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unmaskingrobert00houdgoog.pdf,71 | unmaskingrobert00houdgoog.pdf | 71 | THE UNMASKING OF ROBERT-HOUDIN leading mechanical genius at the close of the seventeenth century and the beginning of the eighteenth. He was a man of high repute, whose history is not that of the charlatan, compiled largely from tradition, but it can be & YOUNGS Reem the of Leal- Mall, facing rke Hay-Market, fern The GRAND TREATAL of the MUSES, jaje Mr. PINCHBECK, THIS wonderful Machine is the Altonifh- et all that feeit. the of be Struc- tue, the Delicacy of the Paining quit and the grast valiety of moving Figures m-k-s i the mott priling Piece of An that has ever yer appear'd in Earope. It di Landfeape, witha view of the Sea. termina- to sieg PL dey difeppear, - doubling Avaft Swans Capes, in and River With diminifhing filling Shipsfailing, by plurning degrees plying . and Duck Hunilig to Perfection ard greas variety M Motions Likewife Pifture, N- la * Foreß playing umong the Rere the very T ces, well as Banes, ere feen TO move, as if animared and compell'4 bythe Hamony of bia Haxp. It alle perfoims on feveral Inftruments great of molt excellent Pieces of Mulich compos'd by Mz. H FANDEL, Co RELLS ALEINONI, and orher celebtated with fuch wonderful Exadneti, that fearce any Hand can equal, It the fweet Hazmony of any AVI- ary of Bieds, wherein the refpective Notes of the Nightin- gate, Woodlatk, Cuckoo, &cc. are performed to fo giear a Perfedion, NS not ro be from Naruze it fell. Wirh feveral orher to men- tion, Frices 55. 25. 6.d. and - To be feeo from 10 in The Morning vill to Night, by two, DE more, wichout lofs if Fins. Nate, This curions Machine will be removed ia a few Days Deas but oute to the Leg Tavem in Ficerflieer, Clipping from the London Daily Post of November 30th, 1798. Used by Christopher Pinchbeck before he joined Fawkes. From the Harry Houdini Collection. corroborated by court records, biographical works, and encyclopaedias, as well as by contemporaneous newspaper clippings. According to Vol. XLV. of the "Dictionary of National Biography,' edited by Sidney Lee and published in 1896 by Smith, Eld… | |
unmaskingrobert00houdgoog.pdf,72 | unmaskingrobert00houdgoog.pdf | 72 | THE ORANGE-TREE TRICK in Clerkenwell, London. He was a clockmaker and inventor of the copper and zinc alloy called after his name. He invented and made the famous astronomico-musical clock. In Appleby's Weekly Journal of July 8th, 1721, Me FAWKFS's THEATRE, In Tames-freet, near the Hay-marker, will be prefented tbe following Entertainments: Firft, H IS Diverting and Incomparable feveral Thingreatirely new. DERTERITY of HAND, in which he purforme N. B. In particular he caufesa Tree to grow up in a Flower- Pot upon the Table, which will blow and beay ripe Pruis in a Minute's Time. Second, His Third, The MUNICAL CLOCK, with EWO moving lately made by Mr. Pjochbeck, Fourth, The Vast FIAN MACHINS, belag the Piece of Workmaufhip in the World, for moving Pidures aud other Curiofities. Fifth, The ASTIFICIAL Vazw of the WORED, wherein Es very naturaDly imicated the Firmament fpangled wall a Maltifuide of Stari; the Moon's Increale and Decreale the Pawa of Day : the diffuling bis Lightar his Rifing the beautiful Redne(s of the Horizon at lis Sercing. as in a fine Summee Eyening. The R allo repre(ented, wih Ships under Sail, 28 fevent Miles Diffance; ethers fo neas that their Shadows are Teen lia de Water, and as they pars by any Fort, Caftle, &c, they esch other with their Goms, the Report and-Ecchool which are às plainly heard es cho' from the cal Places they appear to be. Every Week are Note, Every Night during this Wick will be 1. The Ciry of Grarz Dalsedom of Stitia in Germang. 11. The Cirs of Autwerp in io Flandess. IIT. The City d Grand Caleo to Egypt. IV The City of Algrervia Africa. Brginning CWITY livening precifely ar Nix o' Clock. Pir DE Midde Unper Audtharthe Company naay with Cold, there is Contrivances the Warm. Note, and Lades may have a privas giving Nouce the Night before. Advertisement from the London Daily Post during 1730, showing the orange tree as offered by the senior Fawkes, just previous to his death. From the Harry Houdini Collection. it was announced that Christopher Pinchbeck, inventor and maker … | |
unmaskingrobert00houdgoog.pdf,73 | unmaskingrobert00houdgoog.pdf | 73 | THE UNMASKING OF ROBERT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' Grand Theatre of the Muses,' or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June I 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. He died November 18th, 1732; was buried No- vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732, page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page 122. His will, dated November roth, 1732, was proved in London on November r8th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
unmaskingrobert00houdgoog.pdf,74 | unmaskingrobert00houdgoog.pdf | 74 | - Christopher linchlul A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work Cunningham, the greatest designer, and William Humphrey, the greatest trait etcher of his day. From the Harry Houdini Collection. [57] | |
unmaskingrobert00houdgoog.pdf,75 | unmaskingrobert00houdgoog.pdf | 75 | THE UNMASKING OF ROBERT-HOUDIN Fawkes, he had a master-producer of his tricks. Christo- pher Pinchbeck never appeared on the program used by Fawkes, save as the maker of the automata or apparatus, but directly after the death of the elder Fawkes, and a few months before his own, the elder Pinchbeck ap- peared with the son of his deceased partner, and was advertised as doing "the Dexterity of Hand" performance. This indicates that he was inducting young Fawkes into all the mysteries of the profession at which the two elder men, as friends and business partners, had done so well. Christopher Pinchbeck was survived by two sons, Edward and Christopher, Jr. Edward, the elder, suc- ceeded to his father's shop and regular business. He was born about 1703, and was well along in years when he entered into his patrimony, which he advertised in The `Daily Post of November 27th, 1732, as follows: "The toys made of the late Mr. Pinchbeck's curious metal are now sold only by his son and sole executor, Mr. Edward Pinchbeck." This announcement settles forever the oft-disputed question as to whether the alloy of copper and zinc which bears the name of Pinchbeck was invented by Christopher Pinchbeck, Sr., or by his son Christopher, Jr. All newspaper and magazine descriptions of the auto- mata invented by the elder Pinchbeck indicate that his hand was as cunning as his brain was inventive, for they showed the most delicate mechanism, and included entire landscapes with figures of rare grace in motion. "Christopher, the second son of Christopher Pinch- beck the elder," continues the biographical sketch, "was born about I7IO and possessed great mechanical ingenuity. [ 58 ] | |
unmaskingrobert00houdgoog.pdf,76 | unmaskingrobert00houdgoog.pdf | 76 | THE ORANGE-TREE TRICK While the elder son, Edward, was made executor and continued his father's trade in a quiet, conservative fashion, the younger son struck out along new lines and The Wet died the Mr. - for bis by max FAWKES The best portrait of Isaac Fawkes in existence. The original, now in the Harry Houdíni Collection, is supposed so have been engraved by Sutton Nichols. It is said that there is only one more of these engravings extant. became even more famous as an inventor than his brill- iant father had been. [ 59 ] | |
unmaskingrobert00houdgoog.pdf,77 | unmaskingrobert00houdgoog.pdf | 77 | THE UNMASKING OF ROBERT-HOUDIN "He was a member and at one time president of the Smeatonian Society, the precursor of the Institution of Civil Engineers. In 1702 he devised a self-acting pneu- matic brake for preventing accidents to the men employed in working wheel-crancs. In The Gentlemen's Magazine for June, 1765, page 296, it is recorded that Messrs. Pinchbeck and Norton had made a complicated astro- it the Conk and Half Moan Tavern in Temple- Bar, r HE famons Mr. FAWKS performi moft furpriting Trick by Desterity of Hand, with Regi, curions India Birds, Mice and Money, Which Curionits no Perfon In the dom cari presend to thom To- gether with the Activity of Body perform'd by his Polture Maller, bring 9 Boy about Ten Years of Age, who Far - ceeds all that ever in Eumpe. Who Transforms his Body into fuch a various Shapes, 21 Curpaties human Faith to believe our Geting. Likewite the Rezilan Searamouch Dance, with two four Note, Legs, We have and the bur had Printe. the Body, Honour and prefent Majchy Headi, one to the Admiration of all to perterm before bis ling George, att the Quality of the whote Kirg- dom. with great Applaufe. Beginning evary Evening precifely it N.B. Any Gentiemen or Ladies may have 2 private Performance any Tirm of the Day, giving an Mour's Notick. An early Fawkes advertisement, clipped from a London paper of 1795. From the Harry Houdini Collection. noinical clock for the Queen's house, some of the cal- culations of the wheel having been made by James Fer- guson, the astronomer. There is no proof that Pinchbeck and Norton were ever in partnership, and there are now two clocks answering to the description at Buckingham Palace, one by Pinchbeck, with four dials and of a very complicated construction, and another by Norton. "Pinchbeck took out three patents: the first (No: 892), granted 1768, was for an improved candlestick with a [60] | |
unmaskingrobert00houdgoog.pdf,78 | unmaskingrobert00houdgoog.pdf | 78 | THE ORANGE-TREE TRICK spring socket for holding the candle firmly, and an arrangement whereby the candle always occupied an upright position, however the candlestick might be held. In 1768 (patent No. 899) he patented his nocturnal remembrancer, a series of tablets with notches, to serve as guides for writing in the dark. His snuffers (No. III9) patented 1776, continued to be made in Birmingham The Daily Poft. `KIDAY, January 21, 1726. S's and POWEL's Theatre, in in James-freet, mear the Hay-Marlet, be ving Entertainments, viz. 1726 FIRST his furprizing Dex- Hand, far exceeding all thatever Perform in this Kingdera. ad The fancus Poftare-Mafter. de The Mafics) Closk, that Play variety of Tunts, on the Orgia, Fluse, and Sine- Flageleig with Hirds, felf. Whilling and from Life the it Bath: And The 4th. wiole Powyl's Play of The Prineefs Elisabeth, er Rife of bugge Punch: With the Comical Humonrs of Enquire Punch, and his Foot- man Gudgeon. Perfoim'd by the Richeft Bnd Figures that ever was fees in England. Concluding with an Piece of Ma- chinery, after the Italian Manner, repreferring the Eplendid Palace of Diana breaking into Domble and Triple Prefpeds, with all the Changes of Srents and Decorations belonging to the Play. N. B. The poors will be open'devery Day at Five a Clock. And in Regird that Gentlemen and La- dies thall not be difappointed, we beghi exalty as Six, and none to bead- mitred afuer. Prices: S. . S. snd6d A clipping from the Taily Post, London showing that Fawkes combined forces with Powel, the famous Bartholomew Fair puppet man. From the Harry Houdini Collection. until the last forty years or so, when snuffers began to go out of use. In I774 he presented to the Society of Arts a model of a plough for mending roads. Pinchbeck's name first appears in the London directory in 1778, when it replaced that of Richard Pinchbeck, toyman, of whom nothing is recorded. "Christopher Pinchbeck, Jr., was held in considerable esteem by George III., and he figures in Wilkes' London [61] | |
unmaskingrobert00houdgoog.pdf,79 | unmaskingrobert00houdgoog.pdf | 79 | THE UNMASKING OF ROBERT-HOUDIN Museum (ii-33) in 177° in the list of the party who called themselves the King's friends. He died March 17th, 1783, aged 73, and was buried in St. Martin's-in-the- Fields. His will, which was very curious, is printed in full in The Horological Journal of November, 1895. One of his daughters married William Hebb, who was described as 'son-in-law and successor of the late Mr. Pinchbeck at his shop in Cockspur Street' (imprinted on Pinchbeck's portrait), whose son Christopher Henry Hebb (1772- 1861) practised as a surgeon in Worcester. There is in existence a portrait of Christopher Pinchbeck the younger, by Cunningham, engraved by W. Humphrey." The mezzotints of the Pinchbecks, father and son, herewith reproduced, are extremely rare, and when I un- earthed them in Berlin I felt myself singularly favored in securing two such treasures of great value to the history of magic. S. Wohl, the antiquarian and dealer from whom they were purchased, acquired them during a tour of old book and print shops in England, and thought them portraits of one and the same person; but by studying the names of the artists and the engravers on the two pic- tures, it will be seen that they set forth the features of father and son, as indicated by the biographical notes quoted above. Of the early history of Fawkes, whose brilliant stage performance lent to the Pinchbeck automata a new lustre, little is known. It is practically impossible to trace his family history. His Christian name was never used on his billing nor published in papers or magazines, and after repeated failures I was about to give up the task of discovering it, when in I904, aided by R. Bennett, [62] | |
unmaskingrobert00houdgoog.pdf,80 | unmaskingrobert00houdgoog.pdf | 80 | THE ORANGE-TREE TRICK the clerk of St. Martin's-in-the-Field: Parish Church, Trafalgar Square, London, England, I came upon the rec- ord of his burial. This record, which I found after many days' search among musty, faded parchments, showed that his Christian name was Isaac, and that he died May 25th or 29th, I731, and was buried in St. Martin's-in- the-Fields Parish Church. The records further show that he was buried in the Ai FAWKES's Booth in the Upper Moor- fields, will be prejented the FIRST wonderfal his Famous Dexterity of Pofture-Mafter, Bndy exceeds all Europe. The that Mulical Temple of Arts with two moving the one a Concert of the oher the Siege and of Gibraltar, of Machine being Parnaftus, the with finelt with three Piece Apollo moving of €lock-work andthe Pidtures, in the Mufes the firft World. playing on reprefents Bay 3d, the various Another Hill Nine Infiraments of Mulick, the bext a beauriful View of a River, with Syms and other Fowls and Filh, fporting as the' Alive, The lait gives a Profpeßt of the New Palace Yard, with the whole Pro- cellion of the late Coronation of their prefent Majefties murch- ing from the Hall to the Abbey, Note, Half the Performasce can't be in this Adver- tifement. Nore, We thow twice yvery Evening the Firft beginning at Five, the other & Seven. Clipping from the London Post during 1728, showing the oldest evidence procurable of the original "Two a Night" performance. From the Harry Houdini Collection. church vault, the coffin being carried by six men. Prayers were said in the church, candles were used, and the great bell was tolled. As the fees amounted to £6 I2S., a goodly sum for those days, all signs indicate that the funeral was on a scale more costly and impressive than the ordinary. Fawkes was worth at his death £10,000, which was considered an enormous sum in those days. Every penny of this he made performing at the fairs. The earliest announcements of Fawkes' performance in my collection are dated 1702 and include advertise- [63] | |
unmaskingrobert00houdgoog.pdf,81 | unmaskingrobert00houdgoog.pdf | 81 | THE UNMASKING OF ROBERT-HOUDIN ments headed "Fawkes and Powel," "Fawkes and Phillips," and "Fawkes and Pinchbeck." Powel was the famous puppet man, Phillips a famous posture master (known to-day as contortionist), and Pinchbeck was the greatest of mechanicians. Fawkes seems to have pos- sessed a singular gift for picking out desirable partners. From this mass of evidence I am producing various This prefent Evening, Room, over the Piazza's, at the to the Ray Market, the Famoes, FAWKES pet. formi molt by Mand, with Curinution al that Kind, being what has thew by any of Pelfon with the Agiviry of in Body by before Pitture the Allo or rest performed theye will be Dunces by twe Poiture ID They crimm the and ty be bure Foor righ, and Plemy Dance an tentian with Dis and but one Body ta the Admination of all ato Ing and of the Slack Reprain fishio as war never performed by any other prec Gly at and th-jors Day N. Mow the Clentlemen Place abole, and Hours every any N. may bave: privaté RE an he tof this longer whan the Stalon - to that be Acani ay and Ladies Eancies by Desterity of Hand for thake owa Diverion By Permifion, A the Chriftian Coffee-houle at Smithfield Bano the prefent Evening DE will performent - by Mr. CLENCH of who imiratey the Hom, Pack of Roundi, the Tham Doctor, old deungen Man, und the Beits 1 the Doubte Courtel, the Organ with three Volerity sul are perforged with bis Natural Volie 4 allo - Ellex song by Mt. Clench, after which ma nare - can puform. Clipping from the London Post, February 7th, 1724, in which Fawkes announces his retirement and offers to teach his tricks to all comers. Below this announcement is the advertisement of Clench, famous as an imitator and an instrumentalist. clippings. By a peculiar coincidence one of these I believe offers the most authentic and earliest record of "two a night" performances in England. In my collection are a number of other clippings from the press of the same year, in April and May, 1728, but none of them says "twice a night," therefore I judge [64] | |
unmaskingrobert00houdgoog.pdf,82 | unmaskingrobert00houdgoog.pdf | 82 | THE ORANGE-TREE TRICK that the custom of giving two performances in a night was tried previously to April, 1728, and then abandoned, or after the first of May. In the London Post of February 7th, 1724, Fawkes announced an exhibition "in the Long Room over the piazza at the Opera House in the Haymarket." At this time he also advertised the fact that he was about to retire and was exposing all his tricks. The clipping of that date from my collection has the following foot-note: "Likewise he designs to follow this business no longer THISTO give Notice, That the famous Mr. at his Booth in WeR-Smirhield, the followine moft farprizing Trickt, after a new M. chad, vis. He takes ao rempry Bag. lays it on the Toble, and tarns it feveral Times infide ouf, then commanda 100 Eags our of it, and feveral Showers of real Gold and Silve: then the Bag beginning to fwen, feveral Sons of wild Fowls ron out of ir upon the Table. He throws up a Pack of Cards, and carter them to be living Birds flying aholt the Room. He caufes be any Piltérel. Re living blows Seatts, Likewife the Spors Birds, the of and the other Canda Line Creaturesto off oron, Pofture and appear Mafter, changes upon 4 them the French Ta- to Scalfold one-far Boy, aborit 9 exceeding Foor Vears bigh; ell of and that Agr. bends who how'd backward perform) in Europe. above till hir whole farprizing Rands Body upon hangs Acti- a Too ever He below his Legs, and rifes again wishnut any help of his Handv. He himfilf 6 Forte hetween two Chairs, while he plays uport the ingenious Vialin, Their Hours, Tricks every by if both Day, he was the from upon erformers, 9 in the Slick Morning Kope: redious till here With 9 ar to above Night, too the 100 laft Shows beginnion ar 3. 31 and 7. in the Evening, With . good Mulick. Pric 12 d. Clipping from the London Daily Post of August, 1735, in which Fawkes advertises his admission price as twelvepence. From the Harry Houdini Collection. than this season; so he promises to learn any lady or gentleman his fancies in dexterity of hand for the… | |
unmaskingrobert00houdgoog.pdf,83 | unmaskingrobert00houdgoog.pdf | 83 | THE UNMASKING OF ROBERT-HOUDIN figure. About six years before his death he had his own theatre in James Street, near the Haymarket, in which he exhibited for months at a time before and after fairs. I reproduce a clipping from my collection showing Fawkes' last program. Here it will be seen that his first trick was causing a tree to grow up in a flower-pot on the table, and bear fruit in a minute's time. In The Gentle- men's Magazine, that oft-quoted and most reliable peri- odical, of February 15th, 1731, readers were informed that the Algerian Ambassadors witnessed Fawkes' per- We hear that young Fawkes and Pinchheck are now arrived in Town from the Bath and Saliabury; where they have, da the moft agreeable Mariger, entersained the Nobility and Quality with their very lurprieing and to whom the Tate Mr. Fawken, in his Life-tjme, had communicated all thofe wogder- fal Secrets which gave fuch univerfal Satisfaction to all his Specla tors : And we are likewife affored, that every Particular is preenvo in its utmoft Perfection, viz. His Artiticial View of the World his Turprizing Dexterity of Mand, in which he caufes a Tree to grow out of a Flower-Pot on the Table, which u Home and bears ripe Fruit in a Minute's Time; his famous little Pefture-Mafter of leven Years old, not to be equal'd in Europe, who likewile per- forms on the flack Rope to Admitation - his enternaining Muncal Clock, with two beautiful moving Piltures, and an Aviary of Bardr, ar natural as Life itlelf; alla a curious Venesian Maching, an w'i by all Artifis to be the fmefi Piece of Workmanfhip in the World; au which furgrizing Entersalnments we hear will be perf rm'd nex Week at the late Mr. Fawkes's Theatre, at the old Tennis-Court in James-fireet near the day-market. 1732 Clipping from the London Post, showing that young Fawkes collaborated with Pinchbeck and together they offered the orange-tree trick in 1739. From the Harry Houdini Collection. formance. At their request he showed them "a prospect of Algiers, and raised up an apple-tree which bo… | |
unmaskingrobert00houdgoog.pdf,84 | unmaskingrobert00houdgoog.pdf | 84 | THE ORANGE-TREE TRICK by Pinchbeck the elder, for Fawkes, may have been bequeathed by the latter to his son, but, in 1732, Pinch- beck the elder and Fawkes the younger were in a booth together, and Pinchbeck was advertised as doing "the dexterity of hand" performances. After Christopher As FAWKES, Great Theatrical Booth, In Weft Smithfield, faceing the White Hart Alt- konfe near Cow-lane End, D URING the fhort Time of Bartholomew- Fair, which liegins out Monday next, the 23d Triftant, and ends the Thorfday following, the Publick will be di- verted with the fediniving Entertainments, which have gain'd fuch great Applanfe, viz. Firit, Fawkes's ducomparable Dexteriry of Hand, who perforins feveral forpriling Tricks entirely new and very curions. Secondiy, The amazing Mulical Clock, witli two curious Miving Pictures. Thirdiy, The famous yourg Pofore-Mafter, who vauls the flack Rope to the Admiration of all that have fech him, and far exceeds any riung of the Kind in Enrope: Fourthly, The Temiple of Aris, wbich is the fineft Piece of Workmanibip in the World, the Machmery confifting of valt Variery of Moving Figtires, and many other inimi- table Curioliries. Fiftlily, That fine Piece of Machinery, the Artificial View of the World, wherelo are Hiww Variery of duffercar Profpecis; parricniarly the chree following, viz. . of Windfor Caltle, wich a View of the River of Tliames, 2. The City of Grand Cairo da Egypt. 3. A Proficet of the Town, Fort and Bay of Gibraltar, N. B. To begia every Day at Ten in the Moruing and End at Ten at Niglio Aus 16 9736 Clipping from the London Post, August 16th, 1736, when young Fawkes was playing alone. From the Harry Houdini Collection. Pinchbeck, Sr., died, young Fawkes started out on his own account. In I746, according to an advertisement in my collection, a Fawkes and a Pinchbeck were together again, so the son of Pinchbeck must have joined the younger Fawkes for exhibition purposes. The accom- panying clippings from contemporary publications trace the history of young Fawkes, and prove… | |
unmaskingrobert00houdgoog.pdf,85 | unmaskingrobert00houdgoog.pdf | 85 | THE UNMASKING OF ROBERT-HOUDIN which bore fruit in a minute's time was still on his pro- gramme. For many years it was supposed that only one portrait of Fawkes was in existence, but it now seems that three were made. I publish them all, something which no one has ever before been able to do. One was taken from a Setchels fan published about 1728, although some Reproduction of page 1996 of Hone's "Every-Day Book" in the Harry Houdini Collection. This is a portrait of Fawkes, engraved on a fan by Setchels in 1721 or 1728. Fans like these were distributed at the Bartholomew Fair. authorities say I72I. It appeared in Hone's "Every- Day Book," page 1226. Another, I believe, was en- graved by Sutton Nicols, as Hone mentions it in his description of Fawkes. In the fan engraving, it will be noticed that there appears a man wearing a star on his [68] | |
unmaskingrobert00houdgoog.pdf,86 | unmaskingrobert00houdgoog.pdf | 86 | THE ORANGE-TREE TRICK left breast. It is said that this is Sir Robert Walpole, who was Prime Minister while Fawkes was at the height of his success, and who was one of the conjurer's great admirers. Hogarth also placed Fawkes in one of his engravings as the frontispiece of a most diverting brochure on "Taste," in which he belittles Burlington Gate. This makes the third portrait from my collec- tion herewith reproduced. According to an article contributed by Mons. E. Ray- naly in the Illusionniste of June, 1903, the orange tree next appeared in the répertoire of a remarkable peasant conjurer, whose billing Mons. Raynaly found among "Affiches de Paris." This performer was billed as the Peasant of North Holland, and gave hourly performances at the yearly fairs at Saint-Germain. It is more than possible that he purchased this trick from Fawkes or Pinchbeck, having seen it at the Bar- tholomew Fair in England. He featured the orange tree as follows: "He has a Philosophical Flower Pot, in which he causes to grow on a table in the presence of the spectators trees which flower, and then the flowers fall, and fruit appears absolutely ripe and ready to be eaten." His posters are dated I746-47 and 1751. The next programme on which the mysterious tree ap- pears is a Pinetti handbill, dated in London, 1784, when the following announcement was made: "Signore Pinetti will afterwards present the assembly with a Tree called Le Bouquet-philosophique composed of small branches of an orange-tree, the leaves appearing green and natural. He will put it under a bottle, and at [69 ] | |
unmaskingrobert00houdgoog.pdf,87 | unmaskingrobert00houdgoog.pdf | 87 | MASQUERADE Masquerade and opera at Burlington Gate. Reproduction of Hogarth's engraving entitled "Taste," belittling the artistic taste of London. This caricature verifies the Fawkes advertisement, reproduced on page 64, for here the conjurer is pictured leaning from the window of the 'long room" and calling attention to his performances. From the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,88 | unmaskingrobert00houdgoog.pdf | 88 | own composition, the leaves will begin to change and the bouquet will produce natural flowers and various fruits." Pinetti is one of the most fascinating and picturesque figures in the history of magic. His full name was Joseph Pinetti de Willedal, and, like Pinchbeck and Fawkes, he was a man of parts and readily made friends with the nobility. In fact, there is some question as to whether he did not come of a noble family. He was born in 1750 in Orbitelle, a fortified town once claimed by Tuscany. What can be gleaned regarding his early history goes to prove that his family connections were excellent and his education of the best. One of his portraits, reproduced herewith, shows a half-crown of laurel decorating the frame, and on one side of the bust is a globe, while in the rear of the picture is a stack of books. This would establish his claim that he was once a professor of physics and geography. In fact, the legend beneath the portrait, being translated from the French, runs: "I. I. Pinetti Willedal de Merci, Professor and Dem- onstrator of Physics, Chevalier of the Order of St. Philipe, Geographical Engineer, Financial Counselor of H.R.H. Prince of Linbourg Holstein, Born in Orbitelle in 1750." As it has so often happened in the history of savants and students, there ran in Pinetti's blood a love of the mys- terious with that peculiar strain of charalatanism which went to make up the clever performer in old-time magic. Evidently he resigned his duties as a professor for the more picturesque life of the travelling magician, and he is first heard from in this capacity in the French provinces [71] | |
unmaskingrobert00houdgoog.pdf,89 | unmaskingrobert00houdgoog.pdf | 89 | THE UNMASKING OF ROBERT-HOUDIN in 1783. His fame quickly carried him to Paris, where in I784 he appeared before the court of Louis XVI. His arrival was most opportune, for just then all Paris I.I.PINETTI Ritterund Konigh: Freus Hopphyficus by yeiner infeclungin Hamburg A wood-cut used by Pinetti during his engagement at Hamburg, Germany, in October, 1796. From the Harry Houdini Collection. and, for that matter, all Europe had been aroused to a new interest in magic by the brilliant Cagliostro. From Paris he went to London, playing at the Hay- market and creating a sensation equal to that which he made in France. Later he toured Germany, playing in [72] | |
unmaskingrobert00houdgoog.pdf,90 | unmaskingrobert00houdgoog.pdf | 90 | THE ORANGE-TREE TRICK Berlin and Hamburg. Next he went back to his native land, Italy, but later returned to Germany for a second engagement. In 1789 he appeared in Russia and never I.I.PINETTI willidal de merdi profes et demonstrateus de philoso, chevalier de Cordre de pt argenieur glographe it Constiller der france prince de hotatein Orlandle preidar the and The only authentic portrait of Pinetti in existence, the only known copy extant being in the Harry Houdini Collection. left that country. There he married a Russian girl, daughter of a carriage manufacturer. They had two children. Pinetti would have left enormous wealth, but [73] | |
unmaskingrobert00houdgoog.pdf,91 | unmaskingrobert00houdgoog.pdf | 91 | THE UNMASKING OF ROBERT-HOUDIN in his later years he became interested in ballooning, the sensation of the hour, and spent his entire fortune on balloon experiments. He died in Bartichoff, Volhinie, aged fifty years. Pinetti was a man of rare inventive genius and almost N° a Beduer en and Henri Decremps, the French author who exposed and endeavored to ruin Pinetti, but succeeded only in immortalizing him. reconstructed the art of conjuring, so numerous were his inventions. For half a century after his death his suc- cessors drew upon Pinetti's inventions and répertoire for their programmes. Naturally such ability aroused bitter jealousies, especially as Pinetti made no attempt to con- [74] | |
unmaskingrobert00houdgoog.pdf,92 | unmaskingrobert00houdgoog.pdf | 92 | THE ORANGE-TREE TRICK ciliate his contemporaries, either magicians or writers on magic. He issued one book, whose title-page reads: "Amusements Physiques et Differentes Expériences Di- vertissements, Composées et Executées, tant a Paris que dans les diverses Courts de l'Europe. Par M. Joseph Pinetti de Willedal, Romain, Chevalier de l'Ordre Mérite de Saint-Phillipe, Professeur de Mathématiques et de Physiques, Protégé par toute la Maison Royale de France, Pensionnaire de la Cour de Prusse, etc., 1785.' The work, however, was not a clear and lucid explana- tion of his methods and tricks. In fact some of his con- temporaries claimed that he deliberately misrepresented his methods of performing tricks. Among these writers was Henri Decremps, a brilliant professor of mathematics and physics in Paris, who proceeded to expose all of Pinetti's tricks in the book referred to in the preceding chapter, "La Magie Blanche Dévoilée." This work was in five volumes and was so popular in its day that it was translated into nearly every modern language. The fol- lowing explanation of the trick is taken from page 56 of the English translation, entitled "The Conjurer Unmasked : "The branches of the tree may be made of tin or paper, so as to be hollow from one end to the other in order that the air which enters at the bottom may find its exit at the top of the branch. These branches are so adjusted that at intervals there appear twigs made from brass wire, but the whole so decorated with leaves made from parchment that the ensemble closely resembles nature. "The end of each branch is dilated to contain small pieces of gummed silk or very fine gold-beater's skin, [75] | |
unmaskingrobert00houdgoog.pdf,93 | unmaskingrobert00houdgoog.pdf | 93 | THE UNMASKING OF ROBERT-HOUDIN which are to catch the figures of the flowers and fruit when the latter expand by the air driven through the branches to which they were fastened by a silk thread. "The tree or nosegay is then placed on a table, through Decremer which runs a glass tube to supply air from beneath the stage, where a confederate works this end of " the trick, and causes the tree to 'grow' at the prearranged sig- nal." Decremps's signature writ- ten by himself on the last Later it was described as being page of a copy of his book now in the Harry Houdini accomplished entirely by springs, Library. and real oranges were first stuck on the tree by means of pegs or pins, and the leaves were so secured around them that at first appearance they could not be seen. Then a piston was used to spread all the leaves, another that forced the blossom up through the hollow branches, etc. Pinetti's personality was almost` as extraordinary as his talents. A handsome man who knew how to carry himself, acquiring the graces and the dress of the nobility, he became rather haughty, if not arrogant, in his bearing. He so antagonized his contemporaries in the fields of magic and literature that he was advertised as much by his bitter enemies as by his loving friends. Many of his methods of attracting attention to himself were singularly like those employed by modern press agents of theatrical stars. He never trusted to his performances in theatres and drawing-rooms to advertise his abilities, but demon- strated his art wherever he appeared, from barber-shops to cafés. [76] - | |
unmaskingrobert00houdgoog.pdf,94 | unmaskingrobert00houdgoog.pdf | 94 | THE ORANGE-TREE TRICK Perhaps the best pen pictures of Pinetti and his methods are furnished by E. G. Robertson in his "Memoirs." Robertson was a contemporary of Pinetti, and, like him, a pioneer in ballooning. His "Memoirs," written in the French language, were published in 1831. The following extracts from this interesting book tell much of Pinetti's life in Russia and of his professional history as tradi- tion and actual acquaintance had presented it to M. Robertson: 'Pinetti had travelled a great deal and for a long time had enjoyed a great European reputation. He had done everything to attain it. There was never a man that carried further the art of the 'charlatisme.' When he arrived in a town where he intended to give a show, he took good care to prepare his public by speeches, which would keep it in suspense. In St. Petersburg great and incredible examples of mystification and of prestidigi- tation were told about him. "One day he went to a barber-shop to get shaved, sat down in the chair, had the towel tied around his neck, and laid his head back ready for the lather. The barber left him in this position to get hot water, and when he returned, guided by force of habit, he applied the lather where the chin should be, but he found feet, arms, hands, and body in a coat, but no head! Such lamentations! No more head! What could it mean? He opened the door, and, frightened to death, ran away. Pinetti then went to the window and called the barber back. He had put his head in his coat in such a clever way, covering it with his handkerchief, that the surprise and the fright of the barber were quite natural. Of course this barber { 77 ] | |
unmaskingrobert00houdgoog.pdf,95 | unmaskingrobert00houdgoog.pdf | 95 | THE UNMASKING OF ROBERT-HOUDIN 8 the JOSEPH PINETT! wh Day genier placess to bunke de A le Preferrer PINE T T2) Bown to ample des Arts, does inition our 2 Phinique or of Medications Frontispiece of Pinetti's book, "Amusements Physiques," pub- lished in Paris. 1785, one of the first treasures of the Evanion Collec- tion purchased by the author. [78] | |
unmaskingrobert00houdgoog.pdf,96 | unmaskingrobert00houdgoog.pdf | 96 | THE ORANGE-TREE TRICK did not fail to spread over the whole town that he had shaved a man who could take his head off and on to his wish. "Pinetti met in a summer-garden a young Russian who sold small cakes. He bought a few cakes, bit into them, and complained of finding a hard substance. The youth protested, but Pinetti opened the cake before him and found inside a gold piece. The magician pocketed the gold piece, bought another cake, then a third cake, and in fromph Pinettin If Hammeth Willed Pinetti's autograph, written by him on the back of the frontispiece, reproduced on page 78. Original in the Harry Houdini Collection. each case found a new gold piece inside. He tried to buy the rest of the cakes. The passers-by had in the mean time come round the seller, and everybody wanted to buy as well. The market seemed to be all right, a ducat for a kopeck! Twelve francs for a cent! The young man refused to sell any more, hurried away, and when alone opened the cakes that were left. He found only the substances of which the cakes were made-nothing else. [79] | |
unmaskingrobert00houdgoog.pdf,97 | unmaskingrobert00houdgoog.pdf | 97 | THE UNMASKING OF ROBERT-HOUDIN He had two left, so he hurried back to offer these to Pinetti. Pinetti bought them from him, opened them and showed in each one the gold piece, which the young man could not find in the two dozen cakes which he had spoilt. The poor boy bit his lips and looked at Pinetti with wondering, frightened eyes. This little adventure was advertised here, there, and everywhere, and was told in the clubs and in the society gatherings, and very soon the name of Pinetti gave the key to the enigma, and Pinetti was in demand by everybody. "When Pinetti came on the stage, he had the knack of attracting members of the nobility around his table, by letting them learn some small secrets. This would render them confederates in working his tricks. He would appear in rich suits, embroidered in gold, which he changed three and four times in the evening. He would not hesitate to deck himself in a quantity of foreign decora- tions. In Berlin it was told how Pinetti would go through the streets, in a carriage drawn by four white horses. He was clad in fine embroidery and decorated with medals of all nations. Several times it happened that, as he passed by, the soldiers would call arms and salute, taking him for a prince. One day the King of Prussia rode out in his modest carriage drawn by two horses. Ahead of him drove the supposed prince. When the King witnessed the mistake made by his soldiers, he made inquiries as to the rank of this man to whom his men were paying such honor, then gave the Cavalier Pinetti twenty-four hours to get beyond Prussia's borders." Whatever may be said of Pinetti's charlatanism, it must be admitted that he gave to the art of conjuring a [80] | |
unmaskingrobert00houdgoog.pdf,98 | unmaskingrobert00houdgoog.pdf | 98 | THE ORANGE-TREE TRICK great impetus which was felt for several generations. It is not remarkable, therefore, that when the French magi- cian Cornillot appeared in London in 1822 he announced himself as the pupil and successor of Pinetti. This was Extraordinary Chemical Iliustrations, and FEATS or LEGERDEMAIN, M. CORNILLOT, PUPIL AND SUCCESSOR OF THE FANED PINETTI, Seppostfully informe the of the K tropolia, that be contiones . gire Every WEDNESDAY, At the Paul's Head Cateaton Street, And every MONDAY, THURSDAY, and SATURDAY, At the Great Room, in Spring Gardene. AMAZUNG ust PEILOSOPEY AND CHEMISTRY, And FEATS OF LEGERDEMAIN, Whish hore escited the admiretion of the le all - principal Toome of - - - - - de - Tes GARDEN, eli Ninde of Revers - - Se - - and - - assudy. - the - of - The de dess - . Novel Sahibilie GLASS or - purprising Ibemical de PURSTITS MYSTSRIOUS PENDULUN, which - - - - Theaghte of - Reholders á. " - pasplesing - gredune - - - aparationa, b, the ald of - THE GRAND TRIUMPH OF PINETTI. OF TUR sum. chich - - - estenales Thestra. Tes INCONCBIVABLE CHALLESOS or being . encessuive - Incresse of is - - of THE GRAND TRIUMPH OF COMUS, Brough - perfoctice by a. CORNILLOT, ANAZING PERFORMANCE OF CAUSING A LIVING PERSON To be is . plase chese be - - beea Revillimitate Thunder 80 naturally, that it will be thought to proceed from the Clouds These - be varied t, of lisporiments esth the Presente, Pome -- Feste of Legordomale, the preseding Eshibitions. x - - Dotal - / - - de - Preparations - f Boncer s. - Opm Pofermances degla precionly, to T. T6, - Asse, N. - de at - - of - - may le - de Seht 18:11 .. - - - - Reproduction of a handbill distributed on the streets of London in Sep- tember, 1829. The orange-tree trick is on the bill under the name of "En- chanted Garden." From the Harry Houdini Collection. when Robert-Houdin was seventeen years of age, twenty-three years before he made his professional début, and on Cornillot's programme we find another version of the now famous and almost familiar tree trick. As… | |
unmaskingrobert00houdgoog.pdf,99 | unmaskingrobert00houdgoog.pdf | 99 | THE UNMASKING OF ROBERT-HOUDIN believed, Cornillot had improved the trick and was using more than one tree or plant. Cornillot remained in England for some time and is classed among the conjurers of good repute. Another bill in my collection shows that he played at the Theatre of Variety, Catherine Street, Strand, in October, 1823. He was then assisted by several singers and dancers, including the famous Misses Hamilton and Howe, pupils of M. Corri. In his company was also an Anglo-Chinese juggler, who, in addition to feats of juggling, "swallows an egg, a sword, and a stone, a la Ramo Samee." To sum up the evidence against Robert-Houdin in this particular trick: Four magicians of high repute gave public performances before Robert-Houdin knew and operated the orange-tree trick. Three eminent writers exposed it clearly and accurately. Robert-Houdin, as an indefatigable student of the history of magic, must have known of the trick and its modus operandum. He may have purchased it from Cornillot, or as a clever mechanician he had only to reproduce the trick invented by his predecessors, train his confederate in its operation- and-by his cleverly written autobiography-attempt to establish his claim to its invention. [ 82 ] | |
unmaskingrobert00houdgoog.pdf,100 | unmaskingrobert00houdgoog.pdf | 100 | CHAPTER III THE WRITING AND DRAWING FIGURE I N his "Memoirs" Robert-Houdin eulogizes the vari- ous automata which he claims to have invented. The picturesque fashion in which he describes the tre- mendous effort put forth ere success crowned his la- , bors would render his arguments most convincing-if stern historical facts did not contradict his every statement. One of the most extraordinary mechanical figures which he exploits as his invention was the writing and drawing figure, which he exhibited at the Quinquennial Exhibition in 1844, but never used in his public perform- ances, though he asserts that he planned to exhibit it between performances at his own theatre. This au- tomaton, he says, laid the foundation of his financial success and opened the way to realizing his dream of appearing as a magician. On page 196 of his "Memoirs," American edition, he starts his romantic description of its conception and manufacture. According to this he had just planned what promised to be the most brilliant of his mechanical in- ventions when financial difficulties intervened. He was obliged to raise two thousand francs to meet a pressing debt. He applied to the ever-convenient Monsieur G-- who had bought automata from him before. He described the writing and drawing figure minutely to his patron, [83] | |
unmaskingrobert00houdgoog.pdf,101 | unmaskingrobert00houdgoog.pdf | 101 | THE UNMASKING OF ROBERT-HOUDIN 1 who immediately agreed to advance two thousand five hundred francs, and if the figure was completed in eight- een months, two thousand five hundred francs more were to be paid for it, making five thousand francs in all. If the figure was never completed, then Monsieur G was Writing and drawing figure claimed by Robert-Houdin as his invention. From Manning's Robert-Houdin brochure. to reimburse himself for the amount advanced by select- ing automatic toys from Robert-Houdin's regular stock. After liquidating his debt, Robert-Houdin retired to Belleville, a suburb of Paris, where for eighteen months he worked upon the figure, seeing his family only twice a week, and living in the most frugal fashion. He employed a wood-carver to make the head, but the result was so unsatisfactory that in the end he was obliged, not only to make all the complicated machinery which operated the figure, but to carve the head itself, [84] | |
unmaskingrobert00houdgoog.pdf,102 | unmaskingrobert00houdgoog.pdf | 102 | THE WRITING AND DRAWING FIGURE which, he adds, in some miraculous fashion, resembled himself. This resemblance, however, cannot be traced in existing cuts of the figure. The chapter devoted to this particular automaton is so diverting that I quote literally from its pages, thus giving my readers an opportunity to take the true measure of the writer and the literary style of his "Memoirs." Here is his description of his moment of triumph: "I had only to press a spring in order to enjoy the long-waited-for result. My heart beat violently, and though I was alone I trembled at the mere thought of this imposing trial. I had just laid the first sheet of paper before my writer and asked him this question : 'Who is the author of your being?' I pressed the spring, and the clockwork started-began acting. I dared hardly breathe through fear of disturbing the operations. The automaton bowed to me, and I could not refrain from smiling on it as on my own son. But when I saw the eyes fix an attentive glance on the paper-when the arm, a few seconds before numb and lifeless, began to move and trace my signature in a firm hand-the tears started in my eyes and I fervently thanked Heaven for granting me success. And it was not alone the satisfaction I ex- perienced as an inventor, but the certainty I had of being able to restore some degree of comfort to my family, that caused my deep feeling of gratitude. "After making my Sosia repeat my signature a thou- sand times, I gave it this question: 'What o'clock is it?' The automaton, acting in obedience to the clock, wrote, 'It is two in the morning.' This was a timely warning. I profited by it and went straight to bed." [85] | |
unmaskingrobert00houdgoog.pdf,103 | unmaskingrobert00houdgoog.pdf | 103 | THE UNMASKING OF ROBERT-HOUDIN Robert-Houdin injects a little humor into this chapter, for he relates that as Molière and J. J. Rousseau con- sulted their servants, he decided to do likewise; so early the next morning he in- Lebe hich ulu schoene vited his portress and Stadt Dresden her husband, Auguste, a stone-mason, to be pres- else Sode ent at the first perform- ance of the figure. The Les Androides mason's wife chose the question, "What is the vienment reveir emblem of fidelity?" The automaton replied leur pays by drawing a pretty lit- tle greyhound, lying on Specimens of penmanship executed by the Droz writing automaton in 1796 and a cushion. The stone- 1906 respectively. From the brochure mason wished to see the issued by the Society of History and Archaeology, Canton of Neuchatel, Switz- works, saying: "I under- erland. stand about that sort of thing, for I have always greased the vane on the church steeple, and have even taken it down twice." When the work was completed, according to page 208 of the American edition of his "Memoirs," he returned to Paris, collected the remaining two thousand five hundred francs due him from Monsieur G , to whom he delivered the figure, and two thousand francs more on an automatic nightingale made for a rich merchant of St. Petersburg. Incidentally he men- tions that during his absence his business had pros- pered, but he fails to state who managed it for him, and here is where I believe credit should be given Opre, [86] - | |
unmaskingrobert00houdgoog.pdf,104 | unmaskingrobert00houdgoog.pdf | 104 | THE WRITING AND DRAWING FIGURE the Dutch inventor, who was unquestionably Robert- Houdin's assistant for years. In 1844 he claims to have borrowed the writing and drawing figure from the obliging Monsieur G- to exhibit it at the Quinquennial Exposition, where it attracted the attention of Louis Philippe and his court, thus insuring its exhibitor the silver medal. At this point Robert-Houdin deliberately drops the writing and drawing figure, leaving his readers to believe that it was returned to its rightful owner, Monsieur G , but, unfortunately for his claims, another historian steps in here to cast reflections on Monsieur G- owner- ship of the figure. This writer is the world's greatest showman, the late P. T. Barnum, who purchased the figure at this same exposition of 1844, paying for it a goodly sum, and this incident is one of the significant omissions of the Robert-Houdin "Memoirs." Either Robert-Houdin sold the figure to Mr. Barnum for Mon- sieur G , or such a person as Monsieur G never existed, for in his own book Mr. Barnum writes: "When I was abroad in 1844 I went to Paris expressly to attend the "Quinquennial Exposition'-a exhibition then held every five years. I met and became well ac- quainted with a celebrated conjurer, as he called himself, Robert-Houdin, but who was not only a prestidigitateur and legerdemain performer, but a mechanic of absolute genius. I bought at the exposition the best automaton he exhibited and for which he obtained a gold medal. I paid a round price for this most ingenious little figure, which was an automaton writer and artist. It sat on a small table, pencil in hand; and, if asked, for instance, [87] | |
unmaskingrobert00houdgoog.pdf,105 | unmaskingrobert00houdgoog.pdf | 105 | THE UNMASKING OF ROBERT-HOUDIN for an emblem of "fidelity,' it would instantly draw the picture of a handsome dog; if love was wanted, a cupid was exquisitely pencilled. The automaton would also answer many questions in writing. I took this curiosity The late P. T. Barnum, the world's greatest showman, who bought the writing and drawing figure from Robert-Houdin, and wrote at length of the French conjurer is his autobiography. Born July 5, 1810. Died April 7, 1891. From the Harry Houdini Collection. to London, where it was exhibited for some time at the Royal Adelaide Gallery, and then I sent it across the Atlantic to my American Museum, where it attracted great attention from the people and the press. During my visit, Houdin was giving evening legerdemain per- [88] | |
unmaskingrobert00houdgoog.pdf,106 | unmaskingrobert00houdgoog.pdf | 106 | THE WRITING AND DRAWING FIGURE formances, and by his pressing invitation I frequently was present. He took great pains, too, to introduce me to other inventors and exhibitors of moving figures, which I liberally purchased, making them prominent features in the attractions of the American Museum." Barnum then continued to describe Robert-Houdin's greatness and his cleverness in the use of electricity. The showman was always a welcome guest at the magi- cian's house, and he relates how, at luncheon time, The figure of Cupid as executed by the Droz drawing figure. From the brochure issued by the Society of History and Archacology, Canton of Neu- chatel, Switzerland. Robert-Houdin would touch a knob and through the floor would rise a table, laden with inviting viands. These details in the Barnum book make it all the more inex- plicable that Robert-Houdin should omit all mention of the great showman's name in his "Memoirs." Just at this time the amusement-seeking public seemed greatly interested in automata, so it was only natural that Barnum, great showman that he was, should scour Europe for mechanical figures. Soon after he purchased the writing and drawing figure claimed by [89] | |
unmaskingrobert00houdgoog.pdf,107 | unmaskingrobert00houdgoog.pdf | 107 | THE UNMASKING OF ROBERT-HOUDIN Robert-Houdin, he brought to America a talking figure invented by Professor Faber of Vienna, to which he refers most entertainingly PALAIS ROYAL, in his address to the pub- Argyll Street, Oxford Circus, W. lic dated 1873: TALKING "The Museum depart- ment contains 100,000 curiosities, including Pro- fessor Faber's wonderful talking machine, costing me $20,000 for its use for six months; also the National Portrait Gallery of one hundred life-size paintings, including all the Presidents of the United States, etc.; John Rogers' groups of historic statuary; almost an end- MACHINE less variety of curiosities, 1 Thc Exhibition is not limited to simple talking. but is enhanced by an including numberless au- esplanstora description of the method of producing the various sounds, words, and sentences, visitors alsc-being aliowed to inspect every part of the Machice. It is rot only interesting to the Scieutific as illustrating the theory tomaton musicians, mech- acoustics, bat to the Rublic in general, especially to the young.-to whom it offers an ineshoustible fund of wonder ald EXHIBITING DAILY From 11 a.m., till 10 p.m. anicians, and moving Admission, 1s. Reserved Seats, 2s. Children, 6d. scenes, etc., etc., made in Hanger advertising the Professor Faber Paris and Geneva." talking machine, exhibited by P. T. Bar- num during 1873 in his museum de- It can be imagined how partment. This automaton was the first talking figure. From the Harry Houdini wonderful this talking Collection. machine must have been when Barnum gave it special emphasis, selecting it from the hundreds of curios he had on exhibition. As this talking machine is probably forgotten, I will reproduce [90] | |
unmaskingrobert00houdgoog.pdf,108 | unmaskingrobert00houdgoog.pdf | 108 | THE WRITING AND DRAWING FIGURE the bill used at the time of its appearance in London, England. When Barnum was in London in 1844, with Gen. Tom Thumb, who was then performing at the Egyptian Hall, he first saw the automatic talking machine and engaged it to strengthen his show. Thirty years later Prof. Faber's nephew was the lecturer who explained to the American public the automaton's mechanism and also the performer who manipulated the machine. Barnum always speaks of the talking automaton as being a life-size figure, but the pictures used for adver- tising purposes show that it was only a head. The fate of both the talking automaton and the writing and drawing figure is shrouded in mystery. If they were in the Barnum Museum when the latter was swept by fire in 1865, they were destroyed. If they had been taken back to Europe, they may now be lying in some cellar or loft, moth-eaten and dust-covered, ignominious end for such ingenious brain-work and handicraft. So much for the claims of Robert-Houdin. Now to disprove them. The earliest record of a writing figure I have found is in the "Dictionary of Arts, Manufactures, and Mines," compiled by Andrew Ure, M.D., and published in New York in 1842 by Le Roy Sunderland, 126 Fulton Street. On page 83, under the heading of "Automaton," is this statement: "Frederick Von Knauss completed a writing machine at Vienna in the year 1760. It is now in the model cabinet of the Polytechnic Institute, and consists of a globe two feet in diameter, containing the mechanism, upon which [ 91 ] | |
unmaskingrobert00houdgoog.pdf,109 | unmaskingrobert00houdgoog.pdf | 109 | THE UNMASKING OF ROBERT-HOUDIN sits a figure seven inches high and writes, upon a sheet of paper fixed to a frame, whatever has been placed beforehand upon a regulating cylinder. At the end of each line it raises and moves its hand sideways, in order to begin a new line." This does not answer the description of the figure which Robert-Houdin claims, but it is inter- esting as showing that mechanical genius ran along such lines almost a hundred years before Robert-Houdin claims to have invented the famous PTS JAQUET DROZ. automaton. The writing and draw- of ing figure claimed by Rob- othe tres humble Soumm's ert-Houdin as his original invention can be traced ph e back directly to the shop door of Switzerland's most Portrait and autograph of Pierre noted inventor, Pierre Jacquet-Droz Born 1721, died 1790. From the brochure issued by the Jacquet-Droz, who with Society of History and Archaology, Canton of Neuchâtel, Switzerland. his son, Henri-Louis, laid the foundation of the famous Swiss watch- and music-box industry. In the latter part of the eighteenth century, probably about 1770, the Jacquet-Drozes turned out a drawing. [92] | |
unmaskingrobert00houdgoog.pdf,110 | unmaskingrobert00houdgoog.pdf | 110 | THE WRITING AND DRAWING FIGURE figure which also inscribed a few set phrases or titles of the drawings. In mechanism, appearance, and results it tallies almost exactly with the automaton claimed by Robert-Houdin as originating in his brain. The Jacquet- Droz figure showed a child clad in quaint, flowing gar- ments, seated at a desk. The Robert-Houdin figure was modernized, and showed a court youth in knee breeches and powdered peruque, seated at a desk. The Jacquet-Droz figure drew a dog, a cupid, and the heads of reigning monarchs. The Robert-Houdin figure, made seventy-five years later, by some inexplicable coincidence drew a dog as the symbol of fidelity, a cupid as the em- blem of love, and the heads of reigning monarchs. The history of the Jacquet-Drozes is written in the annals of Switzerland as well as the equally reputable annals of scientific inventions, and cannot be refuted. Pierre Jacquet-Droz was born July 28th, 1721, in a small village, La-Chaux-de-Fonds, near Neuchâtel, Switz- erland. According to some authorities, his father was a clock-maker, but the brochure issued by "Société d'Histoire et l'Archéologie" of the city of Neuchâtel, which has recently acquired many of the Jacquet-Droz auto- mata, states that he was the son of a farmer and was sent to a theological seminary at Basle. Here the youth's natural talent for mechanics overbalanced his interest in "isms" and "ologies," and he spent every spare moment at work with his tools. On his return to his native town he turned his attention seriously to clock- and watch-making, constructing a marvellous clock with two peculiar hands which, in passing each other, touched the dial and rewound the clock. [ 93 ] | |
unmaskingrobert00houdgoog.pdf,111 | unmaskingrobert00houdgoog.pdf | 111 | THE UNMASKING OF ROBERT-HOUDIN At this time his work attracted the attention of Lord Keith, Governor of Neuchâtel, then a province of Prussia, who induced the young inventor to visit the court of Ferdinand VI. of Spain, providing the necessary intro- ductions. Pierre Jacquet- Droz remained for some time in Madrid and made a clock of most complicated pattern. This was a perpetual calen- dar. For hands, he utilized artificial sunbeams, shooting out from the sun's face which formed the dial, to denote the hours, days, etc. With the money received from the Henri-Louis Jacquet-Droz, son Spanish monarch he returned of Pierre Jacquet-Droz, and the to Switzerland to find that his superior of his father as a mecha- nician. Born Oct. 13th, 1752, died son, Henri-Louis, had inher- November 15th, 1791. From the Jaquet-Droz brochure, issued by ited his remarkable inventive the Neuchâtel Society of History and Archaeology. gifts. He sent his boy to Nancy to study music, draw- ing, mechanics, and physics. During his son's absence in all probability he produced the first of the marvellous automata which made the Jacquet-Drozes famous the modern world over, namely, the writing figure. With the return of Henri-Louis Jacquet-Droz from college commenced what may be termed the golden age of mechanics in Switzerland. Associated with father and son were the former's pupils or apprentices, Jean- Frédéric Leschot, Jean-David Maillardet, and Jean Pierre Droz, a blood relation who afterward became director of [ 94] | |
unmaskingrobert00houdgoog.pdf,112 | unmaskingrobert00houdgoog.pdf | 112 | THE WRITING AND DRAWING FIGURE the mint at Paris and a mechanician of rare talent. Jean Pierre Droz is credited with having invented a machine for cutting, stamping, and embossing medals on the face and on the edges at one insertion. The output of this shop and its staff of gifted workers included the first Swiss music box, the singing birds which sprang from watches and jewel caskets, the drawing figure which was an improvement on the writing figure, the spinet player, and the grotto with its many automatic animals of diminutive size but exquis- ite workmanship. Years were Jean-Frédéric Leschot. Born 1747, died 1824. Por- spent in perfecting the various trait published by Société des Arts de Genève. Presented to automata, and none of them the author by Mons. Blind (Magicus) of Geneva. have been equalled or even approached by later mechanicians and inventors. Henri-Louis Jacquet-Droz was conceded to be the supe- rior of his father, Pierre Jacquet-Droz. In a German en- cyclopaedia which I found at the King's Library, Munich, it is stated that when Vaucanson, celebrated as the in- ventor of "The Flute Player," "The Mechanical Duck," "The Talking Machine," etc., saw the work of the younger Droz, he cried loudly, "Why, that boy com- mences where I left off!" According to the brochure issued by the Society of History and Archaology, Canton of Neuchâtel, and an article contributed by Dr. Alfred Gradenwits to The Scientific American of June 22d, 1907, the 95 ] | |
unmaskingrobert00houdgoog.pdf,113 | unmaskingrobert00houdgoog.pdf | 113 | THE UNMASKING OF ROBERT-HOUDIN writing and drawing figures are made and operated as follows: "The writer represented a child of about four years of age, sitting at his little table, patiently waiting with the pen in his hand until the clockwork is started. He then sets to work and, after looking at the sheet of paper before him, lifts his hand and moves it toward the ink-stand, in which he dips the pen. The little fel- low then throws off an excess of ink and slowly and calmly, like an industrious child, begins writing on the paper the prescribed sentence. His handwriting is careful, conscien- The Jacquet-Droz writing automaton. From the brochure issued by the Society of tiously distinguishing History and Archaology, Canton of Neu- châtel, Switzerland. between hair strokes and ground strokes, always observing the proper intervals between letters and words and generally showing the sober and de- termined character of the handwriting usual at the time in the country of Neuchâtel. In order, for in- [96] | |
unmaskingrobert00houdgoog.pdf,114 | unmaskingrobert00houdgoog.pdf | 114 | THE WRITING AND DRAWING FIGURE stance, to write a T, the writer begins tracing the letter at the top, and after slightly lifting his hand half- way, swiftly traces the transversal dash, and continues writing the original ground stroke. "How complicated a mechanism is required for insur- ing these effects will be inferred from the illustration, in which the automaton is shown with its back opened. In the first place a vertical disk will be noticed having at its circumference as many notches as there are letters and signs. Behind this will be seen whole columns of cam-wheels, each of a special shape, placed one above another, and all together forming a sort of spinal column for the automaton. "Whenever the little writer is to write a given letter, a pawl is introduced into the corresponding notch of the disk, thus lifting the wheel column and transmitting to the hand, by the aid of a complicated lever system and Cardan joints arranged in the elbow, the requisite movements for tracing the letter in question. The mechanism comprises five centres of motion connected together by chains. "In the 'Draftsman,' the mechanism is likewise ar- ranged in the body itself, as in the case of the 'Writer.' The broad chest thus entailed also required a large head, which accounts for the somewhat bulky appearance of the two automatons. With the paper in position and a pencil in hand, the 'Draftsman' at first traces a few dashes and then swiftly marks the shadows, and a dog appears on the paper. The little artist knowingly ex- amines his work, and after blowing away the dust and putting in a few last touches, stops a moment and then quickly signs, 'Mon Toutou' (My pet dog). The motions 7 [ 97 ] | |
unmaskingrobert00houdgoog.pdf,115 | unmaskingrobert00houdgoog.pdf | 115 | THE UNMASKING OF ROBERT-HOUDIN View of the mechanism which operates the Jacquet-Droz writing automaton. From the brochure issued by the Society of History and Archaeology, Canton of Neuchâtel, Switzerland. [98] | |
unmaskingrobert00houdgoog.pdf,116 | unmaskingrobert00houdgoog.pdf | 116 | THE WRITING AND DRAWING FIGURE of the automaton are quite natural, and the outlines of his drawings extremely sharp. The automaton when desired willingly draws certain crowned heads now be- longing to history; for example, a portrait of Louis XV., of Louis XVI., and of Marie Antoinette." The automata made by the Jacquet-Drozes and their confrères were exhibited in all the large cities of Great the Greas Koom, No. 6, King. Covent Carlen, to be This Day, SPECTACLE MECHANIQU WECHANICAL EXHIBITION, From 7776 in this Exhibition it rivaled by Atts ons writri whatever le diétated to it, another drawsg and finillics in a maiterly Mannir feveral curious De- agna; mother plays divers Ain on the Herplichord, There is alfo a Pafforal S ene, in which is introdued * great Number of Figures; the Trees and bear Fruit, the Sheep bleat, the Dog barks, and the Binde fing: lo diffinety imitation Nature that they exceed every Ascount that ean be given of thera, not anly for the Variety but for the of their different Operations. Their Mechanifm every Thing that has ever appeared, infomuch that it may be faid they will Ípeak for themfelves. The Tidte of viewing it will be from Twelve to Oue, from One to Two, from Two to Three, and la the Evenin4 from Seven to Eight, from ight to Nine, and from Nine to Tea. Mr. JAQUET DROZ, the Iaventor, will attend en Eleven at Niglit, in ofder to accom hodale thoft Ladian or Gentle that may chule to lee this Exhi- birth after the Hour of Ten. Admiftance Five conunted every Day, and Clipping from the London Post, 1776, advertising the writing and drawing figures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry Houdini Collection. Britain and Continental Europe. According to the pro- grammes and newspaper notices in my collection, Henri- Louis Jacquet-Droz acted as their first exhibitor. As proof I am reproducing a Droz programme from the London Post, dated 1776. [99] | |
unmaskingrobert00houdgoog.pdf,117 | unmaskingrobert00houdgoog.pdf | 117 | THE UNMASKING OF ROBERT-HOUDIN In support of this advertisement, note what the same paper says in what is probably a criticism of current amusements: "This entertainment consists of three capital mechan- ical figures and a pastoral scene, with figures of an inferior size. The figure on the left-hand side, a beautiful boy as large as life, writes anything that is dictated to him, in a very fine hand. The second on the right hand, of the same size, draws various landscapes, etc., etc., which he Heads of King George and Queen Charlotte, executed in their presence by the Jacquet-Droz drawing figure in 1774. From the brochure issued by the Society of History and Archarology. Canton of Neuchâtel, Switzerland. finishes in a most accurate and masterly style. The third figure is a beautiful young lady who plays several elegant airs on the harpsichord, with all the bass accom- paniments; her head gracefully moving to the tune, and her bosom discovering a delicate respiration. During her performance, the pastoral scene in the centre discovers a variety of mechanical figures admirably grouped, all of which seem endued, as it were, with animal life, to the admiration of the spectator. The last curiosity is a canary bird in a cage, which whistles two or three airs in [ IOO] | |
unmaskingrobert00houdgoog.pdf,118 | unmaskingrobert00houdgoog.pdf | 118 | THE WRITING AND DRAWING FIGURE the most natural manner imaginable. Upon the whole, the united collection strikes us as the most wonderful exertion of art which ever "frod before so close on the heels of nature. The ingeniou; artist is a young man, a native of Switzerland." The inventory of Jacquet-Droz, Tr.; dated 1786, quotes the "Piano Player" as valued at 4,800 livres, the "Drawing Figure" at 7,200 livres, while the had been ceded to him by his father for 4, 800- liyres, in consideration of certain improvements and modifications which Henri-Louis Jacquet-Droz made in the original invention. This shows that while the elder Droz did not die until 1790, his son controlled the automata previous to this date, for exhibition and other purposes. During his later years Henri-Louis Jacquet-Droz was induced to take the automata to Spain. His tour was under the direction of an English manager, who, possibly for the purpose of securing greater advertisement, an- nounced the figures as possessed of supernatural power. This brought them under the ban of the Inquisition, and Jacquet-Droz was thrown into prison. Eventually he managed to secure his freedom, and, breathing free air once more, like the proverbial Arab, he silently folded his tent and stole away, leaving the automata to their fate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in 1791, a year after his father's death. The English manager, however, tarried in Spain. The figures were "tried" and as they proved motionless the case was dropped. The Englishman then claimed the automata as his property and sold them to a French nobleman. Their owner did not know how to operate [ IOI ] | |
unmaskingrobert00houdgoog.pdf,119 | unmaskingrobert00houdgoog.pdf | 119 | Performances. The utmoft Efforts of Imitators have not begn able to produce the Effect intended; and he is too grateful for the liberal Encouragement he has received in the Metropolis, not to, caution the Public againit thofe purious Copies, which, failing of the Perfection they iffume, can only difguft and difappoint the Spectators. M. D.E PHILIPSTHAL Will have the Honour to EXHIBIT (as ufual) his Optical Illufions and Mechanical Pieces of Art. At the LYCEUM, and at no other Place of Exhibition in London. SELECT PARTIES may be accommodated with a MORNING REPRESENTATION at any appointed Hour, on Sending timely Notice. To prevent Miftakes, the Public are requited to Notice, that the PHANTASMAGORIA is on the Left-hand, on the Ground Floor, and the en the Right-hand, up Staise, | |
unmaskingrobert00houdgoog.pdf,120 | unmaskingrobert00houdgoog.pdf | 120 | The OPTICAL PART of the EXHIBITION Will PHANTOM or AUTARITIONS of the DEAD or ABSENT, in a way more complestely illufive than has ever been offered to the Eyc `public Theatre, as the Objects freely originate in the Air, and unfold themfelves under various Forms and Sizes, fuch as has hitherto painted them, occafionally affuming the Figure and moit perfea Refemblance of the Heroes and other diflin- guifhed of paft and prefent Times. This SPECTROLOGY, which profelles to expofe the Prañices of artful Impoftors and pretended Exorcifts, and to open the Eyes of thofe who abfurd Belief in Grosts or DISEMSODIED Spraiti, will, it is prefumed, afford allo to the Speclator ao interefting and pleafing and in order to render thefe Apparations more interefting. they will be introduced during the Progrefs of a tremendous Thunder Storm, accompanied with vivid Lightning, Hail, Wind, &c. The MECHANICAL PIECES of ART Include the following principal Objeat, a auere detailed Account of whith will be given during their Exhibition: vis. Two elegant ROPE DANCERS, the one, reprefenting a Spaniard nearly Six Feet high, will difplay feveral Monifhing Feats on the Rope, mark the Time of the Mulic with a fmall Whiftle, fmoke his Pipe, &c.-The other, called Pajanzo, being the Figure of a young fprightly Boy. will furpafs the former in Skill apd Agility. The INGENIOUS SELF-DEFENDING CHEST-The fuperior Excellence and Utility of this Piece of Mechanifm i., that the Proprietor has always Safe-guard againft Depredators; for the concealed Battery of Four Pieces of Artillery only appears and difcharges itfelf when a Stranger tries to force open the Chett--This has been ackmowledged by feveral Profeftional Men tp be a of Machanifu, and may with equal Advantage be applied to the Protection of Property in Counting-houfes, Poft-Chaifes, &c. 'The MECHANICAL PEACOCK, which fo exaCily imitates the Actions of that ftately Bird, that it has frequently been thought Alive. It eats, drinks, &c. at command, unfold its Tail in a beilliant Circle, and in every ref… | |
unmaskingrobert00houdgoog.pdf,121 | unmaskingrobert00houdgoog.pdf | 121 | THE UNMASKING OF ROBERT-HOUDIN them, so their great value was never realized by his family. After his death, during a voyage to America, UNDEA THE SANCTION or they lay neglected in the ass aoval LETTERS PHILIPSTHAL and MAILLARDET's castle of Mattignon, near Royal Museum, Bayonne. After changing FROM LONDON, hands many times, about - - - - - - Will Opee for Pablic Isepectica, At de ASSEMBLY ROOM, BRIDGWATER. 1803 they passed into the O. FRIDAY the 99d. of MARCH instast, - a - - che - - - provide de alle - hands of an inventor named of - - INGENIOUS MISCES of Martin, and were controlled , by his descendants for nearly asvas sereas " Tate PLACE, - a hundred years. One of his SUPERI family, Henri Martin, of Musical Automaton. . Dresden, Germany, exhibit- Aire - - - THE MECHANICAL. ed them in many large cities, Drawing and Writing-Master; uma soe. de - - the n - and advertised them for sale - - The - - - - Pase - - An Old Necromancer, at 15,000 marks in the - b . - - - - - - example - - - - A NOST Muenchener Blaetter of May BEAUTIFUL GOLD BOX, - - le - - or PARADESE - - - - - et 13th, 1883. After Martin's - -- - - - - - - - - - - - - - - The - - THE LITTLE SPANIARD, death, his widow succeeded - - BANCE - nat as AT CONMANO, The - - - - - " - in - - - - - - A BEAUTIFUL SOURIE DO'R, in disposing of them to Herr ser IN PEARES - - - - la - - - - - - - Direction, - Om Marfels, of Berlin, who had AN ETHIOPEAN CHENILLE DOR, BEAUTIFULLY ENAMELLED them repaired with such AND A TARANTULA. SPIDER: good results that in the fall - - - - - - - - - as from to Fur 2. - - - I - - - of of 1906 he sold them for The f , se - the Recoing, - de la. - - - 75,000 francs, or about & - - $15,000, to the Historical Poster used, March 29nd, 1811, Society of Neuchâtel. In by de Philipsthal and Maillardet dur- ing their partnership, on which the April, 1907, the writing fig- writing and drawing figure is fea- tured. From the Harry Houdini ure, the drawing figure, and Collection. the spinet player were on exhibition in Le Locle, Chaux-de-Fonds, and … | |
unmaskingrobert00houdgoog.pdf,122 | unmaskingrobert00houdgoog.pdf | 122 | THE WRITING AND DRAWING FIGURE So far we have traced only the original writing and drawing figure. This has been done purely to show that even if Robert-Houdin had been capable of building such an automaton, he would not have been its real in- ventor, but would merely have copied the marvellous work of the Jacquet-Drozes. Now to trace the figure which in 1844 he claimed as his invention. With the fame of the Neuchâtel shop spreading and the demand for Swiss watches increasing, Maillardet and Jean Pierre Droz, apprentices or perhaps partners of Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz, removed to London and there set up a watch factory. About this time Maillardet invented a combination writing and drawing figure which was pronounced by experts of the day slightly inferior to the work of the two Jacquet-Drozes. However, it must have been worthy of exhibition, for it appeared at intervals for the next fifty years in the amusement world, particularly in Lon- don. At first Maillardet was not its exhibitor nor was his name ever mentioned on the programmes and newspaper notices, but later his name appeared as part owner and ex- hibitor. As the Swiss watches had created a veritable sen- sation and were snatched up as fast as produced, it is quite likely that he had no time to play the rôle of showman. The figure first appeared in London in 1796, when the London Telegraph of January 2nd carried the adver- tisement reproduced on the next page. Haddock had no particular standing in the world of magic, and it is more than likely that he rented the auto- mata which he exhibited, or merely acted as showman for the real inventors. [ 105 ] | |
unmaskingrobert00houdgoog.pdf,123 | unmaskingrobert00houdgoog.pdf | 123 | The Conve The be TU de Polite the Opens évery ant de Performasca 41 Jour passa em pegins at (glu HESE Arch admitred Pieces of Mechanisan, whied not hunian trat to possesé al consile of 4 Figure, a hoy ef tom be brom - and apt to seurd a round, The Modalai ed lowing the Perter, gate and an - - thir Dour apem, the and auy a Geb Toy whaterier Vroit they and det asal bring the Rhid be - the as often as Lie ampo DE a - valled for, / the are drompa un) and be given in charge to a Warch Dog, in and en any pegson away or tenching them witt begin (o-bark, and contique to do so they are The Thent Figarre to thes Re the which WH be frombelind the Home, will enter the Door, the Chiningy, and giva the of - reveral timesy the and corrie wirk in Bag firti of The LIQUOR MERCHANT und WATER SERVERI Theie are on a Platform of bet square, which (as the former Piéces) will be placed on a Table, The Liguor Mercliaut stands nt DE small Cask, from which a will drivie every kind of Spiras, Wine, &c. The a and Tumbler with Water, - enlied for. -Fourth, THE. RIGHLANI A Figute in the Dess, stands on a Time-guere and Hour wnd Mrouter whewey by SIPIN big its on/a Trege: a Answer (by motion) to (n Aridimetic, and gives the jaistantly as any of Pounds, Yards, Ac, any given Price: beats Time to Muic, &c. STable the different Places with Demplaced on, con- tains an ORGAN, on which the Proprietor intradaces n. lew) Notes: also, The MACHINE ORGAN, will play occasionally Neveral Pleces of Music, Airs Country Dances, Re. Mr.HADDOCK flattere himself THE ANDROIDES will be found niore exizious than any éver before offered to this Principtes of entituly The Theatre is seatis, fired and every thing calculated to MA e to - polite and discerning Audience Hoses 4s. Gaflery - Admittance, after the Two Half Price, The lass netoly Two Haddock advertisement in the London Telegraph, January, 1796, in which he features the writing automaton as an androide. From the Harry Houdini Collection. [ 106] | |
unmaskingrobert00houdgoog.pdf,124 | unmaskingrobert00houdgoog.pdf | 124 | THE UNMASKING OF ROBERT-HOUDIN In quite a few works on automata, notably Sir David Brewster's "Letters on Natural Magic," Collinson is quoted as having interviewed Maillardet as the inventor of the combination writing and drawing figure. The Franklin Journal of June, 1827, published in Philadel- phia, Pa., credits this figure to Maillardet and gives the following description: "It was the figure of a boy kneeling on one knee, holding a pencil in his hand, with which he executed not only writing but drawings equal to those of RATIONAL ENTERTAPNMEN'PS during LEPSTAL and AUTOMATICAL THWATRE Strand, will open svery Eventeg: The l'erformances consist of a grost many loge= tion. n pircesol For further Mechaniser- perticolars with the and see highese Optical hand Recreations, bille The apprubs- whole which ous marks of under the Mr. LODIS, Asaistanc Engineer, who will his otmost exeratona to promate the Proprietors. that of offering to an enlightened Public a Conraé of of a,superiar natuze, 35. Ph Cattery and bayin preciedly at 9. Places for the Boxes may DU taken at march1812 Clipping from the London Telegraph in March, 1819, proving the partner- ship of de Philipsthal and Maillardet in an "Automatical Theatre." The Mr. Louis mentioned in the advertisement as assistant engineer later secured pos- session of the writing and drawing figure. From the Harry Houdini Collection. the masters. When the figure began to work, an attend- ant dipped the pencil in ink, and fixed the paper, when, on touching a spring, the figure wrote a line, carefully dotting and stroking the letters." The Robert-Houdin figure did not kneel, but this change could be made by a mechanician of ordinary ability. The writing and drawing figure does not reappear on amusement programmes in my collection until 1812, when it was featured by De Philipsthal, the inventor of "Phan- [ 107 ] | |
unmaskingrobert00houdgoog.pdf,125 | unmaskingrobert00houdgoog.pdf | 125 | Ebeatte, Mr. Louis's ROYAL, MECHANICAL, and OPTICAL Darhibition wall continue open Four Nights longer only, with the Addition of a New Pirca. Monday, April 1,1815, Wednesday, Thurday and Friday following, the 5th, 6th, and 7th. And, in erder to make his Exhibition mill more wartly of the Public Patrosage, the Proprietor bege leave to inform them, that, in Addition to the whale Selection already exhibited with UNBOUNDED APPLAUSE, he will introduce, every Evening, A SUPERB MECHANICAL Peacocl AS LARGE AS LIFE, In its Natural Plumage! Which imitates, so closely, the CRIES, ACTIONS, and ATTITUDES of that stately and beautiful Bird, that it is not unfrequently supposed to be an absolute living Animal. properly trained to act as as Amasing Deception. Ahbongh - Description cas property itlestrate these . Ast. yet to merey to the pablic sa des of their and of the imitative powers with waxh these Figares - esplanation mbitted, they exb.bited the follewing - " are . manaer TWO ELEGANT AUTOMATA, As large as melare, the - . POLONNESE, the - . sov. Nething cae the adroicable of these Pieces. The large Figure - alment with bumse Faculties, eshiliting the esual feste of . Mope- Dancer, in the felless of hfs. The - Figare . envested with equally astonishing powere of activa. To sech ledice - are spectasore it - be . very that these exertious do not escite thowe - whird arese the aight of Pigares freught with lite. performies feas ettended with - mech dange. A Superb MUSICAL LADY, Represeeting the BELLE BOXLANE, whe pleye with the grentess preceise Sistere Arra, every - preveede frove the presere of the and feet, - the apprepriate keys, - keing persea, with the of her besd. eyes, and eye-hds, . directed to the heye. The compect and well preperticeed forma, and easy enaffected air of thie Female Figure, have been gvessly and considured by the very best jedges - happy combission of the asta of Desige - Nechaniom, whish predeces . the same tiase the of respiratice. THE MSCHANICAL DRAWING AND WRITING MASTER, A JUVENILE ARTIST. The fig… | |
unmaskingrobert00houdgoog.pdf,126 | unmaskingrobert00houdgoog.pdf | 126 | THE WRITING AND DRAWING FIGURE tasmagoria." The nature of the inventions grouped under this title can best be judged from the reproduction of a De Philipsthal programme, dated 1803-04, and reproduced in the course of this chapter. All evidence goes to prove, however, that De Philipsthal did not control the writing and drawing figure exclusively, but that it was the joint property of himself and his partner, Maillardet. One of their joint programmes is also reproduced. Wherever De Philipsthal appears as an independent entertainer, the writing and drawing figure is missing from his billing. Later the writing and drawing automaton came into the possession of a Mr. Louis, who, as it will be seen from the billing, acted as assistant engineer to De Philipsthal and Maillardet. Louis evidently controlled the wonderful little automaton in the years 1814-15. The last De Philipsthal programme in my possession is dated Summer Theatre, Hull, September 15th, 16th, 17th, 18th and 19th, 1828, when he advertises only "rope dancers and mechanical peacock," and features "special uniting fire and water" and "firework experiments." He must have died between that date and April, 1829, for a programme dated at the latter time announces a benefit at the Théâtre Wakefield for the widow and children of De Philipsthal, "the late proprietor of the Royal Mechanical and Optical Museum." This benefit programme contains no allusion to the writing and drawing figure, which goes to prove that it had not been his property, or it would have been handed down to his estate. In May, 1826, an automaton was exhibited at 161 Strand, a bill regarding which is reproduced. This mechanical figure, however, should not be confounded [ 109 ] | |
unmaskingrobert00houdgoog.pdf,127 | unmaskingrobert00houdgoog.pdf | 127 | THE UNMASKING OF ROBERT-HOUDIN Theatre, Wakefield. with the original and THE LAST W. genuine writing and ROYAL MECHANICAL 4 OPTICAL MUSEUM. drawing figure. It now CARRIED ob vom THE - of THE WIDOW and CHILDREN seems to have lacked OF THE LATE MR. PRILIPSTHAL - P. - - - - - of Webofuld, - - - - - - - recefted bage . - * da be legitimacy and, from a Monday, - April, CLOSE - - lat De the - - what I can learn from MECHANICAL PIECES. - - - - - - - 1 - - - - - - - - - newspaper clippings, EXECUTION wasworkedlike "Zoe," mamn ar with a concealed con- or THE LITS sauprio os Mount Vesuvius. federate, or, like the vige TAEEN n REPRESENTING famous "Psycho" fea- HE THUILLERIES. with THE orea THE airea BRING visw oe tured by Maskelyne, it JER USALEM, With the Mount of Olives, was worked by com- -- - - The Viee . - The Ancient GATE at Southampton, pressed air. This bill Colled - Londing - is interesting solely be- - vas PALACA oe THE LATS cause I believe that Emperor Alexander. 2r our ras asvea REVA this fake automaton - PINS or THE Suspension Bridge exhibited at 161 Strand OVER AN ARM OF THB SEA AT MENAL COUNTY or CARNASVON TEAT or was the first figure of - the sort foisted on the CROTESQUE BALLIST. rue FAIRIES' MIDNIGHT REVEL, a, of hasy - public after the Baron The Tragic Scene of Cornelia, The Super " - whe auaso ALIVA, la - of - Romee Von Kemplen chess- Marvellous Tomb Scene / ! player, which is de- - - - a - Qoona, - - Prisco of - - The - - - Automata Rope-Dancera, scribed in Halle's work EN FULL IMITATION or ure, - - Ame - HYDR.UULICS on magic, published in allo 1784. HYDROSTATIC EXPERIMENTS, Fire aus - - In 1901, while in FIREWORKS, Germany, I saw a num- waice F- - ber of these automaton le - . . - SICHOLA, - - - - - - - - - - - - - Bexea, 6d.Pli, -Gellery, ed. artists, all frauds. The . - - - - BICHARD figure sat in a small IIO | |
unmaskingrobert00houdgoog.pdf,128 | unmaskingrobert00houdgoog.pdf | 128 | THE WRITING AND DRAWING FIGURE chair before an easel, ready to draw portraits in short order. The figure was shown to the audience, then re- placed on the chair, whereupon a man under the platform the Triump of Mechanisu. NEW . EXHIBITION IN THE WESTERN EXCHANGE. THE AUTO.MATON ARTIST. IL ENTRANCES TO THE EXHIBITION ARE IN Old Bond Street & in Burlington Arcade : Open from Ten o'Clock till Dusk. Admittance to see the Performance, 1 Shilling. Profile Likenesses, 18. 6d. in addition. o The Proprieters conceive that an Automatical Figure, accurately effect ing that whuch has bitherto required a powerful ment. exertion, and a correct eye, needs no further introduction of its extraordiuary quality, than ao intimation of the fact, that it is THE ONLY AUTOMATON IN THE WORLD THAT TAKES LIKENESSES. Without further comment, the Proprietors merely add the information, that- this Figure exerutes a Profile Likeness, sue one minute, from any person who chooses to Nt. The Automaton will, if required, take the Profiles of Busts of Public Characters, which are placed in the Roum, and which will enable. persons, who may doubt the possibility of apy mechanical contrivance taking an accurate likeness, to compare thein with the originals. Inncs, Printer, 61, Wella-s. Oxford-st. Handbill advertising the fake automatic artist, exhibited also at 161 Strand, London, May 7th, 1826. From the Harry Houdini Collection. would thrust his arm through the figure and draw all that was required of the automaton. The fake was short-lived, even at the yearly fairs, and now has sunk too low for them. [ III ] | |
unmaskingrobert00houdgoog.pdf,129 | unmaskingrobert00houdgoog.pdf | 129 | THE UNMASKING OF ROBERT-HOUDIN During this interim, that is between 1821 and 1833, the famous little figure seems to have been in the posses- sion of one Schmidt, who, according to the programmes in my collection, exhibited it regularly. In 1833 Schmidt is programmed in London, playing at the Surrey Theatre, when the writing and drawing figure is one of twenty-four automatic devices. A pro- gram, which, judging from its printing, is of a still later date, announces Mr. Schmidt and the famous figure at New Gothic Hall, 7 Haymarket, for a short period pre- vious to the removal of the exhibit to St. Petersburg. The dates of other programmes in my collection can be judged only from the style of printing which changed at different periods of the art's development. Some of these indicate that the writing and drawing figure was on exhibition during the early 40's in London at Paul's Head Assembly Rooms, Argyle Rooms, Regent Street, etc. It is more than likely, according to Robert-Houdin's own admission regarding his study of automata and his opportunities to repair those left at his shop, that at some time the writing and drawing figure was brought to Paris to be exhibited, needed repairing, and thus reached his shop. Whether it was bought by Monsieur G , whose interest in automata is featured in Robert-Houdin's "Memoirs," and brought to Robert-Houdin to repair, or whether Robert-Houdin bought it for a song, and repaired it to sell to advantage to his wealthy patron, cannot be stated, but I am morally certain that Robert-Houdin never constructed, in eighteen months, a complicated mech- anism on which the Jacquet-Drozes spent six years of [ 112] | |
unmaskingrobert00houdgoog.pdf,130 | unmaskingrobert00houdgoog.pdf | 130 | THE WRITING AND DRAWING FIGURE ADMISSION REDUCED, Bores, 2..-Pil, la.-Gallery, 6d. PORNING ons SEILLING sacm. By Permission of the Right Worshipful the Mayor. The Nebility, Gentry, and Inhabitaste of Hull and its Vicinity are most respoctiolly informed that the Grand MECHANICAL AND Magical Theatre, (FROM THE GOTHIC HALL, ITAYMARKET, LONDOX.) IS NOW OPEN EVERY DAY AND EVENING, AND witl. CONTINUS ao voa A SMORT TIMS ONLY, ATT THE APOLLO SALOON, Nexty erected by Mr. Kirhwood, at the y Wellinglon-Strees, QUEEN-STREST, NULL. THE AUTOMATA COMPRISE THS FOLLOWING AUBJECTS: The Juvenile Artist! Whese in DRAWING and warmino (alterestely) ie the presence of the Compeay, defy all essempte regard thew beauts sed of dealge ... - the of an Yeare ) THE MUSICAL LADY, de performe agee - siegses Seger OROAN, of plessing Airs. The of her - - of the .... feit " arearing Aderrent She bows gracefully to the Audieses, hee " - the leago, sele . predessé b, the of ber Segen, esta the escoptee of Sele - - - played 3, the fost Dawona, - serpase, is sed ever, Prefesses of the ant hooping correst to the Nome of the THE MAGICIAN, the selovest ... delight. b, the eages be reteres to every pregessé le - The of the bitherle pussied all the first. reste à TAS WALKING FIGURE, moriag b, Ite see eseltee ise serpeise, It ever Assn Deje to . thing etterly - cort to predese égare expeble a A MAGNIFICENT CLASSIC rase! NADE FOR THE EMPEROR NAPOLEON. A BOLDES TWO SIBERIAN MICE.---AN EGYPTIAN LIZARD. An Ethiopian Caterpillar. A Tarantula Spider. A BEAUTIFUL HUMMING BIRD: - - of T.es e.ebly - ... sed other precion asd le the 4 sevemests eftea dessivo the bebeider no - de , the of - BELF-ACTING PIANO FORTE. TES STAGE PERFORMANCE WILL COMMENCE WITH RAMO SAMMEE, Litte Figere - corrent'y estera " the time ", .. pereese eill also weipher - also - the of ea, bee bese drees *** - pech. The Enchanted Dutch Coffee-House, , - - . the Trevellers visging the SeM the doos opres-the attesde .. pree.dee enth - be may - ler. THE CABINET OF SAFETY, de - of eas . - be . the o… | |
unmaskingrobert00houdgoog.pdf,131 | unmaskingrobert00houdgoog.pdf | 131 | THE UNMASKING OF ROBERT-HOUDIN their inventive genius and efforts. Modern mechanicians agree that such a performance would have been a physical impossibility, even had Robert-Houdin been the expert mechanician he pictured himself. To sum up the evidence: The writing and drawing Splendid and Unrivalled Exhibition ! (Fer . Shore peovions . is resoval - a The Nobility and Public are respectfully informed, that A MOST MAGNIFICENT AND COSTLY COLLECTION OF Mechanical and Musical AUTOIATONS! IS NOW EXHIBITING AT THE New Gothic Haymarket, ADJOINING THE LITTLE THEATRE: TOGETHER wirh A GRAND DISPLAY OF ANCIENT ARMOUR : Which carrounds the spacious and desoreted Mall. Also . Model of . MAN OF WAR, of Ninely-Four Guns, Of the most exquisite Workmenship, and Copper-Bottomed! The whouk the - Instructive and Ammoing ever le - THE MECHANICAL PART or this truly conderfel and exchenting which las beea with the avent distingushbed Patromage, in Paais and other parts of the comprisse the bullowing ABTIOU! These Performancea in DRAWING - WAITING la - of the Company, defy ell . kaph at in regard to marn, and of and This rich the of MECHANISN . sonderfally thet the motion - # - guat, saj oppropriele system efeperations, will ever readee " - of the highest interest - The fusical Lady ! Who performs, apon sia olggent Finger ORGAN.: variely of pire-ing Ain. The fas inating of bee and lovely motion ofthe Eyes, arver to securing bes She boes gracefully to the acdicace bes beaves, uf materally b, the leage and every note is produced by the touch of act Sager, with the lica of pata, and charge, which are played by the The Rope Dancer ! Wheed surpricing apoe the Tight Rope surgess, to - attitudes, and reclurions, every et the Art heepios correct timse to the Munie of the Mechinery Ebe Whene exeite the gresteet and delight.br the regacious be returne to every prepesed le his The essetrection of thus wonderfel seif- acting Fagure has lutherte pessied all the is Europe' This estraerdisary Figur, moves by afe ova povera, in every direction, the gr… | |
unmaskingrobert00houdgoog.pdf,132 | unmaskingrobert00houdgoog.pdf | 132 | THE WRITING AND DRAWING FIGURE did not know of its existence and mechanism. And if Robert-Houdin had invented the same mechanism it is hardly possible that his design would have run in pre- cisely the same channel as that of Jacquet-Droz and Maillardet, in having the figure draw the dog, the cupid, and the heads of monarchs. In those days humble mechanicians, however well they were known in their own trade, were not exploited by the public press. Nor did they employ clever journalists to write memoirs lauding their achievements. And so it happened that for years the names of Jacquet-Droz and Maillardet were unsung; their brainwork and handi- craft were claimed by Robert-Houdin, who had mastered the art of self-exploitation. To-day, after a century and a half of neglect, the laurel wreath has been lifted from the brow of Robert-Houdin, where it never should have been placed, and has been laid on the graves of the real inventors of the writing and drawing figure, Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz and Jean- David Maillardet. [115] | |
unmaskingrobert00houdgoog.pdf,133 | unmaskingrobert00houdgoog.pdf | 133 | CHAPTER IV THE PASTRY COOK OF THE PALAIS ROYAL ONCERNING this trick, which Robert-Houdin claims as his invention, he writes on page 79 of his "Memoirs," American edition "The first was a small pastry cook, issuing from his shop door at the word of command, and bringing, according to the spectator's request, patties and refreshments of every description. At the side of the shop, assistant pastry cooks might be seen rolling paste and putting it in the oven." By means of handbills, programmes, and newspaper notices of magical and mechanical performances, this trick in various guises can be traced back as far as I796. Nine reputable magicians offered it as part of their reper- toire, and at times two men presented it simultaneously, showing that more than one such automaton existed. The dates of the most notable programmes or handbills selected from my collection are as follows: I, Haddock, 1797. 2, Garnerin, 1815. 3, Gyngell, 1816 and 1823. 4, Bologna, 1820. 5, Henry, 1822. 6, Schmidt, 1827. 7, Rovere, 1828. 8, Charles, 1829. 9, Phillippe, 1841. In 1827 Schmidt and Gyngell joined forces, yet both before and after this date each performer had the wonder- ful little piece of mechanism on his programme. In 1841, [ 116 | |
unmaskingrobert00houdgoog.pdf,134 | unmaskingrobert00houdgoog.pdf | 134 | THE PASTRY COOK OF THE PALAIS ROYAL four years before Robert-Houdin appeared as a public performer, Phillippe created a sensation in Paris, pre- senting among other automata "Le Confiseur Galant." In 1845, when Robert-Houdin included "The Pastry Cook of the Palais Royal" in his initial programme at his own theatre in Paris, Phillippe was presenting precisely the same trick at the St. James Theatre, London. Of this goodly company, however, Rovere and Phillippe deserve more than passing notice, as both were the con- temporaries of Robert-Houdin, and Rovere was his personal friend. Both also appear in Robert-Houdin's "Memoirs." The trick appears first, not as a confectioner's shop with small figures at work, but as a fruitery, then again as a Dutch Coffee-House and a Russian Inn, from which ten sorts of liquor are served. Finally, in 1823, it is feat- ured under the name that later made it famous, the Confectioner's Shop. Haddock, the Englishman who had the writing and drawing figure in his possession for some time, featured the fruitery on his programmes dated 1796. One of his advertisements from the London Telegraph is reproduced on page 106, in connection with the history of the writing and drawing figure, but for convenience I am quoting here Haddock's own description of the fruitery trick, which was even more complicated than the famous Pastry Cook of the Palais Royal: "A model of the neat rural mansion, and contains the following figures: First, the porter, which stands at the gate, and on being addressed, rings the bell, when the door opens, the fruiteress comes out, and any. lady or [ 117] | |
unmaskingrobert00houdgoog.pdf,135 | unmaskingrobert00houdgoog.pdf | 135 | THE UNMASKING OF ROBERT-HOUDIN gentleman may call for whatever fruit they please, and the figure will return and bring the kind required, which may be repeated and the fruit varied as often as the company orders: it will likewise receive flowers, or any Take Totice! The Magistrates of Southuark Rove sindly given to Nr. BOLOGNA, 10 and thoir At the Great Assembly Room, Three Tuns Tavern, His Grand Mechanical and Aufomaticel Which àss he - Years heen unrivalled, AND SANCTIONED BY THE LOKD .CHAMBERLAIN, Al-e receired wirk the most and distiaguisbed Approbation. Mr. BOLOGNA impressed with . deep - of the anny faveits be for Yeer received, From . liberal Public, availe himiself of this la offer a Entertainment which - quite distinct from that of . Theatries Demeription, A from its harmales tendency, je peculiarly the attract the Nutice and Support of theme whowe religiona forbid thew Participation in of a marked and decimive Character. This Present FRIDAY, March 10th, 1820, And Every Meilnesdag * Friday During Lent, The beea fitted up for the Reneption of the Public The will with the fellaring Carious Piecea of Aninated Objents Mechanism Clockwork. PART L-A Windmill. That will Gried mait any Carf chumen by the Company, with a Variety of Performances by Clock Muvement, Deceptiona with Buans, Watches. Ac. 2-1 Cabinet of Peculiar Construction. By which will Le Preduced . Variety of Deceptions with Cards a.-An Automaten Figure representing a Necromancer. Who will explain the Thoughts of auy ludividual in Company. - 4-A Distiller whe Stands by his Tus, From which, n Command, he Drawa Eighr Didereal Sorte of Léquar. 3.-1 curious Mechanical Frailerer and Confecsioner's Shop. Compit. whe will produce at Command, esch Variety of Freit A as may be usked for. PART 11. OMBRES CHINOIS; or, CHINESE SHADOWS, la which the following Sqapes will be inteedeced. a The MAGICIAN'. CAVE, wherein enveral Tricks & Netamerphoses will thke Plece. 2 REPRESENTATIO of . FOREST. in which will be intreduced the mont Vonderfal species of Natural Hist… | |
unmaskingrobert00houdgoog.pdf,136 | unmaskingrobert00houdgoog.pdf | 136 | THE PASTRY COOK OF THE PALAIS ROYAL begin to bark, and continue to do so until they are re- turned. The next figure belonging to this piece is the little chimney-sweeper, which will be seen coming from behind the house, will enter the door, appear at the top of the chimney, and give the usual cry of "Sweep' several times, descend the chimney, and come out with his bag full of soot." In 1820, Haddock's programme, including the fruitery, appears with only a few minor changes as the répertoire of Bologna, a very clever conjurer who afterward became the assistant of Anderson, the Wizard of the North, and who made most of the latter's apparatus. On the Bologna programme, for a performance to be given at the Great Assembly Room, Three Tuns Tavern, the shop trick is described thus: "A curious Mechanical Fruiterer and Confectioner's Shop, kept by Kitty Comfit, who will produce at Command such Variety of Fruit and Sweet- meats as may be asked for." The marvellous little shop does not appear again on programmes of magic until 1815, when Garnerin features it as "The Dutch Coffee-House." On the programme used by Garnerin in that year for a benefit which he gave for the General Hospital at Birmingham, England, it is feat- ured as No. IO: "A Dutch Coffee-House, a very surprising mechanical piece, in which there is the figure of a Girl, six inches high, which presents, at the Command of the Spectators, ten different sorts of Liquors." This programme is of such historical value that I repro- duce it in full. It will show that this particular mechanical trick is by no means the most important feature of Gar- nerin's répertoire. In fact his fame is based on his [ 119] | |
unmaskingrobert00houdgoog.pdf,137 | unmaskingrobert00houdgoog.pdf | 137 | THE UNMASKING OF ROBERT-HOUDIN ballooning, and he is said to have been the inventor of the parachute. The ascen- sion of the nocturnal balloon, also scheduled on this programme, is an limitation of the one which Garnerin arranged in honor of Bonaparte's coronation in 1805. On that occasion the balloon started at Paris and de- scended in Rome, a dis- For the Benefit of the tance of five hundred General Hospital miles which was covered This present TUESDAY, October 10, 1815. in twenty-two hours. AN EXHIBITION Garnerin was a con- THE WONDERS OF temporary of both Pinetti Art and Nature, and Robertson and was M. GARNERIN, with them in Russia AND M. DE LA ROCHE, IN THE GREAT ROOM. AT THE SHAKESPEARE TAVERN, when Pinetti dissipated his fortune in balloon ex- 1.-TWO BEAUTIFUL FIGURES, or - playing on the FLUTE, which by the - chilfel Combination, perfores - Instrument, and either alome any of the musical Piecee contained be Thay resuma, or change Tunes, . the - of the Specistora The Metions 4 periments. In their cor- the Heed, Fingere, and Egre, are plainly - 9-THE THREE VASES, Thet Light, Estinguish, and Re WAX TAPER. 3.-TIE. CANARY FIGURE, respondence, both Pinetti e Masterpiere of the meat prefound mechamirel TINDER nox. and Robertson spoke la the EVENING at Half past SEVEN, in Addition to these vederful Performancoa, pill be theve Veriety of Tricks with Cardo, and-3, the Ascension of a Nocturnal Balloon, slightingly of Garnerin, le Imitation of the one M. - from Paria, - - Evening of Corea- . 1006, and which drecreded at Nome, 900 Miles, in -VARIOUS EXPERIMENTS UPON THE PNEUMATIC but the Frenchman's pro- 1.-4 FIGURE that DISCOVERS the THOUGHT8. The with -THE COLUMN OF MAGNETICAL GLASS, Fer the igvisitle Ascension Card, grammes all indicate that 9. AN EXHIBITION or > Clap of bunber, of - of he was not only a success- 10.-A DUTCH COFFEE HOUSE, A Garnerin poster of 1815, advertising ful aëronaut, but a ma- " ADutch Coffee House,' whose automatic hostess serves refreshments at command. gician who could present a From the… | |
unmaskingrobert00houdgoog.pdf,138 | unmaskingrobert00houdgoog.pdf | 138 | THE PASTRY COOK OF THE PALAIS ROYAL In 1816 the elder Gyngell featured the trick on his programmes as "The Russian Inn," and in THEATRE, 1823 he changed it to Catherine Street, "The Confectioner's STRAND. Shop." These pro- Mr. GYNGELL, Sen. grammes are reproduced Respoctfully informs the Public, the following Entertaismento continuing de be with the most reptirous Applouse, will be Reposted as the most convincing This Present Thursday, February 15th, 1816, And Every Evening till further Notice. evidence against the Os which Occasion Mz. G. intrests a eace . offer his most grateful Thenks be gest, and solicits a continunce of foture Patronage. As a Stúmelus Mr. G. will inteoduce insumorable & unprecedented Noveltion, nover exhibited here. & perticuler FIRST. claims of Robert-Houdin. A PEDESTAL CLOCK, Se oingularly constructed, that it is obedient a the Word of Command. The Did The Gyngell family is removed, it becomes a MILLAR: which, by the Power of Mechanism alone, will changa, and produce any stated sumber of Binck and White Bella, er both tagether. SECOND. one of the most interest- Representation of a Russian Inn, The Hessess of which will attend with any Liquor that is called for, sed sutire whem requested. These, segether with a Trunk a curious Construction, containing Lagsage, a besutiful Buress, Ring Boues, Caddies, Milla, &cs. &c. acc. ing in the history of all so equally ingenious and that it is impossible to eay which is the - w o NOR a F U L & chort Wed Ne G. with . the hie Auliences, by - Impose - them the of MAGIC, the of these Fissso - magic. The Christian is the Mes: but Friend - plain Trath, - avesse . every of COSJURATION, is With - intreduse them - the they veally are, Wonderful Pieces of Mechanism !!! name of the founder of Nr. GYNGELL will epen the Performance wuh Mathomatical. and the family I have never EXPERIMENTTS, To every Port of this Penformance weuld an . Sut eventy aighe years clapord le theservice of the Public (during which it hes - hie constant been able to ascertain, . render bie … | |
unmaskingrobert00houdgoog.pdf,139 | unmaskingrobert00houdgoog.pdf | 139 | The original Gyngell, a portrait reproduced from the book on magie written by this famous Bartholomew Fair conjurer. From the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,140 | unmaskingrobert00houdgoog.pdf | 140 | THE PASTRY COOK OF THE PALAIS ROYAL at Flocton's death Gyngell received a portion of the former's wealth. Associated with him in his performances were his brother, two sons, and a daughter. The latter was not only a clever rope-dancer but a musician of more than ordinary ability and she often constituted the entire "orchestra." On Gyngell's programme offered in 1827 he proves himself a great showman, for he features Herr Schmidt's "Mechanical Automatons, Phantasmagoria, a laughing sketch entitled Wholesale Blunders, his son on the flying wire, during which he would throw a somersault through a balloon of real fire, a broadsword dance by Miss Louise and Master Gyngell, and Miss Louise's performance on the tight rope, clowned by Master Lionel." On a programme used in Hull, October 29th, 1827, a lottery was featured as follows: "On which occasion the first hundred persons paying for the gallery will be entitled by ticket to a chance of a Fat Goose, and the same number in the pit to have the same chance for a fat turkey. To be drawn for on the stage, in the same manner as the State Lottery." According to Thomas Frost, Gyngell died in 1833 and was buried in the Parish Church, Camberwell. His children, however, continued the work so excellently planned by their father. The programmes herewith reproduced I purchased from Henry Evanion, who secured them directly from the last of the Gyngell family, as the accompanying letter, now a part of my collection, will show: [123] | |
unmaskingrobert00houdgoog.pdf,141 | unmaskingrobert00houdgoog.pdf | 141 | THE UNMASKING OF ROBERT-HOUDIN DOVER, February 10th, 1867. MR. EVANION DEAR SIR-Yours of the 5th inst. I received just as I was leaving Folkestown, and it was forwarded from Guilford. I am sorry I have not one of my old bills with me, neither do I think any of my family could find one at home. I may have some among my old conjuring things, and when I return to Guilford I will look them over and send you what I can find. I was sorry I was not at home when you were in Guil- ford, for I feel much pleasure in meeting a responsible profes- sional. I am not certain when I shall return, but most likely not for six wecks. I will keep your address; so should you change your residence, write to me about that time. I was looking over some old papers some time last sum- mer, and found a bill of my father's, nearly 60 years ago, when his great trick was cutting off the cock's head and restoring it to life again. And a great wonder it was considered and brought crowded rooms. I was Master Gyngell, the wonderful performer on the slack wire; and now in my 7ist year I am lecturer, pyrotechnist, and high-rope walker, for I did that last summer. My life has been a simple one of ups and downs. Iam, dear sir, yours truly, J. D. G. GYNGELL. The signature of this letter, "J. D. G. Gyngell," clears up considerable uncertainty regarding the names of the two Gyngell sons. At times the clever young tight-rope performer has been spoken of as Joseph, and at others as Gellini. It is quite probable that the two names were really part of one, and the full baptismal name was "Joseph D. Gellini." It was as Gellini Gyngell that he met Henry Evanion at Deal, February 20th, 1862, when the latter was performing as a magician at the Deal and Walmer Institute, while Gellini Gyngell gave an exhibi- tion of fireworks and a magic-lantern display on the [124] | |
unmaskingrobert00houdgoog.pdf,142 | unmaskingrobert00houdgoog.pdf | 142 | THE PASTRY COOK OF THE PALAIS ROYAL South Esplanade. A fine notice of both performances zus nast zums TOUBTREN TEARS, was published in the Deal And the Patrosage of - - respoctable Fomilico of Vicinity. Telegram of February 23d, AT THE LARGE HORNS when the hope was ex- ROOM, TAVERN, pressed that Gyngell's col- Bermondsey Square. lection, taken among those - - of - of a - - à - - - of the - - - . - - ". - required - . - - - be On THURSDAY, FRIDAY. and MONDAY EFENINGS, who enjoyed his outdoor MAY let, Snd. & sth. 1823. performance, repaid him GYNGELL, Sen's for his admirable enter- Amusing & Instructing Entertainments - AT VAUXHALL GARDENS, tainment. Gyngell was 1 - novon oe vua MR. GYNGELL, landlord of the Bowling Green Tavern at this time, and travelled as an MATHEMATICAL, PIIILOSOPHICAL, & UNCOMMON, Experiments; entertainer only at inter- - - vals. PEDDSTAL -- coFECTOER'S SHOP, The next appearance of wits - - ebe em preduce - Sind of Confoctionary colled fue. gos THE TURKISH PILLAR, the trick is in a book pub- on, PERFITUAL NOTION. lished by M. Henry, a ven- triloquist, who played Lon- AUTOMATON ROPE VAULTER, don and the provinces from 4 Figure representing . Chills Youre oll, - - - - EPOLUTIONS ON THE TIGHT BOPE, - - - 1820 to 1828. During an - - - - del - - - - form TheMusical Glasses engagement at the Adel- - a & - . - - - - - - de - - phia Theatre, London, . - - - - a - - - . - - which according to the pro- LITTLE WORLD; on. LES ONDRES CHINON, of - - - gramme was about 1822, One Hundred Moving Figures: ame Henry published a book Clowa, with a Comic Dence,--Ma Benjamia. entitled "Conversazione; GYMNASTIC EXERCISES, - or, Mirth and Marvels," A Gyngell programme of 1823, adver- tising A Confectioner's Shop," whose in which he interspersed attendant will serve automatically any witty conversation with sort of confectionery demanded. From the Harry Houdini Collection. descriptions of his various 125 | |
unmaskingrobert00houdgoog.pdf,143 | unmaskingrobert00houdgoog.pdf | 143 | THE UNMASKING OF ROBERT-HOUDIN tricks. On page II he thus describes the automaton un- der consideration : "Illusion Third. A curious mechanical trick; an inn, GYNGELL Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection. from which issues the hostess for orders, upon receiving which, she returns into the inn and brings out the various liquors as called for by the audience, and at last waiting [126] | |
unmaskingrobert00houdgoog.pdf,144 | unmaskingrobert00houdgoog.pdf | 144 | to play the drum, violin, and triangle. A contemporary of Henry was Charles, the great ven- triloquist, who varied his performance as did all ventrilo- quists of his day, by presenting "Philosophical and Mechanical Experiments" to make up a two-hour-and-a- half performance. Charles made several tours of the English provinces, and played in London at intervals. On a London programme which is undated, but which announces M. Charles as playing at Mr. Wigley's Large Room, Spring Gardens, the second automaton on his list is described as "The Russian Inn, out of which comes a little Woman and brings the Liquor demanded for." Two of his programmes dated Theatre Royal, Hull, April, 1829, now in my collection, carry a pathetic foot-note written in the handwriting of the collector through whom they came into my possession : "The audiences on both the evenings were extremely small, and the money was refunded." By referring to the chapter on the writing and drawing figure, Chapter III, Page II3, a Schmidt programme of 1827 will be found, in which he features "The En- [127] | |
unmaskingrobert00houdgoog.pdf,145 | unmaskingrobert00houdgoog.pdf | 145 | THE UNMASKING OF ROBERT-HOUDIN chanted Dutch Coffee-House, an elegant little building. On the traveller ringing the bell, the door opens, the host- ess attends and provides VENTRILOQUISM. him with any liquor he L. CHARLES, may call for." PROVEÍSOS - MECHANICAL SCLENCES, Schmidt seems to have AVD FIRST VENTRILOQUIST, confined his exhibitions from the Continens; UNDEIR THE PRIVILEGE AND PATRONAGS or to London and the prov- H1S MAJESTY THE KING OF PRUSSIA, And Duke of Mecklenburg Schwerin; inces and was often con- Hes the Heaeur ur acgeant the Nebility, Gentry, and the Public at large, thut he has just errived from the Continem, and will perform during this and the Three Meaths of Jenuery, Februery, and Merch, as Ma. WIGLEY'S LARGE ROOM, nected with other magi- SPRING GARDENS, Hia Mechanie and Ventriloque Performances every Day, commencing pre- cians, including Gyngell cisely st Taree "Cleck, and Evening at Eight Clack, except Saturday and Sunday. and Buck. The latter Front Chairs, -Middle Seats, Seats, 1. N. B. The Room ie particularly WARM by . sew invented precess. TO THE PUBLIC. was an English conjurer, The SIEUR CHABLES will remuit. chart peried in Lendon, where be la repre seut all the ponsible of of which the humas voice is rapahis, by Netere and perfectid by Art. He will explais all the Myateries which were best known as the man resorted to ab forton times to impose uges the and supertitious, under the of ORACLES, This maneer of apraking ought to be looked upon - gith of Nature and of Chance rather than as an Art, siect it is impossible je teach is but to thow burn with the Therefore it in preved, that hewbe professits this Art must thost means which sill remain the troable the learond hare who was horribly injured talora to discuver a. The SIEUR CHARLES will perform the following Scenes. when presenting "The Part. 1. The modera Philcsopher or à Dialegue between two Meu of Scionce end their Servest Theee 11. Dialogue beteces Siek Man, bie Pagsician, a Friend, and Servant Gun Delusion." This Frov III. The Win… | |
unmaskingrobert00houdgoog.pdf,146 | unmaskingrobert00houdgoog.pdf | 146 | acquaintance of Jules de Rovere, the first to employ a title now generally given to fashionable conjurers." And after Rovere, Phillippe, who is by far the most important presenter of the Pastry Cook of the Palais Royal, as bearing upon Robert-Houdin's claims. For Phillippe's early history we must depend largely upon Robert-Houdin's "Memoirs." According to these, Phillippe started life as a confectioner or maker of sweets, and his real name was Phillippe Talon. According to an article published in L'Illusionniste in January, 1902, he was born in Alias, near Nîmes, December 25th, 1802, and died in Bokhara, Turkey, June 27th, 1878. Like many a genius and successful man, his early history was written in a minor key. According to Robert- Houdin his sweets did not catch the Parisian fancy, and he went to London, where at that time French bonbons were in high favor. But for some reason he failed in 9 [129] | |
unmaskingrobert00houdgoog.pdf,147 | unmaskingrobert00houdgoog.pdf | 147 | THE UNMASKING OF ROBERT-HOUDIN London, and went on to Aberdecn, Scotland, where he was very soon reduced to sore straits. In his hour of Reproduction of pastel portrait of Phillippe. Only known likeness of the conjurer in existence. Made for him by a Vienna artist. Original now in the Harry Houdini Collection. extremity his cleverness saved the day. In Aberdeen at the same time was a company of actors almost as unfortu- nate as himself. They were presenting a pantomime [ 130] | |
unmaskingrobert00houdgoog.pdf,148 | unmaskingrobert00houdgoog.pdf | 148 | THE PASTRY COOK OF THE PALAIS ROYAL which the public refused to patronize. The young con- fectioner approached the manager of the pantomime and suggested that they join forces. In addition to the regular admission to the pantomime each patron was to pay sixpence and receive in return a paper of mixed sugar plums and a lottery ticket by which he might gain the first prize of the value of five pounds. In addition, Talon promised not only to provide the sweets free of cost to the management, but to present a new and start- ling feature at the close of the performance. The novel announcement crowded the house, the pantomime and the bonbons alike found favor, but the significant feature of the performance was young Talon's appearance in the finale in the rôle of "Punch," for which he was admirably made up. He executed an eccentric dance, at the finish of which he pretended to fall and injure himself. In a faint voice he demanded pills to relieve his pain, and a fellow-actor brought on pills of such enormous size that the audience stopped sympathiz- ing with the actor and began to laugh. But the pills all disappeared down the dancer's throat, for Talon was not only an able confectioner and an agile dancer, but a sleight-of-hand performer. From that hour he exchanged the spoon of the confectioner for the wand of the magician. The fortunes of both the pantomime and Phillippe, as he now called himself, improved. Quite probably he re- mained with the pantomime company until the close of the season and then struck out as an independent per- former. Another story which is gleaned from a biography of John Henry Anderson, the Wizard of the North, tells [131] | |
unmaskingrobert00houdgoog.pdf,149 | unmaskingrobert00houdgoog.pdf | 149 | THE UNMASKING OF ROBER'T-HOUDIN how Phillippe started his career as a pastry cook in the household of one Lord Panmure, and I quote this literally from the Anderson book, because I believe it to be truth- STRAND THEATRE, OPEN EVERY EVENING. Stalls S. nexes Se. PIS ls. Gallery MODERN MIRACLES. PART compree N. end convelled aed Fente . MAGICAL DELUSIONS: Including his peculas and enequalied ETAMORPHOSES AND ASTONISHING DECEPTIONS Part The Celebrated Cossack asd Automatos . or, the Chereed The Gallant Cunfectioner Dovee " the for Graise! The Taller Herlequie: Lesses Ladies," or . New Method Th. Firet Part terminate wirA the Admind GRAND DISTRIBUTION OF THE NATIONAL FLAGI! Ae of Tee beteese esch Part. PART " THE NEW BALLET RICHE D'AMOUR Due de Lency. Mile CONSTANCE CHIARINI, Le Narquise de Pompadour, (se ANUELO CHIARINL L. Petile PACLINE CHIARINI, Rigolard, In the couras of the Baliet, will be introduced LE MINUET OF LOUIS xv. PART / THE EXTRAURDINARY MERICAN BROTHERS their Uerque Scone, estitied OLYMPIC GAMBOLS, chich of thete they - FEATS OF AGILITY, - gressest and astenishment, and Malled of PART IV NICHT IN THE PALACE OF PEKIN, M. Phillippe perform some of the most Extraordinery Tours d'Adresse, sacluding his most brilliant and INDIAN AND CHINESE FEATS! consisting of the - surprising Feals eser attempled by any entitled The Enchanted Orange-The Mymie Sugar Loaf and Flying Handkercheefs Monsieur Meg and the Rose of from which will appras Scottich in full Costome, who will dance the Higbland Flag-The Magie Seppee of or, The Cook Benuched The Hat of Good hassuble including the Grend Europese Bessar and Flore's Gift. The Entertaismente ill cosclode with, EACH EVENINO, the Aslounding Supprieing emitled LES BASSINS DE NEPTUNE LES ET POISSONS D'OR AND THE GRAND EBIE! Unanimoualy presounced to be the most inexplicable Tovas DR Paverque and Nightly bose received ith the most rapteroue praie of ada - Dooss to be epened at a Quarter*past 7. Pesformance to commence Quastes so : The séose Pregremme us the most Novel le Londos… | |
unmaskingrobert00houdgoog.pdf,150 | unmaskingrobert00houdgoog.pdf | 150 | THE PASTRY COOK OF THE PALAIS ROYAL "It was at this time that he came in contact with a person who afterward, under the designation of M. Phillippe, became celebrated in France as a magician. Phillipee (for so was he named in Scotland) was origi- nally a cook in the services of the late Lord Panmure. Leaving that employment, he settled down and remained for a number of years in Aberdeen. He heard of the fame of the youthful magician, was induced to visit his "temple,' and was struck with his performances; and having made the acquaintance of Mr. Anderson, he solicited from him and obtained an insight into his pro- fession, and fac-similes of his then humble apparatus. Phillippe improved to such a degree upon the knowledge he thus acquired that, leaving England for France, he earned the reputation of being one of the most accom- plished magicians ever scen in the country." The date of his initial performance is not known, but he must have remained in Scotland, perfecting his act, for the earliest Phillippe programme in my collection is dated February 3d, 1837, when he opened at Waterloo Rooms, Edinburgh, and announced: "The high character which Mons. Phillippe has ob- tained from the Aberdeen, Glasgow, Greenock and Paisley Press, being the only four towns in Britain where he has made his appearance, is a sufficient guarantee to procure him a visit from the inhabitants of this enlightened Metropolis, where talent had always been supported when actually deserved." Evidently, however, Phillippe made rapid progress, for a programme dated Saturday, April 2ist, 1838, shows that his last daytime or matinée performance in Waterloo [133] | |
unmaskingrobert00houdgoog.pdf,151 | unmaskingrobert00houdgoog.pdf | 151 | THE UNMASKING OF ROBERT-HOUDIN Rooms was given under the patronage of such members of the nobility as the Right Honorable Lady Gifford, the Right Honorable Lady H. Stuart Forbes, etc. In an Phillippe and his Scotch assistant, Domingo. The latter became famous as a magician under the name of Macallister, introducing in America Phil. lippe's gift show. From a lithograph in the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,152 | unmaskingrobert00houdgoog.pdf | 152 | THE PASTRY COOK OF THE PALAIS ROYAL Edinburgh programme, dated probably 1837, he is shown as performing his tricks, clad in peculiar evening clothes, knickerbockers and waistcoat matching, with a mere suggestion of the swallow-tail coat. In his 1838 bill he is shown clad in the flowing robes of the old-time magician, and he advertises the Chinese tricks, notably the gold-fish trick, which demanded voluminous dra- peries. According to Robert-Houdin, Phillippe built a small wooden theatre in Glasgow. Humble as this building was, however, it brought a significant factor into Phil- lippe's life. This was a young bricklayer named Andrew Macallister who had a natural genius for tricks and models, and who became Phillippe's apprentice, later appearing as Domingo, his assistant on the stage, wearing black make-up. In either Edinburgh or Dublin Phillippe met the Chinese juggler or conjurer who taught him the goldfish trick and the secret of the Chinese rings. Armed with these two striking tricks, Phillippe deter- mined to satisfy his yearning to return to his native land, and in 1841 he appeared at the Salle Montesquieu, Paris. Later, the Bonne-Nouvelle, a temple of magic, was opened for Phillippe in Paris, and there he enjoyed the brilliant run to which Robert-Houdin refers in his "Memoirs." Phillippe was an indefatigable worker and traveller, and one brilliant engagement followed another. During the 40's he appeared, according to my collection of pro- grammes, all over Continental Europe, and in most of his programmes this paragraph is featured: [135] | |
unmaskingrobert00houdgoog.pdf,153 | unmaskingrobert00houdgoog.pdf | 153 | THE UNMASKING OF ROBERT-HOUDIN "PART III. "An unexpected present at once gratuitous and laugh- able, composed of twelve prizes, nine lucky and three unfortunate, in which the general public will participate." He also continued to distribute bonbons from an in- exhaustible source, probably a cornucopia, calling this trick "a new system of making sweetmeats, or Le Confiseur Moderne." During his first engagement in Vienna he had painted for advertising purposes a pastel portrait, showing him clad in his magician's robes at the finale of the goldfish trick. From this picture his later cuts were made. By some mistake he left the original pastel in Vienna, where I bought it at a special sale for my collection. It re- mains an exquisite piece of color work, even at this day. So far it is the only real likeness of Phillippe I have been able to unearth. In 1845-46 he was at the height of his popularity in London, where he had a tremendous run. In June, 1845, we find him playing at the St. James Theatre, under Mitchell's direction, and on September 29th, under his own management, he moves to the Strand, where he is still found in January of 1846. During all this time he featured The Pastry Cook of the Palais Royal under the title of "Le Confiseur Galant." As proofs that Phillippe used the pastry-cook trick both before and during Robert-Houdin's career as a magician, I offer several programmes containing accurate descrip- tions of the automaton, and also a page illustration from a current publication dated Paris, 1843, which shows the [136] | |
unmaskingrobert00houdgoog.pdf,154 | unmaskingrobert00houdgoog.pdf | 154 | THE PASTRY COOK OF THE PALAIS ROYAL confectioner or pastry-cook standing in the doorway of his house, while the key explaining the various tricks PP 68 reads: "No. 9. Le Confiseur galant et le Liquoriste impromptu." [137] | |
unmaskingrobert00houdgoog.pdf,155 | unmaskingrobert00houdgoog.pdf | 155 | THE UNMASKING OF ROBERT-HOUDIN Robert-Houdin devotes nearly an entire chapter to the history of Phillippe and a description of his tricks and automata, yet curiously forgets to mention the pastry cook, which he later claims as his own invention. Ernest Basch, formerly of Basch Brothers, conjurers, and the richest manufacturer of illusions in the world, claims that the original trick is now in his possession. Herr Basch is located in Hanover, Germany, where he builds large illusions only. The wonderful mechanical house passed to Basch by a bequest on the death of Baron von Sandhovel, a wealthy resident of Amsterdam, Holland. Von Sandhovel had bought the trick from the heirs of Robert-Houdin on the death of the latter, because he believed it to be the brain and handwork of Opre, a Dutch mechanician of great talent. Ernest Basch shares this belief, and with other well-read conjurers thinks that Opre was Robert-Houdin's assistant and built most of his automata, including The Pastry Cook of the Palais Royal, The Windmill or Dutch Inn, Auriel and Debureau, The French Gymnasts, The Harlequin, and The Chausseur. Opre was a man of ability, but lacked presence and personality properly to present his inventions. So far I have found his name in three places only: On the frontispiece of a Dutch book on magic, published in Amsterdam; in Ernest Basch's correspondence about conjurers; and on page 77 of Robert-Houdin's "Mem- oirs," when he speaks of Opre as the maker of the Harlequin figure which Torrini asked Robert-Houdin to repair during their travels. With such convincing proof, some of which was con- [138] | |
unmaskingrobert00houdgoog.pdf,156 | unmaskingrobert00houdgoog.pdf | 156 | THE PASTRY COOK OF THE PALAIS ROYAL temporary, that other men had exhibited The Pastry Cook of the Palais Royal in its identical or slightly different ######### CONPISEUR Ernest Basch and "Le Confiseur Galant," which he claims is the original Robert-Houdin "Pastry Cook of the Palais Royal." From a photograph in the Harry Houdini Collection. guise, it was daring indeed of Robert-Houdin to claim it as his own invention. The most direct information regarding Opre comes [ 139 ] | |
unmaskingrobert00houdgoog.pdf,157 | unmaskingrobert00houdgoog.pdf | 157 | THE UNMASKING OF ROBERT-HOUDIN through that eminent family of conjurers known as the Bambergs of Holland. At this writing, "Papa" (David) Bamberg, of the fourth generation, is prominent on the Dutch stage, and his son Tobias David, known as Okito, of the fifth generation, is a cosmopolitan magician, pre- senting a Chinese act. According to the family history, traceable by means of handbills, programmes, and personal correspond- ence, the original Bamberg (Eliazar) had a vaulting fig- ure in his collection of au- tomata in I790, fifty years before Robert-Houdin be- came a professional enter- tainer. This figure was David Leendert Bamberg, of the made by Opre, to whom second generation of the Bamberg all conjurers of that time family. Born 1786; died 1869. The above daguerrotype was presented to looked for automata and the author by Herr Ernest Basch, and is the only one in existence. apparatus. David Leendert Bamberg, of the second gen- eration, who also had the vaulting figure, was the inti- mate friend and confidant of Opre and was authority for the statement that Opre's son sold in Paris the various automata made by his father, which later Robert- Houdin claimed as his own invention. It may be noted that Robert-Houdin never invented a single automaton after he went on the stage in 1845, and as Opre died in 1846, the coincidence is nothing if not significant. I40] | |
unmaskingrobert00houdgoog.pdf,158 | unmaskingrobert00houdgoog.pdf | 158 | CHAPTER V THE OBEDIENT CARDS - THE CABALISTIC CLOCK - THE TRAPEZE AUTOMATON The Obedient Cards. T O trace here the history of three very com- mon tricks claimed by Robert-Houdin as his own inventions would be sheer waste of time, if the exposure did not prove beyond doubt that in announcing the various tricks of his répertoire as the output of his own brain he was not only flagrant and unscrupulous, but he did not even give his readers credit for enough intelligence to recognize tricks performed re- peatedly by his predecessors whom they had seen. Not satisfied with purloining tricks so important that one or two would have been sufficient to establish the reputation of any conjurer or inventor, he must needs lay claim to having invented tricks long the property of mountebanks as well as reputable magicians. The tricks referred to are the obedient card, the cabalistic clock, and the automaton known as Diavolo Antonio or Le Voltigeur au Trapèze. The obedient-card trick, mentioned on page 245 of the American edition of his "Memoirs," as "a novel ex- periment invented by M. Robert-Houdin," can be found on the programme of every magician who ever laid claim to dexterity of hand. Whether they accomplished the effect [ I4I ] | |
unmaskingrobert00houdgoog.pdf,159 | unmaskingrobert00houdgoog.pdf | 159 | THE UNMASKING OF ROBERT-HOUDIN by clock-work or with a black silk thread or a human hair, the result was one and the same. It has also been worked by using a fine thread with a piece of wax at the end. The wax is fastened to the card, and the thread draws it up. The simplest method of all is to place the thread è Card trick as featured by Anderson in 1836-37. From a poster in the Harry Houdini Collection. over and under the cards, weaving it in and out as it were, and then, by pulling the thread, to bring the different cards selected into view. So common was the trick that its description was written in every work on magic published from 1784 to the date of Robert-Houdin's first appearance, and in at least one volume printed as early as 1635. The majority [ 142 | |
unmaskingrobert00houdgoog.pdf,160 | unmaskingrobert00houdgoog.pdf | 160 | THE OBEDIENT CARDS of French encyclopaedias described the trick and exposed it according to one method or another, and Robert-Houdin admits having been a great reader of encyclopaedias. The trick first appears in print in various editions of "Hocus Pocus," twenty in all, starting with 1635. The majority contain feats with cards, showing how to bring them up or out of a pack with a black thread, a hair spring, or an elastic. In 1772 the rising-card trick was shown in Guyot's "Physical and Mathematical Recreations," also in the Dutch or Holland translations of the same work. In 179I it was minutely explained by Hofrath von Eck- artshausen, who wrote five different books on the sub- ject of magic. The fourth, being devoted principally to the art of the conjurer, was entitled "Die Gauckel- tasche, oder vollständiger Unterricht in Taschenspieler u. S. w.," which translated means "The Conjurer's Pocket or Thorough Instructions in the Art of Conjuring." The title was due to the fact that in olden days conjurers worked with the aid of a large outside pocket. The five books, published under the general title of "Aufschlüsse zur Magie," bear date of Munich, Germany. On page 138 of the third edition of Gale's "Cabinet of Knowledge," published in London in 1800, will be found a description of the rising-card trick as donc with pin and thread, and the same book shows how it is saccomplished with wax and a hair. This book seems to have been compiled from Philip Breslaw's work on magic, "The Last Legacy," published in r782. Benton, who published the English edi- tion of Decremps' famous work on magic, exposing Pinetti's répertoire, also described the trick. "Natural Magic," by [ 143 ] | |
unmaskingrobert00houdgoog.pdf,161 | unmaskingrobert00houdgoog.pdf | 161 | THE UNMASKING OF ROBERT-HOUDIN CONJURER UNMASKED OR the Ant of Height of hand Reproduction of frontispiece in Breslaw's book on magic, "The Last Legacy," published in 1782. Original in the Harry Houdini Collection. [ (444) | |
unmaskingrobert00houdgoog.pdf,162 | unmaskingrobert00houdgoog.pdf | 162 | THE OBEDIENT CARDS Astley, the circus man, and Hooper's "Recreations," in four volumes, published in 1784, expose the same trick. As to magicians who performed the trick, their names are legion, and only a few of the most prominent conjurers will be mentioned in this connection. The man who obtained the best effects with this trick was John Henry Anderson, who startled the world of magic and amusements by his audacity, in 1836, nine J. H. Anderson's birth place as drawn by him from memory. The follow- ing is written under the sketch in his own handwriting: A rough sketch of the farm house called ' Red Stanes,' on the estate of Craigmyle, Parish of Kincardine O'Neil, Aberdeenshire. The house was built by my grandfather, John Robertson, in the year 1796, and in it I was born on the 15th day of July, 1814. John Henry Anderson." Photographed from the original now in the possession of Mrs. Leona A. Anderson, by the author. years before Robert-Houdin trod the stage as a pro- fessional entertainer. Anderson was born in Kincardine, Scotland, in 1814, and started his professional career as an actor. He must have been a very poor one, too, for he states that he was once complimented by a manager for having brought bad acting to the height of perfection. Anderson was first known as the Caledonian magician, then assumed the title of the Wizard of the North, which 10 [ 145 ] | |
unmaskingrobert00houdgoog.pdf,163 | unmaskingrobert00houdgoog.pdf | 163 | THE UNMASKING OF ROBERT-HOUDIN John Henry Anderson, wife and son, from a rare photograph taken in 1847 or 1848. Said to be an especially good likeness of Mrs. Anderson and the only one extant. Photograph loaned by Mrs. Leona A. |Anderson, daughter-in- law of the " Wizard of the North." [146] | |
unmaskingrobert00houdgoog.pdf,164 | unmaskingrobert00houdgoog.pdf | 164 | THE OBEDIENT CARDS he said was bestowed on him by Sir Walter Scott. Thomas Frost belittles this statement, on the grounds that Scott was stricken with paralysis in 1830. However, Anderson became famous in 1829, so he should be given the benefit of the doubt. He was the greatest advertiser that the VICTORIA HOOMS, HULL LAST WEEE or GREAT MAGICIAN PERFORI DE HULL. REDUOTION OF PRICES fremt Sende of the Balcom, Bach Ditte, 1..j Gallery Sixpence caly The Avening, Friday, May Saterday, 19th; Menday, Sless Tuesday, Théreday, and Friday, will be pedivively the LAST - perform la Hell. 1838 on or TIIS ABOVE EVENINGS Naw TSTIC WONDERS! SPLENDID CHANGES! NECROMANCY: ART! WEITE ART! WYSTERY AND MACIC! UNEQUALLED, UNPARALLELED! so COME & SEE. TH . LAST WEEKS et Eight-pr heving claims agamet J. - these Dille ar Koscas Haows, 34, Very rare poster of 1838 in which John Henry Anderson is billed as "The Great Magician.' From the Ilarry Houdini Collection. world of magic has ever known, and he left nothing undone that might boom attendance at his performances. He started newspapers, gave masked balls, and donated thousands of dollars to charities. He was known in every [147] 1 | |
unmaskingrobert00houdgoog.pdf,165 | unmaskingrobert00houdgoog.pdf | 165 | SPIRITUALISM! THE DAVENPORTS BY PROFESSOR ANDERSON [ 148] | |
unmaskingrobert00houdgoog.pdf,166 | unmaskingrobert00houdgoog.pdf | 166 | THE OBEDIENT CARDS city of the world, and, when so inclined, built his own theatres. He sold books on magic during his own per- formances, and would sell any trick he presented for a nominal sum. His most unique advertising dodge was to offer $500 in gold as prizes for the best conundrums written by spectators during his performances. To make this scheme more effective, he carried with him his own printing-press and set it up back of the scenes. While the performance was under way, the conundrums handed in by the spectators were printed, and, after the performance, any one might buy a sheet of the questions and puns at the door. As every one naturally wanted to see his conundrum in print, Anderson sold millions of these bits of paper. In 1852, while playing at Metropolitan Hall, New York City, he advertised his conundrum con- test and sold his book of tricks, etc., and such notables as Jenny Lind and General Kossuth entered conundrums. He was among the first performers to expose the Daven- port Brothers, whose spiritualistic tricks and rope-tying had astonished America. Directly on witnessing a per- formance and solving their methods, Anderson hurried back to England and exposed the tricks. To sum up his history, he stands unique in the annals of magic as a doer of daring things. He rushed into print on the slightest pretext, was a hard fighter with his rivals and aired his quarrels in the press, and he was a game loser when trouble came his way. Not a brilliant actor or performer, he yet had the gift of securing excellent effects in his mise en scènc. He made and lost several fortunes, generally recouping as quickly as he lost. He was burned out several times, the most notable fire being [149] | |
unmaskingrobert00houdgoog.pdf,167 | unmaskingrobert00houdgoog.pdf | 167 | THE GREAT MAGICIAN, From the Munic Holl, Shefield, Commercial Rooma, Leeds, and the Exchange Rooma, Monchusier, - perform his Myatic Wonders, for . Short Time only, I N THE VICTORIA ROOMS, HULL. MR. J. H. ANDERSON, THE GREAT CALEDONIAN MAGICIAN: Desirous of gratifying the Ladies and Gentlemes of Hull, and ite Vicinity, Has the to announce bie intention of Performing for A SHORT TIME QNLY, his MYSTIC WONDERS! he hupes the anqualified approbation which was beatowed on hie exertions at Livergeol for - seccessive nighta, Manchanter for eighty signts, Leeda for fifty nights, Sheffleld furty nighta, Ediabungh une hundred and three aighia, Glangew alsty sighta, twenty sighta, will ensure him the patromage of the Nobility, Gentry, and Public of Hull. Mr. J. H. ANDERSON las had the distiaguiabed honnur of performing before his late Majesty, at Windant Castle, and belove his Majeuty Geo. IV., le the Parilion at Brighton: and subsequeatly received letterá by their Majesties' command, ataling the Royal approval of each performance tugether with others from the Marquis of Westminater, the Eari of Bradford, the of the lat Life Guards, the Buke of Gordon, and Sir Walter From the many teatimuniala forwarded to Mr.J. H. A. he submits the following from Lord Panmure and atherso Bascupi Cama, March 24th, 1937. Sir,-Our parly hege, last sight, witscieed your performance with the greatest untisfaction: And I have no hesitation la aying, that you far escel any other decromancor that , ever - either at home ur abrued PANMURE" - To Mr. J. H. September let, 1837. Mr. J. H. Andersum highly gratified the party before whom be performed his Necromantic Feats, and Magical Exploits He is the mast acpomplished Professor of the Art of Magie we ever - and beg lu exprese our high admiration of hie talenta, and thank him for bia per- formance at Hokelyy. J. HL MORRET, Exq. GEORGE CLIFFORD, Eqg. GEORGE MANBY, Coldatresm Guards ON MONDAY EVENINC, APRIL 30, 1838, & EVERY EVENINC DURING THE WEEK. The Magician's Entertainmente will at Eight e'clock proc… | |
unmaskingrobert00houdgoog.pdf,168 | unmaskingrobert00houdgoog.pdf | 168 | very names he had used - le - - - peter - of - - - tous - - - PART ASTER THE OVERTURE and the style of his billing. The - display of the - - The Vases or Cups of Divination, umo uses onta All three of these men san CARD. TH" ama OF PARADIEL suas . ao wow warma . THE MADIC PEDESTAL GIGANTIC DICE. were professional magi- NOTUALLING OFFICE, or CANDLE COOKERY. CIRCASSIAN CANS. BUONAPARTES FEATHER, or cians before Robert-Hou- Magicien. FRENCH BOLL AND HANDKERCHIEF. MYSTERIOUS WALNUTS. Opere Glase - Carda. The Rose and Wedding Rang. din appeared, and Ander- Ast - " - quete - - hore - - cquelled by - othee Performee. PART IL-OTERTURE, son was his very active Aller - Ms. JACOSA, THI 5 LANDLORD AT HOME; Or, Gout and Hoarseness versus Family Grievances. contemporary. - - hands - - - - - - A Jacobs bill is here 1 - - - = - - - - - 1 - - - = - - - - reproduced, showing the - by - - - - - - - - - - - las - - - - - the - - - - - - - - de year - - - - de thei card trick featured among . - the - the - The --- - - - - . a the gh - - - - and leag - - - - - - - - - The Freach - - - - other attractions. The - - - - - - - bes - the - - a - - - the and - de - - - lithograph of Jacobs used the in this connection is an & the actual likeness and I bc- Jacobs poster, featuring "The Travelling lieve it to be as rare as it Card." From the Harry Houdini Collec- tion. is timely. [ 151 ] | |
unmaskingrobert00houdgoog.pdf,169 | unmaskingrobert00houdgoog.pdf | 169 | 233 This setting shows how cumbersome was the apparatus employed by magicians before Wiljalba Frikell proved Lithograph used by E. W. Young, who copied all of John Henry Anderson's billing and featured the obedient-card trick. that he could score with apparently no apparatus. Original in the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,170 | unmaskingrobert00houdgoog.pdf | 170 | THE OBEDIENT CARDS MR. BARNARDO EAGLE, THE ROYAL WIZARD OF THE SOUTH. Frontispiece from Eagle's book, in which he exposes Anderson's gun de- usion. Said by Henry Evanion, who knew Eagle, to be a fine likeness. rom the Harry Houdini Collection. |
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