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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] | |
unmaskingrobert00houdgoog.pdf,207 | unmaskingrobert00houdgoog.pdf | 207 | THE UNMASKING OF ROBERT-HOUDIN target revolve, or, if the frame is used, by having a black velvet curtain pulled up by rapid springs or strong rubbers. While all this is going on, some one has brought on the stage the loaded bottle, and as no attention is called to this, by the time the watches have been restored to the owners the conjurer introduces the bottle trick, pours out the various liquors, and eventually breaks the bottle and reproduces the borrowed article tied about the neck of the guinea-pig or dove. Many names have been given to this trick. The old- time magicians who remained for months in one theatre had to change their programmies frequently, so for one night they would present the bottle without breaking it, and on the next they would break the bottle, so as to vary the trick. This bottle trick originated in "The Inexhaustible Barrel." The first trace that I can find of this wonder- ful barrel is in "Hocus Pocus, Jr., The Anatomie of Legerdemain," written by Henry Dean in 1635 (Second Edition). On page 2I is described a barrel with a single spout, from which can be drawn three different kinds of liquors. This was worked precisely on the same principle as was the inexhaustible bottle trick centuries. later, by shutting up the air-holes of compartments from which liquors were not flowing. Its first public appearance, according to the data in my collection, clipped from London papers of 1707 and I7I2, was when the "famous water-works of the late ingenious Mr. Henry Winstanly" were exhibited by his servants for the benefit of his widow; and the exhibition included [180] | |
unmaskingrobert00houdgoog.pdf,208 | unmaskingrobert00houdgoog.pdf | 208 | THE INEXHAUSTIBLE BOTTLE a view of "the Barrel that plays so many Liquors and is broke in pieces before the Spectators." " In 1780 Dr. Desaguliers presented in London a per- formance entitled "A Course of Experimental Philosophy wherein the Principles of Mechanics, Hydrostatics, Pneu- matics, and Optics are proved and demonstrated by more than 300 Experiments." In the course of these lectures he produced a sort of barrel, worked by holding the fingers over the air-holes. He also exposed the real source of strength of the notorious strong man of his day, John Carl von Eckeberg, who allowed horses to pull against him, permitted heavy stones to be broken on his bare chest, and who broke heavy ropes simply by stretching or straightening his knees. These lectures and exposés made Dr. Desaguliers so famous that he has been given considerable space in Sir David Brewster's "Letters on Natural Magic," pub- lished in London in 1851, in which book the various de- ceptions used by strong men are fully described. In fact the book is one that should be in every conjurer's library. The old Dutch books explain the barrel trick, and in 1803 Charles Hutton, professor of Woolwich Royal Academy, translated four books from Ozanam and Montucla, exposing quite a number of old conjuring tricks. The barrel trick will be found on page 94 of Volume II. The first use of "The Inexhaustible Bottle" by modern conjurers I found in an announcement of Herr Schmidt, a German performer, who for a time controlled the original writing and drawing figure, as will be found by reference to Chapter III., which is devoted to the his- [ 181 ] | |
unmaskingrobert00houdgoog.pdf,209 | unmaskingrobert00houdgoog.pdf | 209 | THE UNMASKING OF ROBERT-HOUDIN tory of that automaton. The programme published in that chapter is dated FOR SIX NIGHTS ONLY, - NOWDAY, - To of - - nive FRIDAY, - le fue 1827, and does not in- Mr. Schmidt's BENEFIT, - SATURDAY to - LAST NIONT of the clude the famous bottle, MECHANICAL OPTICAL THEATRE At the Mueic-Hall, because it was no longer a Albion-Street, Leeds. novelty in Herr Schmidt's zm. - respostfully the Ledice and of LEEDS Vielaity, that aftee - Years laboer be hee completed some AUTOMATAN NOPE DANCERS, - lasge - Life, which go through Variety of Evelations es - répertoire; but the ad- Tighs Repe. To Men of Selence they mest appess impossible, for though thay are estacity with the they from tt, and balance le WITHOUT the UST or THEIR HANDS, AND INSTANT. LY CONNECT TREMSELVER wire THE MACHINERY AGAIN vertisement reproduced herewith, dated 1821, schedules the bottle trick thus: "The Bottle of Sobriety and Inebriety, proving the inutility of a set of decanters, when Me. will also introduce Variety of interesting and amasing Pieces of Mechonion, never before exhibited in Loeda, RAMO SAMMEE, various liquors can be TNe - Nette Pigure will correctly inform the Company the Time by any Person's Watoh: be will also decipher Writing, and any Question proposed to bim. The Dutch Coffee House, produced by one." Thus As elegast little Bullding: on the Travellers ringing the bell the door opene-th attende and provides hém with any Liquor be may vall for. Schmidt antedated or SAPETY. which Proporty of any description can be placed on the direction of the Company : the contente will imporceptibly ebange from drawer into another, or evem bobind the glanses. The Bottle of Sobriety and Inebriely, Houdin's offering of the Proving . instilley of est of Decastora, when varions Liquors be produced by - THE MECHANICAL TEA CADDYS, Any Lady or Gentionna haring deaire to of any Article, locke in one Cuddy, trick by more than a yet - opaning the ether is is lomed there, althongt the Cadity le la the hand of any othes Porsoa. AN GLA… | |
unmaskingrobert00houdgoog.pdf,210 | unmaskingrobert00houdgoog.pdf | 210 | THE INEXHAUSTIBLE BOTTLE Mr. Falck opened at the Queen's Bazaar, Oxford Street, London, November 8th, 1835. Before opening, however, he gave a private performance for the press, and received quite a number of notices. A half-column clipping in my collection, dated November 4th, 1835, NATURAL MAGIC! MCR. FALCK, Of Konigaberg, Pupil of the celebrated Chevalier Pinetty, has just arrived in England, and will exhibit his surprising deceptions, NOW UNRIVALLED IN NATURAL MAGIC, AT THE Queen's Bazaar, Oxford Street. AMONG THE NUMEROUS FEATS EXHIBITED WILL BE FOUND THE FOLLOWING:- The Enchanted Bread-The Walking Rice-Paying a Tavera Keeper-The Enchanted Egg-The Calculation of Money-The Lost Ring-The Exchange of Wine-The Enchanted Dice-The Card in the Pocket-The Present, or Gift of Flora-The Wine and Dessert-besides Surprising Deceptions with Cards, &c. &c. The Performance to begin daily and at Three till half-past Four. ADMITTANCE ONE SHILLING-CHILDREN SIXPENCE. Geo. Nichole, Printer, Earl's Court, Cranbourn Street, Soho. 10 - Poster used by Falck of Koenigsberg in 1835, featuring the trick of exchange of wine. From the Harry Houdini Collection. which I think is cut from The Chronicle or The Globe, the trick among other effects like "Flora's ift," "The Card in the Pocket," etc., and adds that the "exchange of wine was so that if once in Mr. Falck's Company, we should not wish to exchange it, for he poured [r83] | |
unmaskingrobert00houdgoog.pdf,211 | unmaskingrobert00houdgoog.pdf | 211 | THE UNMASKING OF ROBERT-HOUDIN W'aterloo Rooms. three sorts of wine, Port, " est Agreenble et Plaimes de S'Instruire - Sherry, and Cham- THE LAST pagne, out of one bottle. Spiendid, Brilliant and Fashionable Then he put them to- DAY PERFORIANOE WILL TAKE PLACE ON gether, and from such a SATURDAY Sist APRIL, 1939, Under the High and Distinguished mixture produced sher- ry in one glass, and port THE RIGHT HONOURABLE LADY GIFFORD, in another." THE RIGHT HONOURABLE From this notice it Lady H. Stuart Forbes, will be seen that Falck WHICH OCCASION had "The Inexhaustible dec. dyc. dec. religional Mons". PHILLIPPE Bottle," and had some WILL SELECT The most INTERESTING, ATTRACTIVR and method of returning all PRISING FEATS the liquors not drunk FROM HIS EXTENSIVE STOCK or NECROMANTIC, MACICAL a DEXTERICAL back into the bottle DEMION-STRATIONS! and then pouring out La Gaieté est la Santé de L'ame la tristesse on est le poison. two different kinds of Programme. zase z. Aed - - ema liquor. Indian and Chinsee Meale !!! A CURIOUS OPERATION, sova wese Empe ammid by - Ser . Nom P. - - - Perhaps he resorted sese - - A ****ON som Le La Esso - - - - Jehe Lopes - WINGS AGAINST WHEELS, on THE la SRAND TOUS - - to chemicals, but one warch: de / TRACIC SCENE - ACRECABLE LES Porssons woa !!. tothe - Tare CONCLUSE the BIBTH y thing is evident - the The SUBLINE TUAT the Auternal Nettle, PATRIOT and bottle was used for six ay CAP. Toing BALL - - ORANCE Noad of I# THE. UNPARALLELED, zase sv. different kinds of liquors JUPITKE . rulcan FIRES: The - - - - " The OUN-AT PRACOCE, FICURES at one and the same as - reas ***. - sie A NIGHT IN THE FAD-JUNO - JUPITER-1 PALACE OF PERIN: -The MACICIAN Hond time. TWO BARBER a Mess. PEILLIPFE wis appone The UUN-ECLIPEE " AS TRE OSSAT of BOYAL MAGIGIAN LEQUIN in QUEEN VICTOILA Phillippe from 1836 to IN PULL COSTUME, of SCOTLAND, ENOLAND, - ON MONDAY 1838 featured "An In- Mens. P. takes his BENEFIT. fernal Bottle" trick, also "The Inexhaustible Poster used by Phillippe during his Edinburgh engagement in 1838… | |
unmaskingrobert00houdgoog.pdf,212 | unmaskingrobert00houdgoog.pdf | 212 | THE INEXHAUSTIBLE BOTTLE grammes used by John Henry Anderson, the Wizard of the North, in the same years. According to these programmes Phillippe and Anderson showed the bottle empty, filled it with water, and then served five different liquors. On April 30th, 1838, Anderson thus announced the trick on a programme used at Victoria Rooms, Hull: "Handkerchiefs will be borrowed from three gentle- men; the magician will load his mystic gun, in which he will place the handkerchiefs; he will fire a bottle con- taining wine, the bottle will be .broken and the handker- chiefs will appear." Programmes in my collection show that Anderson pre- sented the trick, serving various sorts of liquors, when he played London in 1840, but little attention was drawn to the wonderful bottle. In 1842 Ludwig Döbler, Germany's best-beloved magician, came to London and featured what he termed "The Travelling Bottle.' Ludwig Leopold Döbler was born in Vienna in 1801. He was the best-beloved magician who ever trod the stage. He started life as an engraver of metals, but his fancy turned to necromancy. He gave his best performances in his na- tive city. In 1841 he was touring Holland, and in a letter now in my possession, which he wrote to a director and editor in Vienna under date of March I5th, 1842, he in- forms his friend that he has sent all his baggage to London from Amsterdam, and is on a visit to Paris. He regrets that he has not all of his apparatus with him, but has given several performances, and mentions the fact that " to-morrow I am engaged to give a performance in the private parlor of Rothschild and then by the Count [ 185 ] | |
unmaskingrobert00houdgoog.pdf,213 | unmaskingrobert00houdgoog.pdf | 213 | THE UNMASKING OF ROBERT-HOUDIN " THE GREAT WIZARD OF THE NORTH," Performing hie triak of POURING FOUR DIFFERENT LIQUIDS FROM ONE BOTTLE. Reproduction of a political cartoon in Punch, published during Anderson's London engagement, April, 1843, proving that the Inexhaustible Bottle Trick" was used by Anderson before Robert-Houdin was a professional entertainer. From the Harry Houdini Collection. [ 186] | |
unmaskingrobert00houdgoog.pdf,214 | unmaskingrobert00houdgoog.pdf | 214 | THE INEXHAUSTIBLE BOTTLE intaliset, minister of the King's mansions." He also orms his friend that he expects to visit Paris the next son and build his own theatre. He states a fact most resting to all magicians, namely, that he has rented (lay Drive udwig Döbler in his prime, taken about 1839. The original of this rare re was discovered by the author in a small print shop in Moscow, Russia. now a part of his Collection. St. James Theatre in London for two thousand ICS ($400) a night, or more than $2,400 rent for one k. Döbler drew such big audiences and made so ch money that he refused to give private perfomances, [187] | |
unmaskingrobert00houdgoog.pdf,215 | unmaskingrobert00houdgoog.pdf | 215 | THE UNMASKING OF ROBERT-HOUDIN only breaking this rule when presenting his show before H. M. Queen Victoria and the Prince Consort. He played the provinces, then went over to Dublin, where, although unable to speak English, he was a ver- itable sensation. In 1844 Döbler played a return STREET, ar. SATURDAY EVENING, date at the St. James APRIL. 10, 1842 la Ne - by Theatre, London, and sme LOUIS DOBLER, this time he had Ander- to - the of son as a rival at the Thé- - - - the gener NATURAL cummer âtre Royal Adelphia. MAGIC Döbler amassed a for- lass keil the - of - de - of Name - tune very rapidly; in fact - - - - NER MAJESTY THE QUEEN & H.R.M. THE PRINGE ALBERT. The - be divided inte Twe Para and with Mark - he retired in 1847, and by M. - Eigli - - PROGRABNE OF PERFORMANGE PART L never again appeared on The Magle Illumination, Tero Hundred Candles lighted by One Platol Shot The Magle Looking Olass. The Wandering The Travelling Bottle. The Witched Chair. the stage. He always ex- The Sympathetle Fruit. The Wonder The Corresponding Clooks. Kitchen. PART n. plained his early retire- Farmes The Magnetic Sword. The Notallie newer Zoots. Instantaneous The Great Necamotage. The Miracuions Washing ment by saying: "The More and There. Floga's aifta. vass THURSDAY. APRIL 91; and ou SATURDAY, APRIL ss. public loves me, and I PIt, Se. Gallery Stalls, is. ed. A - Orehostre Datte - be 9a. - - PRIVATE BOXEA, ITALLA - TICKETS - be - - Royal Librasy, ss, osd want it to always love me. Mr. asqunt's Librasy, Regent-street; Mr. sams's Librasy, Jamos's-streed; Andas - - of the Thestre, whieb le - - . Pivo I may return and be a # - - at as failure, so it is best to A Döbler programme from the Eva- know just when to stop." nion collection, dated 1842, now in the possession of the author. He died in a little village near Tunitz, on April 17th, 1864, when one of God's noblemen was laid to rest. "The Travelling Bottle" alluded to by Döbler in his programmes was nothing more or less than "The Inex- haustible Bottle." The following excerpt fr… | |
unmaskingrobert00houdgoog.pdf,216 | unmaskingrobert00houdgoog.pdf | 216 | THE INEXHAUSTIBLE BOTTLE "DOBLER-ST. JAMES THEATRE.-Among the illusions that more particularly struck our fancy was one entitled "The Travelling Bottle,' where Herr Döbler, filling a common bottle with water, transformed this water into a collection of wines of all countries, amicably assembled Döblers Strauschen und gervidmet. 2ins to ging's mil anbern Stanfe... ou Annã, Die ber gethan, Nech in Wintee, - ate Sife accce aberneg bie méefat Gunt, ward fatt Davan- mis Am Jänben, girrig mit Den Mingen. mit bem Spiegef, Fingen Re Die Samen anf. und mit der Flaghs Wein. Qiefe Kafges Nicmans Grach bas biegef 9u Des. Singe Sanf. yes es Acia. Sem was ensfeeret Teinen Rufym ou nacf, Jashm. fonber gaft. gevif uns jurüch, Sat man nene Segefycet Wenn Die wea bu es Die keine mit Magiers Qatich. ben Samber gn Tann mafangen wir bich wisbes, hore, But was wieber vell, Lafen biefj auch nieft mefje aup, in Bie on ans las ;bemp fifjun vöffig tell.' Sefellef hier fich in Reife anf So in Theatey. Döbler's farewell programme in verse, used when he played his last engage- ment in the Josephstadter Theatre, Vienna. Original given by Döbler per- sonally to Henry Evanion; now in the Harry Houdini Collection. [ 189] | |
unmaskingrobert00houdgoog.pdf,217 | unmaskingrobert00houdgoog.pdf | 217 | THE UNMASKING OF ROBERT-HOUDIN FLORA'S GIFTS. HERR DOBLER Ludwig Döbler in his prime, offering his most popular trick, "The Creation of Flowers." From a rare lithograph in the Harry Houdini Collection. [ I90 ] | |
unmaskingrobert00houdgoog.pdf,218 | unmaskingrobert00houdgoog.pdf | 218 | THE INEXHAUSTIBLE BOTTLE together in one receptacle, and he fills out first a glass of sherry, then one of port, then one of champagne, and so on." The critic then describes how the bottle was broken, and the borrowed handkerchief was found inside the bottle. Probably because of the prominence which Herr Dö- et. James's Theatre, King St, LAST NIGHT BUT FOUR OF HERR DOBLER'S TUEBRAY, JULY 5, (on thero will - NO SATURDAY, JULY 9. LOUDS NATURAL MAGIC - WALL shortty ANO NUMEROUN HEW EXPERIMENTS INTRODUGED - - - - - - A de - ed. . - Walle - Gallery - - as. qui Döbler programme with illustrations of his tricks, used during his engagement at the St. James Theatre, London. From the Harry Houdini Collection. bler gave to this trick it attracted more attention when Anderson presented it during his London run of 1843. He announced it as "Watervs. Wine, or Changing Water [ 191 ] | |
unmaskingrobert00houdgoog.pdf,219 | unmaskingrobert00houdgoog.pdf | 219 | THE UNMASKING OF ROBERT-HOUDIN into Different Liquids-Sherry, Port, Champagne, Gin, BOWERY THEATRE Milk, Rum, and Water." The London Sun of Domes. Pit. 1-9 Conte Seate de Orchostra Beses. se Conte Domes for FIV Dellase Boots egee from 9 A. a April 18th, 1843, says: The Deors will open et asd the Seiree et . e'slesh. These le se Cheatrical Eshibition with these "Mr. Anderson, be- NIGHTLY JAMMED! THE GREAT WIZARD sides the feats by which MAGALLISTER! his reputation was es- tablished in his former bie Trimmbant Career, and sightly exhibite bie Grand and De'ginal exhibitions in the metro- Experimente in MAGXO, x. ac., in bie Gorgeous Temple before AMAZED THOUSANDS polis, performed with per- "Men of Mighty Words and Little Deeds! Whe elaim the sele right to the name el WIZARD try in vais to convince the werld of fect ease and success beis greatness!--They may well writhe under the exposure of their FRES SYSTEK, by which they seek to obtain es sudiesce, while the daily assouncement of ous TRIOKS under www show the strait to which they ase driven! They have learned " their cost, that some of greater difficulty " Feels rash in where Angels fear to tread." For the time bere. Macallister will perfores hie than those by which Herr GREAT LIGHT FEAT Döbler astonished the AND INSTANTLY Iliuminate the Interior of the Theatre world, such as serving AT A PISTOL SHOT Requert, will be repeated the several kinds of wines MYSTERIOUS DISAPPEARANCE ANDITS from the same bottle." " GREAT GUN .FEAT!" or, FEAT A LA Wm. TELL. was - sine Wendes the em origimal MAGIC BOTTLE - The Morning Adver- ANCALLISTERS tiser (London) of the ORICINY same date said BOTR KINDS OF LIQUOR "With the utmost ease OUT or MACALLIITER'S he produced from an BOTTLE world that cas empty bottle wine, water, produce kinds of Liques and the same Dottle. port, sherry, and cham- ednesday Evening, August 11, 1852 pagne, and immediately wm be gives the Mystorics of the ENCHANTEDPALACE afterward, under a blaze Programme used by Macallister at the of wax and gas, he broke Bowe… | |
unmaskingrobert00houdgoog.pdf,220 | unmaskingrobert00houdgoog.pdf | 220 | THE INEXHAUSTIBLE BOTTLE viously been deposited under lock and key at a consider- able distance." Macallister, the Scotch brick-mason, who became the pupil and assistant of Phillippe, as described in the chapter on "The Pastry Cook of the Palais Royal," also Andrew Macallister as he appeared during his engagement in the United States. From the Harry Houdini Collection. claimed the bottle trick as his invention. I have been unable to obtain any of the early programmes used by Macallister, but I am reproducing the one he utilized during his engagement at the Bowery Theatre, New York City, in 1852. This was not his first appearance in 13 [ 193 ] | |
unmaskingrobert00houdgoog.pdf,221 | unmaskingrobert00houdgoog.pdf | 221 | The original Compars Herrmann, who was Robert-Houdin's very active rival during the latter's first engagement in London. Best portrait now in existence, and only one showing Herrmann in his prime. Original photograph loaned for this work by James L. Kernan. of Baltimore, Md., U. S. A. [194] | |
unmaskingrobert00houdgoog.pdf,222 | unmaskingrobert00houdgoog.pdf | 222 | THE INEXHAUSTIBLE BOTTLE New York, however. In December, 1848, and January, 1849, he played at the same theatre, and announced that he had just concluded a successful engagement at the Grand Theatre Tacon, Havana, Cuba. Although Macallister claims to have invented "The Inexhaustible Bottle" trick, it is more likely that, having been connected so long with Phillippe, he knew the secret several years before Robert-Houdin appeared in public. But as Macallister also claimed to have invented the peacock and the harlequin automata, both of which are recognized as the inventions of his predecessors, his claim cannot be given serious consideration. He advertised to produce twenty-two kinds of liquors from one bottle, and therefore he must have utilized the essence glasses in connection with the bottle. What must have been Robert-Houdin's feeling when, on arriving in London in 1848, he found another magician, Compars Herrmann, heavily advertised at the Théâtre Royal, and already offering each and every trick included by the Frenchman in his répertoire. Even the much- vaunted bottle was in Herrmann's list of tricks. No one seems able to tell where Compars Herrmann obtained the tricks he used, but he must be given credit for never advertising them as his own inventions. His record in this respect was clean throughout his life as a mysterious entertainer. The programme presented by Herrmann at the Théâtre Royal during Robert-Houdin's opening week at the St. James Theatre is herewith reproduced. Herrmann re- mained some time in London, playing at the Adelphia, then at the Royal Princess, and finally at the Surrey r 1 | |
unmaskingrobert00houdgoog.pdf,223 | unmaskingrobert00houdgoog.pdf | 223 | THE UNMASKING OF ROBERT-HOUDIN Theatre. A bill used by Herrmann at the Princess is reproduced on page 232. It evidently proved satisfactory to the public and he used it without change for many years. Probably the most notable warfare waged over the BOTAL, POGAM E le Velage dus Carte: with Nr. a. WESSTER, Sele Leisse - ou Bromptes. Le des Dames the - LA DOUTEILLE merna FAREWELL Rebia le Sercior, ( - - Le Poche the Mervelless MORNING Lee Noces de Canna: - Solme " - and Lee Colmmbee the LS CADRAN MATREMATICIEN; TME cseom. Le Timbre Soula, - - Restated Cleets Mell. Le - de - Nagique: The tome de Cartes et de magie New with Caste - Whitte MADONDE la - dus reages, esecule - de ville; The - porformed - - Brom. MAGIQUE CRAND NEW ILLUSIONS FROM Le SUSPENSION ET LE REENNE Commencing at Two o'Clock. WONDER OF THE WORLD: THIS MORNING. SATURDAY, May 6th, 1846, M. HERRMANN. (ou MANOVERN PREMIER PRESTIDICITATEUR OF FRANCE, 11 ... FIRST PROFESSOR OF MAGIO IN THE WORLD, the Nobility, Geeary . Puble general, thet be will - LAST A Morning Performance, SUSPENSTON ÉTHÉRÉENNE. Frevious to als departure se the provinces, and will Intreduce Six New Extraordinary Tricks, DOUBLE VUE! NEVER BEFORE : Or, Second Sight, L'Alben Heneveries; The Maseveriam Albsta. " Les Chapeses Diaboliquee: The Diabelical Mata, Le Cufre infernale: The Seformal MADAME HERRMANN. Le Vase d'Armite: - l'horiogerie de Geneve: Armida's Vase er, The Gemeva Cleckweek. WETE VARIOUS Le Mudtiplication des Indes: Les Mysteres de Perie; The of Paris, ILLUSIONS WITH CARDS no Endame MAGIE as performed - weeke simee as she Thentre Megral, Adelght, AND MADE HERRMANN + o , . 3 R Will also exbrbit her extraerdinary pevent of II IMITATION OF VABIOUS SECOND IME. REMANE. oa, ANTS MAGNETISM stalle and mexes en Doom egee at Osse the ay with Clesed Eyee, any objecte that may be submitted se thie preef, whica - assomished the mees acientifie, Billing used by Compars Herrmann when he played in opposition to Robert- Houdin on the latter's arrival in London. This shows that Herrmann dupli-… | |
unmaskingrobert00houdgoog.pdf,224 | unmaskingrobert00houdgoog.pdf | 224 | THE INEXHAUSTIBLE BOTTLE honor of having invented this trick arose between Robert- Houdin and Henri Robin, who were contemporaries. Robin, whose right name was Dunkell, was of Holland birth and died in Paris in 1874. He was at his prime PoGA LAY-MARKET - Evening. Tharsday, April seth. - a - - Manager, ou Le Velage des Cartes: with Carts. LE BOUTELLE INEPOISABLE; THE Mereary. T Arlogala le DisMe quetre, Mariogale, the Bevil. L'Egee Magigne: The Magle Sword. WONDER OF THE WORLD: L'Tacomotage de Lose et de Soliel the Saggier et the and the - LE CADRAN MATERMATICIEN: Les Colombes Sympothetiques: The Sympethetie Devea, Le Rie Enchente The La Cafetiore de Grend Megal The Coffee Pes or the Geand Megal Le - de - Magique: The Nogle Swestenks. She Last Two Nighte! Le frelerd Serpont The la Borme Magique: The Magle Stove la - du Poimon reage, execute - bebit de ville, The math of performed in - La Some tome dus Cartes et de - blanche; Now Masions wills Thursday, Saturday, - Whise Le Billet de Solomee Note. Les the Apens sea, and ns4s. des pieces de messaire: the TRAND NEW ILLUSIONS FROW M. HERRMANN. Le SUSPENSION THEREENNE - maseva PRESTIDICITATIUR OF PRANCE, om IN - - - SOIRÉES MAGIQUE it - - - the caly cosasions he cas SUSPENSION ÉTNÉREENNE. aggear is this Seasom. LE DOUBLE VUE! zm. EEREMANN Or, Second Sight, BY was - MADAME EERRMANN. New anes Startling y WETHE VARIOUS . vasions paste . - ILLUSIONS WITH CARDS AND MAGIE MADE. HERRMANN AND , - - - - ber gevere os BECOND SIGHT: II IMITATION OF VABIOUS BIRDS, ar HEREMANE. INTI-MAGNETISM asalle a Boxes &u. PK Se. Galleries 2s. a ls. Second Price as N ine o'cloek. ages, any that may be Deses opee Malf-past Seven: the Performance Eight . se Plases 1 A Herrmann programme dated April, 1848, showing that Herrmann pre- sented the inexhaustible bottle two months before Robert-Houdin appeared in London. [ 197 ] |
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