, twenty sighta, will ensure him the patromage of the Nobility, Gentry, and Public of Hull. Mr. J. H. ANDERSON las had the distiaguiabed honnur of performing before his late Majesty, at Windant Castle, and belove his Majeuty Geo. IV., le the Parilion at Brighton: and subsequeatly received letterá by their Majesties' command, ataling the Royal approval of each performance tugether with others from the Marquis of Westminater, the Eari of Bradford, the of the lat Life Guards, the Buke of Gordon, and Sir Walter From the many teatimuniala forwarded to Mr.J. H. A. he submits the following from Lord Panmure and atherso Bascupi Cama, March 24th, 1937. Sir,-Our parly hege, last sight, witscieed your performance with the greatest untisfaction: And I have no hesitation la aying, that you far escel any other decromancor that , ever - either at home ur abrued PANMURE" - To Mr. J. H. September let, 1837. Mr. J. H. Andersum highly gratified the party before whom be performed his Necromantic Feats, and Magical Exploits He is the mast acpomplished Professor of the Art of Magie we ever - and beg lu exprese our high admiration of hie talenta, and thank him for bia per- formance at Hokelyy. J. HL MORRET, Exq. GEORGE CLIFFORD, Eqg. GEORGE MANBY, Coldatresm Guards ON MONDAY EVENINC, APRIL 30, 1838, & EVERY EVENINC DURING THE WEEK. The Magician's Entertainmente will at Eight e'clock proc… | |
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,169 | unmaskingrobert00houdgoog.pdf | 169 | 233 This setting shows how cumbersome was the apparatus employed by magicians before Wiljalba Frikell proved Lithograph used by E. W. Young, who copied all of John Henry Anderson's billing and featured the obedient-card trick. that he could score with apparently no apparatus. Original in the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,170 | unmaskingrobert00houdgoog.pdf | 170 | THE OBEDIENT CARDS MR. BARNARDO EAGLE, THE ROYAL WIZARD OF THE SOUTH. Frontispiece from Eagle's book, in which he exposes Anderson's gun de- usion. Said by Henry Evanion, who knew Eagle, to be a fine likeness. rom the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,171 | unmaskingrobert00houdgoog.pdf | 171 | THE UNMASKING OF ROBERT-HOUDIN Young's name has been handed down in history be- cause he made money on Anderson's reputation, by the boldest of limitations, assuming the title of Wizard of the North with his own name in small type. One of his bills is also reproduced. SHAKSPEARE ROOMS, Barnedo or "Bar- NEW-STREET, BIRMINGHAM. ney" Eagle is the man of the trio of the imi- tators who deserves more than passing no- tice. He became An- derson's bitterest ene- my, and their rivalry made money for the printers. BEHOLD THE GREAT BERNADO'S SYSTEL OF IMPOSITION Eagle could neither Which he nightly practices on the inhabitants of Birmingham, holding his System of Humbug up by copying the Bills and read nor write, but hav- Advertisements, of J. H. ANDERSON, the Inventor of Ambidexterous Prestidigitation, with all the list of the Great Wizard of the North's peculiar technical phrases, ing a quick brain he which BERNADO exhibits in his Bills, (as original) yet can neither pronounce nor understand the meaning of hired a clever writer to the terms by which he gulls the public. Mr. ANDERSON will bet BERNADO any sum, from a Shilling to 220, that he cannot read the Advertisement in the Birmingham indite his speeches and Advertiser," of Thursday, 18th November. Mr. A. will take a further bet, that the Advertisement alluded to, was copied from his,((Mr. A's) Bill, circulated in Manchester, duplicated Anderson's on Monday, November 15th. BARNEY, when we last met, 1 merely ruffed your show so closely that An- feathers, this time l'u pluch you clean, not one shall be len thee to spread thy (Eagle) wings of imposition. derson'spride was hurt. Should BARNEY accept this challenge, the memey will be spent at CHARLEY CHESHIRE'S. He therefore decided An Anderson poster, exposing "Barney" to expose Eagle, and Eagle's tricks. Only bill of this sort in exist- ence. From the Harry Houdini Collection. thousands of bills, con- stituting a virulent attack upon his imitator, were distributed. One of these is reproduced. It is so rare that I doubt wh… | |
unmaskingrobert00houdgoog.pdf,172 | unmaskingrobert00houdgoog.pdf | 172 | THE OBEDIENT CARDS royalty, Anderson had another bill printed, showing Eagle playing before the King at the Ascot race-track, and an assistant passing the hat in mountebank fashion. In revenge, Eagle had a book published, in which he exposed Anderson's best drawing trick, The Gun Delusion, in which the magician allowed any one from the audience "BARNEY" ALIAS THE IMPOSTOR WIZARD OSTAINING ROYAL PATRONAGE on ASCOT HEATH RACE COURSE. Window poster issued by Anderson to belittle his imitator "Barney" Eagle and show how the latter secured royal patronage. From the Harry Houdini Collection. to shoot a gun at him using marked bullets. These bullets were caught in his mouth or on the point of a knife. This trick became as common as the obedient- card trick. In the face of such overwhelming evidence, Robert- Houdin's claim to having invented the obedient-card [x55] | |
unmaskingrobert00houdgoog.pdf,173 | unmaskingrobert00houdgoog.pdf | 173 | THE UNMASKING OF ROBERT-HOUDIN FOR THE BENEFIT OF sig. B. Eagle trick is nothing short of far- ANU THE cical. Last Night of his Engagement beatre, The follnoing Natrect " from the Yord C'ourent of The Cabalistic or Obedient Blase Clock ... - - bed sed - There might be said to exist - ******* - de ... ... On FRIDAY Evening, Nov 9th, 1838, a very reasonable doubt as to Will be the Pette of the Green-Eyed the exact date at which Rob- Monster ert-Houdin produced the caba- Rome Mr Lirlect Mr Morley M. Manke, listic clock which he included J. Smediry Mewn. King-tue Witterheld Cady Mrs. Leknord Ameha, Mr. Sbort Louser, Smedie, APTER among his other doubtful Signior Bernardo Eagle WILL COMMENO "IS claims to inventions. GRAND DISPLAY OF ILLUSIONS. PART FIRST, The Enchanted Canle-The Card of Lede's dismered D, On page 250 of the Ameri- Cards-the Feas of la Coup.or bee - - and " the leteus in Gomestera The Walking Cards, can edition of his "Memoirs" " ill place Park of 'ards again the tomand then wnw + Perpendiculen one byone to thave of the bead feal, ever with he has the Cabalistic Clock on The Enchanted Orange. THS MAGIC WINE BOTTLE, PHE EXTRAORDINARY COBLET OF BACCHUS WITH THE ENCHANTED WATER. his opening programme for THE VISIBLE AND INVISIBLE PIG, Which will appeas os the Table and instently vanish before the tyye of the Audiense And on the occamon Mr F July 3d, 1845, but in the ap- Will change e Quentity of Copper, taten ont of any Gentleman's Pocket, into Silver. the reul Com of the Rraim A LADY's HANDKERCHIEF will be lound conveyed to the ceaire of LEMON pendix of the French edition THE CHEST OF DOCTOK MICHAEL NOSTRADAME'S, THE FRENCH WIZARD he states that the clock first The conderfal INnuon perfortned and must be seen to be belueved. THIS PANT WILL CONCLUDE "ITH A Grand CHINESE EXPERIMENT, NINS SOLID STEEL BINOS. made its appearance at the the Parta of the Iilusions be aill recite an Tale. earitled GINEVRA DONATI: . leaghable Story. as recited by hun on several at the PICKWICK CLL B. an Louden with gvret applause… | |
unmaskingrobert00houdgoog.pdf,174 | unmaskingrobert00houdgoog.pdf | 174 | THE CABALISTIC CLOCK or as slowly as possible, or in time to music. In fact the performer has full control of the hands-he can make them do his every bidding. The mysterious clock is a trick as old as the obedient- card trick, if not. older. It was explained according to various methods in books before Robert-Houdin's appearance on the stage. In fact, the majority of old- time conjuring books explain mysterious clocks carefully. Before electricity was introduced, magnets were em- ployed, but the earliest method was to make use of thread wound about the spindle of the clock hand, and that method is still the very best used to-day, owing to its simplicity. The clock, on being presented to the audience, may be hung or placed in the position best suited to the particular method by which it is being "worked." It shows a transparent clock face, such as you see in any jewelry shop. Some magicians utilize only one hand, which permits the easy use of electricity or magnet, while others employ two and even three hands. When more than one hand is used the hours and minutes are indicated simultaneously and, if cards are pasted on the clock face, the largest hand is used to find the chosen cards. The clock may be placed on a pedestal, in an upright position, or hung in midair on two ribbons or strings. It can be hung on a stand made expressly for the purpose, on the style of a music stand, or it can be swung in a frame. In fact, as stated before, it is usually placed so as to facilitate the method of working. When the cabalistic clock is taken off the hook or the stand on which it is placed, and handed to one of the spectators to hold, the latter places the hand on the pin [ 55] | |
unmaskingrobert00houdgoog.pdf,175 | unmaskingrobert00houdgoog.pdf | 175 | THE UNMASKING OF ROBERT-HOUDIN in the centre of the glass face, and revolves it. The arrow or hand is worked by a counterweight, controlled by the M. Jacobs, magician, ventriloquist, and bold imitator of John Henry Anderson. From a rare lithograph now in the Harry Houdini Collection. performer, who has it fixed before he hands it to the inno- cent spectator. The clock can be purchased from any [158] | |
unmaskingrobert00houdgoog.pdf,176 | unmaskingrobert00houdgoog.pdf | 176 | THE CABALISTIC CLOCK reliable dealer of conjuring apparatus, in almost any part of the world. For a clock worked by counterweight the hand of thin brass is prepared in the centre, where there is a weight of peculiar shape which has at the thin or tapering end a small pin. This pin is fixed permanently to the weight and can be revolved about the small plate on which it is riveted. Through this plate there is a hole, exactly in the centre. This hand has all this covered with a brass cap, and, to make the arrow point to any given number, you simply move the weight with your thumb. The pin clicks and allows you to feel it as it moves from one hole to another. With very little practice you can move this weight, while in the act of handing it to some one to place it on the centre of the clock face; and when spun, the weight, of its own accord, will land on the bottom, causing the hand to point where it is forced by the law of gravity. The plate on which the weight is fastened is grooved or milled, so that it answers to the slightest movement of your thumb. When the clock is on the stage and the hand moves simply by the command of the performer or audience, it is manipulated by an assistant behind the scenes, either by the aid of electricity or by an endless thread which is wrapped about the spindle and runs through the two ribbons or strings that hold the clock in midair. Some conjurers work the clock so arranged as to make a com- bination trick; first by having it worked by the concealed confederate; then, taking the clock off the stand and bringing it down in the midst of the audience. But for this trick you can use only one hand. [ 159 ] 1 | |
unmaskingrobert00houdgoog.pdf,177 | unmaskingrobert00houdgoog.pdf | 177 | THE UNMASKING OF ROBERT-HOUDIN Years ago when I introduced this trick in my per- formance, I called a young man on my stage and asked him to place the hand on the spindle. It would then re- volve and stop at any number named. But first I made him inform the audience the number he had chosen, Fig 19 . P o Figsy. of is n m to is 2 K 6 Tig 16 a a e XII a e of g g = i the IS The above diagram exposes the magic clock trick, as offered in the time of Hofrath von Eckartshausen, a German writer on magic in the eighteenth and the nineteenth centuries. Fig. 15 shows the clock in position for the trick, hung against the rear wall or 'drop." Gaily-colored ribbons hide thin leather tubes through which run two sets of stout silk thread or catgut, connecting with the hour and minute hands. The thread then passes through the two iron rings, p and o in Figures 17 and 19, which are screwed to the ceiling; thence to the hidden confederate, who manipulates the clock hands as the hour and minute are announced by magician or spectator. Fig. 16 shows the two faces of the clock, with the fine connecting rod around which the string is woudn to manipulate the hands. This mechanism is hidden by a flat brass band which encircles the edges of the two transparent faces. From Eckartshausen's "The Conjurer's Pocket," edition of 1791. which gave me time to fix the weight with my thumb. I then gave him the hand, but he was a skilled mechanic, and possibly knew the trick. Instead of holding the clock by the ring at the top, which was there for that [160] | |
unmaskingrobert00houdgoog.pdf,178 | unmaskingrobert00houdgoog.pdf | 178 | THE CABALISTIC CLOCK purpose, he grasped the dial at the bottom, causing the number 6 instead of I2 to be on top. When the hand started to turn, of course it would have stopped at the Great WONDERS WONDERS! WONDERS! WON- DERS! and WONDERS! are new to be feen in a ve y warm Room, at No. 22, Piccadilly, This and every day this week, from eleven in the mor ing ill four in the after- noon, and precifely at feven clock, every cvening this week, M R. KATTERFELTO will fhow a variery of new furpriling Experiments in Natural and Expe- rimental Philofopby and Math.matics, and his whole regular Courfe of Philofophical L Qures are deliver-d in Twelve différent times, a different Lecture and Experiment every day, and every evening at 7 o'clock. His various Experi. ments are asfollow, vlz. PHILOSOPHICAL, PNEUMATIC, MATHEMATICAL, HYDRAULIC, OPTICAL, HYDROSTATIC, MAGNETICAL, PROETIC, ELECTRICAL, STENOGRAPHIC. PHYSICAL, BLENCICAL, CHYMICAL, CAPRIMANTIC ART. By his new-improved SOLAR MICROSCOPE, Will be feen many furprining infects in different wate:s, beer, miik, vinegar, and blood; and other curioas objeits. Mr. K A T T E R F E L Her, in Nis travels years par, int? the isc- nour to shibit with great applanse beforc the Emprofs of Ruffia, the Queen of Hangary, the King of Pruflia, Den- mark, Sweden, and Polland, and before many other Princes. And af.er his Lecture, Mr. Katterfelto will fhow ard dif- cover feveral NEW DECEPTIONS, on DICE, CARDS, SILVER and GOLD, BILLIARDS, TENNIS, BOXES, MEDALS, LETTERS, MONEY, PYRAMIDICAL GLASES WATCHES; CASKETS, MECHANICAL CLOCKS Admittance, front feats 3s. fecond feats 23. back frats 19. for fervants only. Newspaper clipping of 1782, showing that Katterfelto used the cabalistic clock. From the Harry Houdini Collection. wrong number. I managed to escape humiliation by pretending I was afraid he would break the clock by letting it fall, so took it away from him, holding it myself. II [ 161 | |
unmaskingrobert00houdgoog.pdf,179 | unmaskingrobert00houdgoog.pdf | 179 | THE UNMASKING OF ROBERT-HOUDIN Collinson Reproduction of rare engraving of Johann Nep. Hofzinser, who invented the clock worked by a counter-weight, and who was one of the world's great- est card tricksters. Original in the Harry Houdini Collection. it [162] | |
unmaskingrobert00houdgoog.pdf,180 | unmaskingrobert00houdgoog.pdf | 180 | THE CABALISTIC CLOCK The mechanic walked off the stage winking at me in the most roguish manner. Robert-Houdin worked The Mystic Bell trick in con- nection with The Clock. This was manipulated in the same way. The bell was worked with thread, pulling a small pin, which in turn caused the handle to fall against the glass bell. Naturally, having electricity at his command at that time, he made use of that force whenever it suited his fancy. I am positive that Robert-Houdin presented the elec- trical clock, because T. Bolin, of Moscow, visited Paris and bought the trick from Voisin, the French manu- facturer of conjuring apparatus. The trick which Robert- Houdin presented, according to his claims, was with the clock hanging in midair to prove that it was not electri- cally connected, but the truth of the matter is that the strings which held the clock suspended in midair con- cealed the wires through which his electrical current ran. In my library of old conjuring books the thread meth- od is ably described by Hofrath von Eckartshausen, mentioned earlier in this chapter. In fact in the pictorial appendix of this work he gives this trick prominence by mi- nutely illustrating the same. He makes use of two hands, and to make the trick infallible he explains that the best way would be to use two glass disks, have them held together by a brass rim, and your threads will work with absolute certainty. The spectators imagine that they are seeing only one glass clock. Johann Conrad Gutle, the well-known delver after secrets of natural magic, also explains several cabalistic clock tricks in his book published in 1802. [ 163] | |
unmaskingrobert00houdgoog.pdf,181 | unmaskingrobert00houdgoog.pdf | 181 | THE UNMASKING OF ROBERT-HOUDIN I am reproducing herewith a number of programmes describing the effect of the trick and proving that it was no novelty when Robert-Houdin "invented" it. In fact the trick was so common that only the supreme egotism BRESLAW Reproduction of a triple colored lithograph. This section features Breslaw in stage costume. Original in the Harry Houdini Collection. of the man can explain his having introduced it into the pages of his book as an original trick. The mysterious clock worked by the counterweight, which has been 164 | |
unmaskingrobert00houdgoog.pdf,182 | unmaskingrobert00houdgoog.pdf | 182 | THE CABALISTIC CLOCK described, is credited as having been the invention of Johann Nep. Hofzinser. In an advertisement, published in the London Post of May 23d, 1778, included in my collection, this announce- ment, among others of much interest, will be found: "PART II.-Breslaw will exhibit many of his newly invented deceptions with a grand apparatus and experi- Katterfelto, the bombastic conjurer, who is famous for having sold sulphur matches in 1784, before the Lucifer match is supposed to have been discovered. Reproduced from a rare copy of "The European Magazine," dated June, 1783, now in the Harry Houdini Collection. ments and particularly the Magic Clock, Sympathetic Bell, and Pyramidical Glasses in a manner entirely new." In 1781, while showing at Greenwood's Rooms, Hay- market, London, Breslaw heavily advertised, "Particularly an experiment on a newly invented mechanical clock [ 165] | |
unmaskingrobert00houdgoog.pdf,183 | unmaskingrobert00houdgoog.pdf | 183 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,184 | unmaskingrobert00houdgoog.pdf | 184 | THE TRAPEZE AUTOMATON ROBERT-KOUDIN, ST. JAMES'S THEATRE. LAST THREE PERFORMANCES The celebrated ". ROBERT-HOUDIN will give his Incredible Delusions and Extraordinary FANTASTIQUES AT THE ABOVE THEATRE LA VOLTICE DU TRAPÉZE ON TUESDAY EVENING, MARCH 6, Last Day Performance WEDNESDAY MORNING, March 7 COMMENCING AT HALF-PAST TWO O'CLOCK, AND FAREWELL REPRESENTATION, THURSDAY EVENING, MARCH 8 DOORS OPEN AT EIGHT O'CLOCK. PAIVATE BOXES, ORCHESTRA STALLS, AND TICKETS, MAT - BOTAL 83, OLD OND Hoossan's Lasoma - - Casson's end the 19, Regues abe BOX orfics There * que Daily, - . a T, Copy of a poster used by Robert-Houdin to advertise his trapeze performer. This proves how accurately he duplicated the Pinetti figure, even to the ar- rangement of floral garlands. From the Harry Houdini Collection. 167 ] | |
unmaskingrobert00houdgoog.pdf,185 | unmaskingrobert00houdgoog.pdf | 185 | THE UNMASKING OF ROBERT-HOUDIN claimed it as his invention. Yet with the daring of one who believes that all proof has been destroyed, he an- nounces on page 3I2 of the American edition of his "Memoirs" that he invented "The Trapeze Performer" for his season of 1848. In the illustrated appendix of his French edition he states that the figure made its first appearance at his Paris theatre, October ist, 1849. He thus describes the automaton: "The figure is the size of an infant, and I carry the little artist on my arm in a box. I put him on the trapeze and ask him questions, which he answers by moving his head. Then he bows gracefully to the audience, turning first this way, then that; suspends himself by his hands and draws himself up in time to the music. He also goes through the motions of a strong man, hangs by his head, hands, and feet, and with his legs making the motions of aërial telegraphy." Decremps in his exposé, "The Conjurer Unmasked," published in 1784, thus describes the automaton and its work: "Our attention was next called to observe an automaton figure, that vaulted upon a rope, performing all the postures and evolutions of the most expert tum- blers, keeping exact time to music. By seeing Mr. Van Estin wind up the figures, and being shown the wheels and levers contained in the body of the automaton, caused us to believe it moved by its own springs, when Mr. Van Estin thus explained the deception: "To make a figure of this kind depends a great deal on the proportion and the materials with which it is composed: The legs and thighs are formed out of heavy wood, such as ash or oak; the body of birch or willow, and made hollow, and the head, [ 168 ] | |
unmaskingrobert00houdgoog.pdf,186 | unmaskingrobert00houdgoog.pdf | 186 | Reproduction of an illustration in "Aufschlüsse zur Magie," by Hofrath von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784 by Pinetti. Original in the Harry Houdini Collection. [ 169 ] | |
unmaskingrobert00houdgoog.pdf,187 | unmaskingrobert00houdgoog.pdf | 187 | THE UNMASKING OF ROBERT-HOUDIN for lightness, of papier-maché. The figure is joined by its hands to a bar of iron, that passes through a partition, and is turned by a confederate; the arms are inflexible at the elbows, but move freely at the shoulders by means of a bolt that goes through the body; and the thighs and Mr. BOLOGNA, Jun's Mechanical Exhibition, ma. an the Sans Parej! Theatre, Strand. Mard 18. Present Evening, And - Dope and dering Love, - - Theatre, leams The Two Automaton Rope Dapeers, - - - the Swan of Oblectation wa - - of - - - - impose - Pragiona, The - - Comme - be - of 4 - - - . - Mechanical Windmill, - Wend of Commond. `ine CONJUROR from Constantinople - - - truly PIECES of CALLED, LILLIPUT ISLAND; Or Automator Shadows, Taken from the Justly Admired Oubres Chincia. - Boone The - Ae CLASS m. A Grand Display of Experiments in HYIRAULICS. Called Fire and Water, Free - Me. - FIRE-WORKS, - The A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection. legs move in the same manner at the hips and knees, and are stayed by pieces of leather to prevent them from bending in the wrong way. The bar is covered with hollow twisted tubes, and ornamented with artificial flowers, so as no part of it can be seen to turn; the confederate [170] | |
unmaskingrobert00houdgoog.pdf,188 | unmaskingrobert00houdgoog.pdf | 188 | THE TRAPEZE AUTOMATON by giving the handle a quarter of a turn to the left, the automaton, whose arms are parallel to the horizon, lift themselves by little and little, till they become vertical and parallel to the rest of the body; if in following the same direction, the other part of the body moves forward; and by watching the motions through a hole, he seizes the instant that a leg passes before the bar, to leave the automaton astride; afterward he balances it by jerks, and causes it to take a turn around, keeping time with the music as if it was sensible of harmony. "N.B.-Three circumstances concur here to favor the illusion: First, by the assistance of a wire, the confederate can separate the bar from the automaton, which, falling to the ground, persuades one it loses itself by real machin- ery. Secondly, in winding up the levers shown in the body, confirms the spectators in the idea that there is no need of a confederate. Thirdly, the tubes that are twisted around the bar, except where the automaton is joined to it, seem to be the rope itself, and being without motion, as is seen by the garlands which surround them, it cannot be suspected that the bar turns in the inside, from whence it is concluded that the figure moves by its own machinery." According to one of de Philipsthal's advertisements, page I03, the trapeze automaton which he featured was six feet in height. But Pinetti programmes show. that he had a smaller figure known as the rope vaulter. This is probably the trick exposed in Decremps' book. On page 108 will be found a Louis programme of 1815, on which a figure is thus featured: [171] | |
unmaskingrobert00houdgoog.pdf,189 | unmaskingrobert00houdgoog.pdf | 189 | THE UNMASKING OF ROBERT-HOUDIN "Two ELEGANT AUTOMATA "As large as nature, the one representing a beautiful POLONNESE, the other a little boy. "Nothing can surpass the admirable construction of these Pieces. The large figure seems almost endowed with human Faculties, exhibiting the usual feats of a Rope-Dancer, in the fullest limitation of life. The small Figure is invested with equally astonishing powers of action. To such ladies as are spectators it must be a very pleasing circumstance that these exertions do not excite those disagreeable sensations which arise from the sight of Figures fraught with life, performing feats attended with so much danger." By referring to page II3 the reader will find a Schmidt programme, dated 1827, on which the figure is featured as follows: "THE ROPE DANCER, "Whose surprising performances surpass, in agility, attitudes, and evolutions, every Professor of the art, keep- ing correct time to the music of the machinery." A Gyngell programme, dated 1823, which is reproduced in the chapter devoted to "The Pastry Cook of the Palais Royal," page I25, reads as follows: "Two automatons, one of which will execute wonderful feats on the tight rope, and the other dance a characteristic hornpipe." As Gyngell figured in the amusement world from 1788 to 1844, the little figure must have been tolerably well known to the magic-loving public of England by the time Robert-Houdin appeared in London in 1848. A magician named York, who appeared in London in [172] | |
unmaskingrobert00houdgoog.pdf,190 | unmaskingrobert00houdgoog.pdf | 190 | FOR THE FIRST TIME. The Mechanical PEACOCK, THE VIEW OF THE CITY or A - Piece of Anificial Animation which imitases, 6 clofely. the Cries, Altions, and Assicudos of the Sasely and beastifel Bied. thas it ie sot enfrequently fappoled to be an abfolate liv ing Animal, propedly imaned 10 aû as - amuling deception apos the Public. Stockholm, The Magnetic Clock, or to - Viss ell be - ender Sell .... the arrsa well as TRE SEAUTITUC SCENS or THE Nowly is fapported on two Chryfal Columna, and termounted by a charaCerific Figur of which will amule and divert the Company. by difoovering Voyage of Captain Parry to the their arc. on an Aiphobetical Dial Plate, fernifhed with a feif-moving fedex. The Senfative WIND-MILL, North Pole: Which regulases its motion by the apparens impalie of a Word from any Speflator-sa forms - obey the With of the Company by a pelitive Gift of Incaition, His paseage threugh the Frotes Straits, amonger the SELECT EXPERÉMENTS IN FLOATING ICE. HYDRAULICS, Os the Sbore will be - Sequimere, with their Sledges draws by Degs.-Besre persued and , hilled b As See sal be represested Esquimaux Wome is their native Boate; also the Londing of the Sailore from the Discesery Ships. Fary and Hecla. A GRAND DISPLAY OF WATER-WORKS, THIRD PART THE CITY OF The rifes from the frome of the Suge, endafter forming into many delightful Fountains, is conjoined with Amsterdam, FIRE OF DIFFERENT KINDS, wa ou Ast the - bellile Ziements ferioully rell together to the Cieling of the Thestre, the Water The Vise . - the ote The Viee of the Bridge " es the Ametel. The Toes . - ages late Morese thie - - .. of the Met " alfo to the fimme heigle a Lafkre with Candles burning. FIRE-WORKS PLAYING, An Aquatic Exhibition on the River. A . le - several Trephico of Victery. the Ascras of the ie ", tring - diepery oth Experimess, without any Offeince even to the mon delicase but efter Ellers. Perase is - - gaie the Top, .. beer eve, the Pras. TOURTUI PLECE. THE WOVOERFUL ANO UNRIVALLED To will be added fevera) Original Experiments in the Sc… | |
unmaskingrobert00houdgoog.pdf,191 | unmaskingrobert00houdgoog.pdf | 191 | THE UNMASKING OF ROBERT-HOUDIN I am reproducing herewith a number of programmes describing the effect of the trick and proving that it was no novelty when Robert-Houdin "invented" it. In fact the trick was so common that only the supreme egotism BRESLAW Reproduction of a triple colored lithograph. This section features Breslaw in stage costume. Original in the Harry Houdini Collection. of the man can explain his having introduced it into the pages of his book as an original trick. The mysterious clock worked by the counterweight, which has been [ 164 ] | |
unmaskingrobert00houdgoog.pdf,192 | unmaskingrobert00houdgoog.pdf | 192 | THE CABALISTIC CLOCK described, is credited as having been the invention of Johann Nep. Hofzinser. In an advertisement, published in the London Post of May 23d, 1778, included in my collection, this announce- ment, among others of much interest, will be found: "PART II.-Breslaw will exhibit many of his newly invented deceptions with a grand apparatus and experi- Katterfelto, the bombastic conjurer, who is famous for having sold sulphur matches in 1784, before the Lucifer match is supposed to have been discovered. Reproduced from a rare copy of "The European Magazine," dated June, 1783, now in the Harry Houdini Collection. ments and particularly the Magic Clock, Sympathetic Bell, and Pyramidical Glasses in a manner entirely new." In 1781, while showing at Greenwood's Rooms, Hay- market, London, Breslaw heavily advertised, "Particularly an experiment on a newly invented mechanical clock [165] | |
unmaskingrobert00houdgoog.pdf,193 | unmaskingrobert00houdgoog.pdf | 193 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,194 | unmaskingrobert00houdgoog.pdf | 194 | THE TRAPEZE AUTOMATON ROBERT-HOUBIN, ST. JAMES'S THEATRE. LAST THREE PERFORMANCES The celebrated m. ROBERT-HOUDIN will give his Incredible Delusions and Extraordinary FANTASTIQUES AT THE ABOVE THEATRE VOLTICE DU TRAPEZE ON TUESDAY EVENING, MARCH 6, Last Day Performance WEDNESDAY MORNING, March 7 COMMENCING AT HALF-PAST TWO O'CLOCK, AND FAREWELL REPRESENTATION, THURSDAY EVENING, MARCH DOORS OPEN MT EIGHT O'CLOCK. PRIVATE BOXES, ORCHESTRA STALLS, AND TICKETS, MAY se AS BOTAL 33, OLD BOND est Bood . - BOX OFFICE - - " ell . a, , Copy of a poster used by Robert-Houdin to advertise his trapeze performer. This proves how accurately he duplicated the Pinetti figure, even to the ar- rangement of floral garlands. From the Harry Houdini Collection. [167] | |
unmaskingrobert00houdgoog.pdf,195 | unmaskingrobert00houdgoog.pdf | 195 | THE UNMASKING OF ROBERT-HOUDIN claimed it as his invention. Yet with the daring of one who believes that all proof has been destroyed, he an- nounces on page 3I2 of the American edition of his "Memoirs" that he invented "The Trapeze Performer" for his season of 1848. In the illustrated appendix of his French edition he states that the figure made its first appearance at his Paris theatre, October ist, 1849. He thus describes the automaton: "The figure is the size of an infant, and I carry the little artist on my arm in a box. I put him on the trapeze and ask him questions, which he answers by moving his head. Then he bows gracefully to the audience, turning first this way, then that; suspends himself by his hands and draws himself up in time to the music. He also goes through the motions of a strong man, hangs by his head, hands, and feet, and with his legs making the motions of aërial telegraphy." Decremps in his exposé, "The Conjurer Unmasked," published in 1784, thus describes the automaton and its work: "Our attention was next called to observe an automaton figure, that vaulted upon a rope, performing all the postures and evolutions of the most expert tum- blers, keeping exact time to music. By seeing Mr. Van Estin wind up the figures, and being shown the wheels and levers contained in the body of the automaton, caused us to believe it moved by its own springs, when Mr. Van Estin thus explained the deception: "To make a figure of this kind depends a great deal on the proportion and the materials with which it is composed: The legs and thighs are formed out of heavy wood, such as ash or oak; the body of birch or willow, and made hollow, and the head, [ 168 ] | |
unmaskingrobert00houdgoog.pdf,196 | unmaskingrobert00houdgoog.pdf | 196 | Reproduction of an illustration in "Aufschlüsse zur Magie," by Hofrath von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784 by Pinetti. Original in the Harry Houdini Collection. 169 ] | |
unmaskingrobert00houdgoog.pdf,197 | unmaskingrobert00houdgoog.pdf | 197 | THE UNMASKING OF ROBERT-HOUDIN for lightness, of papier-maché. The figure is joined by its hands to a bar of iron, that passes through a partition, and is turned by a confederate; the arms are inflexible at the elbows, but move freely at the shoulders by means of a bolt that goes through the body; and the thighs and Mr. BOLOGNA, Jun's ma. Mechanical Exhibition, an the Sans Parei! Theatre, Strand. 18. Frendo Present Evening, 1819, And - bee - - - - - Theatre, The to Automaton Rope Dapeers, - - The Swan of Oblectation - of - - The - Mechanical Windmill, Woud of Commond. Tine CONJUROR from Constantinople - - - - truly PIRCES of CALLED. LILLIPUT ISLAND; Or Automator Shadows, Taken from the Justly Admired Oubres Chincia. - s. The Maginas's - - Ae A Grand Display of Experiments in HYDRAULICS. Called Fire and Water, FIRE-WORKS, A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection. legs move in the same manner at the hips and knees, and are stayed by pieces of leather to prevent them from bending in the wrong way. The bar is covered with hollow twisted tubes, and ornamented with artificial flowers, so as no part of it can be seen to turn; the confederate 170] | |
unmaskingrobert00houdgoog.pdf,198 | unmaskingrobert00houdgoog.pdf | 198 | THE TRAPEZE AUTOMATON by giving the handle a quarter of a turn to the left, the automaton, whose arms are parallel to the horizon, lift themselves by little and little, till they become vertical and parallel to the rest of the body; if in following the same direction, the other part of the body moves forward ; and by watching the motions through a hole, he seizes the instant that a leg passes before the bar, to leave the automaton astride; afterward he balances it by jerks, and causes it to take a turn around, keeping time with the music as if it was sensible of harmony. "N.B.-Three circumstances concur here to favor the illusion: First, by the assistance of a wire, the confederate can separate the bar from the automaton, which, falling to the ground, persuades one it loses itself by real machin- ery. Secondly, in winding up the levers shown in the body, confirms the spectators in the idea that there is no need of a confederate. Thirdly, the tubes that are twisted around the bar, except where the automaton is joined to it, seem to be the rope itself, and being without motion, as is seen by the garlands which surround them, it cannot be suspected that the bar turns in the inside, from whence it is concluded that the figure moves by its own machinery." According to one of de Philipsthal's advertisements, page I03, the trapeze automaton which he featured was six feet in height. But Pinetti programmes show that he had a smaller figure known as the rope vaulter. This is probably the trick exposed in Decremps' book. On page 108 will be found a Louis programme of 1815, on which a figure is thus featured: [171 ] | |
unmaskingrobert00houdgoog.pdf,199 | unmaskingrobert00houdgoog.pdf | 199 | THE UNMASKING OF ROBERT-HOUDIN "Two ELEGANT AUTOMATA "As large as nature, the one representing a beautiful POLONNESE, the other a little boy. "Nothing can surpass the admirable construction of these Pieces. The large figure seems almost endowed with human Faculties, exhibiting the usual feats of a Rope-Dancer, in the fullest limitation of life. The small Figure is invested with equally astonishing powers of action. To such ladies as are spectators it must be a very pleasing circumstance that these exertions do not excite those disagreeable sensations which arise from the sight of Figures fraught with life, performing feats attended with so much danger." By referring to page II3 the reader will find a Schmidt programme, dated 1827, on which the figure is featured as follows: "THE ROPE DANCER, "Whose surprising performances surpass, in agility, attitudes, and evolutions, every Professor of the art, keep- ing correct time to the music of the machinery." A Gyngell programme, dated 1823, which is reproduced in the chapter devoted to "The Pastry Cook of the Palais Royal," page I25, reads as follows: "Two automatons, one of which will execute wonderful feats on the tight rope, and the other dance a characteristic hornpipe." As Gyngell figured in the amusement world from 1788 to 1844, the little figure must have been tolerably well known to the magic-loving public of England by the time Robert-Houdin appeared in London in 1848. A magician named York, who appeared in London in [172] | |
unmaskingrobert00houdgoog.pdf,200 | unmaskingrobert00houdgoog.pdf | 200 | Mechanical and Mathematical FEATS OF Alhough - description ese property thefe Mechnaical Pieces of Art, yet to convey " the Pablic - ides of theis and of the incuitive Powers wich which they feem invelled, the is Dexterity. Two Elegant Automats, . dotail of these which evrite the the liants Oue of which a FEMALE FIGURE, as large as life, performs as a ROPE DANCER in inication of Le Belle fo jutly celebrated throaghos Earope -the other is an arrsa rellowine es LITTLE PAILASSE, whofe apperent Naivesse and Powers of Action are equally aftomifhing. Pinses , fee - Homee FOR THE FIRST TIME. The Mechanical PEACOCK, THE VIEW OF THE ciry OF A monk Pista of Anificial Animation which imitates, fo clofely. the Cries, Altions, and Atticades of - and besetifel Bird, thas it ie sot enfrequently fappoled to be an abfolute) lie ling Animal, property " ad as as amuling deception epon the Public. Stockholm, The Magnetic Clock, or le - Viee ell - of Sull - " the be the Forte . Shore arrsa waics will as PROSENTED vas SCENS os THE Monly is on two Chryfal Columma, and furmosnced by a charaßeriftic Figus FALSTAFF, which will amafe and diven the Company. by difovering Voyage of Captain Parry to the chaie Thenghto, are. os an Alphobetical Dial Plase, fornified with a Geil- moving Index. The Senfative WIND-MILL, North Pole: Which segulases its motion by the appasent of a Word from any forme . obey the is the Company by a politive Gif of Inteition. Hie passage threagh the Froses Straits, amonget the SELECT EXPERIMENTS IN FLOATING ICE. HYDRAULICS, Os the There eill De - Equimest, with their Sledges drawa by Degs.-Bears pursued and , hilled b Seilora. As eal be represcated Women in their native Bosts; also the Londing of the Sailore from the Discosery Ships. Fery and Hecle. A GRAND DISPLAY OF WATER-WORKS, THIRD PART-THI CITY OF Th Waser rifas from the fromt of the Suge, and after forming into many delightful Fountains, de. & conjoined with Amsterdam, FIRE OF DIFFERENT KINDS, vas ou Ast - Ziements farioully rell segether the Cieling of the The… | |
unmaskingrobert00houdgoog.pdf,201 | unmaskingrobert00houdgoog.pdf | 201 | THE UNMASKING OF ROBERT-HOUDIN 1844, the year before Robert-Houdin made his professional début, featured under date of January 29th "two autom- atons, one of which will execute wonderful feats on the Tight Rope, and the other dance a characteristic Horn- pipe." Bologna announced for his performance at the Sans Pareil Theatre, Strand, London, under date of March 18th, 1812, "The Two Automaton Rope Dancers from St. Petersburg, whose Feats of Agility were never equalled, and cannot be surpassed, will perform together in a style of Excellence hitherto unknown in this country.' De Philipsthal also featured a pair of automatic tight- rope performers from 1804 until his death; and in the early 30's the figures were exhibited by his widow. By referring to Chapter III. a De-Philipsthal programme of 1806 is reproduced as evidence. From 1825 to 1855 J. F. Thiodon played London and the provinces, advertising on his programmes: "FOURTH PIECE.-The Wonderful and Unrivalled Au- tomaton on the Flying Rope. The only one of this con- struction in the Kingdom; and forms a more extraordinary Novelty from the circumstances of its not being fastened on the Rope by the Hands, like others hitherto exhibited. The Rope will be in continual Motion, and the Figure will sit perfectly easy and in a graceful attitude while on the Swing, and perform the most surprising Evolutions, scarcely to be distinguished from a Living Performer, as it moves with the utmost Correctness, without any apparent Machinery." From this overwhelming evidence it can be argued beyond doubt that if Robert-Houdin even constructed the [ 174] | |
unmaskingrobert00houdgoog.pdf,202 | unmaskingrobert00houdgoog.pdf | 202 | THE TRAPEZE AUTOMATON automaton he merely copied figures presented by both his predecessors and his contemporaries, and he was fully aware of the existence of several such automata when he advertised his as an original invention. They were made by many mechanicians. In the illustrated appendix of the French edition of his "Memoirs" he goes further; he deliberately misrepre- sents the mechanism of the figure and insinuates that the automaton is a self-working one. This is not true, as it was worked by a concealed confederate, as described above by Decremps. Robert-Houdin even used the garlands of flowers to hide the moving bars as Pinetti and others of his pred- ecessors had done. The truth was not in him. [175] | |
unmaskingrobert00houdgoog.pdf,203 | unmaskingrobert00houdgoog.pdf | 203 | CHAPTER VI THE INEXHAUSTIBLE BOTTLE W HILE Robert-Houdin claims to have invented "The Inexhaustible Bottle" for a special programme designed to create a sensation at the opening of his season of 1848, in the illustrated appendix of the original French edi- tion of his "Memoirs" he states that it had its premier presentation December ist, 1847. These discrepancies occur with such frequency that it is difficult to refute his claims in chronological order. Perhaps he adopted this method intentionally, to confuse future historians of magic, particularly concerning his own achievements. In order to emphasize the brilliancy of this trick, Robert-Houdin turned boastful in describing it. On page 348 of the American edition of his "Memoirs," he states that the trick had created such a sensation and was so much exploited in the London newspapers that the fame of his inexhaustible bottle spread to the provinces, and on his appearance in Manchester with the bottle in his hand the workmen who made up the audience nearly mobbed him. In fact, the description of this scene is the most dramatic pen-picture in his "Memoirs." The truth, sad to state, is that the bottle trick did not create the sensation he claims for it in London, nor did the press eulogize it. It was classed with other ordinary [176.] | |
unmaskingrobert00houdgoog.pdf,204 | unmaskingrobert00houdgoog.pdf | 204 | THE INEXHAUSTIBLE BOTTLE tricks, and twenty London papers bear mute testimony to this fact. In a complete collection of press clippings regarding his first London appearance, only four of the London papers mention the trick. The Times, the great conservative English paper, in reviewing Robert-Houdin's performance in its issue of May 3d, 1847, ignored the trick entirely. The four London papers which made mention of the bottle trick, and then only in a passing comment, were The Chronicle, The Globe, The Lady's Newspaper, and The Court Journal. Any one acquainted with the two last-named periodicals will know that they rarely reach the hands of the humble artisans in Man- chester. Punch, London's great comic paper, gave the trick some space, however. The trick of pouring several sorts of liquors from the same bottle has been presented in various forms and under different names. To prove the futility of Robert- Houdin's claims I will explain the mystery of this trick, which is of an interesting nature. To all intents and purposes the bottle used looks like glass; but it is invariably made of tin, heavily japanned. Ranged around the central space, which is free from deception, are five compartments, each tapering to a narrow-mouthed tube which terminates about an inch or an inch and a half from within the neck of the bottle. A small pinhole is drilled through the outer surface of the bottle into each compartment, the holes being so placed that when the bottle is grasped with the hand in the ordin- ary way, the performer covers all but one of the pinholes with his fingers and thumb. The centre section is left empty, but the other compartments are filled with a fun- 12 177] | |
unmaskingrobert00houdgoog.pdf,205 | unmaskingrobert00houdgoog.pdf | 205 | THE UNMASKING OF ROBERT-HOUDIN nel which has a tapering nozzle made specially for this purpose. The trick is generally started by proving to the audience that the bottle is empty. It is then filled with water, whichn is immediately poured out again, all this time the five pinholes being covered tightly with the hand or fingers which are holding the bottle. When a liquor is called for the performer raises the finger over the air-hole above that particular liquor, and the liquor will flow out. When a large number of liquors may be called for, the performer has one compartment filled with a perfectly colorless liquor, which he pours into glasses previously flavored with strong essences. Certain gins and cordials can be simulated in this fashion. Various improvements have been made in this bottle trick. For instance, after the bottle has yielded its various sorts of liquors, it is broken, and from the bottle the per- former produces some borrowed article which has been "vanished" in a previous trick and then apparently for- gotten. This may have been a ring, glove, or handker- chief, which will be discovered tied around the neck of a small guinea-pig or dove taken from the broken bottle. This is accomplished by having the bottle especially constructed. Its compartments end a few inches above the bottom of the bottle and the portion below having a wavy or cracked appearance, is made to slip on and off. The conjurer goes through the motions of actually break- ing the bottle by tapping it near the bottom with a small hammer or wand, and the appearance of the guinea-pig or lost article causes surprise, so that the pretended break- ing of the bottle passes unnoticed. | |
unmaskingrobert00houdgoog.pdf,206 | unmaskingrobert00houdgoog.pdf | 206 | THE INEXHAUSTIBLE BOTTLE Again, this bottle can be genuine, with no loose bottom at all, and a small article can be inserted, but this makes a great deal of trouble, and the effect is not greatly in- - creased. In doing the trick thus, I was always com- pelled to have an optician cut the bottom from the bottle, and then at times even he would break it. To explain further how the article is "loaded" into the bottle, the performer borrows several articles, for example a ring and two watches. He will place the ring and watches into a funnel at the end of a large horse- pistol, and shoot them at the target. The two watches appear on the target or in a frame or any place that he may choose. In obtaining the articles, he may have wrapped them up in a handkerchief which he has hidden in the front of his vest. Alexander Herrmann was excep- tionally clever in making this exchange, his iron nerve and perpetual smile being great aids in the trick. The performer now places the duplicate handkerchief on the table in full view of the audience, and walks to another table for a gun. While reaching for this gun, he places the criginal articles which he borrowed behind his table on a servante, so that his hidden assistant may reach for them, place the two watches on the "turn-about target," tie the ring on the neck of the guinea-pig, shove him into the bottle, and insert the false bottom. The trick is then ready in its entirety. The magician calls for something to use as a target, and the assistant responds with the revolving target or frame. When the conjurer shoots, the two watches appear on the target or in the frame. This part of the trick is accomplished by having the centre of the [179] |
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