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unmaskingrobert00houdgoog.pdf,302 | unmaskingrobert00houdgoog.pdf | 302 | what is most extraordinary is that this water, which he threw out with violence, appeared red like wine. And when he had discharged it into two different bottles, it was red in one and russet like beer in the other; as soon as he shifted the bottles to the contrary sides, they changed their complexion respectively to that of wine or beer, and so successively so long as he continued vomiting; in the mean time, I observed that the water grew less discolored in proportion as he continued to discharge. This was the first act. Then he ranged his two dozen of bottles oppo- site to him on a table, and exposed to everybody's view. Then he took an equal number of bottles, plunged them anew into the bucket, swallowed them too, and returned 18 [ 273 ] | |
latestmagicbeing00hoff.pdf,14 | latestmagicbeing00hoff.pdf | 14 | viii PREFACE Pocket-book, have been described in the columns of an English magical serial, but have never appeared in book shape, and are by special desire, included in the present volume. A final word on a personal matter. Had I been prophet, as well as magician, when I first began to write on conjuring, I should have chosen a dif- ferent pen-name. In the light of later events, my selection was unfortunate. My identity has long been an open secret, but as I cannot flatter myself that it is universally known, I take this opportun- ity to assure all whom it may concern that I am British to the backbone. LOUIS HOFFMANN. | |
unmaskingrobert00houdgoog.pdf,168 | unmaskingrobert00houdgoog.pdf | 168 | very names he had used - le - - - peter - of - - - tous - - - PART ASTER THE OVERTURE and the style of his billing. The - display of the - - The Vases or Cups of Divination, umo uses onta All three of these men san CARD. TH" ama OF PARADIEL suas . ao wow warma . THE MADIC PEDESTAL GIGANTIC DICE. were professional magi- NOTUALLING OFFICE, or CANDLE COOKERY. CIRCASSIAN CANS. BUONAPARTES FEATHER, or cians before Robert-Hou- Magicien. FRENCH BOLL AND HANDKERCHIEF. MYSTERIOUS WALNUTS. Opere Glase - Carda. The Rose and Wedding Rang. din appeared, and Ander- Ast - " - quete - - hore - - cquelled by - othee Performee. PART IL-OTERTURE, son was his very active Aller - Ms. JACOSA, THI 5 LANDLORD AT HOME; Or, Gout and Hoarseness versus Family Grievances. contemporary. - - hands - - - - - - A Jacobs bill is here 1 - - - = - - - - - 1 - - - = - - - - reproduced, showing the - by - - - - - - - - - - - las - - - - - the - - - - - - - - de year - - - - de thei card trick featured among . - the - the - The --- - - - - . a the gh - - - - and leag - - - - - - - - - The Freach - - - - other attractions. The - - - - - - - bes - the - - a - - - the and - de - - - lithograph of Jacobs used the in this connection is an & the actual likeness and I bc- Jacobs poster, featuring "The Travelling lieve it to be as rare as it Card." From the Harry Houdini Collec- tion. is timely. [ 151 ] | |
unmaskingrobert00houdgoog.pdf,313 | unmaskingrobert00houdgoog.pdf | 313 | under the robe of the magician, whose attitude favors this concealment. As the basket trick is the Hindoo magician's most wonderful offering, a truthful account of his methods of performing the same may be interesting. In the first place, Robert-Houdin's explanation is impossible and un- reasonable because the Hindoo magician does not wear flowing robes in which the child could be concealed. Every Hindoo performer I have ever seen wore short trousers and was barefooted. The correct method of performing the trick, which has been handed down through generations of Hindoos, is as follows: The boy subject is placed in a net in which he is firmly tied, after having had his big toes and thumbs fastened down with bandages. Then, with many a grunt and a groan, he is lifted into the basket. The subject, however, pretends that the basket is too small, so he is really seated on one side and keeps his back in the air. This is done to give the appearance eventually that it was impossible for him to crouch down or around the basket. The lid of the basket is now placed on his back, and a large sheet is thrown over the entire apparatus, which conceals from the audience every movement made by the subject. Now commences the Hindoo "patter," in reality yells, groans, and incantations, while the magician and his assistant strike the basket with swords or canes, stamp on the ground, gnash their teeth, etc. Gradually the [284] | |
unmaskingrobert00houdgoog.pdf,144 | unmaskingrobert00houdgoog.pdf | 144 | to play the drum, violin, and triangle. A contemporary of Henry was Charles, the great ven- triloquist, who varied his performance as did all ventrilo- quists of his day, by presenting "Philosophical and Mechanical Experiments" to make up a two-hour-and-a- half performance. Charles made several tours of the English provinces, and played in London at intervals. On a London programme which is undated, but which announces M. Charles as playing at Mr. Wigley's Large Room, Spring Gardens, the second automaton on his list is described as "The Russian Inn, out of which comes a little Woman and brings the Liquor demanded for." Two of his programmes dated Theatre Royal, Hull, April, 1829, now in my collection, carry a pathetic foot-note written in the handwriting of the collector through whom they came into my possession : "The audiences on both the evenings were extremely small, and the money was refunded." By referring to the chapter on the writing and drawing figure, Chapter III, Page II3, a Schmidt programme of 1827 will be found, in which he features "The En- [127] | |
latestmagicbeing00hoff.pdf,65 | latestmagicbeing00hoff.pdf | 65 | tion the order of production will naturally be varied accordingly. THOSE NAUGHTY KNAVES This item may be described, if preferred, as "Knavish Tricks." Requirements. Card mat loaded with knaves of spades, hearts and diamonds, taken from the pack in use. Knave of clubs on top of pack. | |
latestmagicbeing00hoff.pdf,90 | latestmagicbeing00hoff.pdf | 90 | that I have not sought to influence the choice of these gentlemen" (or ladies, as the case may be) "in the slightest degree, and it must be equally clear to you that I cannot possibly know even one of the cards that have been chosen. To make sure that I do not get sight of them in any way, we will have them placed, with the remainder of the pack, in this envelope." He collects the cards accord- ingly, allowing each person who drew to replace his cards himself in the envelope, and requesting the last person to moisten the flap, and make all secure. Returning to his table, he places the closed envelope in full view. "I shall now want the assistance of some gentleman. Thank you, sir. | |
unmaskingrobert00houdgoog.pdf,316 | unmaskingrobert00houdgoog.pdf | 316 | possibility, and no chance whatever, that it was either by accident or practised trickery to produce such wonderful materializations. Robert-Houdin, May 18th, 1847.' He further shows his ignorance of séances as offered in his times, by his attempt to describe the methods em- ployed by the Davenport Brothers, to whom he devotes chapter XIII., which might be described as a chapter of errors. These picturesque American entertainers, the Daven- [287] | |
unmaskingrobert00houdgoog.pdf,88 | unmaskingrobert00houdgoog.pdf | 88 | own composition, the leaves will begin to change and the bouquet will produce natural flowers and various fruits." Pinetti is one of the most fascinating and picturesque figures in the history of magic. His full name was Joseph Pinetti de Willedal, and, like Pinchbeck and Fawkes, he was a man of parts and readily made friends with the nobility. In fact, there is some question as to whether he did not come of a noble family. He was born in 1750 in Orbitelle, a fortified town once claimed by Tuscany. What can be gleaned regarding his early history goes to prove that his family connections were excellent and his education of the best. One of his portraits, reproduced herewith, shows a half-crown of laurel decorating the frame, and on one side of the bust is a globe, while in the rear of the picture is a stack of books. This would establish his claim that he was once a professor of physics and geography. In fact, the legend beneath the portrait, being translated from the French, runs: "I. I. Pinetti Willedal de Merci, Professor and Dem- onstrator of Physics, Chevalier of the Order of St. Philipe, Geographical Engineer, Financial Counselor of H.R.H. Prince of Linbourg Holstein, Born in Orbitelle in 1750." As it has so often happened in the history of savants and students, there ran in Pinetti's blood a love of the mys- terious with that peculiar strain of charalatanism which went to make up the clever performer in old-time magic. Evidently he resigned his duties as a professor for the more picturesque life of the travelling magician, and he is first heard from in this capacity in the French provinces [71] | |
practicalmagicia00harr.pdf,100 | practicalmagicia00harr.pdf | 100 | or at a distance. Ample directions have been given how all this is donc, but let it be understood that it is most essential. The stu- dent may then practice before a friend, and he will be astonished to find that he can deceive any listener, as to the point from which the sound comes ; and will be gratified that he has become the source of great amusement to himself as well as in the circle in which he moves. Thus we have acquired a working power in the art which, we trust, we have now explained to the satisfaction of the reader. The progress of the student will, of course, be facilitated by an inherent propensity of mimicry, which often approaches some of the minor attainments of ventriloquism. In every company some person may be found who, without any professional instruction, can give admirable limitations, of the voice, gait, and peculiarities of a frient or acquaintance; thus proving that Nature, to some extent, supplies the basis upon which, if we may use the phrase, | |
latestmagicbeing00hoff.pdf,121 | latestmagicbeing00hoff.pdf | 121 | is a little shorter than A, and in diameter a trifle smaller than B, which must pass easily over it. Attached to either side of its upper edge, outside, are soldered two little wire hooks, the points on the outside directed downwards. (4) A coil of paper ribbon, of such size as to fit closely into the lower end of C, and forming, when A B c Fig. 17 so placed, a temporary bottom to it. The inner end of the coil must be drawn up an inch or so, so as to form a little cone in the centre. (5) A similar coil unwound into a loose mass of paper ribbon. (6) About three-quarters of a pint of haricot beans. Of these a sufficient number must be | |
unmaskingrobert00houdgoog.pdf,67 | unmaskingrobert00houdgoog.pdf | 67 | invention of second sight, suspension, and the writing and drawing automaton. It is my intention to trace the true history of each of these tricks and of all others to which he laid claim as inventor, and show just how small a proportion of the credit was due to Robert-Houdin and how much he owed to magicians who preceded him and whose brain-work he claimed as his own. [50] | |
latestmagicbeing00hoff.pdf,183 | latestmagicbeing00hoff.pdf | 183 | inspection. The performer takes back the tram- way in the left hand, holding it by one end in such manner that it is gripped in the fork of the thumb, leaving the thumb itself comparatively free. Tak- ing back the ball with the right hand and remark- ing "Now to develop the force," he rubs it on his left coat-sleeve, and strokes the surface of the tram- way two or three times with it. "Having now established a proper degree of 'oddity' between the tram and the crystal, I will ask for the loan of a half-dollar (or florin as the case may be) marked in any way the owner pleases." He replaces the ball on the table, and in the act of again turning to the audience gets hold of the waxed disc and draws it away from the body, hold- ing it clipped between the ends of the first and sec- ond fingers, the left thumb pressing the thread against the cloth top of the tramway, and acting for the time being (and indeed throughout the trick) as a brake neutralising at pleasure the pull of the weight. He receives the coin on the tramway; then pick- ing it up with the right hand, makes some obser- vation as to the mark, meanwhile pressing the waxed side of the disc against it, then replacing it, disc down, in the middle of the tramway. | |
latestmagicbeing00hoff.pdf,145 | latestmagicbeing00hoff.pdf | 145 | ing away farther from the table and moving about behind it SO as to cause a gradual pull upon the thread; the effect being that the severed parts of FIG. 23 the pagoda mount gradually one upon another in due order. It is probable that they will not rest exactly one upon the other. In any case the per- former affects to notice that they do not. Making a remark to that effect he steps close to the table to straighten them up, and under cover of so doing draws with the finger nail the pin in the uppermost portion, thereby releasing the thread. Stepping back again, as though the better to judge whether the pagoda is now "plumb," he thereby draws | |
unmaskingrobert00houdgoog.pdf,32 | unmaskingrobert00houdgoog.pdf | 32 | his chief anxiety was for the future of his wife and then for his own decent burial. When these sad offices had been provided for, he became more peaceful, and when I rose to leave him, knowing that we had met probably for the last time, he drew forth his chiefest treasure, a superb book of Robert-Houdin's programmes, his one [25] | |
unmaskingrobert00houdgoog.pdf,242 | unmaskingrobert00houdgoog.pdf | 242 | enormous poster which would be unintelligible if reduced to a size suitable for reproduction. It is now a part of my collection and reads as follows: "The Holland Maid, Twenty Years of Age, from Am- sterdam, whose powers, both in her residence there and in all other places to which she has gonc, have excited the Formemance of the ISTEOUS LADY. 8 The peculiar acquirements and faculties of this highly Talented Lady are almost beyond the reach of description. By some unknown and EXTRAORDINARY ENDOYMENT She is enable. to declare the names of articles produced by the company, although aitting at a distance of 50 to 60 feet, with her face turned from the audience? She will also divine the whispered wish ot any one. although satisfactorily out of hearing. She will also, describe the dress, ornaments, &c. of any iudividual who may wish it, with an accuracy truly surprising; upon a card being selected from a pack, she will declare its name; but as the performance varies and depends in a great measure on the pleasure of the company, no regular routine can be speci- Sied, but of this the company may rest assured that every consistent stiort will be used to gratify and afford them satisfaction. Reproduction of original billing matter used by the mysterious lady who offered second sight in the United States in 1841-42-43. From the Harry Houdini Collection. great astonishment and much applause, and she will also in this place endeavor to obtain the same tribute of public applause. She will after the exhibition place herself before the eyes of all the spectators on the outside and gravely stand thereon and at all times give an answer of assurance to any one present to whom her judgment in all questions gives the most accurate response. She con- trives also by her acuteness to discover and reply to the [ 215] | |
latestmagicbeing00hoff.pdf,203 | latestmagicbeing00hoff.pdf | 203 | card is to be found on pages 1, 3 and 6: the key num- ber of these three pages being 1, 4 and 32: together making 37, and thirty-seven less twenty-six being eleven, he knows that the card must be the eleventh of the third suit, otherwise the knave of spades. If he is told that the card is on the third, fifth and sixth pages, the key numbers of which are 4, 16 and 32, total 52, it is clear that the card must be the last in the list, viz., the king of diamonds. So much for the working of the trick. But the reader, if of an. enquiring mind, will naturally ask, "How is this result obtained?' The answer rests upon a special property of the geometrical pro- gression which forms the six key numbers. It is a curious fact that by the use of these six numbers, either singly or in combination with others of the series, any number, from unity up to 63, can be expressed. Thus, the numbers, 1, 2, 4, 8, 16 and 32 we already have, these being numbers of the series. As to other numbers: 1 + 2 = 3 4 + 1== 4 + 2== 6 4 + 2 + 1 = 7 8 + 1 = 9 | |
latestmagicbeing00hoff.pdf,115 | latestmagicbeing00hoff.pdf | 115 | and gentlemen, what a lot of hints I get from dif- ferent people for the improvement of my enter- tainment. If I were to adopt them all, I have no | |
unmaskingrobert00houdgoog.pdf,70 | unmaskingrobert00houdgoog.pdf | 70 | and - Pinchester Christopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the world pertaining to the history of magic. From the Harry Houdini Collection. [ 53 | |
unmaskingrobert00houdgoog.pdf,146 | unmaskingrobert00houdgoog.pdf | 146 | acquaintance of Jules de Rovere, the first to employ a title now generally given to fashionable conjurers." And after Rovere, Phillippe, who is by far the most important presenter of the Pastry Cook of the Palais Royal, as bearing upon Robert-Houdin's claims. For Phillippe's early history we must depend largely upon Robert-Houdin's "Memoirs." According to these, Phillippe started life as a confectioner or maker of sweets, and his real name was Phillippe Talon. According to an article published in L'Illusionniste in January, 1902, he was born in Alias, near Nîmes, December 25th, 1802, and died in Bokhara, Turkey, June 27th, 1878. Like many a genius and successful man, his early history was written in a minor key. According to Robert- Houdin his sweets did not catch the Parisian fancy, and he went to London, where at that time French bonbons were in high favor. But for some reason he failed in 9 [129] | |
practicalmagicia00harr.pdf,108 | practicalmagicia00harr.pdf | 108 | a NEW AND INDISPENSABIE MANUALS. "THE 'MAGNET' HAND-BOOKS." These books are the very best ever issued upon the varions subjects of which they treat. Each volume is complete and perfect, and thoroughly practical. Each book contains 100 pages large 12mo., well printed and bound in handsome illumi- nated covers. PRICE TWENTY-FIV. CENTS EACH. PARLOR PASTIMES or, THE WHOLE ART OF AMUSING, for public or private entertainments. An en- tirely new work by the celebrated Professor RAYMOND, on MAGIC. CONJURING, LE- GERDEMAIN, and PRESTIDIGITATION. It is a complete exposé of the Wizard's Art. No trick or illusion of importance is left unnoticed, and the instructions and ex- planations are so simpleand exhaustive that a child could perform them. This book thoroughly elucidates and explains all the mysteries and wonders associated with all kinds of magic and occultso ence. Ittells,how to make, operate and per- form with Coins Cards, Fire works, Mechanical Devices and Magnetic Contrivan- ces. The book also contains alarge collection of RIDDLES, CONUNDRUMS, CHARADES, ENIGMAS, REBUSSES, PUZZLES, ACROSTICS, TRANSPOSITIONS, ANAGRAMS, PARADOXES, AND PROBLEMS. A study of thisinteresting work would make any one thoroughly expertin amusing either a public or private audience. Price 25 Cents. HOW TO WRITE A LETTER. A complete letter writer for ladies and gentlemen. This book is not a collection of letters and examples, as is generally the case with all Complete Letter Wri- ters" now in use, but is a book which actually tells how to write a letter upon any subject out of the writer's "own head." It gives much very necessary informa- tion relating to Punctuation, Spelling, Grammiar, Writing for the Press, Legal Im- portance of Letters, Love, Courtship and Marriage. It also contains the Art of Rapid Writing, by the abbreviation of longhand and a DICTIONARY OF ABBREVIA- TIONS. This book is worth its weightin gold to all. No one can fail to be bene- fited by some of the information it contains. It contains all the points and fea- tures that … | |
unmaskingrobert00houdgoog.pdf,37 | unmaskingrobert00houdgoog.pdf | 37 | [OE] | |
latestmagicbeing00hoff.pdf,61 | latestmagicbeing00hoff.pdf | 61 | WHERE IS IT? 45 the other hand, the trick is well worth the trouble needed to master it, for if the spectators are con- vinced (as, given perfect execution, they should be) that it is really the borrowed coin which trav- els about as it appears to do, nothing short of gen- uine magic will furnish an adequate explanation. The performer is of course by no means bound to adopt the mise en scene above suggested. If preferred, the patter might be based on a supposed plot between the two knaves to rob the queen, the coin representing the stolen property, secretly passed from the one to the other when either was accused of the theft. The story might conclude with an appeal by the queen to a benevolent magician, through whose good offices her property is brought back to its original position, and in due course restored to her. The touch of the mystic wand would naturally play an important part in effecting the restoration. | |
latestmagicbeing00hoff.pdf,59 | latestmagicbeing00hoff.pdf | 59 | WHERE IS IT? 43 "I do this," he explains, "in order to drive out all adverse magnetisms, and to substitute my own. I will now put the coin in full view on the table and cover it with a card. See that I do SO fairly." After laying down the coin he takes the top card of the pack, and with it, unknown to the specta- tors, the overlay beneath it, and lowers them on to the coin. "Notice particularly, please, where I have placed the coin, and notice too that I do not touch it again. I will now place two more cards, one on each side of the first one." He does so, letting the spectators see clearly that there is nothing in the hand save the card itself, and then slowly lowering it exactly on to one of the two overlays on the table. "Now I make a few magnetic passes over the cards, so." He waves his wand backwards and forwards above the cards, at a few inches' distance. "And now, where is the coin? Still under the middle card, you would say You are mistaken." He lifts that card lengthwise, leaving the overlay covering the coin; then replacing the card. "Itis no longer there, you see. In point of fact it has passed under this card." He lifts one of the side cards breadthwise, the overlay coming with it, and exposes the coin beneath it. "Here it is, you see. We will try once more." He replaces the card and then shows, in like manner, that the coin has passed to the card on the opposite side. After one or two trans- | |
latestmagicbeing00hoff.pdf,55 | latestmagicbeing00hoff.pdf | 55 | WHERE IS IT? 39 The coin may be identified by the owner in the course of the trick, as well as at its close. The requirements for the trick are as follows: 1. The velvet mat. 2. A pack of cards, arranged as presently to be explained. 3. Three overlays (see p. 20), each consisting, in the present instance, of a court card, backed with velvet of similar tint and texture to that with which the mat is covered. Three of the edges of each card are blackened, but the fourth (one of its shorter sides) is left white, and thickened by the insertion of an extra slip of white card along that end. The effect of this is that, as the card lies on the mat, its white edge is visible from that side, but from no other position. 4. Three cards, corresponding with the three overlays, which we will suppose to represent the queen of clubs, and the knaves of spades and dia- monds respectively. The queen is wholly unpre- pared, but each of the two knaves has a point of fine wire, or a black bristle projecting a sixteenth of an inch or so, midway from each of its sides. The "queen" overlay is furnished with similar points, the object of these being to enable the per- former the more easily to lift a given card with or without its duplicate overlay. In preparing for the trick the two "knave" overlays, each covering a shilling, are laid before- hand on the mat, velvet side up, eight or ten inches | |
latestmagicbeing00hoff.pdf,57 | latestmagicbeing00hoff.pdf | 57 | WHERE IS IT ? II to the performer, but not to the company, serving as guides to exact position. When the performer desires to show that the coin is not under a given card, he raises the card only, lifting it lengthwise, and leaving the coin covered by the overlay. When he desires to exhibit a coin, he picks up the card covering it breadthwise between finger and thumb and with it the overlay beneath it. Fig. 12 The introductory patter may run as follows: "You have all heard, no doubt, of what is called the thimblerig trick, frequently exhibited at fairs and on race-courses. Some of you gentlemen may even have parted with a little money over it. For the benefit of the ladies I will explain what it is. "The operator has before him on a small board or tray three thimbles, or half walnut-shells. He exhibits a small pea, or a pellet the size of a pea, which he affectionately calls the 'joker.' This he | |
unmaskingrobert00houdgoog.pdf,3 | unmaskingrobert00houdgoog.pdf | 3 | UNITED STERARIES | |
unmaskingrobert00houdgoog.pdf,239 | unmaskingrobert00houdgoog.pdf | 239 | UNDER THE PATRONAGE OF His Most Gracious Majesty WILLIAMIV. The Wonderfal DOUBLE" SIGHTED Phaeno- menon: Young Master M 'KEAN, Since his arrival in London, has had the honor of performing (on Friday, Dec. 23rd. 1831,) before their Master M'KEAN, only . Years old! ONK or Most Gracious Majesties & Prince George. GREATEST PRODIGIES of the Age His Grace the Duke of Argyle. Has just returned from the Pavilion at Brighton: His Grace the Duke of Gordon. Towhich plare be lad de heaer of a Sperial Conmand, aud is again exhibiting his mest His Grace the Bruke of St. Albans and Duchess. At the Egyptian Hall Bazaar, Piccadilly. Her Grace the Dachess of Nortbumberland. The Rt. Hon. the Earl of Coventry. In addition to his performance before thair MASESTIES and their Court, this The Rt. Hon. the Earl of Errol. extraordinary Child, siace his arrisal in Town, has had the bonor to exhibit his sur- prising talent before several of the Nobility of the highest rank, wheee admiration and The Rt. Hon. the Earl of Bellast. astoniehment have heen uniformly expresaed in the strongest terma. The Rt. Hon. the Earl and Countess of Morley. The fuculty which be possesses has defied the research of all the Medical men, by whom he has been seen-a faculty. which enables him to distingruish colour, read either The Rt. Hon the Countess of Essex. print or manuscript, tell the hour of the day on a watch, or declare any other fact as pra- The Rt. Hon. Lord Adolphus Fitzelarence misely R$ the cleverest sighted person, although his eyes are at the time, completely The Rt. Hon. Lord Augustus Fitzelarence. blindfolded, and his back turned to the object of examination. Anning other aurprising performances, may be mentimed the fallowing The Rt. Hon. the Viscountess Faulkland. He will read in English, Latin, French, or Italian. Any one present may insert The Rt. Hon. Lord and Lady Dever names or figures ad libitum, and he will instantly presounce the same, and tell the Sir Edward, Sir Arthur Berkeley, & Lady Paget. name of esch figure separately, and their … | |
unmaskingrobert00houdgoog.pdf,44 | unmaskingrobert00houdgoog.pdf | 44 | To=bay, Thursbay, July 3, 1845, first Representation OF The fantastic Goirces OF Robert-Toubin, Automata, Sleight-of-Hand, Magic. The Performance will be composed of entirely novel Experiments invented by M. ROBERT-HOUDIN, Among them being : The Cabalistic Clock Obedient Cards Auriol and Debureau The Miraculous Fish The Orange-Tree The Fascinating Owl The Mysterious Boquet The Pastrycook of the Pierrot in the Egg Palais Royal To Commence at Cight o'clocli. open at balf:past beurn. Price of Places: Upper Boxes, I fr. 50 C.; Stalls, 3 fr.; Boxes, 4 fr.; Dress Circle, 5 fr. Programme for the opening of Robert-Houdin's theatre in Paris. Repro- duced from the American edition of his *Memoirs." [ 37] | |
unmaskingrobert00houdgoog.pdf,139 | unmaskingrobert00houdgoog.pdf | 139 | The original Gyngell, a portrait reproduced from the book on magie written by this famous Bartholomew Fair conjurer. From the Harry Houdini Collection. | |
unmaskingrobert00houdgoog.pdf,221 | unmaskingrobert00houdgoog.pdf | 221 | The original Compars Herrmann, who was Robert-Houdin's very active rival during the latter's first engagement in London. Best portrait now in existence, and only one showing Herrmann in his prime. Original photograph loaned for this work by James L. Kernan. of Baltimore, Md., U. S. A. [194] | |
unmaskingrobert00houdgoog.pdf,120 | unmaskingrobert00houdgoog.pdf | 120 | The OPTICAL PART of the EXHIBITION Will PHANTOM or AUTARITIONS of the DEAD or ABSENT, in a way more complestely illufive than has ever been offered to the Eyc `public Theatre, as the Objects freely originate in the Air, and unfold themfelves under various Forms and Sizes, fuch as has hitherto painted them, occafionally affuming the Figure and moit perfea Refemblance of the Heroes and other diflin- guifhed of paft and prefent Times. This SPECTROLOGY, which profelles to expofe the Prañices of artful Impoftors and pretended Exorcifts, and to open the Eyes of thofe who abfurd Belief in Grosts or DISEMSODIED Spraiti, will, it is prefumed, afford allo to the Speclator ao interefting and pleafing and in order to render thefe Apparations more interefting. they will be introduced during the Progrefs of a tremendous Thunder Storm, accompanied with vivid Lightning, Hail, Wind, &c. The MECHANICAL PIECES of ART Include the following principal Objeat, a auere detailed Account of whith will be given during their Exhibition: vis. Two elegant ROPE DANCERS, the one, reprefenting a Spaniard nearly Six Feet high, will difplay feveral Monifhing Feats on the Rope, mark the Time of the Mulic with a fmall Whiftle, fmoke his Pipe, &c.-The other, called Pajanzo, being the Figure of a young fprightly Boy. will furpafs the former in Skill apd Agility. The INGENIOUS SELF-DEFENDING CHEST-The fuperior Excellence and Utility of this Piece of Mechanifm i., that the Proprietor has always Safe-guard againft Depredators; for the concealed Battery of Four Pieces of Artillery only appears and difcharges itfelf when a Stranger tries to force open the Chett--This has been ackmowledged by feveral Profeftional Men tp be a of Machanifu, and may with equal Advantage be applied to the Protection of Property in Counting-houfes, Poft-Chaifes, &c. 'The MECHANICAL PEACOCK, which fo exaCily imitates the Actions of that ftately Bird, that it has frequently been thought Alive. It eats, drinks, &c. at command, unfold its Tail in a beilliant Circle, and in every ref… | |
unmaskingrobert00houdgoog.pdf,123 | unmaskingrobert00houdgoog.pdf | 123 | The Conve The be TU de Polite the Opens évery ant de Performasca 41 Jour passa em pegins at (glu HESE Arch admitred Pieces of Mechanisan, whied not hunian trat to possesé al consile of 4 Figure, a hoy ef tom be brom - and apt to seurd a round, The Modalai ed lowing the Perter, gate and an - - thir Dour apem, the and auy a Geb Toy whaterier Vroit they and det asal bring the Rhid be - the as often as Lie ampo DE a - valled for, / the are drompa un) and be given in charge to a Warch Dog, in and en any pegson away or tenching them witt begin (o-bark, and contique to do so they are The Thent Figarre to thes Re the which WH be frombelind the Home, will enter the Door, the Chiningy, and giva the of - reveral timesy the and corrie wirk in Bag firti of The LIQUOR MERCHANT und WATER SERVERI Theie are on a Platform of bet square, which (as the former Piéces) will be placed on a Table, The Liguor Mercliaut stands nt DE small Cask, from which a will drivie every kind of Spiras, Wine, &c. The a and Tumbler with Water, - enlied for. -Fourth, THE. RIGHLANI A Figute in the Dess, stands on a Time-guere and Hour wnd Mrouter whewey by SIPIN big its on/a Trege: a Answer (by motion) to (n Aridimetic, and gives the jaistantly as any of Pounds, Yards, Ac, any given Price: beats Time to Muic, &c. STable the different Places with Demplaced on, con- tains an ORGAN, on which the Proprietor intradaces n. lew) Notes: also, The MACHINE ORGAN, will play occasionally Neveral Pleces of Music, Airs Country Dances, Re. Mr.HADDOCK flattere himself THE ANDROIDES will be found niore exizious than any éver before offered to this Principtes of entituly The Theatre is seatis, fired and every thing calculated to MA e to - polite and discerning Audience Hoses 4s. Gaflery - Admittance, after the Two Half Price, The lass netoly Two Haddock advertisement in the London Telegraph, January, 1796, in which he features the writing automaton as an androide. From the Harry Houdini Collection. [ 106] | |
unmaskingrobert00houdgoog.pdf,35 | unmaskingrobert00houdgoog.pdf | 35 | The Author standing in front of Villa Frikell at Kötohenbroda, Germany. where the master magician, Wiljalba Frikell, assent the yearn of his life. From the Harry Houdini Collection. | |
latestmagicbeing00hoff.pdf,11 | latestmagicbeing00hoff.pdf | 11 | TO J. N. MASKELYNE, ESQ. FOREMOST OF ENGLISH MAGICIANS, AND FEARLESS EXPOSER OF FALSEHOOD AND FRAUD THIS Book IS DEDICATED BY His FRIEND AND ADMIRER, THE AUTHOR | |
latestmagicbeing00hoff.pdf,69 | latestmagicbeing00hoff.pdf | 69 | THOSE NAUGHTY KNAVES 53 But we have not yet done with our trick. You may resume as follows: "I will give you a further illustration of what I have to put up with from the knaves. I should like you to be satisfied that I have nothing to do C FIG. 13 with their bad behaviour." (You palm off the three top cards, and with the same hand offer the four knaves to a spectator. "Will you, sir, make sure that these really are the four knaves, and then place them here on the top of the pack,"-offered | |
latestmagicbeing00hoff.pdf,67 | latestmagicbeing00hoff.pdf | 67 | THOSE NAUGHTY KNAVES 51 Majesty had the misfortune to develop a mole upon her nose, and King Cole was worried about it. He consulted Old Moore and Zadkiel, and all the lead- ing astrologers of the day, but all they could tell him was 'A mole upon the face Shows that something will take place, But not what that something will be.' That's just my case. My prophetic thumb merely tells me that something is wrong, but doesn't say what. It may be drains, or the house on fire, or something in the county court. You never can tell! "Of course it's nothing of that sort now. In the present case it has no doubt something to do with the experiment I want to show you. You chose your card quite freely, did you not, Madam? It never matters to me in the least what card is chosen, with the exception of one particular card, which is a holy terror. May I ask if you happened to draw the knave of clubs ? Yes ? I feared as much. The knave of clubs is the bane of my life. He is always endeavouring to get himself chosen, and then he does his best to upset my arrange- ments. And the worst of it is, he leads away the other three knaves. The four of them form a secret society, which they call "The cheerful black- guards.' The knave of clubs is the president, and the rest have to do just as he tells them. He com- | |
unmaskingrobert00houdgoog.pdf,6 | unmaskingrobert00houdgoog.pdf | 6 | THF UNMANKING ROBER | |
unmaskingrobert00houdgoog.pdf,102 | unmaskingrobert00houdgoog.pdf | 102 | THE WRITING AND DRAWING FIGURE which, he adds, in some miraculous fashion, resembled himself. This resemblance, however, cannot be traced in existing cuts of the figure. The chapter devoted to this particular automaton is so diverting that I quote literally from its pages, thus giving my readers an opportunity to take the true measure of the writer and the literary style of his "Memoirs." Here is his description of his moment of triumph: "I had only to press a spring in order to enjoy the long-waited-for result. My heart beat violently, and though I was alone I trembled at the mere thought of this imposing trial. I had just laid the first sheet of paper before my writer and asked him this question : 'Who is the author of your being?' I pressed the spring, and the clockwork started-began acting. I dared hardly breathe through fear of disturbing the operations. The automaton bowed to me, and I could not refrain from smiling on it as on my own son. But when I saw the eyes fix an attentive glance on the paper-when the arm, a few seconds before numb and lifeless, began to move and trace my signature in a firm hand-the tears started in my eyes and I fervently thanked Heaven for granting me success. And it was not alone the satisfaction I ex- perienced as an inventor, but the certainty I had of being able to restore some degree of comfort to my family, that caused my deep feeling of gratitude. "After making my Sosia repeat my signature a thou- sand times, I gave it this question: 'What o'clock is it?' The automaton, acting in obedience to the clock, wrote, 'It is two in the morning.' This was a timely warning. I profited by it and went straight to bed." [85] | |
unmaskingrobert00houdgoog.pdf,118 | unmaskingrobert00houdgoog.pdf | 118 | THE WRITING AND DRAWING FIGURE the most natural manner imaginable. Upon the whole, the united collection strikes us as the most wonderful exertion of art which ever "frod before so close on the heels of nature. The ingeniou; artist is a young man, a native of Switzerland." The inventory of Jacquet-Droz, Tr.; dated 1786, quotes the "Piano Player" as valued at 4,800 livres, the "Drawing Figure" at 7,200 livres, while the had been ceded to him by his father for 4, 800- liyres, in consideration of certain improvements and modifications which Henri-Louis Jacquet-Droz made in the original invention. This shows that while the elder Droz did not die until 1790, his son controlled the automata previous to this date, for exhibition and other purposes. During his later years Henri-Louis Jacquet-Droz was induced to take the automata to Spain. His tour was under the direction of an English manager, who, possibly for the purpose of securing greater advertisement, an- nounced the figures as possessed of supernatural power. This brought them under the ban of the Inquisition, and Jacquet-Droz was thrown into prison. Eventually he managed to secure his freedom, and, breathing free air once more, like the proverbial Arab, he silently folded his tent and stole away, leaving the automata to their fate. Henri-Louis-Jacquet-Droz died in Naples, Italy, in 1791, a year after his father's death. The English manager, however, tarried in Spain. The figures were "tried" and as they proved motionless the case was dropped. The Englishman then claimed the automata as his property and sold them to a French nobleman. Their owner did not know how to operate [ IOI ] | |
unmaskingrobert00houdgoog.pdf,112 | unmaskingrobert00houdgoog.pdf | 112 | THE WRITING AND DRAWING FIGURE the mint at Paris and a mechanician of rare talent. Jean Pierre Droz is credited with having invented a machine for cutting, stamping, and embossing medals on the face and on the edges at one insertion. The output of this shop and its staff of gifted workers included the first Swiss music box, the singing birds which sprang from watches and jewel caskets, the drawing figure which was an improvement on the writing figure, the spinet player, and the grotto with its many automatic animals of diminutive size but exquis- ite workmanship. Years were Jean-Frédéric Leschot. Born 1747, died 1824. Por- spent in perfecting the various trait published by Société des Arts de Genève. Presented to automata, and none of them the author by Mons. Blind (Magicus) of Geneva. have been equalled or even approached by later mechanicians and inventors. Henri-Louis Jacquet-Droz was conceded to be the supe- rior of his father, Pierre Jacquet-Droz. In a German en- cyclopaedia which I found at the King's Library, Munich, it is stated that when Vaucanson, celebrated as the in- ventor of "The Flute Player," "The Mechanical Duck," "The Talking Machine," etc., saw the work of the younger Droz, he cried loudly, "Why, that boy com- mences where I left off!" According to the brochure issued by the Society of History and Archaology, Canton of Neuchâtel, and an article contributed by Dr. Alfred Gradenwits to The Scientific American of June 22d, 1907, the 95 ] | |
unmaskingrobert00houdgoog.pdf,108 | unmaskingrobert00houdgoog.pdf | 108 | THE WRITING AND DRAWING FIGURE the bill used at the time of its appearance in London, England. When Barnum was in London in 1844, with Gen. Tom Thumb, who was then performing at the Egyptian Hall, he first saw the automatic talking machine and engaged it to strengthen his show. Thirty years later Prof. Faber's nephew was the lecturer who explained to the American public the automaton's mechanism and also the performer who manipulated the machine. Barnum always speaks of the talking automaton as being a life-size figure, but the pictures used for adver- tising purposes show that it was only a head. The fate of both the talking automaton and the writing and drawing figure is shrouded in mystery. If they were in the Barnum Museum when the latter was swept by fire in 1865, they were destroyed. If they had been taken back to Europe, they may now be lying in some cellar or loft, moth-eaten and dust-covered, ignominious end for such ingenious brain-work and handicraft. So much for the claims of Robert-Houdin. Now to disprove them. The earliest record of a writing figure I have found is in the "Dictionary of Arts, Manufactures, and Mines," compiled by Andrew Ure, M.D., and published in New York in 1842 by Le Roy Sunderland, 126 Fulton Street. On page 83, under the heading of "Automaton," is this statement: "Frederick Von Knauss completed a writing machine at Vienna in the year 1760. It is now in the model cabinet of the Polytechnic Institute, and consists of a globe two feet in diameter, containing the mechanism, upon which [ 91 ] | |
unmaskingrobert00houdgoog.pdf,104 | unmaskingrobert00houdgoog.pdf | 104 | THE WRITING AND DRAWING FIGURE the Dutch inventor, who was unquestionably Robert- Houdin's assistant for years. In 1844 he claims to have borrowed the writing and drawing figure from the obliging Monsieur G- to exhibit it at the Quinquennial Exposition, where it attracted the attention of Louis Philippe and his court, thus insuring its exhibitor the silver medal. At this point Robert-Houdin deliberately drops the writing and drawing figure, leaving his readers to believe that it was returned to its rightful owner, Monsieur G , but, unfortunately for his claims, another historian steps in here to cast reflections on Monsieur G- owner- ship of the figure. This writer is the world's greatest showman, the late P. T. Barnum, who purchased the figure at this same exposition of 1844, paying for it a goodly sum, and this incident is one of the significant omissions of the Robert-Houdin "Memoirs." Either Robert-Houdin sold the figure to Mr. Barnum for Mon- sieur G , or such a person as Monsieur G never existed, for in his own book Mr. Barnum writes: "When I was abroad in 1844 I went to Paris expressly to attend the "Quinquennial Exposition'-a exhibition then held every five years. I met and became well ac- quainted with a celebrated conjurer, as he called himself, Robert-Houdin, but who was not only a prestidigitateur and legerdemain performer, but a mechanic of absolute genius. I bought at the exposition the best automaton he exhibited and for which he obtained a gold medal. I paid a round price for this most ingenious little figure, which was an automaton writer and artist. It sat on a small table, pencil in hand; and, if asked, for instance, [87] | |
unmaskingrobert00houdgoog.pdf,126 | unmaskingrobert00houdgoog.pdf | 126 | THE WRITING AND DRAWING FIGURE tasmagoria." The nature of the inventions grouped under this title can best be judged from the reproduction of a De Philipsthal programme, dated 1803-04, and reproduced in the course of this chapter. All evidence goes to prove, however, that De Philipsthal did not control the writing and drawing figure exclusively, but that it was the joint property of himself and his partner, Maillardet. One of their joint programmes is also reproduced. Wherever De Philipsthal appears as an independent entertainer, the writing and drawing figure is missing from his billing. Later the writing and drawing automaton came into the possession of a Mr. Louis, who, as it will be seen from the billing, acted as assistant engineer to De Philipsthal and Maillardet. Louis evidently controlled the wonderful little automaton in the years 1814-15. The last De Philipsthal programme in my possession is dated Summer Theatre, Hull, September 15th, 16th, 17th, 18th and 19th, 1828, when he advertises only "rope dancers and mechanical peacock," and features "special uniting fire and water" and "firework experiments." He must have died between that date and April, 1829, for a programme dated at the latter time announces a benefit at the Théâtre Wakefield for the widow and children of De Philipsthal, "the late proprietor of the Royal Mechanical and Optical Museum." This benefit programme contains no allusion to the writing and drawing figure, which goes to prove that it had not been his property, or it would have been handed down to his estate. In May, 1826, an automaton was exhibited at 161 Strand, a bill regarding which is reproduced. This mechanical figure, however, should not be confounded [ 109 ] | |
unmaskingrobert00houdgoog.pdf,114 | unmaskingrobert00houdgoog.pdf | 114 | THE WRITING AND DRAWING FIGURE stance, to write a T, the writer begins tracing the letter at the top, and after slightly lifting his hand half- way, swiftly traces the transversal dash, and continues writing the original ground stroke. "How complicated a mechanism is required for insur- ing these effects will be inferred from the illustration, in which the automaton is shown with its back opened. In the first place a vertical disk will be noticed having at its circumference as many notches as there are letters and signs. Behind this will be seen whole columns of cam-wheels, each of a special shape, placed one above another, and all together forming a sort of spinal column for the automaton. "Whenever the little writer is to write a given letter, a pawl is introduced into the corresponding notch of the disk, thus lifting the wheel column and transmitting to the hand, by the aid of a complicated lever system and Cardan joints arranged in the elbow, the requisite movements for tracing the letter in question. The mechanism comprises five centres of motion connected together by chains. "In the 'Draftsman,' the mechanism is likewise ar- ranged in the body itself, as in the case of the 'Writer.' The broad chest thus entailed also required a large head, which accounts for the somewhat bulky appearance of the two automatons. With the paper in position and a pencil in hand, the 'Draftsman' at first traces a few dashes and then swiftly marks the shadows, and a dog appears on the paper. The little artist knowingly ex- amines his work, and after blowing away the dust and putting in a few last touches, stops a moment and then quickly signs, 'Mon Toutou' (My pet dog). The motions 7 [ 97 ] | |
unmaskingrobert00houdgoog.pdf,116 | unmaskingrobert00houdgoog.pdf | 116 | THE WRITING AND DRAWING FIGURE of the automaton are quite natural, and the outlines of his drawings extremely sharp. The automaton when desired willingly draws certain crowned heads now be- longing to history; for example, a portrait of Louis XV., of Louis XVI., and of Marie Antoinette." The automata made by the Jacquet-Drozes and their confrères were exhibited in all the large cities of Great the Greas Koom, No. 6, King. Covent Carlen, to be This Day, SPECTACLE MECHANIQU WECHANICAL EXHIBITION, From 7776 in this Exhibition it rivaled by Atts ons writri whatever le diétated to it, another drawsg and finillics in a maiterly Mannir feveral curious De- agna; mother plays divers Ain on the Herplichord, There is alfo a Pafforal S ene, in which is introdued * great Number of Figures; the Trees and bear Fruit, the Sheep bleat, the Dog barks, and the Binde fing: lo diffinety imitation Nature that they exceed every Ascount that ean be given of thera, not anly for the Variety but for the of their different Operations. Their Mechanifm every Thing that has ever appeared, infomuch that it may be faid they will Ípeak for themfelves. The Tidte of viewing it will be from Twelve to Oue, from One to Two, from Two to Three, and la the Evenin4 from Seven to Eight, from ight to Nine, and from Nine to Tea. Mr. JAQUET DROZ, the Iaventor, will attend en Eleven at Niglit, in ofder to accom hodale thoft Ladian or Gentle that may chule to lee this Exhi- birth after the Hour of Ten. Admiftance Five conunted every Day, and Clipping from the London Post, 1776, advertising the writing and drawing figures, exhibited by their inventor, Mr. Jacquet-Droz. From the Harry Houdini Collection. Britain and Continental Europe. According to the pro- grammes and newspaper notices in my collection, Henri- Louis Jacquet-Droz acted as their first exhibitor. As proof I am reproducing a Droz programme from the London Post, dated 1776. [99] | |
unmaskingrobert00houdgoog.pdf,106 | unmaskingrobert00houdgoog.pdf | 106 | THE WRITING AND DRAWING FIGURE formances, and by his pressing invitation I frequently was present. He took great pains, too, to introduce me to other inventors and exhibitors of moving figures, which I liberally purchased, making them prominent features in the attractions of the American Museum." Barnum then continued to describe Robert-Houdin's greatness and his cleverness in the use of electricity. The showman was always a welcome guest at the magi- cian's house, and he relates how, at luncheon time, The figure of Cupid as executed by the Droz drawing figure. From the brochure issued by the Society of History and Archacology, Canton of Neu- chatel, Switzerland. Robert-Houdin would touch a knob and through the floor would rise a table, laden with inviting viands. These details in the Barnum book make it all the more inex- plicable that Robert-Houdin should omit all mention of the great showman's name in his "Memoirs." Just at this time the amusement-seeking public seemed greatly interested in automata, so it was only natural that Barnum, great showman that he was, should scour Europe for mechanical figures. Soon after he purchased the writing and drawing figure claimed by [89] | |
unmaskingrobert00houdgoog.pdf,110 | unmaskingrobert00houdgoog.pdf | 110 | THE WRITING AND DRAWING FIGURE figure which also inscribed a few set phrases or titles of the drawings. In mechanism, appearance, and results it tallies almost exactly with the automaton claimed by Robert-Houdin as originating in his brain. The Jacquet- Droz figure showed a child clad in quaint, flowing gar- ments, seated at a desk. The Robert-Houdin figure was modernized, and showed a court youth in knee breeches and powdered peruque, seated at a desk. The Jacquet-Droz figure drew a dog, a cupid, and the heads of reigning monarchs. The Robert-Houdin figure, made seventy-five years later, by some inexplicable coincidence drew a dog as the symbol of fidelity, a cupid as the em- blem of love, and the heads of reigning monarchs. The history of the Jacquet-Drozes is written in the annals of Switzerland as well as the equally reputable annals of scientific inventions, and cannot be refuted. Pierre Jacquet-Droz was born July 28th, 1721, in a small village, La-Chaux-de-Fonds, near Neuchâtel, Switz- erland. According to some authorities, his father was a clock-maker, but the brochure issued by "Société d'Histoire et l'Archéologie" of the city of Neuchâtel, which has recently acquired many of the Jacquet-Droz auto- mata, states that he was the son of a farmer and was sent to a theological seminary at Basle. Here the youth's natural talent for mechanics overbalanced his interest in "isms" and "ologies," and he spent every spare moment at work with his tools. On his return to his native town he turned his attention seriously to clock- and watch-making, constructing a marvellous clock with two peculiar hands which, in passing each other, touched the dial and rewound the clock. [ 93 ] | |
unmaskingrobert00houdgoog.pdf,132 | unmaskingrobert00houdgoog.pdf | 132 | THE WRITING AND DRAWING FIGURE did not know of its existence and mechanism. And if Robert-Houdin had invented the same mechanism it is hardly possible that his design would have run in pre- cisely the same channel as that of Jacquet-Droz and Maillardet, in having the figure draw the dog, the cupid, and the heads of monarchs. In those days humble mechanicians, however well they were known in their own trade, were not exploited by the public press. Nor did they employ clever journalists to write memoirs lauding their achievements. And so it happened that for years the names of Jacquet-Droz and Maillardet were unsung; their brainwork and handi- craft were claimed by Robert-Houdin, who had mastered the art of self-exploitation. To-day, after a century and a half of neglect, the laurel wreath has been lifted from the brow of Robert-Houdin, where it never should have been placed, and has been laid on the graves of the real inventors of the writing and drawing figure, Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz and Jean- David Maillardet. [115] | |
unmaskingrobert00houdgoog.pdf,128 | unmaskingrobert00houdgoog.pdf | 128 | THE WRITING AND DRAWING FIGURE chair before an easel, ready to draw portraits in short order. The figure was shown to the audience, then re- placed on the chair, whereupon a man under the platform the Triump of Mechanisu. NEW . EXHIBITION IN THE WESTERN EXCHANGE. THE AUTO.MATON ARTIST. IL ENTRANCES TO THE EXHIBITION ARE IN Old Bond Street & in Burlington Arcade : Open from Ten o'Clock till Dusk. Admittance to see the Performance, 1 Shilling. Profile Likenesses, 18. 6d. in addition. o The Proprieters conceive that an Automatical Figure, accurately effect ing that whuch has bitherto required a powerful ment. exertion, and a correct eye, needs no further introduction of its extraordiuary quality, than ao intimation of the fact, that it is THE ONLY AUTOMATON IN THE WORLD THAT TAKES LIKENESSES. Without further comment, the Proprietors merely add the information, that- this Figure exerutes a Profile Likeness, sue one minute, from any person who chooses to Nt. The Automaton will, if required, take the Profiles of Busts of Public Characters, which are placed in the Roum, and which will enable. persons, who may doubt the possibility of apy mechanical contrivance taking an accurate likeness, to compare thein with the originals. Inncs, Printer, 61, Wella-s. Oxford-st. Handbill advertising the fake automatic artist, exhibited also at 161 Strand, London, May 7th, 1826. From the Harry Houdini Collection. would thrust his arm through the figure and draw all that was required of the automaton. The fake was short-lived, even at the yearly fairs, and now has sunk too low for them. [ III ] | |
unmaskingrobert00houdgoog.pdf,122 | unmaskingrobert00houdgoog.pdf | 122 | THE WRITING AND DRAWING FIGURE So far we have traced only the original writing and drawing figure. This has been done purely to show that even if Robert-Houdin had been capable of building such an automaton, he would not have been its real in- ventor, but would merely have copied the marvellous work of the Jacquet-Drozes. Now to trace the figure which in 1844 he claimed as his invention. With the fame of the Neuchâtel shop spreading and the demand for Swiss watches increasing, Maillardet and Jean Pierre Droz, apprentices or perhaps partners of Pierre Jacquet-Droz and Henri-Louis Jacquet-Droz, removed to London and there set up a watch factory. About this time Maillardet invented a combination writing and drawing figure which was pronounced by experts of the day slightly inferior to the work of the two Jacquet-Drozes. However, it must have been worthy of exhibition, for it appeared at intervals for the next fifty years in the amusement world, particularly in Lon- don. At first Maillardet was not its exhibitor nor was his name ever mentioned on the programmes and newspaper notices, but later his name appeared as part owner and ex- hibitor. As the Swiss watches had created a veritable sen- sation and were snatched up as fast as produced, it is quite likely that he had no time to play the rôle of showman. The figure first appeared in London in 1796, when the London Telegraph of January 2nd carried the adver- tisement reproduced on the next page. Haddock had no particular standing in the world of magic, and it is more than likely that he rented the auto- mata which he exhibited, or merely acted as showman for the real inventors. [ 105 ] | |
unmaskingrobert00houdgoog.pdf,130 | unmaskingrobert00houdgoog.pdf | 130 | THE WRITING AND DRAWING FIGURE ADMISSION REDUCED, Bores, 2..-Pil, la.-Gallery, 6d. PORNING ons SEILLING sacm. By Permission of the Right Worshipful the Mayor. The Nebility, Gentry, and Inhabitaste of Hull and its Vicinity are most respoctiolly informed that the Grand MECHANICAL AND Magical Theatre, (FROM THE GOTHIC HALL, ITAYMARKET, LONDOX.) IS NOW OPEN EVERY DAY AND EVENING, AND witl. CONTINUS ao voa A SMORT TIMS ONLY, ATT THE APOLLO SALOON, Nexty erected by Mr. Kirhwood, at the y Wellinglon-Strees, QUEEN-STREST, NULL. THE AUTOMATA COMPRISE THS FOLLOWING AUBJECTS: The Juvenile Artist! Whese in DRAWING and warmino (alterestely) ie the presence of the Compeay, defy all essempte regard thew beauts sed of dealge ... - the of an Yeare ) THE MUSICAL LADY, de performe agee - siegses Seger OROAN, of plessing Airs. The of her - - of the .... feit " arearing Aderrent She bows gracefully to the Audieses, hee " - the leago, sele . predessé b, the of ber Segen, esta the escoptee of Sele - - - played 3, the fost Dawona, - serpase, is sed ever, Prefesses of the ant hooping correst to the Nome of the THE MAGICIAN, the selovest ... delight. b, the eages be reteres to every pregessé le - The of the bitherle pussied all the first. reste à TAS WALKING FIGURE, moriag b, Ite see eseltee ise serpeise, It ever Assn Deje to . thing etterly - cort to predese égare expeble a A MAGNIFICENT CLASSIC rase! NADE FOR THE EMPEROR NAPOLEON. A BOLDES TWO SIBERIAN MICE.---AN EGYPTIAN LIZARD. An Ethiopian Caterpillar. A Tarantula Spider. A BEAUTIFUL HUMMING BIRD: - - of T.es e.ebly - ... sed other precion asd le the 4 sevemests eftea dessivo the bebeider no - de , the of - BELF-ACTING PIANO FORTE. TES STAGE PERFORMANCE WILL COMMENCE WITH RAMO SAMMEE, Litte Figere - corrent'y estera " the time ", .. pereese eill also weipher - also - the of ea, bee bese drees *** - pech. The Enchanted Dutch Coffee-House, , - - . the Trevellers visging the SeM the doos opres-the attesde .. pree.dee enth - be may - ler. THE CABINET OF SAFETY, de - of eas . - be . the o… | |
latestmagicbeing00hoff.pdf,207 | latestmagicbeing00hoff.pdf | 207 | THE WIZARD'S POCKETBOOK 191 to call attention by name to the cards exposed, and say, "When these three cards appear in conjunc- tion, it is clear that the card drawn was the queen of spades" (or whatever it may happen to be). Any one deluded, as the majority will probably be, into believing that you really infer the name of the drawn card from those on the table, will be farther from the real solution than ever. | |
latestmagicbeing00hoff.pdf,205 | latestmagicbeing00hoff.pdf | 205 | THE WIZARD'S POCKETBOOK 189 ing on the same page, their appearing under these conditions making no difference to the calculation. I am indebted to an ingenious amateur, Mr. Victor Farrelly, for the idea of a novel method of using the pocket-book. Mr. Farrelly does not offer of his own accord to show what can be done with it, but keeps it in reserve, for use in a special emergency. Every conjurer meets now and then with the pig-headed person who absolutely declines to have a given card forced upon him, and persists in endeavouring to extract one from some other part of the pack. Armed with the pocket-book, the performer can set such a person at defiance, and indeed get additional kudos from his objectionable behaviour. He cheerfully gives up the struggle, saying"You seem to think, sir, that I wish to influence your choice in some way. To prove the contrary, I give the pack into your own hands. Shuffle it well. Thank you. Now take from it any card you please. Look at it, and put it in your pocket. You are satisfied, I presume, that I do not know that card? You are quite right. I have not the smallest idea of it, but I shall discover it without the smallest difficulty by a process of mathematical magic. I have here" (producing pocket-book) "a little book of six pages, on each of which thirty-six cards are illustrated. Will you kindly see whether the card you chose is represented among those on the first page? Meanwhile I will divide the pack, which | |
latestmagicbeing00hoff.pdf,201 | latestmagicbeing00hoff.pdf | 201 | THE WIZARD'S POCKETBOOK 185 43. Four of diamonds. 48. Nine of diamonds. 44. Five of diamonds. 49. Ten of diamonds. 45. Six of diamonds. 50. Knave of diamonds. 46. Seven of diamonds. 51. Queen of diamonds. 47. Eight of diamonds. 52. King of diamonds. The arrangement of the table being once under- stood, the number associated with any given card in the club suit suggests itself automatically, e.g., the seven of clubs is likewise No. 7 in the list. To ascertain the name of the card corresponding to any of the higher numbers, all that is needed is to subtract from that number 13, or such higher mul- tiple of thirteen as the case will admit, and the difference will represent its position in its own suit. Suppose, for instance, that the performer desires to know what card answers to the number 20. Deducting thirteen from 20, the remainder, 7, tells him that the card is the seventh (i.e. the seven) of the second suit, viz., hearts. If he wants to know the name of No. 29, he deducts 26, when the remainder, 3, tells him that the card is the three of the third suit, spades. If the card be No. 40, the number to be deducted will be 39, and the remainder, 1, tells him that the card is the first of the fourth suit, viz., the ace of diamonds. After a very few trials, this little exercise in mental arithmetic becomes so familiar that the calculation becomes practically instantaneous. Going a step further; with each of the six pages | |
latestmagicbeing00hoff.pdf,199 | latestmagicbeing00hoff.pdf | 199 | THE WIZARD'S POCKETBOOK 183 0 Fig. 41 P 8 Fig. 42 | |
latestmagicbeing00hoff.pdf,197 | latestmagicbeing00hoff.pdf | 197 | THE WIZARD'S POCKETBOOK 181 8 8 a 8 s 0 FIG. 37 V 8 a a Fig. 38 | |
latestmagicbeing00hoff.pdf,219 | latestmagicbeing00hoff.pdf | 219 | THE USE OF THE WAND CLOSELY connected with the subject of patter is the use of the wand, which in my own opinion can- not be too sedulously cultivated. To the cases in which the wand itself forms the prominent item of the trick, I devoted a special chapter in "Later Magic." To these therefore I need not further refer. More important, however, is the part played by the wand from the point of view of gen- eral utility. In the first place, it is the only remnant of the traditional outfit of the magician. Time was, when the regulation costume of the wizard was a sugarloaf hat, and a robe embroidered with highly coloured mystic symbols. Such a robe is still worn as part of their make-up, by Chung Ling Soo and a few other Orientals, but the orthodox costume of the latter-day wizard is ordinary evening dress. The wand alone remains; the symbol and the pro- fessed instrument of his mystic powers, and from its traditional connection with magic, there is a special prestige attached to it. For these reasons alone it would be desirable to retain the use of the wand, but apart from them, its practical uses are many and various. One of 203 | |
latestmagicbeing00hoff.pdf,229 | latestmagicbeing00hoff.pdf | 229 | THE USE OF THE WAND 213 hoist him up and drop him in the water-butt, or into the Red Sea, according to order. If the magician wanted a week at the seaside, he had no need to pay railway fare. The familiar would just pick him up, house and all, and land him gently in the middle of the mixed bathing. The only draw- back was that, sooner or later, a time came when there was no performance, because the magician had been carried off by his familiar on a pitchfork. "As the French say, nous avons changé tout cela, Familiars are as extinct as the dodo. Per- haps it's as well, but it makes it very much harder to be a magician. In the first place you must know all about astrology, anthropology, Egyptology and all the other ologies. You must be well posted in mathematics, hydrostatics, pneumatics and numis- matics. You must know all about clairvoyance, palmistry and thought reading, sympathy and antipathy, magnetism, mesmerism, wireless teleg- raphy, X rays and all the other kinds of rays. Of course you must be well up in Greek and Latin, and a little. Hebrew, not to mention a few other things which I forget for the moment, but I won't stop to think of them now. When you have stud- ied these little matters fourteen hours a day for nine or ten years, you will be as 'chock-full of science' as old Sol Gills himself, and you will be able to do all sorts of wonderful things, some of which I hope to show you this evening. "Before I begin, there is just one little matter | |
latestmagicbeing00hoff.pdf,227 | latestmagicbeing00hoff.pdf | 227 | THE USE OF THE WAND 211 His skill in sleight-of-hand, which he had in the first instance taken up merely as a pastime, proved to be of immense service to him in his desert wan- derings; adding not only to his popularity but fre- quently gaining for him the prestige of a genuine magician, and thereby increasing his influence. In 1871 he was appointed to the professorship of Oriental languages at Cambridge, his official title being the Lord High Almoner's Reader of Arabic. In 1882, in anticipation of the Arabi trouble in Egypt, he was entrusted by the then Government with the difficult and dangerous task of winning over the Sinaitic tribes, and preventing the threat- ened destruction of the Suez Canal. His first trip, extending from Gaza to Suez, was carried out successfully, but on penetrating farther into the desert, he and his two companions, Captain Gill, R.E., and Lieutenant Charrington, R.N., fell into the hands of a tribe to whom Palmer was unknown, and were barbarously put to death. Happily, their bodies were recovered, and received from the nation the posthumous honour of burial in St. Paul's Cathedral. The wand presented to me by Professor Palmer is a curiosity in many ways. It is made of acacia wood (the "shittim" wood of the Old Testament) brought by Palmer himself from Mount Lebanon. Around it, in spiral form, is inscribed an invoca- tion from the Koran, in Arabic characters. The writing of the inscription is a genuine work of art, | |
latestmagicbeing00hoff.pdf,225 | latestmagicbeing00hoff.pdf | 225 | THE USE OF THE WAND 209 portions of one-while walking-sticks, promoted to a nobler use. Mr. J. N. Maskelyne's "wand" is an ordinary file, which, from the inventor point of view, he regards as the greatest of wonder-work- ing appliances. My own contribution may claim to be of excep- tional interest, not merely as being in itself a curio, but as a memento of a very remarkable man, SO remarkable, indeed, that a brief notice of his career may be interesting. It was presented to me by Professor Palmer, a gentleman who was not, like myself, a bogus professor, but the real thing, and withal an exceptionally eminent man. Skill in sleight-of-hand was the least of his accomplish- ments. He had a marvellous gift of tongue, there being scarcely a European or Oriental language with which he was not thoroughly familiar. He was born at. Cambridge in 1840, and from his earliest years showed indications of his peculiar gift for acquiring languages. As a school-boy he made friends among the gipsies, and learned to speak their queer language so perfectly as to deceive even those to whom it was their native tongue. In later life it was a favourite joke of his to saunter, in company with his equally accom- plished friend, Leland, into some gipsy encamp- ment where they were not known, and after pay- ing their footing by having their fortunes told, to ask some of the nomads gathered round the fire, to talk a little Rommany for their benefit. Gip- | |
latestmagicbeing00hoff.pdf,223 | latestmagicbeing00hoff.pdf | 223 | THE USE OF THE WAND 207 even though he be a Past Grand Everything, knows no more than the veriest outsider. When in this direction there were no more mys- teries left for him to conquer, Dr. Ellison natur- ally turned his attention to Magic: and in accord- ance with his habitual determination to know all that there is to be known with regard to his hobby for the time being he began to collect books upon the subject. At first there were but few to collect, but the literature of magic has grown, and grown, and side by side with its advance Dr. Ellison's col- lection has grown larger and larger till it numbers some hundreds of volumes. Harry Kellar, the dean of American magicians, and himself an enthusiastic collector, yearned to possess it, and offered the doctor for it the handsome sum of two thousand dollars, equivalent in English money to about four hundred pounds. But Dr. Ellison was not to be tempted. In order that the collection should be preserved intact, he donated it, some years ago, to the New York Public Library, also providing a fund for its upkeep and further devel- opment. But Dr. Ellison's interest in, and services to Magic did not end here. He has made a collection of models, entirely the work of his own hands, of the appliances for over sixty stage illusions. Some are of full size, others quite miniature affairs, but one and all exact to scale. Further, the doctor has a special affection for souvenirs of | |
latestmagicbeing00hoff.pdf,221 | latestmagicbeing00hoff.pdf | 221 | THE USE OF THE WAND 205 produced. There is much virtue in what may be called a magical atmosphere, and after the wizard has proved his magical power by performing two or three apparent impossibilities, the mind of the spectator (though in his calmer moments, he knows, or should know, better), is led to adopt in a greater or less degree the solution "forced" upon him by the conjurer. Habitual use of the wand, with apparent seriousness, goes far to create the desired atmosphere. A good effect may be produced by "electrifying" the wand now and then, by rubbing it with a hand- kerchief. The main uses of electricity are so widely known, and so little understood by the mil- lion, that they are quite ready to give it credit for still more marvellous possibilities. My friend Mr. Holt Schooling, mentioned in connection with The Secret of the Pyramids, finds an additional use for the wand. He uses, not one only, but half a dozen, of different appearance, each credited with some special magical virtue. At the outset of his show these are arranged horizontally, one above another on pins projecting from a small sloping blackboard. For each fresh trick the wand professedly appropriate to it is brought into action, the one last used being at the same time replaced on the stand. The spectators do not sus- pect that behind each top corner of the board is a small servante, enabling the performer, under cover of the change of wands, to change a pack of | |
unmaskingrobert00houdgoog.pdf,63 | unmaskingrobert00houdgoog.pdf | 63 | THE UNMASKING OF ROBERTT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' 'Grand Theatre of the Muses, or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June 1 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. Ile died November 18th, 1732; was buried No: vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732 page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page I22. His will, dated November roth, 1732, was proved in London on November 18th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
unmaskingrobert00houdgoog.pdf,263 | unmaskingrobert00houdgoog.pdf | 263 | THE UNMASKING OF ROBERT-IIOUDIN IXTRADREIMARY MEW RECEPING IN THE AIR CORDENSED " 'Suspension Chloriforcene,' as presented be Anderson and his son, from a lithograph used by him on his return from the Continent, December, 1848. From the Harry lloudini Collection. [234] | |
unmaskingrobert00houdgoog.pdf,267 | unmaskingrobert00houdgoog.pdf | 267 | THE UNMASKING OF ROBERT-HOUDIX In 1904 I paid the old master a second visit. To his professions of pleasure at meeting me once more, he added the gift of several rare programmes now in my col- Alexander Heimburger, a veteran conjurer who presented the suspension trick in 1845-46 during his American tour. From a photograph in the Harry Houdini Collection. lection, and when our hands met in a farewell clasp he told me that he had set all things in order and was ready for the coming of the Grim Reaper. Soon after that visit, [ 238] | |
unmaskingrobert00houdgoog.pdf,101 | unmaskingrobert00houdgoog.pdf | 101 | THE UNMASKING OF ROBERT-HOUDIN 1 who immediately agreed to advance two thousand five hundred francs, and if the figure was completed in eight- een months, two thousand five hundred francs more were to be paid for it, making five thousand francs in all. If the figure was never completed, then Monsieur G was Writing and drawing figure claimed by Robert-Houdin as his invention. From Manning's Robert-Houdin brochure. to reimburse himself for the amount advanced by select- ing automatic toys from Robert-Houdin's regular stock. After liquidating his debt, Robert-Houdin retired to Belleville, a suburb of Paris, where for eighteen months he worked upon the figure, seeing his family only twice a week, and living in the most frugal fashion. He employed a wood-carver to make the head, but the result was so unsatisfactory that in the end he was obliged, not only to make all the complicated machinery which operated the figure, but to carve the head itself, [84] | |
unmaskingrobert00houdgoog.pdf,113 | unmaskingrobert00houdgoog.pdf | 113 | THE UNMASKING OF ROBERT-HOUDIN writing and drawing figures are made and operated as follows: "The writer represented a child of about four years of age, sitting at his little table, patiently waiting with the pen in his hand until the clockwork is started. He then sets to work and, after looking at the sheet of paper before him, lifts his hand and moves it toward the ink-stand, in which he dips the pen. The little fel- low then throws off an excess of ink and slowly and calmly, like an industrious child, begins writing on the paper the prescribed sentence. His handwriting is careful, conscien- The Jacquet-Droz writing automaton. From the brochure issued by the Society of tiously distinguishing History and Archaology, Canton of Neu- châtel, Switzerland. between hair strokes and ground strokes, always observing the proper intervals between letters and words and generally showing the sober and de- termined character of the handwriting usual at the time in the country of Neuchâtel. In order, for in- [96] | |
unmaskingrobert00houdgoog.pdf,183 | unmaskingrobert00houdgoog.pdf | 183 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,193 | unmaskingrobert00houdgoog.pdf | 193 | THE UNMASKING OF ROBERT-HOUDIN will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis." There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he adver- tises "feats and experiments in Magnetical, Electrical, Op- tical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles men- tioned I found Watches, Caskets, Dice, Cards, Mechan- ical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early pro- grammes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, Feb- ruary 15th, 1816) I find "The Russian Inn," "The Con- fectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. The Trapeze Automaton Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed au- tomaton, worked by a concealed confederate, it was a com- mon feature on programmes long before Robert-Houdin [ 166 ] | |
unmaskingrobert00houdgoog.pdf,315 | unmaskingrobert00houdgoog.pdf | 315 | THE UNMASKING OF ROBERT-HOUDIN which is a cross between the whistle of a locomotive with a cold, and a sawed-off and hammered-down flute in which has been inserted a tin whistle. As this nerve- racking music holds the spectators under its awful spell, the basket begins to rock, the contortionist-subject grad- ually raises himself inside the basket, and when the noise is at its height he straightens up in the basket and raises it with his back as far as it will go. To the uninitiated it actually appears as if he had returned to an empty basket in his original position. The trick is a marvellous decep- tion, but only a Hindoo can exhibit it with success, for no white person would ever indulge in the screechings, imbecilities, and contortions which are the spectacular and convincing features of the trick. Sometimes the trick is varied. Instead of the subject being found in his original position he is seen running toward the crowd as from a distance. This is accom- plished by having two subjects, one in the basket and one hidden on the outskirts of the crowd, who are "doubles" or at least who show a marked resemblance and are dressed exactly alike. The earliest programmes of Hindoo jugglers in my col- lection are dated 1818. The "Mr. Ramosamee" featured on this bill later split his name thus, "Ramo Samee," and was engaged to perform alone between the acts of "The Broken Heart" at the Garrick Theatre, London. From Ramo Samee, Continental and British magicians learned the trick of juggling brass balls. On page 135 Professor Hoffmann, in a foot-note, com- mends Robert-Houdin for the very impartial manner in which he approaches the question of spiritualism and [286] | |
unmaskingrobert00houdgoog.pdf,85 | unmaskingrobert00houdgoog.pdf | 85 | THE UNMASKING OF ROBERT-HOUDIN which bore fruit in a minute's time was still on his pro- gramme. For many years it was supposed that only one portrait of Fawkes was in existence, but it now seems that three were made. I publish them all, something which no one has ever before been able to do. One was taken from a Setchels fan published about 1728, although some Reproduction of page 1996 of Hone's "Every-Day Book" in the Harry Houdini Collection. This is a portrait of Fawkes, engraved on a fan by Setchels in 1721 or 1728. Fans like these were distributed at the Bartholomew Fair. authorities say I72I. It appeared in Hone's "Every- Day Book," page 1226. Another, I believe, was en- graved by Sutton Nicols, as Hone mentions it in his description of Fawkes. In the fan engraving, it will be noticed that there appears a man wearing a star on his [68] | |
unmaskingrobert00houdgoog.pdf,93 | unmaskingrobert00houdgoog.pdf | 93 | THE UNMASKING OF ROBERT-HOUDIN which are to catch the figures of the flowers and fruit when the latter expand by the air driven through the branches to which they were fastened by a silk thread. "The tree or nosegay is then placed on a table, through Decremer which runs a glass tube to supply air from beneath the stage, where a confederate works this end of " the trick, and causes the tree to 'grow' at the prearranged sig- nal." Decremps's signature writ- ten by himself on the last Later it was described as being page of a copy of his book now in the Harry Houdini accomplished entirely by springs, Library. and real oranges were first stuck on the tree by means of pegs or pins, and the leaves were so secured around them that at first appearance they could not be seen. Then a piston was used to spread all the leaves, another that forced the blossom up through the hollow branches, etc. Pinetti's personality was almost` as extraordinary as his talents. A handsome man who knew how to carry himself, acquiring the graces and the dress of the nobility, he became rather haughty, if not arrogant, in his bearing. He so antagonized his contemporaries in the fields of magic and literature that he was advertised as much by his bitter enemies as by his loving friends. Many of his methods of attracting attention to himself were singularly like those employed by modern press agents of theatrical stars. He never trusted to his performances in theatres and drawing-rooms to advertise his abilities, but demon- strated his art wherever he appeared, from barber-shops to cafés. [76] - | |
unmaskingrobert00houdgoog.pdf,327 | unmaskingrobert00houdgoog.pdf | 327 | THE UNMASKING OF ROBERT-HOUDIN was one of Anderson's cleverest imitators and a rival of Robert-Houdin in the English provinces. The adroit manner in which Robert-Houdin flays Pinetti, Anderson, and Bosco would arouse admiration were his pen-lashings devoted to men who deserved such treatment. Under existing circumstances-his debt to Bosco and Pinetti, whose tricks he filched remorselessly, and the fact that Andersoi.'s popularity outlived his own in England-his efforts to belittle these men are unworthy of one who called himself a man and a master magician. The truly great and successful man rises above petty jealousy and personalities. This, Robert-Houdin could not do, even when he sat pen in hand, in retirement, with the fear of competition removed. It seems almost incredible that Robert-Houdin should ignore Henri Robin in his "Memoirs," for Robin was one of the most interesting characters of that day. He still stands in magic's history as the Chesterfield of conjuring, a man of many gifts, charming address, and broad edu- cation. Even in his dispute with Robert-Houdin regard- ing the invention of the inexhaustible bottle, he never forgot his dignity, but proved his case by that most potent of arguments, a well-edited magazine published under his direction, in which an illustration showed him actually performing the trick in 1844, or a full three years before it appeared on Robert-Houdin's programme. Robert-Houdin was indebted to Robin for another trick, the Garde Française, introduced by Robert-Houdin in October, 1847. Henri Robin had precisely the same figure, doing precisely the same feats, in the garb of an Arab. An illustration from Robin's magazine, L'Alma- [298] | |
unmaskingrobert00houdgoog.pdf,329 | unmaskingrobert00houdgoog.pdf | 329 | THE UNMASKING OF ROBERT-HOUDIN truth about his so-called innovation, he must have given Frikell credit, wherefore he conveniently ignores Frikell completely. It is entirely characteristic of Robert-Houdin that he did not openly assail Pinetti in the pages of his "Mem- oirs." With cleverness worthy of a better cause, he quotes the bitter verbal attack as issuing from the lips of the friend and mentor of his youth, Signor Torrini. The major portion of chapter VI., pages 92 to IO4 inclusive, American edition of his autobiography, is de- voted to assailing Pinetti's abilities as a conjurer and his reputation as a man. Granted that Pinetti did put Tor- rini to shame on the Neapolitan stage, such revenge for a wholesale duplication of the magician's tricks might be termed almost human and natural. Had a minor magi- cian, amateur or professional, dogged the footsteps of Robert-Houdin, copying his tricks, the entire répertoire upon which he depended for a livelihood, thus endanger- ing his future, I doubt that even the author of "Confi- dences d'un Prestidigitateur" would have hesitated to un- mask and undo his rival. In fact, by reference to the editorial note, foot of page 421, American edition of Robert-Houdin's "Memoirs," it will be seen that in 1850 Robert-Houdin appealed to the law for protection in just such a case. An employee was sent to prison for two years, as judgment for selling to an amateur some of his master's secrets. But in attacking Pinetti, Robert-Houdin goes a step too far and falsifies, not directly but by innuendo, when he permits the impression to go forth that Pinetti was hounded and ruined both financially and professionally [300] | |
unmaskingrobert00houdgoog.pdf,277 | unmaskingrobert00houdgoog.pdf | 277 | THE UNMASKING OF ROBERT-HOUDIN tricks? Your Majesty will doubtless be still more sur- prised when I prove to your satisfaction that this coffer Reproduction of a very rare pastel portrait of Cagliostro. From the Harry Houdini Collection. as well as its contents was deposited in the chest of the orange-tree sixty years ago.' "I should like to believe your statement,' the King [ 248] | |
unmaskingrobert00houdgoog.pdf,143 | unmaskingrobert00houdgoog.pdf | 143 | THE UNMASKING OF ROBERT-HOUDIN tricks. On page II he thus describes the automaton un- der consideration : "Illusion Third. A curious mechanical trick; an inn, GYNGELL Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection. from which issues the hostess for orders, upon receiving which, she returns into the inn and brings out the various liquors as called for by the audience, and at last waiting [126] | |
unmaskingrobert00houdgoog.pdf,209 | unmaskingrobert00houdgoog.pdf | 209 | THE UNMASKING OF ROBERT-HOUDIN tory of that automaton. The programme published in that chapter is dated FOR SIX NIGHTS ONLY, - NOWDAY, - To of - - nive FRIDAY, - le fue 1827, and does not in- Mr. Schmidt's BENEFIT, - SATURDAY to - LAST NIONT of the clude the famous bottle, MECHANICAL OPTICAL THEATRE At the Mueic-Hall, because it was no longer a Albion-Street, Leeds. novelty in Herr Schmidt's zm. - respostfully the Ledice and of LEEDS Vielaity, that aftee - Years laboer be hee completed some AUTOMATAN NOPE DANCERS, - lasge - Life, which go through Variety of Evelations es - répertoire; but the ad- Tighs Repe. To Men of Selence they mest appess impossible, for though thay are estacity with the they from tt, and balance le WITHOUT the UST or THEIR HANDS, AND INSTANT. LY CONNECT TREMSELVER wire THE MACHINERY AGAIN vertisement reproduced herewith, dated 1821, schedules the bottle trick thus: "The Bottle of Sobriety and Inebriety, proving the inutility of a set of decanters, when Me. will also introduce Variety of interesting and amasing Pieces of Mechonion, never before exhibited in Loeda, RAMO SAMMEE, various liquors can be TNe - Nette Pigure will correctly inform the Company the Time by any Person's Watoh: be will also decipher Writing, and any Question proposed to bim. The Dutch Coffee House, produced by one." Thus As elegast little Bullding: on the Travellers ringing the bell the door opene-th attende and provides hém with any Liquor be may vall for. Schmidt antedated or SAPETY. which Proporty of any description can be placed on the direction of the Company : the contente will imporceptibly ebange from drawer into another, or evem bobind the glanses. The Bottle of Sobriety and Inebriely, Houdin's offering of the Proving . instilley of est of Decastora, when varions Liquors be produced by - THE MECHANICAL TEA CADDYS, Any Lady or Gentionna haring deaire to of any Article, locke in one Cuddy, trick by more than a yet - opaning the ether is is lomed there, althongt the Cadity le la the hand of any othes Porsoa. AN GLA… | |
unmaskingrobert00houdgoog.pdf,73 | unmaskingrobert00houdgoog.pdf | 73 | THE UNMASKING OF ROBERT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' Grand Theatre of the Muses,' or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June I 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. He died November 18th, 1732; was buried No- vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732, page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page 122. His will, dated November roth, 1732, was proved in London on November r8th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
unmaskingrobert00houdgoog.pdf,157 | unmaskingrobert00houdgoog.pdf | 157 | THE UNMASKING OF ROBERT-HOUDIN through that eminent family of conjurers known as the Bambergs of Holland. At this writing, "Papa" (David) Bamberg, of the fourth generation, is prominent on the Dutch stage, and his son Tobias David, known as Okito, of the fifth generation, is a cosmopolitan magician, pre- senting a Chinese act. According to the family history, traceable by means of handbills, programmes, and personal correspond- ence, the original Bamberg (Eliazar) had a vaulting fig- ure in his collection of au- tomata in I790, fifty years before Robert-Houdin be- came a professional enter- tainer. This figure was David Leendert Bamberg, of the made by Opre, to whom second generation of the Bamberg all conjurers of that time family. Born 1786; died 1869. The above daguerrotype was presented to looked for automata and the author by Herr Ernest Basch, and is the only one in existence. apparatus. David Leendert Bamberg, of the second gen- eration, who also had the vaulting figure, was the inti- mate friend and confidant of Opre and was authority for the statement that Opre's son sold in Paris the various automata made by his father, which later Robert- Houdin claimed as his own invention. It may be noted that Robert-Houdin never invented a single automaton after he went on the stage in 1845, and as Opre died in 1846, the coincidence is nothing if not significant. I40] | |
unmaskingrobert00houdgoog.pdf,275 | unmaskingrobert00houdgoog.pdf | 275 | THE UNMASKING OF ROBERT-HOUDIN three of the cards at hazard, and choose from them the place he might consider most suitable. "'Let us see,' Louis Philippe said, what this one says "I desire the handkerchiefs to be found beneath one of the candelabra on the mantelpiece." That is too easy for a sorcerer; so we will pass to the next card: "The handkerchiefs are to be transported to the dome of the Invalides." That would suit me, but it is much too far not for the handkerchiefs, but for us. Ah, ah!' the King added, looking at the last card, 'I am afraid, M Robert-Houdin, I am about to embarrass you. Do you know what this card proposes? 'Will your Majesty deign to inform me?' "It is desired that you should send the handkerchiefs into the chest of the last orange-tree on the right of the avenue.' Only that, Sire? Deign to order, and I shall obey.' "'Very good, then; I should like to see such a magio act: I, therefore, choose the orange-tree chest. "The King gave some orders in a low voice, and ] directly saw several persons run to the orange-tree, ir order to watch it and prevent any fraud. "I was delighted at this precaution, which must add to the effect of my experiment, for the trick was already arranged, and the precaution hence too late. "I had now to send the handkerchiefs on their travels. so I placed them beneath a bell of opaque glass, and taking my wand, I ordered my invisible travellers to pro- ceed to the spot the King had chosen. "I raised the bell; the little parcel was no longer there and a white turtle-dove had taken its place. [ 246] | |
unmaskingrobert00houdgoog.pdf,253 | unmaskingrobert00houdgoog.pdf | 253 | THE UNMASKING OF ROBERT-HOUDIN this date, he had used only the ordinary platform and rod. During the course of researches covering many years, during which I visited national libraries in various coun- tries, the first trace of the suspension trick was discovered in the writings of Ian Batuta, who flourished about the thirteenth century. He mentions two conjurers who per- formed before the court of the Mogul in Delhi. One of the men assumed the form of a cube and rose into the air, where he remained suspended. The other man then took off his shoe, struck it against a rock, and it also rose and hung in midair, close to the suspended conjurer or human cube. On being touched on the neck, the cube descended to the ground, and the conjurer resumed his natural form. The historical verity of this tale cannot be determined, and it may be classed with the familiar story which crops up periodically, describing the ball of cord thrown into the air for a youth to climb into the clouds. Once out of sight, the youth is said to draw the cord up after him; then presently a leg falls from the unseen heights, then another, followed by an arm, a rib or two, and so on until the entire body is scattered upon the ground, the head coming last with the neck standing upward. At the command of the magician, the body seems to crawl together, so runs the tale, and eventually the youth stands up to be examined by the astonished populace. These stories belong in the very first of the travellers' tales. In 1356 Sir John Mandeville, called by some au- thorities "the Father of English Prose," after travelling thirty-four years, published a book detailing some of his marvellous "witnessings." Though many of his stories [226] - | |
unmaskingrobert00houdgoog.pdf,121 | unmaskingrobert00houdgoog.pdf | 121 | THE UNMASKING OF ROBERT-HOUDIN them, so their great value was never realized by his family. After his death, during a voyage to America, UNDEA THE SANCTION or they lay neglected in the ass aoval LETTERS PHILIPSTHAL and MAILLARDET's castle of Mattignon, near Royal Museum, Bayonne. After changing FROM LONDON, hands many times, about - - - - - - Will Opee for Pablic Isepectica, At de ASSEMBLY ROOM, BRIDGWATER. 1803 they passed into the O. FRIDAY the 99d. of MARCH instast, - a - - che - - - provide de alle - hands of an inventor named of - - INGENIOUS MISCES of Martin, and were controlled , by his descendants for nearly asvas sereas " Tate PLACE, - a hundred years. One of his SUPERI family, Henri Martin, of Musical Automaton. . Dresden, Germany, exhibit- Aire - - - THE MECHANICAL. ed them in many large cities, Drawing and Writing-Master; uma soe. de - - the n - and advertised them for sale - - The - - - - Pase - - An Old Necromancer, at 15,000 marks in the - b . - - - - - - example - - - - A NOST Muenchener Blaetter of May BEAUTIFUL GOLD BOX, - - le - - or PARADESE - - - - - et 13th, 1883. After Martin's - -- - - - - - - - - - - - - - - The - - THE LITTLE SPANIARD, death, his widow succeeded - - BANCE - nat as AT CONMANO, The - - - - - " - in - - - - - - A BEAUTIFUL SOURIE DO'R, in disposing of them to Herr ser IN PEARES - - - - la - - - - - - - Direction, - Om Marfels, of Berlin, who had AN ETHIOPEAN CHENILLE DOR, BEAUTIFULLY ENAMELLED them repaired with such AND A TARANTULA. SPIDER: good results that in the fall - - - - - - - - - as from to Fur 2. - - - I - - - of of 1906 he sold them for The f , se - the Recoing, - de la. - - - 75,000 francs, or about & - - $15,000, to the Historical Poster used, March 29nd, 1811, Society of Neuchâtel. In by de Philipsthal and Maillardet dur- ing their partnership, on which the April, 1907, the writing fig- writing and drawing figure is fea- tured. From the Harry Houdini ure, the drawing figure, and Collection. the spinet player were on exhibition in Le Locle, Chaux-de-Fonds, and … | |
unmaskingrobert00houdgoog.pdf,303 | unmaskingrobert00houdgoog.pdf | 303 | THE UNMASKING OF ROBERT-HOUDIN them in water very transparent, rose-water, orange-flower- water, and brandy. "I have smelt the several odours of his liquors; nay, I have seen him set fire to a handkerchief dipt in that which smelt like brandy, and it burnt blue like spirituous liquors. Nay, he frequently promised at Venice to give the water back again in milk and oil. But I think he did not keep his word. In short, he concluded this scene with swallowing successfully thirty or forty glasses of water, always from the same bucket, and after having given notice to the company by his man (who served as an interpreter) that he was going to disembogue, he threw his head back, and spouting out the fair water, he made it spring up with an impetuosity like that of the strongest jet d'eau. This last feat delighted the people infinitely more than all the rest, and during the month he was at Francfort numbers from all parts came to see this slovenly exercise. Though he repeated it more than once a day he had more than four hundred specta- tors at a time. Some threw their handkerchiefs, and some their gloves upon the stage, that he might wet them with the water he had cast up, and he returned them differently perfumed, sometimes with rose-water, sometimes with orange-flower-water, and sometimes with brandy." Another famous juggler and water-spouter was Floram Marchand, whose picture is herewith reproduced. Judg- ing from his dress, he antedated Manfrede. Bell's Messenger of July r6th, 1816, tells of a sword- swallower whose work is extremely pertinent to this dis- cussion, and the clipping is quoted verbatim: "The French papers give a curious account of one [274] - | |
unmaskingrobert00houdgoog.pdf,49 | unmaskingrobert00houdgoog.pdf | 49 | THE UNMASKING OF ROBERT-HOUDIN their way to his workshop and aided him in his study of a profession which he still hoped to follow. During these discouraging times he was often assisted financially by ST, - regest ENTERTAINMENT Tuesday. Thursday Saturday Evenings, DAY. PERFORMANCE 90 Wednesday Morning. at Poster used in 1848 in London by Robert-Houdin. From the Harry Houdini Collection. one Monsieur G-- who either advanced money on his automata or bought them outright. In the same year, 1844, he retired to a suburb of Paris, and there, [42] | |
unmaskingrobert00houdgoog.pdf,131 | unmaskingrobert00houdgoog.pdf | 131 | THE UNMASKING OF ROBERT-HOUDIN their inventive genius and efforts. Modern mechanicians agree that such a performance would have been a physical impossibility, even had Robert-Houdin been the expert mechanician he pictured himself. To sum up the evidence: The writing and drawing Splendid and Unrivalled Exhibition ! (Fer . Shore peovions . is resoval - a The Nobility and Public are respectfully informed, that A MOST MAGNIFICENT AND COSTLY COLLECTION OF Mechanical and Musical AUTOIATONS! IS NOW EXHIBITING AT THE New Gothic Haymarket, ADJOINING THE LITTLE THEATRE: TOGETHER wirh A GRAND DISPLAY OF ANCIENT ARMOUR : Which carrounds the spacious and desoreted Mall. Also . Model of . MAN OF WAR, of Ninely-Four Guns, Of the most exquisite Workmenship, and Copper-Bottomed! The whouk the - Instructive and Ammoing ever le - THE MECHANICAL PART or this truly conderfel and exchenting which las beea with the avent distingushbed Patromage, in Paais and other parts of the comprisse the bullowing ABTIOU! These Performancea in DRAWING - WAITING la - of the Company, defy ell . kaph at in regard to marn, and of and This rich the of MECHANISN . sonderfally thet the motion - # - guat, saj oppropriele system efeperations, will ever readee " - of the highest interest - The fusical Lady ! Who performs, apon sia olggent Finger ORGAN.: variely of pire-ing Ain. The fas inating of bee and lovely motion ofthe Eyes, arver to securing bes She boes gracefully to the acdicace bes beaves, uf materally b, the leage and every note is produced by the touch of act Sager, with the lica of pata, and charge, which are played by the The Rope Dancer ! Wheed surpricing apoe the Tight Rope surgess, to - attitudes, and reclurions, every et the Art heepios correct timse to the Munie of the Mechinery Ebe Whene exeite the gresteet and delight.br the regacious be returne to every prepesed le his The essetrection of thus wonderfel seif- acting Fagure has lutherte pessied all the is Europe' This estraerdisary Figur, moves by afe ova povera, in every direction, the gr… | |
unmaskingrobert00houdgoog.pdf,325 | unmaskingrobert00houdgoog.pdf | 325 | THE UNMASKING OF ROBERT-HOUDIN the lad shared his stage triumphs. His other children he never mentions by name. The second wife, who, he grudgingly admits, stood valiantly by him in his days of poverty and disappointment, he does not honor by so much as stating her name before marriage. Rather, he refers to her as a person whom he was constrained to place in charge of his household in order that he might continue his experiments and his work on automata. A less gracious tribute to wifely devotion was never penned. But it is in dealing with contemporary magicians or those whose handiwork in bygone years he cleverly pur- loined and proclaimed as his original inventions, that the petty jealousy of the man comes to the surface. When- ever he desires to claim for himself credit due a prede- cessor in the world of magic, he either ignores the man's very existence or writes of his competitor in such a man- ner that the latter's standing as man and magician is lowered. Not that he makes broad, sweeping statements. Rather, he indulges in the innuendo which is far more dangerous to the party attacked. He never strikes a pen-blow which, because of its brutality, might arouse the sympathy of his readers for the object of his attack. Here, in the gentle art of innuendo and belittling, if not in the conjurer's art, Robert-Houdin is a master. In writing his "Memoirs" he deliberately ignores Compars Herrmann, Henri Robin, Wiljalba Frikell, M. Jacobs, and P. T. Barnum, all of whom he knew person- ally. He might have written most entertainingly of these men, but in each case he had an object in avoiding refer- ence to the acquaintance. P. T. Barnum knew the true history of the writing and drawing figure, as reference to [296] | |
unmaskingrobert00houdgoog.pdf,337 | unmaskingrobert00houdgoog.pdf | 337 | THE UNMASKING OF ROBERT-HOUDIN the floor of the den. Snakes-scores of them! Now the creature, half-animal, half-human, glances up to make sure that attention is riveted upon him, then grasps one of the serpents in his hideous hands and in a flash bites off its head. The writhing body falls back to the ground. You grip the railing in a sudden faintness. Has your brain deceived your eyes, or your eyes your brain ? If you are a conjurer you try to convince yourself that it is all a clever sleight-of-hand exhibition, but in your heart you know it is not true. This creature, so near a beast, has debauched his manhood for a few paltry dollars, and in dragging himself down has dragged down the name of a worthy, a brilliant, a world-famous performer. Of the twentieth-century Boscos there are, alas, many. You will find them all over the world, in street carnivals, side-shows, fair-booths, and museums, and why the public supports such debasing exhibitions I have never yet been able to understand. I have seen half-staryed Russians pick food from refuse-barrels. I have seen besotted Americans creep out from low dives to draw the dregs of beer-barrels into tomato cans. I have seen absinthe fiends in Paris trade body and soul to obtain their be- loved stimulant. I have heard morphine fiends in Russia promise to exhibit the effect of the needle in return for the price of an injection. But never has my soul so risen in revolt as at sight of this bestial exhibition with which the name of Bosco, a nobleman and a conjurer of merit, has been linked. Even more despicable than his attack upon Bosco is Robert-Houdin's flaying of John Henry Anderson. In this he is both unmanly and untruthful. Hinging his [308] | |
unmaskingrobert00houdgoog.pdf,207 | unmaskingrobert00houdgoog.pdf | 207 | THE UNMASKING OF ROBERT-HOUDIN target revolve, or, if the frame is used, by having a black velvet curtain pulled up by rapid springs or strong rubbers. While all this is going on, some one has brought on the stage the loaded bottle, and as no attention is called to this, by the time the watches have been restored to the owners the conjurer introduces the bottle trick, pours out the various liquors, and eventually breaks the bottle and reproduces the borrowed article tied about the neck of the guinea-pig or dove. Many names have been given to this trick. The old- time magicians who remained for months in one theatre had to change their programmies frequently, so for one night they would present the bottle without breaking it, and on the next they would break the bottle, so as to vary the trick. This bottle trick originated in "The Inexhaustible Barrel." The first trace that I can find of this wonder- ful barrel is in "Hocus Pocus, Jr., The Anatomie of Legerdemain," written by Henry Dean in 1635 (Second Edition). On page 2I is described a barrel with a single spout, from which can be drawn three different kinds of liquors. This was worked precisely on the same principle as was the inexhaustible bottle trick centuries. later, by shutting up the air-holes of compartments from which liquors were not flowing. Its first public appearance, according to the data in my collection, clipped from London papers of 1707 and I7I2, was when the "famous water-works of the late ingenious Mr. Henry Winstanly" were exhibited by his servants for the benefit of his widow; and the exhibition included [180] | |
unmaskingrobert00houdgoog.pdf,305 | unmaskingrobert00houdgoog.pdf | 305 | THE UNMASKING OF ROBERT-HOUDIN swallows the blade of a sabre about thirteen inches long of polished steel. This operation he performs very slowly, and with some precaution; though he evinces no symp- tom of pain. After every solid body that he swallows, he Position taken by the subject in the Indian basket trick before he is covered by the sheet. always takes a small dose of wine expressly prepared for him. He does not seem to make any effort to kill the living animals that he takes in his mouth, but boasts that he feels them moving in his stomach." [276] | |
unmaskingrobert00houdgoog.pdf,347 | unmaskingrobert00houdgoog.pdf | 347 | THE UNMASKING OF ROBERT-HOUDIN structed his programmes, keeping them strictly up-to- date. Anderson did die a poor man, but this was not because the amusement-loving public had wearied of him. A popular performer, like so many of his class he did not know how to invest his huge earnings. It is known that he gave $20,000 to various charities, while no record of Robert-Houdin's charities exists. He was burned out several times. He lost money through a bad con- tract made for his Australian tour. Certain investments dropped in value because of the Civil War in the United States, during which England sympathized with the South. Finally, during his American tour after the Civil War, Anderson played the Southern States, then steeped in bitterness toward the North, and was unfortunate enough to bill himself as "The Great Wizard of the North." This roused the Southern prejudice to white heat, he was al- most mobbed, and was finally driven from that section of the country. He went into bankruptcy, November 19th, 1866, and died at Darlington, County Durham, England, Feb. 3rd, 1874. His remains were interred, in accordance with his dying request, at Aberdeen, Scotland. So ends the true history of Robert-Houdin. The mas- ter-magician, unmasked, stands forth in all the hideous nakedness of historical proof, the prince of pilferers. That he might bask for a few hours in public adulation, he purloined the ideas of magicians long dead and buried, and proclaimed these as the fruits of his own inventive genius. That he might be known to posterity as the king of conjurers, he sold his birthright of manhood and honor for a mere mess of pottage, his "Memoirs," written by [318] | |
unmaskingrobert00houdgoog.pdf,309 | unmaskingrobert00houdgoog.pdf | 309 | THE UNMASKING OF ROBERT-HOUDIN starts his dramatic tale of inventing a detector lock by which he protected a rich neighbor, M. de l'Escalopier, from robbery, and incidentally in return secured funds with which to open his theatre in the Palais Royal. In his "Mémoirs" Robert-Houdin states that the opening of the theatre was made possible by the invention of the writing and drawing automaton whose history has been traced in chapter III. The reader can choose between the two stories. One is as plausible as the other. But to return to the detector lock. Count or M. De l'Escalopier having complained grievously to his humble neighbor, the watchmaker Robert-Houdin, that he and his family were being robbed, begged that the latter sug- gest some means of catching the thief. Robert-Houdin then recalled a childish device by which he had caught his school-fellows in the act of pilfering his desk, etc., and he proposed to the Count that the same device, elab- orated to meet the strength of a full-grown man, be at- tached to his wealthy patron's desk. As first planned, the detector lock was to shoot off a pistol on being tampered with, and then brand the hand of the thief with nitrate of silver. Count de l'Escalopier objected to branding a man for life, so Robert-Houdin substituted for the nitrate of silver a sort of cat's claw which would clamp down on the robber's hand and draw blood. The Count deposited ten thousand francs in his desk and caught the robber, his confidential servant, red-handed. The ten thousand francs he presented to Robert-Houdin as a reward for stopping the thefts. A charming tale this makes, but, unfortunately for Robert-Houdin's claims to originality, the detector lock [,280] - | |
unmaskingrobert00houdgoog.pdf,265 | unmaskingrobert00houdgoog.pdf | 265 | THE UNMASKING OF ROBERT-HOUDIN sonally that being pressed for time he had entrusted the writing of his "Memoirs" to a Parisian journalist. As he warmed up to these reminiscences, he held me spellbound. Had he risen from the grave to tell of his Mrs. Leona A. Anderson, daughter-in-law of John Henry Anderson, as she appeared with him in the suspension trick about 1868. From the Harry Houdini Collection. contemporaries, he could not have riveted my attention more securely. Here was a man of eighty-four, whose memory quick- [236] | |
unmaskingrobert00houdgoog.pdf,65 | unmaskingrobert00houdgoog.pdf | 65 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Melies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
unmaskingrobert00houdgoog.pdf,55 | unmaskingrobert00houdgoog.pdf | 55 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Mclies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
unmaskingrobert00houdgoog.pdf,109 | unmaskingrobert00houdgoog.pdf | 109 | THE UNMASKING OF ROBERT-HOUDIN sits a figure seven inches high and writes, upon a sheet of paper fixed to a frame, whatever has been placed beforehand upon a regulating cylinder. At the end of each line it raises and moves its hand sideways, in order to begin a new line." This does not answer the description of the figure which Robert-Houdin claims, but it is inter- esting as showing that mechanical genius ran along such lines almost a hundred years before Robert-Houdin claims to have invented the famous PTS JAQUET DROZ. automaton. The writing and draw- of ing figure claimed by Rob- othe tres humble Soumm's ert-Houdin as his original invention can be traced ph e back directly to the shop door of Switzerland's most Portrait and autograph of Pierre noted inventor, Pierre Jacquet-Droz Born 1721, died 1790. From the brochure issued by the Jacquet-Droz, who with Society of History and Archaology, Canton of Neuchâtel, Switzerland. his son, Henri-Louis, laid the foundation of the famous Swiss watch- and music-box industry. In the latter part of the eighteenth century, probably about 1770, the Jacquet-Drozes turned out a drawing. [92] | |
unmaskingrobert00houdgoog.pdf,41 | unmaskingrobert00houdgoog.pdf | 41 | THE UNMASKING OF ROBERT-HOUDIN sistent statements regarding his life. Such discrepancies arise as the mention of three chiklsen in one chapter and four in another, while he does net give the names of either Jean-Eugene Robert-Houdin. Photograph taken about 1868. From the HIarry Houdini Collection. wife, though he admits his obligation to both good women. According to his autobiography, Jean-Eugene Robert was sent to college at Orleans at the tender age of eleven, and remained there until he was eighteen. He was then placed in a notary's office to study law, but his mechanical [ 34] | |
unmaskingrobert00houdgoog.pdf,285 | unmaskingrobert00houdgoog.pdf | 285 | THE UNMASKING OF ROBERT-HOUDIN show that a popular test was to have articles passed fron the Adelphia Theatre t< ROYAL CLARENCE THEATRE, the gun which was being LIVERFOEL STREET, Under - - of - of . - Fes. se n - sess, watched by a sentinel. of - a Conto - - Thanks - - - - - - -- - - - - Pase of - - g - - - - - - - - - - Too - - - February 22d, 1833, to - CORNUCOP\E-COMICALLITY found a Mr. Jefferini FROJE REAL LIFR 1. at the Royal Clarence PART Theatre, Liverpool sera. ILLUBION Street, King's Cross, ILLUBION serra. Liverpool. He agreed to make "an article fly ILLUSION. at the rate of five hun- serv. sona. dred miles an hour, Mr. SHARP, from King's Cross to the CELETED the Centre of Greece." From the CITY THEATRE, will Displey bie Inimitable Powera, le - a the M. EFFERINI, The original Buck Ameng ther THAUIATURGICS featured on his pro- wa - IMPOSSIBILITIES, gramme a similar trick Ne - le - - Audience A Decanter of Pert Wime imto Pare Water. which he called "The we make - ", as 500 MILESA MINUTE Loaf Trick." On a bill arnas gmoss Contre of cassoz predose BOTTLE OF WINE dated October 26th, A LIVING PIG. 1840, it is announced as follows: "Watch in The Porformente conclude N. INFFERINIS CLASSICAL STUDIES a loaf. The magician or the ANOIENT MASTERS. Me. , - Contures - will command any gen- at Via, se - Sorce sozas . - PIT, GALLERY. " tleman's watch to dis- Rak Prier . - sozas - et The Ordese - be admitted - ramay - - de - - de abe w. a Nottee appear. It will be found Jefferini handbill, dated 1833, in which in a loaf at any baker's he announces that any article will be made to fly 500 miles a minute. shop in Town." The senior Ingleby changed the trick somewhat, sending out to any market for a [ 256] | |
unmaskingrobert00houdgoog.pdf,273 | unmaskingrobert00houdgoog.pdf | 273 | THE UNMASKING OF ROBERT-HOUDIN rod was fitted into a special place in the corset, also in the platform. This method was improved, first to make it a self-raising suspension, then eventually with a steel rod from the back of the stage, eliminating the use of both rods under the arms. Spectators and reviewers commented on the rigid, almost painful, carriage of Robert-Houdin's son during the performance, which they laid to the effect of ether. Unquestionably Robert-Houdin used this crude corset- and-rod method of working the trick. The fumes of ether which reached the audience, he admits, were caused by pouring a little ether over hot irons in the wings. But whatever the method employed by Robert-Houdin to secure the effects of "suspension éthéréenne," he was merely introducing a century-old trick, which other contemporary magicians were also exhibiting. The name of the real maker of the apparatus may never be known, but some clever mechanician supplied Robert-Houdin, Compars Herrmann, and John Henry Anderson with precisely the same method of working the trick, at pre- cisely the same time. Robert-Houdin alone was audacious enough to claim the invention as his own. [ 244] | |
unmaskingrobert00houdgoog.pdf,53 | unmaskingrobert00houdgoog.pdf | 53 | THE UNMASKING OF ROBERT-HOUDIN retired to his home at St. Gervais. Here he continued to work along mechanical and electrical lines, and in 1855 he again came into public notice, winning awards at the Exhibition for electrical power as applied to mechanical uses. In 1856, according to his autobiography, he was Robert-Houdin's grave, in the cemetery at Blois, France. From a photo- graph taken by the author, especially for this work, and now in the Harry Houdini Collection. summoned from his retirement by the Government to make a trip to Algeria and there intimidate revolting Arabsby1 the exhibition of his sleight-of-hand tricks. These were greatly superior to the work of the Marabouts or Arabian magicians, whose influence was often held re- sponsible for revolts. What Robert-Houdin received for [ 46 ] |
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