Christian Fechner - Magic Of Robert-houdin An Artist's Life Vol. 1

CHRISTIAN FECHNER

The Magic of ROBERT-HOtJDIN "An Artist's Life"

CHRISTIAN FECHNER

The Magic of ROBERT-HOUDIN "An Artist's Life"

Robert-Houdin is not only the emblematic figure of the history of magic but also one of the most remarkable artistic personalities of the 19lh century. His creative genius expressed itself with equal enthusiasm in the fields of watch-making, mechanics, conjuring, science and literature. The life of this exceptional artist, whom his contemporaries christened "the master" and to whom, in total unanimity, historians gave the flattering title "the father of modern magic," is a veritable tale of adventure where triumphs and setbacks coincide in a particularly rich existence, full of all sorts of events. In a France prey to repeated political crises such as war and revolutionary upheavals, we will follow the calm but determined social ascension of the young worker watchmaker from the Carroir du Malassis in Blois to the prestigious Academy of Sciences in Paris, from the triumphs of Soirees Fantastiques at Palais-Royal, to his performances on the stages of the largest European theaters, and before the courts of kings and queens, as well as his "pacification" mission in Algeria. This historical study also evokes illustrious or unknown conjurers and tricksters of the first golden age of the history of magic, who inspired Robert-Houdin, and who were his clients, friends or even adversaries. This biographical essay written for all supporters of the art of magic shakes up the legends and falsehoods that result from glory and posterity, and tries, for the first time, to grasp all the facets of the secret, charming, and complex personality of a creator of legendary illusions, of an artist whose renown was universal, and of an author whose writings are the foundations of modern magic: Jean Eugene Robert, known as Robert-Houdin.

CHRISTIAN FECHNER

The Ma&ic of "An Artist's Life"

BIOGRAPHICAL ESSAY

Translated from the French by Stacey Dagron Edited by Todd Karr

Editions FC F 39 rue des Tilleuls - 92100 Boulogne, France

I affectionately dedicate this work to my friend GEORGES PROUST

Remarkable magician, Learned publisher of magic literature, Inventor and manufacturer of exceptional tricks, Director of the Academie de Magie, Infallible expert, Knowledgeable historian whose immense collection is truly "inexhaustible," Creator of the first Musee Frangais de la Magie et de la Cunosite, And tireless ambassador of the art of magic in the world

In memory of twenty-five years of friendship sealed by our common passion for magic As a sincere testimony of admiration and gratitude for his talent and generosity

THE WATCHMAKER, MECHANICIAN, AND CONJURER

...grant me a few pages' patience, reader, as an introduction to my artistic life, and what you seek in my book will be displayed before your eager gaze. You will know how a magician is produced, and you will learn that the tree whence my magic staff was cut was only that of persevering labor, often bedewed by the sweat of my brow; soon, too, when you come to witness my labors and my anxious hours of expectation, you will be able to appreciate the cost of a reputation in my mysterious art....

Memoirs of Robert-Houd in. Philadelphia. Geo. G. Evans. 1859. p. 26.

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Introduction t>y Jacques Voignier

• Act I . 00-1805 - From Louis Robert to Jean Eugene Robert

17

.1805-1823- A Confiscated Childhood and Adolescence

18

. 1823-1825 - From Dr. Carlosbach to Maitre Pardessus

23

. 1825-1828 - From Maitre Roger to Jean-Martin Robert

28

. 1826-1828 - The Apprenticeship of the Artisan Watchmaker

. 1828

•

and the Aspiring Magician

33

The Mysterious M. David of Bordeaux

34

- The Count de Grisy, French Conjurer, known asTorrini

40

. 1828-1829 - Return to Blois, Mademoiselle Houdin

51

Notes to Act I

59

• Act II .1830

- Paris, Here I Come

77

. 1830

- "Father Roujol"

87

. 1809-1833 - M. Comte.The King's Conjurer

95

.1800-1832- Olivier, Conjuring Professor of Paris

111

. 1830

- A Marriage of Love During the July Revolution

117

. 1831

- The First Son

120

. 1831-1832 - The Componium

123

1832-1835 - A Long Depression

126

1833

129

- Giovani Bartolomeo Bosco

. 1835-1836 - The Fall of the House of Houdin

137

. 183""-1844 - The Mechanician and the Watchmaker

141

. 1837-1844 - The Salon Conjurer

153

. 1842

- The Little Parisian Curiosity Shows

160

. 1843

- Philippe Talon, known as Philippe

163

TT . 1840-1846 - Vaucanson's Duck, Von Kempelen's Chess Player, and Robert-Houdin's Writing and Drawing Automaton

169

. 1843-1844 - A Cascade of Mourning and A New Marriage

181

. 1844

187

- The Exposition and Phineas Taylor Barnum

Notes to Act rr

• Act

195

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1844-1845 - The Big Leap

219

. 1845

- The Secret Machinery of the Theater

235

. 1845

- Robert-Houdin's Soirees Fantastiques

245

.1845-1846- Second Sight and The Inexhaustible Bottle .1846

- First Foreign Tour and the Conjurer Louis Courtois

259 /

.1845-1852- Promotion and Advertising

281

.1847

287

- The Fortune-Teller Alexis Didier

. 184~-1848 - The Ethereal Suspension

291

. 1848

297

- Moreau-Sainti - Andre Voisin

. 1848-1849 - Revolution in France and Triumphs in England

307

. 1849-1851 - Return to Paris; Pierre Etienne August Chocat, known as Hamilton .1850

- The English Connection or the Legrand Trial

335

. 1851

- Letter on Education; Shows and Children

347

. 1851

- Roberti de Brescia, De Linsky, Deveaux, Berneuil, and The Electric Light

. 1852

- Farewell, My Dear Parisians"

. 18524853 - The Final Flames •

327

351 355 368

Notes to Act III

383

<& I n d e x o f N a m e s

417

Acknowle / would like to thank: Monsieur Andre Keime Robert-Houdin, great-grandson of the illustrious conjurer, who generously opened his family archives and whose wise and objective advice was a great help to me; Baroness Reille for her confidence in me in sharing the precious, intact archives of Robert-Houdin, which were the basis of this work; My friends Georges Proust, Pierre Mayer, and Christine and Didier Moreau (Morax), highly skilled collectors and magicians whose support and constant participation in all levels of this long adventure have proven to be, as always, essential and important; facques Voignier. who consented to preface this work and whose remarkable erudition I solicited on many occasions, and who allowed me to include in this essay some of the rare, unpublished documents in his collection; Mme. Madeleine Malthete-Melies and Mme. Antoinette Marteret, as well as Mr. David M. Baldwin, Mr. John Gaughan, Mr. Volker Huber, Mr. Ken Klosterman, M. Marcel Laureau, and M. Frangois Voignier, whose collected pieces are among this biography's most beautiful illustrations; Mme. Tania Bonin, M. Raymond Bourgeat, Mr. Mario Carrandi, M. Richard Chavigny, M. Gerard Comte-Offenbach, M. Jacques de Drouas, M. Jacques Echinard, Mme. Flude. M. Pascal Friaut, Mme. Jane-Louise Gabillard, M.Jean Garance, Mr. Ricky Jay, Mme. Florence Jeantet, M. Jean-Claude Landon, M. Dani Lary, M. Gilles Mageux, Mr. Jay Marshall, M. Jean-Luc Mutter, Mme. Monique Nemer. M. Jean Regil, M. and Mme. Roger and Eva Rouet (RogelloJ, M. Philippe Saint-Laurent, M. A.H. Saxon, and M. Philippe John Van Tiggelen for their efficient and friendly help; Gerard Kunian, Professor Wonderfool, magician and also particularly competent documentarian whose support and sense of humor were appreciated during certain "investigations" which we carried out together; Anne-Marie Terranova for her superb photographs; Claudine Camors, my precious assistant, who deciphered and typed the innumerable successive versions of the manuscript of this work for six years without ever losing her smile; Richard Vollmer, whose books have brought the best texts of American magicians to the French public and who agreed to supervise the American translation of this work; and

Jean-Guy Fechner, my brother and indispensable alter ego, who contributed his time and talent for the 1200 iconographic elements of this biography, which he scanned and restored with precision and respect, and which Roger Faloci sumptuously "st

dgements I also wish to thank the following libraries, associations, archives, and public institutions, as well as their amicable curators: Bibliotheque Nationale, Archives Nationales, Archives Departmentales de Paris, Bibliotheque de I'Arsenal, Conservatoire des Arts et Metiers, French Association of Research in Watchmaking, Bibliotheque Historique de la Ville de Paris, Service Historique de VArmee de Terre, Bibliotheque du Musee de VArmee, Musee de la Police, Archives Paroissales de I'Eglise Saint-Roch and Eglise de la Madeleine, Bibliotheque Sainte-Genvieve, B.P.I. (Centre Pompidou), British Embassy Library in Paris, Archives Nationales dAix-en-Provence, Bibliotheque Saint-Charles and Archives Municipales de la Ville de Marseille. Archives Departementales des Bouches-duRhone, Archives Municipales et Departmentales de la Ville de Bordeaux, Musee Paul-Dupuy de Toulouse, Bibliotheque Abbe Gregoire and the Chateau de la Ville de Blois, Archives Departementales du Loir-et-Cher. Archives Departmentales du Loiret, Archives Departmentales de la Somme in Amiens, Bibliotheque Royale Albert ler de la Ville de Bruxelles, Musee Instrumental du Conservatoire Royal de Musique de la Ville de Bruxelles, Biblioteca Nazionale Braidense in Milan, Foreign Office London, United Kingdom Public Record Office, Kew Richmond-Surrey, and the Harry Ransom Humanities Research Center, University of Texas, Austin. I would like to express my gratitude to them all. The American edition of these works was made possible thanks to : William Kalush, who has greatly proven his friendship by consenting to be my first American reader and who devoted much erudition to the early versions of the translation of this biography. His wise comments and suggestions were invaluable help to me. Thank you with all my heart, dear Bill. My thanks also go to Richard Kaufman and David M. Baldwin, whose encouragement and advice proved to be both essential and precious, and to Todd Karr. who applied his remarkable editorial talent to the translation of this book to ensure it was as faithful as possible to the letter and spirit of the original version. Without Todd Karr's perfect knowledge of my native language, his attention to detail, and his constant efforts in the release of this biography, this book would never have been published in this form in the United States. I ivould finally like to add that, no matter what the extent or quality of his discoveries, any author interested in the life and work of Robert-Houdin owes a great deal to the brilliant writings and works of former researchers and especially to the works offohn Braun, fean Caroly. fean Chavigny, Father Chesneau, Max Dif Camille Gaultier, Dr. Guy Henry, fean Hugard, William Manning, Georges Melies. Raynaly. Henry Ridgely Evans, Robelly, Maurice Sardina, Michel Seldow, and Sam H. Sharpe, to whom I am • and to the three H8bts °fm}' ufe happy to render a proper homage and to whose Solange. Alexandra, andMaxime. Christian Fechner memory I respectfully pay tribute here. December 2002

f you ask the public who RobertHoudin was, the answer will probably be: he was a great magician from the nineteenth century, famous for his automata and magic tricks. Ironically, he is sometimes confused with Houdini! At times, he is credited with wild exploits which he never performed, such as destroying the watch-chronometer of a cardinal of the Roman curia with a mortar and pestle, and then miraculously finding it intact in the Pope's pocket. For today's initiated public and especially for magicians, RobertHoudin was much more: he was simultaneously a highly skilled mechanician, a genius creator in the field of illusions, a savant recognized by his peers, and a writer whose success has lasted for over 150 years!

I

These are quite a few qualities for one individual, you will say. Well, it is true, and Christian Fechner's book. The Magic of Robert-Houdin, "An Artist's Life," is proof of this, because his plan is to reveal all aspects of the personality and genius of this exceptional man. Robert-Houdin.

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The reader cannot realize how much work and time must be spent to gather historical elements essential for the narration of a lifetime as full as that of Robert-Houdin. Although Jean Ghavigny, an archivist and man of letters, made way for this by writing Robert-Houdin's first biography more

than fifty years ago, Christian Fechner's book is a monument. It is both historical through the abundance of its original documents and an iconographic landmark due to the quality of its illustrations, of which a large part have never appeared in print. For several years, Christian Fechner has consulted national archives, notary documents and accounts, period newspapers, advertisements and playbills, and private archives, especially those of RobertHoudin's family, not to mention the Tablettes journalises de Robert-Houdin (Robert-Houdin's daily notes), which he discovered and which we get a first glimpse at here. These are precious notes in which the artist confided his impressions and daily activities. One must therefore not be surprised that the result is equal to the research. On every page, new unpublished documents are examined: some refute accepted ideas or groundless affirmations that have developed over the years. With solid logic, Christian Fechner "starts over from zero." He returns to the sources and original documents. In this manner, we learn of Robin's real role (not very positive) with respect to Robert-Houdin and his other colleagues. We discover when Andre Voisin set up as a trick manufacturer on Rue Vieille-du-Temple, thereby ending various

speculations published in magic literature as to his real relationship with RobertHoudin. Each one of Robert-Houdin's contemporaries is portrayed in his proper place, in the context of the time, thus highlighting the unique originality of the artist and conjurer's creations. The Magic of Robert-Houdin, "An Artist's Life" is also a vast panorama of French magic of the nineteenth century, in which the reader goes from one surprise to the next in an aura of mystery. We learn the importance of Louis Apollinaire Comte, the Conjurer of the Three Kings (Louis XVIII, Charles X. and Louis-Philippe), an important personality whom Robert-Houdin very quickly made his ally. The reader also discovers Robert-Houdin's initiator into magic, who was perhaps a mysterious person from the Bordeaux region and whose role still remains enigmatic. Another surprise (and this is a big one) concerns Robert-Houdin's return to the stage to replace Hamilton, who was on tour (but the reader will discover the real reason!). Finally, Christian Fechner corrects an important mistake, reprinted by all of Robert-Houdin's commentators, based on Jean Chavigny's book; although Robert-

Houdin lived in The Priory in St. Gervais after selling his theater to Hamilton, it was not at all a place of retirement to permit him to devote himself entirely to scientific research. The reader will realize to what extent this little-known period of RobertHoudin's life was, on the contrary, very rich in all sorts of creations. It was not exempt from "theatrics," literally and figuratively. The scientific and artistic activity must not make one forget the man. Who was Robert-Houdin really? The reader will discover a deeply human and generous man. who suffered and was put through tribulations by life. He lost several of his children at a young age and his first wife, Cecile Eglantine, died at the age of thirty-two. She who gave him half of his artist's name never saw him on a stage. The Tablettes journalieres show a Robert-Houdin completely devoted to his family in spite of his numerous occupations. Robert-Houdin revisited! Yes, of course, but an entirely new Robert-Houdin. closer to us. as the reader will discover. Thanks to his relentless work and driving passion, Christian Fechner today gives us this biography, which, I am certain, is the definitive work on Robert-Houdin.

Jacques Voignier is a Ph.D. in nuclear physics, historian, and emeritus collector of magic art. He skillfully presides over the activities and works of the A.F.A.P. French Magic Collector's Association.

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1700-1805 — From Louis Robert to Jean Eugene Robert • p. 17 • 1805-1823 — A Confiscated Childhood and Adolescence • p. 18 • 1823-1825 — From Dr. Carlosbach to Maitre Pardessus • p. 23 • 1825-1828 — From Maitre Roger to Jean Martin Robert • p. 28 • 1826-1828 — The Apprenticeship of the Artisan Watchmaker and the Aspiring Magician • p. 33 <* The Mysterious M David of Bordeaux • p. 34 • 1828 — The Count de Grisy, French Conjurer, known as Torrini • p. 40+ 1828-1829 — Return to Blois, Miss Houdin • p. 51 • Notes to Act I • p. 59

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Illustration 6 - Birth of Jean Eugene Robert-Houdin. First page of the future conjurer's birth certificate.

16

Aci

I

From Louis Robert to Jean Eugene Robert We cannot be certain of the region of France from which Louis Robert and his wife Francoise Loyer came. In 1700 they settled in the peaceful city of Blois, where their son was born the following year. Like his father and grandfather before him, the young boy was named Louis, [i] As soon as he was old enough to work, Louis learned the trade of pastrycook with Maitre Jean Leroy, whom he succeeded and whose daughter Marie he married on May 20, 1723. Marie Leroy died a few years later. Louis Robert then married Jeanne Martinet [2] on April 26, 1735- They had a son named Toussaint [3] who wisely followed the paternal footsteps in the bakery and who married Marie Anne Millet M on June 21, 1763- The two children of this union probably did not show interest in or a predisposition for the trade of pastrycook. The eldest, Jean Toussaint, [5] who seemed destined for the bakery, became a cloth manufacturer, while his younger brother. Prosper. M chose the profession of watchmaker. [7] The Robert brothers set up shop in the Carroir du Malassis, where the most skillful artisans of the little town resided. The younger brother's house and boutique were situated at 68, Grande Rue, and the business of the elder was just across the street at number 63. Prosper Robert earned his certification as a master watchmaker, and Jean Toussaint's business soon extended beyond the canton. Of the two brothers, Toussaint married and became a father first. Silvine Alloncle, [»] his

spouse, bore him a son, Jean Martin, [9] on Frimaire 11, year VII. The marriage of Prosper Robert, age thirtythree, to Marie-Catherine Guillon [10] on Nivose 20, year VIII of the French Republic -January 10. 1800 - caused much ado as the master watchmaker's father-in-law, Jacques Guillon, [11] was one of the twenty-four notables of the city. This former carpenter, son of a notary serving the aristocracy, had left his native town of Peysac, a diocese of Poitiers, with his talent and his tools in hand, among other riches, and owed his tidy fortune to a rare business sense. In 1769, having become a master carpenter, he married Marie Francoise Billon, [12] the daughter of his former employer, Nicolas Laurent Billon, "building contractor in carpentry for the king." Jacques Guillon knew how to take advantage of the opportunities at the royal site of the Chateau de Chambord and, in 1773, shortly after the death of his wife, settled in Blois with Francoise Marie, [13] his daughter. He then wed Marie-Francoise Maulny, N] with whom he had two children: Jean Francois, who became a merchant in Orleans, and Marie Catherine, who was to give birth to the most famous offspring of the Robert lineage. Jacques Guillon - contractor, councilman, deputy to the mayor of Blois, and zealous servant of the King of France - was a clairvoyant man; he anticipated political events by using his

17

ROBERT-HOUDIN

Carroir du Malassis. In a century where one did not dream of marrying outside of one's own social class and where it was believed that, to form a harmonious couple, the spouses should have comparable wealth, this union, which nonetheless seemed like a marriage of love, was quite surprising. We do not know exactly what Jacques Guillon thought of his son-in-law, especially since he could have easily chosen a very desirable match for his daughter's twentieth year. The family chronicle is silent on this point, but a tender letter from 1800. addressed to Prosper by Marie Catherine, clearly shows us the romantic feelings of the young bride, who signed with lovely handwriting: "femme Robert" ("Mrs.

Illustration 7 — Robert-Houdin's childhood home in Blois. Picture taken Sunday. April 3. 1949 during the speech of Dr. Dhotel, president of the Association Francaise des Artistes Prestidigitateurs. for the ceremony placing a commemorathe plaque on the house where Robert-Houdin was born The store of the artist's father, the Blois watchmaker Prosper Robert, v, as situated at the location of the jewelry store on the right-hand side of the photograph.

Robert"). [15]

Their first son was named Prosper, [16] and his. sister was Marie Celine. [17] The master watchmaker's happiness would have been complete had not each of these pregnancies severely diminished his wife's health.

talents to serve first the Republic, then the Empire, to benefit both his co-citizens and his business ventures. If his daughter's marriage ceremony sparked much public curiosity, it was not only because of Marie Catherine's fragile beauty, which some said was a sign of her poor health, nor because of the flattering reputation of the artisan from the

The birth of the future conjurer Jean Eugene Robert on Frimaire 16, year XIV - Saturday, December 7, 1805 t18] - took place at four o'clock in the evening in a room on the third floor of the family home.

A Confiscated Childhood and Adolescence thanks to or because of numerous humorous, dramatic, or private events. His talent, personality, patience, and charm were already developing. The surprising maturity of the young boy foreshadowed the young man who, at barely eighteen years of age, would plan the path of a career he intended to pursue in a brilliant, influential, and profitable manner.

In his memoirs, Robert-Houdin dedicates only sixteen pages to the period ranging from his birth to the end of his studies. [19] Nonetheless, his childhood and adolescence, so quickly glossed over by the author of the Memoirs, must have permanently influenced him. Indeed, an irresistible vocation took shape at a very young age, and nothing and no one could hold it back,

j8

ACT

I

We know that Prosper Robert was a skillful artisan [20] and a hard worker whose main ambition was to provide a decent life for his family, and whose other goal was to give his children the possibility of climbing the social ladder. Paying for studies was a heavy burden which the watchmaker from Blois was ready to accept with its inevitable sacrifices, because he wanted his eldest child to have a serious profession. After marrying off his daughter, he wanted to entrust his boutique to Jean Eugene at the end of his apprenticeship. These neatly packaged destinies were shattered by the death of his son Prosper at the age of two. After this crisis, his wife would never be the same again and her health rapidly declined. She became bedridden, had periods of suffering interrupted by short remissions, and became dangerously thin. Marie Catherine Robert passed away at twenty-eight years of age on March 27. 1809. Jacques Claude Metivie, [21] her half-sister's spouse, a court clerk, was named surrogate guardian of the two children, who were still in shock and had been shuttled from grandmother to cousin and from aunt to neighbor. Marie Celine and Jean Eugene suffered from these frequent separations from their father, who could not handle his domestic affairs and those of his business at the same time. A few months later he had to consider remarrying. On January 19, 1811, he married Marguerite Rosalie Metivie [22] - twenty-five years old, daughter of Prosper Robert's neighbor Pierre Rene Meth ie, a silversmith merchant on Grande-Rue, and the niece of his two children's surrogate guardian. Either through pure coincidence or a cause-and-effect relationship, at the moment when destiny of-

Illustration 8 - Marguerite Rosalie Metivie (1785-1872). Prosper Robert's second wife and Robert-Houdin's stepmother, who raised him as her own son This photograph was taken about 1868 by the Blois photographer Mieusement. to whom we are indebted for several very beautiful images of RobertHoudin

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ROBERT-HOUDIN

former commander [23] in the armies of the King and the Emperor, taught him some little tricks and sleight-of-hand stunts that prisoners used to fight boredom. Eventually, his father's workshop became his preferred playground, and the workbench tools his first toys...and his only friends. He began to be seen as a child prodigy and amazed many with his learning capacity and his talent for applying what he was taught. This is how Robert-Houdin describes the beginning of his calling:

Je venais me retpemper a l'atelier patepnel. (P. 18)

Illustration 9 - Robert-Houdin in his father's workshop. Engraving from La vie dun artiste du XIX' siecle. Souvenirs personnels du celebre prestidigitateur RobertHoudin, Maison du Bon Livre. Lille - CEuvre Saint-Charles, Grammond/Belgium.

fered him a second mother, Jean Eugene fell gravely ill. He had just turned five. At a time when infant mortality was fearsome, very little chance of survival was expected for Jean Eugene, who was confined to bed for more than a year. Robert-Houdin does not enlighten us about either the nature or the duration of this illness, which he described as "dangerous" and followed by a "long convalescence." At age six, the child had to remain shut away at home during a convalescence whose length the doctor could not specify. He was deprived of outings, games, and friends his age, but for several years family members came to his home to share some of their knowledge with him. In order to distract the boy, Prosper Robert's friend Rene Bernard,

I am inclined to believe that I came into the world with a file or hammer in my hand, for, from my earliest youth, those implements were my toys and delight; I learned how to use them as other children learn to walk and talk. I need not say that my excellent mother had frequently to wipe away the young mechanic's tears, when the hammer, badly directed, struck my fingers. As for my father, he laughed at these slight accidents, and said, jokingly, that it was a capital way of driving my profession into me, and that, as I was a wonderful lad, I could not but become an extraordinary workman. I do not pretend that I ever realized the paternal predictions, but it is certain that I have ever felt an irresistible inclination for mechanism. [24]

Jean Eugene's bright outlook on his talents would not change Prosper Robert's determination to have a well-read son and, having transferred the ambitions he had for his deceased eldest child onto his youngest, he decided to remove his son from the theater of his early exploits. Knowing from experience that the profession of watchmaker rarely led to fortune, he was convinced that the child's gifts would be better applied towards studies, so he enrolled him in boarding school as soon as his son's health was no longer at risk. The young boy thus went directly from a childhood in forced isolation to the confinement of boarding school. Jean Eugene learned his first lesson in freedom...trapped within the walls of a school.

ACT I

When he left, he departed Blois for junior high school in Orleans and was registered as "local student in sixth grade." The young man was thirteen and a half - and not eleven [25] and found himself back in another boarding school. The late date of his admission to this school in Orleans puts the length of his illness and his convalescence at three or four years. Jean Eugene Robert turned out to be a good student and his name appeared in the school's records of achievement and awards. Admitted to junior high in the second half of 1819, he won "first prize in history" in 1820, and a "second certificate of translation" and a "second certificate of Latin translation" in sixth grade with Professor Birot. In August 1821, he won the "second prize in Latin translation" in seventh grade with Professor Feraud. In August 1822, he was awarded the "first prize in Greek translation" in eighth grade with Professor Lurat, and in August 1823 the "third certificate of Greek translation" in ninth grade with Professor Marmontel. Among the documents of the junior high of Orleans, part of the Departmental Archives of the Loiret, the lists of awards from this period have been located only for the subjects of translation, Latin, Greek, and history. It is therefore more than likely that Robert-Houdin,

QUATIUfiME M. L U R A T , Professour.

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1" Prix. Jean-Eugene l\obeiit de Blois, olevc commim, 2* 1'vix. Louis-Alexamhe Feurhcr, deux f'lis nonime. j " Accessit. J. Leonarcl-nepaire/>y»Mne, line f. nomnie. 2° Jccessit. Casiraii-Etienne Guirin, deux fois nomine, 5 ' Jccessie. Louis-Anloine Fauvckt-Ac C/uaioniuiiv, line fois nomine. 4" Jccessit. Florent BeniieT, une fois nomme. Illustration 10 - Extract from the honor's list of the Orleans junior high s c h o o l for the year 1822. (Archives depariementales du LoireO

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already honored in these subjects, had obtained other prizes and certificates of merit. The name Jean Eugene Robert is not in the subsequent records for achievement in 1824 and 1825, which seems to support the hypothesis that, in spite of his good grades, the young man must have left the Orleans school after ninth grade with the equivalent of a grade-school diploma. Moreover, Robert-Houdin did not specify - and this is probably deliberate - whether or not he obtained his baccalaureat. On the other hand, he did state that he was eighteen years old at the end of his studies: "At length, the moment arrived for my leaving college; my studies were completed - I was eighteen years of age." He was really seventeen and a half. In reading this passage in his memoirs, the reader, not knowing at what age Jean Eugene started school in Orleans, has the impression that, being a serious student, the young man obtained his diploma at the end of his studies. The author, however, avoided confirming this subliminal suggestion and played on the unsaid in order to maintain throughout his memoirs the exemplary tone that is one of the main characteristics of his writings. Concerning these four or five years of junior high school. Robert-Houdin shared some amusing anecdotes studded with moral considerations about bad students, whom he advised not to trust "because in order to hide their own bad conduct, they strove to make all weak characters their accomplices." Such thoughts confirm his desire to appear exemplary, as we have mentioned. The Memoirs' author nonetheless let us believe that this scholastic period was less than stimulating: "Let who will sing the praises of school life; for my own part I can safely state that, though I was not averse from study, the happiest day I spent in our monastic seminary was that on which I left it for good." [26] Robert-Houdin's youth seems to have been characterized by a lack of freedom and the strict

ROBERT-HOUDIN

repression of his artistic aspirations. On the other hand, his years of struggle against illness, his forced solitude, and his strict upbringing helped make him mentally and physically mature. He learned to keep his feelings to himself and be the master of his own body, and although he had a fragile constitution his entire life, he submitted it to an exhausting work schedule. His intelligence and thirst for knowledge blossomed during his school years. He discovered the ancient authors and began to develop his insatiable interest in science and literature, which would remain with him throughout his life. Paradoxically, Robert-Houdin's difficult beginnings forged an unswaying optimism in himself, and if doubt and uncertainty also accompanied him along the way, he fought their effects by dazzling his contemporaries and

making them laugh. Throughout his life, Robert-Houdin was never the hare of the fable. Armed with infinite patience, he moved forward slowly and surely, and, like the reed, knew how to bend but would never break. During these early years, which the author recalled through some carefully chosen happy episodes, he forged his solid determination, part of the complex and seductive personality that only a few intimate friends knew but were never able to unravel. A friend of the great English novelist Charles Dickens, whose beginnings in life were also difficult, said: "He had in his character a vein of hardness that was like an iron bar in his soul." This observation could perfectly apply to Robert-Houdin, and would not be the only point he had in common with the famous author. L2V]

Illustration 11 — Small student chest used by Robert-Houdin. This little chest in which the schoolboy carried books and prcnisions was used by Jean Eugene Robert throughout his studies at the Orleans junior high school. (Chaleau de la \ llle de BlolsJ

11

ACT

I

From Dr. Carlosbach to Maitre Pardessus One can imagine how happy the young man felt upon returning to his hometown. Curiously, he did not know it as well as the surrounding countryside, where he had spent his summer vacation every year, at Grouets, near Blois, in his grandfather's cottage, La Guillommiere. [>»] He used his newly found freedom to stroll through the city streets, which he was eager to discover, having become, he confided, the 'Teal amateur 'penny-aliner' of [his] native town." According to his memoirs, it was during an afternoon of October 1823 that the author discovered a new show, which was nonetheless fairly common at the time. On the promenade or esplanade that borders the Loire, a group of curious people had just gathered around a traveling performer who had been trumpeting to attract customers. The man, whose accent identified him as a native of the Aquitaine region of France, made a nonsensical speech before showing his skill in per-

forming a Cups and Balls routine. [29] Jean Eugene was very impressed by this traveling conjurer's trick and at the end of the little show did not hesitate to purchase, for ten shillings, a collection of secrets that the artist offered his spectators. After the young man had feverishly devoured the few pages of the little pamphlet, his disappointment was as great as the wonder that the conjurer's show had sparked in him. Except for the juggler's pompous chatter, fully reproduced in the instruction booklet, the promised explanations of the mysIllustrations 12 and 13 - The Conjurer and his teries of the art of conjurequipment by Gerard Seguin. ing were so deliberately From the work by Frederic Goupil. Les aventures de scrambled that, no matter Jean-Paul Choppart. Paris, JJ. Dubochet et Compagnie, how hard he tried, he 1845could not comprehend them. Determined to know more, Jean Eugene went looking for the conjurer, who had presented himself under the name of Carlosbach, but the innkeeper who had lodged him angrily informed Jean Eugene that the illusionist had just vanished!

23

ROBER r-HOUDIN

: J

Les raalins ne son! pas toujours Ics plus malms Illustration 14 - Engraving by L. Sherer. From Les Delassements comiques by L Sherer. Paris, J Langlume. Rue des Poite\ins. 2 (n.d.).

In his memoirs, Robert-Houdin provided a picturesque description of Dr. Carlosbach, whose name has not otherwise been noted by magic historians but who represents a perfect example of the wandering conjurers found in public squares in the cities and towns of Doulce France at the beginning of the nineteenth century. Through this evocative tableau, Robert-Houdin brought his readers into the universe of magic, the wandering conjurer being its most humble representative but not the least skillful. [30]

Until adulthood, there were undoubtedly many battles between father and son over the young man's career choice. He did not emerge victorious from all these fights and often had to submit to the rules imposed by the paterfamilias. If we closely follow the memoirs of Robert-Houdin, it is difficult to understand the attitude of his father, who was so delighted by his heir's talents and proudly considered him to be a veritable child prodigy, but who then brutally decided to send him to high school without allowing him to complete it - and for-

24

ACT I

bade him to enter his workshop. Having been unable to convince his father of the validity of his vocation for mechanisms, Jean Eugene began work as a clerk at one of the best notary offices in Blois, that of Maitre Pardessus, Prosper Robert's notary. [31] With his beautiful handwriting, his task from morning till night was to copy the certified papers and decisions: monotonous and tedious work, far removed from the inventive ideas that "continually occurred [to him]." The little event that would tear him away from the melancholy of his position as unpaid copy clerk appeared in the unexpected form of a mechanical snuffbox recently entrusted to Prosper Robert for repair. On its elegant cover decorated with a landscape, one could enjoy a tiny automated scene that began to move when a button was pushed. A hare appeared in the foreground and headed toward a clump of grass where it had decided to graze. A few seconds later, a hunter walking with his dog entered into the miniature scene, stopped when he saw the game, and shouldered his rifle. A little gunshot-like noise re-

sounded, whereupon the hare ran away, pursued by the dog. and disappeared into the thicket.

RECUEIL DE NOUVEAUX

TOURS

PHYSIQUE AMUSANTE ET DE SECRETS TJT1LES M DEMONTRItS AVEC CLART1S E T PRECISION

AVIS AUX AMATEURS.

\t

Le sieur FELIX, Escamoteur dc Paris , uj JJi vend da Savon a di lacker , et Cire pour Its v W Corsauxpieds; demon/re djoucr des Gobi lets *# v el auties Tours dc societe , a un prix tris- T V modele.-... II do/me des diva lissemcns cliez JB ^ US persomies qui le font demander, en U «5 1\ privenant deux heures d'avauce.

s A. t y o n , de WmprimenV de } . M. BARRET, f\ pl^-e des Teneaux. jfo

Illustrations 15 and 16 — Booklets of Sieurs Felix and Louis.

I

L ffi . L

DE PHYSIQUE AMOSANTE T

QL

c

COMBIKAISONS

DE M A T H E M A T H J U E " ,

D«oilraa?ecclartc,

il IT

li

j&

i

N I. — La Tahatiere magique. Vous failes un trou sous la taboliere et en faisant metlre la piece dedans, vous 1'eiileiez de maniere que Ton ne voilrieaj si Ton veut que la piece soil dedans, on la fait sonner; et si Ton vouE qu'clle n'y soit pas, vous 1 empechea dc .sonner; enMiite, vous la laites sorltr par le trou de la lahatiere, et le lour est lait. No 11. — La Tour des Olives. Ayez trois petifes olives en bois, perce'es d'un bout a Paulre, et deux pelils rubans que vons pliez tous deux par le milieu, puis enfilez-les dans les olives et croisez les deux rubans 1'un dans l'autre , et le renfermez dans l'olive du njilieu ; ensuite, donnez les rubans a tenir a quelqu'un en les priant de vous remetfre un bout de chaque ruban, apres quoi les ayant, vous

This precious object, whose owner seemed quite attached to it, tantalized the curiosity of Jean Eugene, who decided in the greatest of secrecy - since he was persona non grata in his father's workshop - to create a detailed list of the mechanisms of the automaton snuffbox. Enthralled by these ingenious workings, Jean Eugene wondered if he could carry out a thrilling plan whose technical difficulties he believed he had solved. Waking every day well before sunrise for six months, the young man silently went down into his father's workshop to discreetly work. This undertaking was inadvertently aided by his father, who, according to the author of the Memoirs, was not an early riser. One might expect Robert-Houdin to have added deafness and near-sightedness as other alleged handicaps of his unobtrusive father, who, during the entire semester needed for the manufacturing of the mechanical snuffbox, or, more precisely, its duplicate, saw nothing and was not star-

ROBERT-HOUDIN

tied by any suspicious noise coming from the workshop, where his son worked before punctually leaving to go sit at his clerk's desk at Maitre Pardessus' office:

Illustrations 17 and 18 - Outdoor Conjurers by Victor Adam.

The joy I experienced in finding my mechanism act was only equaled by the pleasure I felt in presenting it to my father, as an indirect and respectful protest against the determination he had formed as to my choice of a trade. I had some difficulty in persuading him that I had not been assisted by anyone in my work, but when at last I removed his doubts, he could not refrain from complimenting me. "It is a pity," he said thoughtfully, "that you cannot profit by your turn for mechanism; but," he added, suddenly, as if seeking to dispel an idea that troubled him, "you had better take no pride in your skill, for it may injure your prospects." [32]

26

ACT

I

Illustrations 19 and 20 Outdoor Conjurers.

In his memoirs, Robert-Houdin always respects the moral codes of his time, but he also defends the image, ambitions, and dreams he had as an impetuous young man. full of imagination, audacity, and a too-long pent-up energy. To do so, Robert-Houdin often exaggerates in sketching the characteristics of his father, who is portrayed as blind to all his son's w ishes and who makes us smile when he warns his son that his talents, which the reader knows will bring fortune to Robert-Houdin, could slow down his progress! One must not see any sort of post-mortem vengeance here. It is simply one element in the careful construction of a narrative whose author has a deepseated need for the reader to believe in his dreams.

27

ROBERT-HOUDIN

-

From Maitre Roger to Jean Martin Robert Providence came to the employer's "behavior torescue of Prosper Robert wards him" in the office. in the form of a country This notary, who was notary's honorable propo"the personification of sition to his son. Other probity," was a trusted than the fact that it alcolleague of the Duke lowed Jean Eugene to d'Avaray, whose estate he move from the situation of managed. [34] Most of his unpaid clerk to that of time was spent handling "second clerk" with a the Duke's affairs besmall salary, this offer may cause the notary transachave given his father hope tions were few and far that the distance from his Illustration 21 The Chateau of the Duke d'Avaray between in Avaray, and Jean Eugene Robert's room was located directh workshop would dispel his clerks completed the above the grate protecting the chateau's premises. once and for all the irrework very quickly. For sistible call of mechanisms the first time in his life, in the fertile mind of his heir. Jean Eugene had free time that he did not know how to spend, and his employer helped This unexpected promotion flattered the him by allowing him to use the library. The young man's pride, although he quickly nonew clerk had the good fortune to discover ticed that his employer had embellished the Linnaeus' treatise on botany and acquire the job description. His role in the bureau was rudiments of that science. [35] simply that of office boy, which meant running errands and delivering and picking up Upon arriving in Avaray, Jean Eugene had packages; the first and only other clerk sufpromised himself - "as much to please his faficed to take care of the rest of the business. ther" as to "scrupulously fulfill [his] duties in [his] new office'' - to no longer indulge in his These menial tasks did allow Jean Eugene passion for mechanisms, whose "irresistible to earn a bit of money, the first his work had attraction" he feared. Thus, after having -'relibrought him, and this made ''the pill less bitgiously kept his word," Jean Eugene had reter to swallow [for his] self-esteem." The ausolved to become a notary and had every reathor of the Memoirs describes his employer, son to believe, he confided to his readers, that Maitre Roger, [33] as the "best fellow in the by entering this profession "[he] should pass world" whose demeanor, "full of kindness and through all [his] grades creditably and somesympathy," had attracted him the first day and day, in [his] turn, become M. Robert, solicitor with whom he was quite happy because of his

28

ACT

I

they swept away his fatherly ambitions, they also resolved his doubts. He declared to Maitre Roger: —"Well,"' he said, ''as he absolutely desires it, let him follow my trade. And, as I cannot instruct him myself, my nephew, who is a pupil of mine, will act towards my son as I did towards him." [37]

in some country town." Chance or divine will decided otherwise and his "stern resolutions were routed by a temptation too powerful for [his] courage." His stern resolutions crumbled before an aviary decorating the office that was filled with a flock of canaries. As office boy, the new employee was in charge of its upkeep, which he maintained with such zeal that it ended up occupying all his time. In order to enliven the somewhat monotonous existence of the numerous winged guests in this immense cage, he began building mechanisms he had invented in school. The birds obtained their food with the help of little wagons they pulled with their beaks. They were given automatic showers and baths, and certain perches held tempting treats and harmless traps from which the other canaries, drawn to them from a nearby branch, would free them.

Jean Martin Robert therefore became Jean Eugene's teacher in mechanisms and watchmaking. To Robert-Houdin, this relative, seven years his elder, was much more than a teacher. He was one of his dearest friends, certainly his only confidant, and, later on, his right-hand man. Jean Martin Robert later managed the many real-estate assets acquired by RobertHoudin and. in collaboration with him, carried

Although visitors admired these ingenious mechanisms, Maitre Roger justifiably reprimanded his young clerk for spending his time in such an unorthodox manner and admitted that he had doubts about the young man's future as a notary. Jean Eugene poured out his heart to his employer and revealed his frustrated ambitions and his calling for mechanical work, which his father did not seem to want to understand or accept. Touched by the sincerity of the young man, the notary resolved to have a talk with the father. During the six months that his son was an office boy in Avaray - from June to December 1825 - Prosper Robert had sold his watchmaking business to his nephew Jean-Martin Robert [36] around September 1825 and had retired to his cottage, La Guillommiere, in Grouets. Thanks to the warmth of his plea, Maitre Roger's gesture was crowned with success, and the artisan, by this time retired, finally gave in. Prosper Robert understood the good notary's wise arguments, and although

TOURTI

Illustration 22 - Jean Martin Robert (Year VII-1880). Jean Eugene Robert's watchmaking and mechanics mentor. Robert-Houdin affectionately nicknamed this relath e and devoted friend "Cousin Robert." The workshops of photographer Emile Tourtin. who signed this image, were situated directly above the Theatre Robeit-Houdin. 8 Boulevard des Italiens. in a space previously occupied by the famous Disderi.

29

ROBERT-HOUDIN

in the midst of discussing an important deal with one of his clients, took two volumes off the shelves, gave them to Jean Eugene, and offhandedly dismissed him. When the young man returned home to absorb the Traite de I'Horlogerie, he discovered with surprise on the cover page the words Amusemens des Sciences (Scientific Amusements). Perplexed, he glanced over the table of contents and read these strange phrases: "Demonstrations of card tricks...Mind-reading... Cut the head off of a pigeon and resuscitate it." In his haste, the bookseller had made an error and given him the two volumes of the Dictionnaire Encyclopedique des Amusemens des Sciences mathematiques et physiques (Encyclopedic Dictionary of Scientific Amusements of Mathematics and Physics) instead of the works of Berthoud. Robert-Houdin confided to us in his memoirs: "Fascinated, however, by the announcement of such marvels. I devoured the mysterious pages, and the further my reading advanced, the more I saw laid bare before me the secrets of an art for which I was unconsciously predestined." The author concluded the paragraph with this sentence: "The resemblance between two books, and the hurry of a bookseller, were the commonplace causes of the most important event in my life." [39] This is the point in his Memoirs where Robert-Houdin revealed to his readers the moment he said he discovered his true calling. This date, to be credible, could not be too recent, but didn't the author write "...an art which was, unbeknownst to me, more than a vocation"? Was this really the case? The genius of the construction of the Memoirs of Robert-Houdin, as relentless as it is exemplary, resides partly in the author's masterful use of theatricality while still respecting the narrow context of the moral censorship of his time, which left him so little freedom. It is futile to wonder whether this anecdote took place while he worked in Jean Martin Robert's

out numerous purchases or sales of land and houses in the region. Their close relationship wrongly convinced certain researchers that Jean Martin Robert managed Robert-Houdin's fortune de facto, which is totally incorrect. He never allowed anyone to do so. Jean Martin Robert was a most devoted manager, always stimulating desirable business, and he and Robert-Houdin enjoyed more than forty-five years of friendship based on complicity, trust, and mutual respect. This explains the affectionate and sincere portrait of his teacher, relative, and friend that the author paints in his memoirs: [My father could not have chosen a better man for my instruction, whom I found extremely kind and who combined the benevolence of a friend and the science of a mentor. ] Yet I would not have it supposed I was a model pupil, for I had still rife in me that spirit of investigation, which drew down upon me several reprimands from my cousin, and I could not endure to confine my imagination to [carrying out] the ideas of another person. I was continually inventing or improving. My whole life through, this passion - or, if you will, mania - has held sway over me. I never could fix my thoughts on any task without trying to introduce some improvement or strike out a novel idea. [38]

In ''Cousin Robert," Jean Eugene had an employer who educated him, watched him, and worked to channel his creative energy. He also gave him one particular piece of advice that would change his destiny. In order to further his student's progress, Jean-Martin Robert advised him to consult some authoritative works about mechanisms and watchmaking. The young man did not have to be begged to heed this advice and enthusiastically began to study this subject for which he already had such an affinity. Wanting to study Berthoud's Traite de I'horlogerie (Treatise on Clockmaking). the apprentice went one evening to the bookseller Soudry, who he knew had these works. The merchant,

50

ACT I


/

i»

DICTIONNAIRE ENCYCLOPEDIQUE DES AMUSEMENS DES SCIENCES, MATHEMATIQUES ET PHYSIQUES. Illustration 23 - Title page of Robert-Houdin's personal copy of Dictionnaire encyclopedique, on v. Inch he wrote the following: Volume from which I drew my first inspirations in the art of conjuring (See my memoirs) Robert-Houdin. (Chateau de la Vtlte de Bloisj

period of his youth with the birth of his calling:

shop or in that of Prosper Robert, or even in the offices of Maitre Pardessus or Maitre Roger, because the narrative is so believable that in one sense, it does not matter when the event took place. If one looks at the works of Berthoud and the Dictionnaire Encyclopedique des Amusemens des Sciences Mathematiques et Physiques, it seems logical that confusion would have been likely, and as for the contents of the Dictionnaire - a compilation of books by Ozanam, Guyot, and Decremps - it truly would have been the stuff dreams are made of for Robert-Houdin, who was still a neophyte. [H To avoid blame for setting a bad example for future generations, Robert-Houdin, without appearing to be justifying himself in any way, thus emphasized the fortunate timing of this

31

It may be urged that different circumstances might have suggested this profession to me at a later date. It is probable; but then I should have had no time for it. Would any workman, artisan, or tradesman give up a certainty [an established social standing], however slight it may be, to yield to a passion that would be surely regarded as a mania? [Certainly not.] Hence my irresistible penchant for the mysterious could only be followed at this precise period of my life. How often since have I blessed this providential error, without which I should have probably vegetated as a country watchmaker! My life would have been spent in gentle monotony; I should have been spared many sufferings, emotions, and shocks; but, on the other hand, what lively sensations, what profound delight would have been sacrificed! [41]

ROBFRI-HOUDIN

Illustrations 24 and 25 - Engravings from plates of the Dictionnaire ency elope dique des amusemens

des sciences.

ACT

I

The Apprenticeship of the Artisan Watchmaker and the Aspiring Magician The apprenticeship of the watchmaker lasted nearly two and a half years. The knowledge acquired from his father and now from ''Cousin Robert,'' his father's pupil, constituted the fundamentals of his practice of the art of mechanism, to which he had been so drawn since childhood. And yet Robert-Houdin did not dwell on his progress in that science. The author, however, omitted no detail about the fever that overcame him only a few hours after receiving the Dictionnaire Encyclopedique by mistake, and thoroughly relates how he used the book's precious knowledge. The narrative begins with a tragi-comic episode in which, needing a candle to continue his reading, Jean Eugene decided to steal the oil lamp of a nearby streetlight and was punished for his theft because he ended up setting fire to his best hat! The young man perused the precious encyclopedia for hours and in scarcely eight days learned all its secrets. Although this purely theoretical knowledge opened the doors to the art in which he was to excel, the neophyte quickly realized that without a teacher or any practical insight, his new knowledge would be useless. To know the explanation of a trick is one thing; to know how to deceptively perform it is a difficult exercise of a completely different sort. Paradoxically, the lack of a mentor proved to be fortunate for the author, who emphasized in his memoirs: "I was in the position of a man who attempts to copy a picture without possessing the slightest notion

33

of drawing and painting. In the absence of a professor to instruct me, I was compelled to create the principles of the science I wished to study." Realizing that sight and touch are basic tools of magic, the apprentice trained himself to develop these two faculties. He took juggling classes with a podiatrist from Blois named Maous, M and learned how to juggle with four balls while reading a book. After refining his powers of perception and exercising his fingers, the young man practiced the manipulation of cards and sought to master palming: ''This sleight requires a great deal of practice, for while the hand is held open, balls, corks, lumps of sugar, coins, etc. must be held unseen, the fingers remaining perfectly free and limber." This basic exercise required constant training; he therefore continued his other work while practicing his movements in the vast pockets of his frock coat, which sheltered him from indiscreet stares. This habit of constantly keeping his hands hidden made him appear odd, because no one could possibly know that his cardigan had become somewhat of a rehearsal space. To avoid giving his readers the impression that this new passion made him neglect his job, Robert-Houdin specified in this chapter of his memoirs [a] that he made a special effort not to be distracted in his work or displease his employer, who thus had "only praise for [his] dual qualities of exactitude and diligence."

ROBBRT-HOUDIN

The Mysterious M. David of Bordeaux — Collection of Several Effects of Physique Amusante Mainly those I often perform First notebook: Sympathetic Inks, Goblets, Simple Cards, Various Ideas

Although reading and constant practice contribute to the study of conjuring, the wise advice of a competent professional often allows a beginner access to knowledge refined through time and experience. Here are a few clarifications on the life of a previously unknown personality, whose passion for the art of magic seems to have contributed to the calling and/or artistic progress of the future conjurer. Robert-Houdin's library contained four handwritten notebooks, thirty to forty pages each, dating from the end of the eighteenth century. In the pages of these books are numerous loose pages in a smaller format, which were also handwritten. On the cover of each of the notebooks, Robert-Houdin wrote the following in black pencil: "Notes taken by M. David of Bordeaux.'' These four manuscripts are entitled:

— 2. Second Notebook of effects I often perform, including Continuation of Cards, Written Cards, Beginning of the Gibeciere — 3. Third Notebook of Effects, Sleight-ofhand, Subtleties, Small Coins — 4. Fourth Notebook of Effects: Continuation of the Gibeciere and related tricks.

Although the study of these notebooks reveals information on the travels, encounters, and art of David of Bordeaux, it is an unpublished footnote by Robert-Houdin that reveals the relationship of the two men. This text is part of one of the preparatory pages of the manuscript of The Secrets of Conjuring and Magic: 1 8

0

g21. ^_

Ar

CsJu

2/p .... /

t

to Illustrations 26 through 29 - Covers of David of Bordeaux's four handwritten notebooks. Robert-Houdin wrote the final line on the covers of these notebooks: "Notes taken by M. David of Bordeaux."

3-1

ACT

fjb_ J /fry&?,, I*A9) - . louMala /

A

C

«-«tQ*i>

Illustration 30 — Handwritten page of one of the rough drafts of a chapter from Secrets of Conjuring and Magic by Robert-Houdin. The footnote concerning Da\ id of Bordeaux is at the bottom of the page.

35

I

ROBERT-HOUDIN

One easily becomes a collector of any object having to do with the art we love. In addition to all the books specifically or indirectly dealing with conjuring, I have managed to assemble playbills and programs of all the conjurers from Pinetti to the present day. Here is how this collection was formed: An old friend, M. David of Bordeaux, a conjuring enthusiast, bequeathed to me in 1843 a number of playbills of conjurers, along with notes on their shows. I then decided to complement these interesting documents from my friend's bequeath with the programs of all the magicians of our time, from 1843 to today.

dence with his teacher, who kept him abreast of developments in the art of magic. An original handwritten letter by Gomte (collection of autographs of Monsieur the Marquis of Flers), addressed to M. David, gives an idea of their relationship. This letter begins as follows:

But who was this character about whom

When I had the honor of meeting you in Blois, I told you that I planned to go to Yalencay to see the princes of Spain. The prefect of Blois gave me a letter for the governor, and I gave two performances before the three princes. I taught them a few tricks; they presented me with a magnificent certificate and fifty louis. All the gold I earn, I owe to you, because your tricks are the most beautiful in my show...

magic

literature

remains

silent?

This

is a

strange paradox because it is a man who could have legitimately been proud to have briefly accompanied the first steps of two of the greatest names in magic: Comte and Robert-Houdin. M. David was actually one of the first amateur magicians, as we define them today, and the first known collector of late-eighteenth-century magic art. The first and only reference to M. David is found in the Grand Dictionnaire du XIX

Universel

siecle by Pierre Larousse, letter C,

volume 4, page 819, in the biographical entry on the ventriloquist and magician M. Comte, the King's Conjurer. Here is an excerpt: Gomte added a few conjuring tricks to his ventriloquism, but his repertoire in this area was very limited. Having never had a mentor, he could perform only the magic tricks he had found in basic works on the subject. Nonetheless, he decided to go to Paris, passing through the south of France. At that time in Bordeaux was a certain M. David, a rich cloth merchant and a great enthusiast of conjuring, who owned all the instruments of this art and found genuine pleasure in helping and instructing the followers of white magic. Upon his arrival, Gomte met David, who taught him many interesting tricks. While traveling, the artist from Geneva maintained an active correspon-

Orleans, May 13, 1809" APOLLINAIRE GOMTE, ventriloquist and professor of scientific amusements, who, two years ago, was almost a victim of several Swiss peasants who, believing him to be a sorcerer, beat him and wanted to burn him by throwing him into an oven, etc. Monsieur David, Bordeaux,

And later: My intention is now to have four trunks of magic effects. I will present only magic at the two first shows. For the third, I will present the larger effects and lure my audience with ventriloquism. The next day, I will perform tricks in the town and boldly announce three performances of ventriloquism. In total, that makes six performances for towns with 10,000, 15,000, and 20,000 individuals. What do you think? The author of this excerpt from the biographical entry on the King's Conjurer is none other than Robert-Houdin. The letter reprinted above was a gift from the artist to Monsieur the Marquis of Flers, a great autograph enthusiast who was his neighbor

and friend

in

Saint-Gervais. [44] Robert-Houdin had the correspondence between Comte and M. David in his archives, and the fact that he had chosen to publish a passage from this letter is a trail we must undoubtedly follow.

ACT I

M. David was an important merchant in Bordeaux, selling fine cloth and cashmere. He had stores in Abbeville. Louviers, Elbeuf, Sedan, and Andelys and associates in several cities. For his leisure time, M. David had a residence in Blois, where he was in business with Toussaint Robert, cloth merchant and younger brother of Jean Eugene's father, Prosper Robert. This wealthy man had a passion that was uncommon in his day: conjuring, which he practiced as an amateur to amuse his family. Although during his youth he had given a few performances, whose repertoire he described in his handwritten notebooks [See Act II, Note 34], we do not know how his interest in magic originated, though it may have arisen during the frequent trips his business obliged him to take.

LA SCIENCE

ESCAMOTEURS, SECKTS BE

G1BECIERE.

\

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Born around 1770, M. David was able to attend performances of the most famous conjurers of his youth — Comus, Olivier, perhaps Pinetti - whose programs and playbills he preserved. [45] He wrote the names of the less famous in his notebooks and described their specialties - Robbe was an expert in the multiplication of coins; Magniere presented the rising cards in a very special way; L'Ercule, whose main tricks were the brokenand-restored watch and the coin in the snuffbox; Falconi and his cups; Olivio, nicknamed the ''Polish conjurer" — perhaps the father of Olivier — who had no equal in im isibly transporting a coin or a watch into the pocket or shoe of a spectator and who pri-

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Illustrations 31 to 33 — Pitchbooks printed in Bordeaux through the generosity of David of Bordeaux. This great magic enthusiast helped conjurers \\ ho w ere passing through his city by printing brochures to be sold at thenperformances. These three opuscules, unknown by bibliophiles, were part of David of Bordeaux's bequeath to Robert-

BORDEAUX,

Houdm (Private collection)

37

RODERT-HOUDIN

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Le fameux Pilferer raonlrant soa savoir-faire sur UQ champ de foire Illustration 34 — "The Famous Pilferer." Frontispiece of 'Ruses des banquistes des Grecs et des charlatans" in Les mille & un tours ou experiences de Physique amusante et de magie blanche

Illustration 35 - Extract from the manuscript of the Feuilleton du Cagliostro. Revue critique, historique, chronologique et artistique des PresUdigUateurs, Escamoteurs et Continuateurs depuis leur ortgine jusqu'a nos jours by Robert-Houdin. "This Pilferer w as nothing more than a sort of acrobat or bohemian charlatan whose gift of gab and boldness replaced wit and skill.'

38

Acr I

vately termed this technique "truquiser" ("to

sus registers of Blois give us reason to believe that this event could have taken place during the years 1812-1815. Did Toussaint Robert introduce M. David to his young nephew, the prodigy, thinking that the child's inventive mind might amuse him? Did David of Bordeaux show him a few tricks to entertain him? Could these effects have

trickify"). David of Bordeaux, who enjoyed the creations of the conjurer-mechanician Perrin [46] and the tinsmith Veudreille, also admired the performance of Palatiny, [47] who clearly fooled him, as he noted frankly in his fourth notebook:

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I saw old Palatiny cut off the neck of a chicken in a truly marvelous manner but I could not see [the modus operandi] or understand it.

then unleashed in Jean Eugene that irresistible calling that makes men climb mountains? Is it possible that Robert-Houdin, in order to maintain the exemplary morality necessary to his memoirs, blurred and eventually replaced the image of his teacher and friend M. David with that of the old soldier M. Bernard, a character who was much more reassuring and especially more conventional? Were these meetings and their consequences on his son's state of mind perhaps the main reasons behind the attitude of Prosper Robert, whose only solution was to lock up his son in boarding school to avoid his ending up as a traveling performer? There is no absolute proof, and one must refrain from definitively combining dates and facts, sometimes unrelated and which could be interpreted in different ways and a fortiori wrongly interpreted. I will let the reader make his own decision about this subject! [49]

In reading the notebooks of M. David of Bordeaux, one notices that he specified that he had invented certain effects and also that he described modifications he had made to others. The many tricks included are either accompanied by a reference to specific works, such as those of Guyot or Decremps, [*»] or the name of the conjurer who gave him the secret. The text of these notebooks gives no clues as to the dexterity of M. David of Bordeaux, although we are aware many amateurs can be skillful. Although these various factors confirm the knowledge and passion of this rich enthusiast of the art, none helps us deduce the exact period when he met Robert-Houdin. Corresponding dates, the periods when the merchant was in Blois - M. David had residences in both Blois and Paris - and the cen-

39

ROBERT-HOUDIN

I The Count de Grisy, French Conjurer, known as Torrini About two and a half years had gone by when, one morning in March or April 1828, "Cousin Robert" declared to the young man that his apprenticeship was over. Having become an independent craftsman, he was now qualified to receive a salary. Following the example of the best artisans, he pledged to work in the workshops of the best French watchmakers, for a few months or a few weeks, and take advantage of these formative stays to try to understand the specialty or specialties that had contributed to the reputation of each successive employer. For Jean Eugene this initiatory journey meant freedom and financial independence. The young craftsman's journey around France began with the watchmaker Noriet, a native of Blois who had established himself in Tours. Jean Eugene was employed to repair watches:

Illustration 3~ - The watchmaker Noriet in Tours. The workshops of Jean Eugene Robert's employer were located on the first floor of the house, situated on the left in the photograph, at the intersection of the Rue Change and the Place Plumereau.

40

...I received, in addition to board and lodging, 35 francs a month. Little enough, I grant; but it was an enormous sum in my eyes, for, since leaving the [notary], at Avaray, my income had been reduced to a minimum... Although my time was fully occupied here, I managed to continue my pocket practice, and I daily noticed with joy the progress I was making [thanks to my constant exercises]. I had learned how to make any object

ACT

I

Alone in the carriage, Jean Eugene, burning up with fever, was in excruciating pain and each shake of the coach intensified it. In his delirium, he opened the door, jumped off the moving coach, almost killing himself, and fell to the ground.

I held in my hand disappear with the greatest ease; and as for the principles of card tricks, they were only child's play to me, and I could produce some delightful illusions. I confess to feeling a degree of pride in my humble power of amusing my friends, and I neglected no occasion of displaying it. On Sunday, for instance, after the invariable game of lot[t]o, which was played in this patriarchal family, I gave a small performance of sleight-of-hand, which enlivened the melancholy victims of this most monotonous of all games. I was honored with the name of an "agreeable droll," and this compliment delighted me. My regular habits, my perseverance [at work], and perhaps a certain degree of gaiety I possessed at the time, had gained me the friendship and sympathy of both my master and mistress. I eventually became an indispensable member of the family and shared in all their amusements. Among these were frequent excursions in the country, [so]

The young man lost all sense of time after fainting and remembered only "long days of vague and painful existence" punctuated by terrible nightmares. He had the feeling of being carried away and shaken around in a coach, although he was aware of lying in a comfortable bed "in a small, exquisitely clean room." Little by little, his senses returned and the first image he saw was that of a stranger sitting beside his bed, begging him to drink a potion, keep quiet, and "remain as calm as possible." This stranger, who would later introduce himself as Torrini, was about forty-five or fifty years old and had a tastefully decorated traveling coach. With the help of his brother-inlaw and servant Antonio, he came to the rescue of the patient, had him examined by an apothecary, and took care of him until he was fully recovered. Destiny had placed someone in Jean Eugene's life with a generous heart who would take care of the young man's health with paternal devotion. But such divine fate, in choosing Torrini, did much more than simply place a Good Samaritan on the path of the reckless young man; it also gave him a mentor.

It is upon returning from one of these country parties that one of the most extraordinary narratives of the Memoirs of'Robert-Houdin begins. It starts on page 55 and ends on page 135, representing 80 pages, almost one-fifth of a work of 445 pages. This shows the importance granted by the author to the tale we will now try to summarize. After having come home with the Noriets from a party in a neighboring town on July 25, 1828, [51] Jean Eugene supposedly fell seriously ill from food poisoning inadvertently caused by his employer's cook, who had served him stew prepared in a pot in which a large amount of verdigris had formed. His horrible suffering made him fear for his life and brought on a sort of delusion in the young man, who, believing himself fatally ill, wanted at all costs to die among his family members. The doctor refused to allow him to travel, so Jean Eugene took advantage of a moment alone to run away one morning around six, using a public coach that went from Tours to Blois.

Robert-Houdin's tale states that Torrini was the pseudonym of Edmond de Grisy, the son of the Count de Grisy, an aristocrat originally from Languedoc who was killed while defending the King during the siege of the Tuileries of August 10. The revolution having obliged the young count to flee France, he departed for Florence, where he studied medicine and earned his diploma at the age of 27. From Florence, he went to Naples, where he found widespread success as a doctor.

41

ROBERI-HOUDIK

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Illustration 38 - Pinetti's signature.

Par M. Jean-Jofe[th P I N E T T I , Profefeur & De'monfhattur de Phyjique, agipege' <* ptujieurs Acajmiis , Penfnnae de U Cour it Pmjj'e, Tecomiiandl par plnjieurs Ron & Princes Souveraias di [Eunpe, Chnalitr de tOrdre Je iainlPkihppe, lagMar-Glognlpht & Confettir del Finances de S, A. S. U Prince de LunboUr§Hcljlem,&,.&c,

TROISIEME EDITION, AuGMFNTEE par TAuteur de quelques nouvelles Experiences Phyfiqvses, Sc de Gravures.

Illustration 39 - The Chevalier Pinetti. Frontispiece and cover page of the third French edition of Jean-Joseph Pinetti's work, Amusemens physiques et differentes experiences divertissantes (Physics Amusements and Various Entertaining Experiments). Paris. Gattey. Bookseller. 1791. This portrait of the Chevalier Pinetti in a generals outfit (!) only appears in this edition.

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The arrival in Naples of Chevalier Pinetti, [52] the most famous conjurer of the end of the eighteenth century, would change Edmond de Grisy's destiny. Fascinated by Pinetti's performance, De Grisy became impassioned with the art and after several weeks was able to duplicate the show of the "theatrical Chevalier" for his friends, which soon perturbed Pinetti's pride. This led Pinetti to set a trap to make his young '"rival" lose all credibility in the eyes of the population of Naples. This successful maneuver initially produced the results Pinetti hoped for, but although mortified and humiliated, Edmond de Grisy swore to have revenge on the treacherous conjurer.

I •JX'rc 3»fel> Pmetti, Profcflor Mathcfcos t>on 'Horn, tljttt bent ( neiiuen ^ublito ju rouTm / bus St fjente SOJontags ben 29. 3ulit i-^1 mil iautet ncuen (scutfen aufiuarun, ititb melletd)t bie [et|le R i p r c - ' I (cntation ijffien luttb; um aber mid) feme 2Mente ju jei^eu, wiib ( ! St CWeileu gt bit Sljtt jcljijOt, wc(e ^ie(i(ja6ew unb jCetmere alU i 1 fjiet in3urid) aitjutreffeti) ltd) bemiifivii. ind)t nur 2Jeroitnbertut!) 1 • I fotibetu aud) btn JSotjiiil mit |id) lDejjuiteljmen. I . Siejemqeu ADettcu unb Siltnen; iweldje 3l)n Uei) feiuev etfteit ; Rcprclcntation mit SJwv ©eijeimjfii't 6eel)tet/ wevBen (Kjeujen, ' i§ betgleidicn &ucte nod) niemals nefefjen lootben; andi u»ivb err pmctti fid) t'efoubcrs ciiijclegeii femt ififfvu / bic ^eitidniftcn ! i fattfom jit contcmitcn. 6t trt mid) mentals jctve^nt; feine fjeften &u&< Dovljtv 511 ' 1 cnonateti/ fonbertt et' fudjt |id> einc S()te btc 3ufd)auete HHC iinnj ; unenvartrten &»(tm su uoeiftiden; and) i(i befiiiint, ba(i feme • Rcprelcnrarionen (tKenial ;n)ct) Stiwben bauetn. : Ste JJotiielliiit^ tft mtf bet fnefigeit SReifeil?3l!"f '" ^mx Si'PiTen ' 2)cc ?(iifang i(t prxcifc 11111 s l!()r.

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With a new show of much better quality than Pinetti and more talent than the older man, De Grisy began presenting shows in all the cities of Italy where Pinetti was scheduled to perform. This competition wiped out Pinetti. who, ignored by the public, was forced to leave the country. Edmond de Grisy went from success to success throughout Europe, accompanied by his spouse Antonia and her twin brother Antonio.

Illustration *0 - Small poster of Chevalier Pinetti. Small German poster of Chevalier Pinetti in 1782, from Max Difs work Histoire et evolution technique de la prestidigitation, vol. 1, Limoges, 19"1-19T4

42

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I

Illustration il - The Chevalier Pinetti. This engraving, of which onh two copies are known, depicts Pinetti onstage surrounded by his apparatus, among them The Rising Cards. The Rijle which Shoots on Command. The Infernal Tower. The Wise Little Turk, The Clock. The Magic Inkwell, The Bowman. The Worry-Free Mill, etc.

The idyllic existence of the couple formed by Edmond and Antonia was shattered after a horrible accident. De Grisy, in order to enliven his show, had advertised a new trick, William Tell's Son. in which their son Giovanni played the role of Walter, the son of the Swiss hero. One evening the pivotal moment, the famous scene in which William Tell is forced to shoot at his child, turned to tragedy, and by a fatal string of circumstances, De Grisy ordered the shot that would take the life of his son. The father, in despair, wanted to kill himself but the law intervened, condemning him instead to six months of imprisonment in a mental home. During this time, Antonia, insane with suffering, let herself die of grief.

performing under the name of Torrini, Although joy and enthusiasm were forever banished from his shows, he remained a great artist whose performance was perfect in all respects. This is the portrait, painted in broad strokes, of the romantic and desperate character who had saved the life of Jean Eugene, whose characteristics and personality so reminded De Grisy of his lost son. During the few weeks of the young man's convalescence, De Grisy took care of him, gave him conjuring lessons, and even allowed him to fix a famous trick automaton, The Harlequin, manufactured by the mechanician Opre (sic). [53] In addition to his teachings. De Grisy shared the details of his life and his encounters with many famous conjurers, and inadvertently gave Jean Eugene the opportunity to take his first steps onstage, in Aubusson.

After a terrible depression, at the edge of ruin, De Grisy had Antonio sell everything he owned, paid his debts, and had himself built, with the remaining money, the traveling coach with which he journeyed the routes of France

Upon arriving in this city, the artist's coach, which transformed itself every evening into an

45

ROBEBT-HOUDIN

L'enfant, atteint au milieu du front, tombe aussitot la face eontre terre. (P. 101.) Illustration 42 - William Tell's Son. This engraving, from the work La \'ie d'un artiste au XIX' siecle. Souvenirs personnels du celebre presfidigitateur RobertIloudin (op. cit.), depicts the accidental death of Torrini's son during this dangerous feat

ACI I

elegant theater stage, was damaged in an accident. The horses were killed and Torrini wounded. Not wanting to abandon his master in such a dilemma, the student took charge of the situation and gave profitable performances to help the wounded magician. Thanks to his efforts and the assistance of the devoted Antonio, the health and financial situation of De Grisy were restored. The master and the student parted with much sadness. Torrini, accompanied by Antonio, left for Auvergne, and Jean Eugene returned to Blois. The simplicity of this brief summary does not do justice to the brilliant and romantic narrative of Robert-Houdin, which I urge you to read or re-read. In a previous chapter. I purposely used the word "relentless" to describe the dramatic construction of Robert-Houdm's memoirs. The Torrini episode provides a perfect example. As he recites the triumphs and tragedies that dotted the existence of this mythical artist, RobertHoudin takes his reader through time. He allows him to attend performances of magicians from the previous century who influenced the history of magic - Pinetti, Comus, [54] Olivier [55] - and the acts of charlatans like Castelli or swindlers like Zilberman. The author also gives a concise look at the magic repertoire of this era: The Pyramids of Egypt. The Harlequin, The Blind Man's Card Trick, The Dead and Alive Bird, and The Omelette in the Hat. All this information, which the reader mentally records, is complemented throughout the work by accounts of shows of famous contemporary conjurers and their favorite effects, as well as the history of famous automata throughout the centuries. Although he does not have to become an expert on these subjects, the lay reader will nonetheless acquire, through anecdotes told with much wit, a sufficient knowledge of these mysterious disciplines to fully ap-

Illustrations i3 and 44 - The conjurer Comus. Engraving of Comus and rare 20-page brochure by the artist, dated l~6l.

EXPLICATION D ES

AMUSEMENS PHYSIQUES ET MATHE MATIQUES, JShJ E le fieur COMVS a donties les annees trecedentes , & des nouveaux qu'il donnera cette annee a la Foire Saint Germain , avec un petit Traitejur la Palingenefie dont tl doit faire voir les effets.

De 1'Imptimerie de V ALL EYRE, rue Saint Severin, a 1'Annunciation. M. D C C L X I .

ROBtRT-HolDIN

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Illustration 43 - Pinetti's Wise Little Turk. A limited-edition stage automaton from the eighteenth century (Jacques Votgnter collection). The text behind the automaton is from an unpublished manuscript by Robert-Houdin.

ACT

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Illustrations 46 and 4" - The Harlequin and The Pyramids of Egypt. These engravings are taken from the w orks Les Automates trucjues b) Adolphe Blind, Geneva. Ch Eggimann-Paris. Editions Brossard, 1927, and L'Almanach-Manuel du Magicien des Salons Delion - Pans. Delarue. 1856.

stories and lessons of his host; it is in this context that he attended the performances of mountebanks like Castelli in Angers. [56] When about to leave, Torrini asked him to repair The Harlequin, a service the pupil could not deny the man who had so carefully cared for him. The decision to go onstage was not Jean Eugene's idea; the dramatic conditions of Torrini's financial situation forced him to take this step in order to help his benefactor.

predate the fundamental changes that RobertHoudin brought to these art forms. Indeed, if one is not a magician, how else could one appreciate the impact of the formidable renewal of magic that Robert-Houdin accomplished? This pedagogical aspect is only one of the author's goals in his narrative. The others were explored in later chapters of his memoirs; here, the main goal was to explore the name and personality of Torrini, the master who supposedly revealed all the secrets of the art form that was still only an outline to the young man. RobertHoudin depicted Torrini as a glorious artist who outdid the greatest conjurers of his time, an elegant man of taste with a respected name, whose teaching he proudly learned from and in whom he found a source of inspiration. Jean Eugene and Torrini's tale of adventure perfectly fit the criteria of respectability that the author established for himself and which he flawlessly maintained. The young man did not decide to abandon Noriet's workshop of his own free will to follow a traveling magician; it was only by chance, following his food poisoning, that Torrini discovered him unconscious on the side of the road. The recovering patient's forced bed-rest in the coach was eased by the

How could we have a more noble professor than Torrini, an aristocrat whose father perished in the honor of battle; a learned man; a doctor, whose only mistake was to have chosen one day, out of pride, the shamed profession of conjurer, thereby betraying his social class, a decision which caused him to lose his only son, his adored wife, his fortune, and his honor? He atoned for his "crimes" by performing from town to town as the magician who, deep down inside, he really was not, hiding his wounds under a pseudonym while stoically waiting for the end of his earthly sufferings and the erasure of his sins... The perfect construction of this episode is so convincing that every historian studying it since the end of the nineteenth century believed it to

47

ROBERT-HOUDIN

be romanticized but did not question its authenticity. [57] Finally, in 1943, Jean Chavigny, in his work Le roman d'un artiste. Robert-Houdin, renovateur de la magie blanche (The Story of an Artist. RobertHoudin. Renovator of White Magic) issued a diametrically opposed opinion founded on the absence of genealogical and historical traces of the De Grisy family. This affirmation was not unanimously accepted and numerous researchers believed that the absence of tangible evidence did not prove that De Grisy-Torrini never existed.

the creation of an image and personality of a master with dignity worthy of Robert-Houdin. Neither Maous, the humble podiatrist, juggler, and - apparently - conjurer from Blois, nor the generous David of Bordeaux and his supportive passion for the art of magic could have seduced as many readers as the tragic and romantic destiny of the ill-fated Count de Grisy.

In my opinion, the perfection of the character of Torrini, which too closely corresponds to the moral and social criteria of the time, weakens its crediJean CHAVIGNY bility. However, this purely theI long shared the opinion of oretical approach is far from satthese historians and I hoped to isfactorily solving the mystery, one day find proof that would -E ROMAN D'UN ARTISTE so I would therefore like to profinally confirm the brilliant cavide you with an additional elereer of this mythical artist. ment for reflection which, even Indeed, what collector in the RownA-TToudin if not definitive proof, does supworld would not dream of findRenovofeur de la Magie Blanche port the above viewpoint. ing a playbill of De Grisy, the French conjurer, or a prospecIf, for decades, historians of tus, even a booklet by Torrini? magic could not totally doubt the existence of De GrisyOver the years, my reading of Torrini, in spite of the absence the Memoirs of Robert-Houdin of valid documents confirming has become finer, my knowlthe story in the Memoirs of edge of the intellectual path of Robert-Houdin. it is because of Robert-Houdin has greatly proRobert-Houdin's cleverness, gressed, and I am now inclined and I would also say his sense to believe that this narrative was of humor. The author pubformed to correspond to the lished the French edition of work's various requirements, as The Secrets of Conjuring and I have described earlier - firstly, Magic in 1868, ten years after the education of the reader about the history of the art of the first edition of his memoirs. magic, whose context and Illustrations 48, 49 and 50 -Jean Chavigny. The author, in this treatise, no Portrait, co\ ei of his Robert-Houdin bishape, although romanticized, longer cajoled his readers as he ograph\. and signature of the man of are authentic; M and secondly, did so well in the Memoirs. letters from Blois in 1943.

ACT

Robert-Houdin addressed the reader as a teacher would a student, earnestly teaching him the present and past of his art, in addition to the psychological and practical techniques on which it is based. Then, in the midst of a very serious discussion of the history of magic, Robert-Houdin skillfully planted a De Grisy "trace" and we find the name of Torrini next to those of Bosco, Brazy, Chalons. Comte, Comus, Courtois, Jules de Rovere, De Linsky, Olivier, and Val, famous tricksters, charlatans, and magicians, and in the context of the Memoirs, A Master of Modern Magic we can understand why he did so. Although historically improper, this was a brilliant procedure to definitively authenticate his master in the eyes of his readers. This "trace" was so careHenry Ridgely Evans. Litt. D., fully planted that after more than a century, it is still there! I have discovered in RobertHoudin's archives an unpublished thirty-page manuscript artistically handwritten by the master himself, destined for Le Cagliostro, the amusing newspaper distributed to spectators of his theater. This document is entitled Feuilleton du Cagliostro. Revue critique, historique, chronologique, et Illustrations 51, 52 and 53 - Henry Ridgely artistique des Prestidigitateurs, Evans. Portrait and signature of the historian Escamoteurs, et Continuateurs Henry Ridgely E\ ans. one of the most depuis leur origine jusqu'a nos fervent supporters of the work and jours (Cagliostro's Chronicle memory of Robert-Houdin in the Critical, Historical, ChronoUnited States, and the cover page of his logical and Artistic Review Of 1932 biography of the artist. The Life and Adventures of Robert Houdm

49

I

Conjurers and Continuators from their Origins to the present day) and is a scholarly narrative on the history of magic art that was never published in Le Cagliostro because its content was too serious for the readers of the humorous little journal. We can date this manuscript from 1845-1850, more than ten years before the publication of Robert-Houdin's memoirs. There is a major difference between the list of magicians published in The Secrets of Conjuring and Magic and that written in this manuscript. In the latter, Torrini's name is missing... Although the adventure story of Jean Eugene and Torrini is to be doubted, we cannot ignore the much more plausible hypothesis that Robert-Houdin followed a traveling magician who performed in fairground booths for a few weeks or a few months at a time. The confinement of his childhood, the boarding schools, the frustration of his notary experiences, the lack of interest in his work with Noriet, and his unending, forbidden passion for the art of magic could have easily pushed the young man to take a big leap into the world of traveling artists, who have always represented an image of freedom to sedentary individuals. The possibility of learning his trade and practicing his art daily before a real crowd could have heavily influenced his decision, and one can see it

ROBERT-HOUDIN

would have been in the best interests of a fairground magician to hire Robert-Houdin, who had every quality that could be useful to such an entrepreneur. Indeed, we can easily imagine how Jean Eugene could have been key for a small family business in which the majority of members were uneducated. His quality education would have been a precious advantage in the complicated relationship of nomads with the authorities, and his talents as a mechanician and artist could only have improved the condition of the equipment and the show. In the first French edition of the Memoirs of Robert-Houdin, chapter 4, "Physionomy of the Mountebank-Conjurer," there is a long chapter dedicated exclusively to this type of fairground performer in which the author shows a profound

knowledge of the customs, habits, and language of these professionals. Although this chapter, deleted later in certain French editions and the majority of foreign ones, is amusing and picturesque, it nonetheless paints a very negative picture of these performers and the level of their artistic presentations. It is difficult to imagine that someone who did not share the intimacy and professional life of this "typical" family of mountebanks, even for a short time, could have written such authoritative pages that ring so true. This chapter therefore seems to be the inverse of that on De Grisy-Torrini, and the author leaves the perceptive or romantic reader the possibility of making his choice between two versions, one idealized and the other realistic, of events that may in fact be one and the same.

Illustration 54 — Feuilleton dn Cagliostro. First page of this important unpublished manuscript by Robert-Houdin (circa 1845)

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/ M^cJt, 9 <•// u sJ«

50

it

ACT

I

Return to Blois, Mademoiselle Houdin which, refined over the years, would become one of his main qualities.

Once back home, around the month of October 1828, it was not at La Guillommiere but in Blois that Jean Eugene found his parents. They had left their cottage in Grouets for an apartment on Rue des Trois-Clefs. Prosper Robert had recently purchased a position in charge of employees of the hospices of Paris, with two offices in the Loir-et-Cher region, one in Blois and the other in Vendome. His role was to deliver quarterly payments to the local nurses who looked after the foundlings of the capital under the supervision of the administration of the hospices. Marie Celine Robert, Jean Eugene's older sister, had paid the fee required to purchase this title. [59] His father was "quite comfortable about [his son's] situation" because Robert-Houdin had taken the precaution of sending letters supposedly from Angers by the intermediary of a "friend,'' who also had the responsibility of sending him the responses. This is a fairly incoherent explanation (Why Angers and not Tours?) that the reader, like Prosper Robert, must settle for. Though the oral tradition of the family of Robert-Houdin maintains that their ancestor never confirmed the Torrini-De Grisy episode to those close to him, they do not remember any other version the prodigal son provided to account for his activities during his six-month absence.

The rebellious adolescent had become a svelte young man with an attractive presence and was more than five feet seven inches tall. [60] He carried himself in a princely fashion; his hair, styled towards the back, hung abundantly on the nape of his neck; and his face was framed by fine sideburns in the fashion of the times, softening the contours of his prominent jaws. The thin lips of his large mouth were always smiling, and their warmth tempered the brightness of a burning blue gaze. The fascination evoked in Robert-Houdin's audience through his gaze would be emphasized countless times in the media, and J. Joseph-Renaud, who in his youth interviewed the artist's contemporaries, discussed this subject in Le Journal de la Prestidigitation: "The professionals in question had a veritable cult for Robert-Houdin and considered him to be the master of masters...They said that his gaze had an astonishing power and allowed him to fool not only the public, but even his colleagues and amateurs. The sharpest eye could not avoid following his.'' For Jean Eugene, this new period in Blois could be nothing but temporary; his destiny awaited in Paris and nowhere else. Whatever the young man's memories of his early travels may have been, his return to Blois was motivated by a number of serious reasons, notably the poor health of his eighty-eight-yearold grandfather Guillon. Although Jean Eugene may have hidden nothing about his journey from his close family and made them laugh with his colorful narratives, he could not bring him-

His peregrinations and adventures transformed Jean Eugene. He had acquired the confidence of those who have traveled and no longer regard domestic individuals the same way. He was reassured by the seductiveness he could practice on his audience, a quality he already skillfully used in daily life as well as onstage and

51

ROBERT-HODDIN

self to admit that his calling for magic had only been reinforced by these experiences, and not weakened. In order to remain active and maintain financial independence, he began work with the watchmaker Blau, [61] who employed him to carry out the painstaking renovation and brushing of pocket watches. Replacing a spring, inserting a pin, refastening a chain, and using the brush to shine it all again became his daily routine. To break this monotony. Jean Eugene became a member of a troupe of amateurs from Blois who, during their leisure time, presented comedies de societe in which Jean Eugene played the main comic roles. Their performances were free, thereby guaranteeing their success, and the little troupe had a strong following in town salons. Jacques Guillon passed away on June 13, 1829, leaving as "universal heirs [One quarter for each] Francoise Guillon [His daughter], widow of Claude Metivie; Jean-Francois Guillon, merchant in Orleans [His son]; and Jean Eugene and MarieCeline Robert [His grandchildren]."

[(>A The

amount of this inheritance was 117,418 francs, a large sum for the time. The control of the succession bequeathed to Jean Eugene and Marie Celine, as well as half of its usufruct, was attributed "for his entire lifetime" to Prosper Robert, their father. Although he could not immediately utilize this large bequest, Jean Eugene, as one expression of the times put it, became a young man of whom one expected much and who was obliged to consider marrying. The author's beliefs were far from this sacrament, and as for women, he flitted from one to another, determined to give up his freedom to none. His mind overflowed with ideas combining the art of magic with mechanisms, plans he confided to no one:

was very vague; after that time, it gained a complete mastery over me. Still, I was bound to wrestle against this feeling with all my energy, for it was not presumable that my father, who had unwillingly yielded to my passion for watchmaking, would be so weak as to let me try a novel and most singular profession. I could certainly take advantage of being my age, and my own master; but, besides my unwillingness to grieve my father, I reflected, too, that as my fortune was very small, I ought not to risk it without his consent. These reasons induced me to defer, if not renounce, my plans, [«]

This confession, with its almost raw sincerity, profoundly expresses one of RobertHoudin's fundamental character traits: his ability to combine contrasting feelings like passion and reason, a rare capacity that was one of the keys to the success of his personal and professional life. Robert-Houdin was, as we have already written, the reed of the fable and not the oak, the turtle and not the hare, and — to remain a bit longer in the universe of La Fontaine - he was obviously always the ant and never the cicada. Taking full advantage of his moments of freedom, Jean Eugene allowed himself to enjoy the pleasures of the comedies de societe and refused to consider marrying and settling down as a watchmaker as his father insisted. In this case again, his "stern resolutions" would fail, but this time for his greatest happiness. One evening, we were requested, as usual, to enliven the visitors by one of our proverbs. I do not remember the word proposed; I only know I was chosen to fill the part of a bachelor gourmet. I sat down to table, and while indulging in a meal like those usually served up at a theatre, I improvised a warm defense of celibacy. This apology was all the easier to me, as I needed only to repeat the fine arguments I had employed to my father about his double proposition. Now, it happened that, among the persons listening to this descrip-

Before that period [That of his meeting with De Grisy-Torrini], my inclination for conjuring

52

ACT

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Illustration 55 - Eglantine Houdin (1811-1843). Birth certificate of Josephe Cecile Eglantine Houdin. RoberMIoudms first wife.

55

I

ROBERT-HOUDIN

Illustration 56 - Jacques Francois Houdin (1784-1860). Watchmaker, mechanician, and Robert-Houdin's father-in-law. (Pruate collection)

ACT

I

city hall of Blois, [a clock] that will be like the one in the Jardin des Plantes, placed at the Cabinet de l'Histoire Naturelle, one that is admired by foreigners and specialists of clockmaking." A few decades later an electric clock, invented by his famous son-in-law, would in turn decorate the city hall pediment. In 1820, Jacques Francois Houdin was called to Paris by the famous Breguet and "became, with Breguet, Motel, Perrelet, Lepaute, and Wagner, one of the greatest watchmakers who gave such a vigorous expansion of perfection to chronometric art...'' [67] As early as 1823, after the death of Breguet, he established himself as '"commissioner in watchmaking" at 7, Rue Harlay-du-Palais and sold his properties in Blois, investing the proceeds in his business, In Le roman d'un artiste, Robert-Houdin, which specialized in the fabrication and sale of renovateur de la magie blanche, Jean Chavigny astronomical clocks, regulators, and precision writes on page 40: "...we believe that this enpieces. counter could have taken place at the home of In 1828, at his request, Jacques Francois the departmental architect Pinault-Metivie, Houdin became a member of the Societe d'enbrother-in-law of the Roberts." Jean Eugene's couragement pour l'lndustrie nationale. His future wife, Josephe Cecile Eglantine Houdin, candidature, supported by Messrs. Laresche [65] was the daughter of Jacques Francois and Mevillon, was presented and accepted durHoudin, [66] a former watchmaker from Blois ing the meeting of the Board of Administration established in Paris, and the first cousin of on June 18, in keeping with "Article II of the Marguerite Rosalie Metivie, Prosper Robert's First heading of the Rules." second wife. The meeting of these two young Certain authors qualified this artisan as the people was most likely not by chance. "last watchmaker," because he was the last one to use the old methods, which required each piece of the watch to be handmade. Jacques Francois Houdin had brilliantly Later artisans assembled mass-produced begun his career as a watchmaker with his fapieces. ther, Jacques Houdin, who already had a boutique in 1781 at 20, Place du Marche-Neuf in Jean Eugene must have hidden nothing Blois. The specialty of the father, which his son from his future father-in-law regarding his amwould adopt, was large-scale clockmaking. In bitions or his overwhelming vocation for the his work, Jean Chavigny describes a few of the magic art. The two men had numerous points creations of these two men, whose work decoin common, notably their taste for science and rated church towers of the Loir-et-Cher. We complicated mechanisms, and a love of memay also note that Jacques Francois Houdin chanics and quality work. Jacques Francois was the creator of a "large horizontal clock, Houdin embraced the views and projects of destined to be placed at the pediment of the his future son-in-law, whose sincerity and pastion of the blessings of celibacy, was a young lady of seventeen, who inclined a serious ear to my arguments against marriage. It was the first time I had met her, so I could not ascribe any other reason for her fixed attention than her desire to detect the word. A man is always delighted to find an attentive listener, more especially when it is a pretty young girl; hence, I thought it my bounden duty to make some polite remarks to her during the course of the evening. A conversation ensued, and became so interesting that we had a great deal still to say to each other when the hour came for separation, and I believe the regret at parting was not felt by myself alone. This simple event was, however, the cause of my marriage with Mademoiselle Houdin, and this marriage took me to Paris. [<>-*]

55

ROBKRT-HOUDIN

sion won him over. Jean Eugene had fallen in love with Cecile Eglantine at their first encounter, and he thought he should go to Paris immediately to woo the young girl and try to make her share his wishes. This was not to be,

because he had to wait almost a year. [6»] It was with the sweetest of challenges in his heart that the young man would finally discover the city that had nourished his hopes and dreams for so many years.

ROBERT IIOI'DIM AND THE STREET CONJHEOB.—FIRST TASTE OP THE MAGIO AJRT.

Illustration 5 7 — Robert-Houdin as a child by Frank Beard. •Robert-Houdin and The Street Conjuror - First Taste of The Magic Art" from Life and Adventures of Houdin the Conjurer written by himself and translated • from French, Excelsior Publishing House. 29 and 31 Beekman Street. New York. N.Y. (n.d.).

56

NOTES TO ACT I

\

1.

4.

7.

Louis Robert, born in 1701, died on March 25, 1743. See genealogical chart.

Marie-Anne Millet, born in 1736, died in Blois on November 22. 1772. See genealogical chart.

2.

5.

Watchmakers from Blois in the sixteenth and seventeenth centuries. Home of Denis Papin - inventor of the steam engine - and Robert-Houdin, the father of modern magic, the city of Blois had the privilege of being the world capital of watchmaking for almost two centuries. This period extended from the reign of Louis XII at the beginning of the sixteenth century until 1660, the date of the death of the last Count of Blois, Gaston d'Orleans. The presence of the

Jeanne Martinet, born in 1710. died in Blois on February 4, 1757. See genealogical chart.

3. Toussaint Robert, born in Blois on May 30. 1741, died on March 22, 1814. See genealogical chart.

Jean Toussaint Robert, born in Blois on July 20, 1766, died on October 11, 1845. See genealogical chart.

6. Prosper Robert, born in Blois on November 29. 1767, died on February 28. 1844. See genealogical chart. 59

ROBERT-HOI DIN

103 al court at the Chateau de Blois and the rich lords living in its shadow was a guarantee of prosperity for the masters of this art. There were no less than two hundred artisans and watchmakers in Blois at the end of the seventeenth century. Julien Coudray. who served the court during the reigns of Louis XII and Francois I, made the earliest watches. This very talented artisan was employed by the King to make spheres, astronomical clocks that followed the movement of the skies; the chapter of Saint-Gatien of Tours entrusted him with the restoration of its automaton clock: and the councilmen of Blois did likewise with their town clock. The success that crowned his undertakings obliged Julien Coudray to build a large workshop with his most prestigious colleagues. In the Archives Nationales is a document dated December 31. 1518 concerning the payment of an order by Francois I to Julien Coudray for "two excellent daggers decorated on their pommels with two golden clocks." created for the King's use and costing two hundred gold crowns. E. Deveille. Archives Nationales. K.K.289. Fol. 444. note, page 3. With the revoking of the Edict of Nantes and the departure of the royalty, the majority of the watchmakers left Blois. Some followed their noble clientele to Paris, and some moved to Franche-Comte. in the regions of Doubs and the Jura. Finally, a large part mo\ed to Switzerland and everything points to the possibility that, contrary to common belief, it was the exodus of artisans from Blois that led to the long-lasting establishment of the French and Sw iss watchmaking industries.

8. Silvine Alloncle. born in Blanc in 1763. died in Blois on June 11. 1833. See genealogical chart.

9. Jean Martin Robert, born in Blois on Frimaire 11. year VII. died on June 5. 1880. See genealogical chart.

10. Marie Catherine Guillon. born in Blois on November 18. 1780. died on March 27. 1809. See genealogical chart.

11.

Jacques Guillon. born in Peyrsac in 1741. died in Blois on June 13. 1829. See genealogical chart.

12. Marie Frangoise Billon, born in 1746. died in Chambord on November 17. 1773- See genealogical chart.

13. Frangoise Marie Guillon married Jacques Claude Metivie on Nrvose 21. year IV. See genealogical chart.

14. Marie Francoise Maulny (or Maun)), died in the year IV See genealogical chart. 15. Robert-Houdin kept this letter his entire lifetime, a relic of a prematurely deceased mother, and wrote on the top the missive: "This letter is from my mother; it dates from the early days of her marriage. R.H."

16. Prosper Robert, born in Blois on Pluviose 7. year XII. died on April 17. 1806. See genealogical chart.

17. Marie Celine Robert, born in Blois on Frimaire 1. year XI. died in Paris on January 20. 1832. See genealogical chart.

18. In his memoirs, through a strange irony. Robert-Houdin initially cites December 6. 1805 as the day of his birth, but this is a mistake. This probable printing error, which was 60

perpetuated in numerous French and international editions of the Memoirs of Robert-Houdin. led certain biographers to write that Robert-Houdin did not know the exact date of his birth. This is an unfounded interpretation because all of Robert-Houdin's official papers are dated December 7. a date which he obviously could not have mistaken. However, it is true that from a very earlv age. his family always celebrated his birthday on December 6 because of a misinterpretation of the Revolutionary calendar; thus everything becomes clear!

19. Two documents issued by the civil and religious administrations, at the request of Robert-Houdin. are other elements of his personal archives that have s u n n e d . The first is a birth certificate, dated March 11. 1851. and the second a baptismal act. dated August 2. 1844: Extract of the birth certificate registers of the town of Blois. On the eighteenth day of the month of Frimaire, year fourteen of the French Republic, the birth certificate of Jean Eugene Robert, born the sixteenth of the month at four o'clock in the evening: son of M. Prosper Robert, watchmaker in Blois. Grande Rue. and the lady Marie Catherine Guillon. his spouse, his father and mother: the sex of the child designated as masculine. First witness. M. Jean Dehargue. baker, the child s cousin; second witness. M. Francois Joulin. carpenter in Blois. the child's cousin: adults, at the demand of the father who is present, undersigned. Taken note of by I. Nicolas Bougeard Germoniere, deputy to the mayor of Blois. for the functions of public officer of the civil register undersigned. The register signed Dehargue, Joulin. Robert Guillon. and Bougeard Germoniere. Authorized copy delivered.

NOTES ro ACT I

The second certificate has an amusing surprise and deserves an attentive reading. Extract from the register of baptismal acts for the year 1805. Diocese of Blois. Saint-Nicolas de Blois parish. Baptism of Eugene Jean. The year eighteen hundred and five, the third of December, we the undersigned priest have baptized Eugene Jean, born yesterday from the legitimate marriage of Monsieur Prosper Robert watchmaker and the lady Marie Catherine of this parish. The godfather is Jean Dehargue. the godmother Demoiselle Elisabeth Aimee Bailly who, with the father present, have signed the present act with us...[Signed] Yilain, priest. Authorized copy of the register. Blois. August 2. 1844. Signed: L. Baschet. vicar of Saint-Nicolas de Blois. If we take the handwritten act by the vicar Baschet to be exact. Jean Eugene Robert was the first and. most likely, the only newborn baptized...four days before his birth! The reading of these two documents also enlightens us on a point that is not without interest. Although, for the civil register, the child's first name is Jean Eugene, he was on the contrary baptized Eugene Jean. However, his family celebrated the Saint-Eugene for him and until his marriage. Robert Houdin signed correspondence and official documents as E. Robert." 20. Robert-Houdin painted this lovely portrait of Prosper Robert, his father: Though he did not rise to the elevation of the Berthouds and the Breguets. my father was reputed to be very skillful in his profession. In fact, I am only displaying modesty when I say that my father's talents were confined to a single art; for, in truth, nature had adapted him for various branches of mechanics, and the activity of his mind led him to try them all with equal ardor.

An excellent engraver, a jeweler of the greatest taste, he at the same time could carve the arm or leg for some fractured statuette, restore the enamel on any time-worn porcelain, or even repair musical snuff-boxes, which were very fashionable in those days. The skill he evinced in these varied arts at length procured him a most numerous body of customers; but unfortunately, he was wont to make most repairs not strictly connected with his own business for the mere pleasure [of obliging and free of charge]. Memoirs of Robert-Houdin. Geo. G. Evans. Philadelphia. 1859. p. 18.

21. Jacques Claude Metivie. born in Blois on October 1. 1765. died on December 6. 1817. See genealogical chart.

22. Marguerite Rosalie Metivie, born in Blois on December 28. 1785. died on August 4. 1872. See genealogical chart.

23. In his memoirs, Robert-Houdin "generously" gave the rank of colonel to this soldier, whose teachings he had greatly appreciated. Jean Chavigny. Le Roman dun artiste. Robert-Houdin. renovateur de la Magie blanche. Imprimerie Lhermitte. 68. Rue des Ponts-Chartrains. Blois - Vienne, (1943). p. 28.

24. Memoirs of Robert-Houdin. op. cit.. pp. 18-19.

25. Memoirs of Robert Houdin. op. cit.. p. 20. Archives Departementales du Loiret. Orleans high school and junior high school (1805-1825). ref. 45203.

26. Memoirs of Robert-Houdin. op. cit.. 1859. p. 20.

27. Peter Ackroy, Dickens. Stock. 1993. p. 2~2. Charles Dickens was a distinguished enthusiast of the magic art, which he performed at family reunions, parties, and his children's birthdays. During his trips to Paris, and perhaps also in London, Charles Dickens attended shows given by Robert-Houdin and published a long and laudatory analysis of the Memoirs of RobertHoudin in his periodical Household Words. April 9. 1859-

28. This cottage was bought by Prosper Robert on December 16. 1815 from his maternal aunt Madeleine Catherine Millet, widow of Joseph Mezange. known as "Sansonnet." "on the condition that he lodge the aforementioned during her entire lifetime and pay an annual allowance of 500 francs and 228 liters of red wine." Archives de Loir-et-Cher. 57. Q23 and Delagrange minutes. Jean Chavigny. op. cit.. p. 29.

29. See the "amphigoric speech" and the description of Carlosbach's performance in Appendix II in the article entitled 'Charlatan." Said to be from India, although the first written references are found in Greek and Latin texts, the Cups and Balls — a routine in which little balls mysteriously change places under three cups, join together, appear, disappear, or multiply - is probably the world's oldest magic trick. Its traces can be found in Greek manuscripts where it is called psephopalxia. the pebble game - and in Latin ones in which the performers are called calculates and acetabulari. from the Latin word acetabulum. meaning "cup." In antiquity, these street artists used small pebbles. It was the trick par excellence shown by the jug-

ROBERT-HOUDIN

istence of a handful of artists privileged by providence, hundreds of their colleagues remaining forever anonymous. The Cups and Balls routine is made up of all the basic effects that are the foundations of the art of magic, from close-up magic to stage illusions: appearances, disappearances, transpositions, multiplications, productions, changing of color or matter, etc. The careful combination of these effects makes up the routine of this trick, to which each generation of conjurers has brought new variations. When performed by a master, the Cups and Balls still brings the same wonderment and fascination today that it brought to our far-off ancestors.

Illustration 58 - Traveling Conjurer by Victor Adam.

glers who performed in public squares, with a cloth bag around the waist. The trick was most often a pretext to attract a crowd and then sell them an ointment, medicine, or powder with mysterious virtues. The conjurers, called entrejeteurs in the Middle Ages, then faiseurs de tours, were unfortunately followed by purse-cutters

NATURELLE,

OU MELANGE DI V E R T I S S A N T , Continent dts Secrets mervzilhux, 0 Tours pltfijhntf* Nouvelle Edition, revue 5c co."rig('c.

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Imj>t,-Libr. rue du Petit-Puits.

Illustration 59 - Pitchbook from the eighteenth century.

who took advantage of the astonishment of the spectators to steal their money, which considerably damaged the reputation of this honorable trade! The most masterful illustration of this situation remains the famous painting by Hieronymus Bosch, The Conjurer. The dexterity of these artists made them suspects of heresy by the Inquisition's courts and the innocent tricks of the conjurers, accused of "owing their skill solely to witchcraft and spells," led quite a few of them to the stake.

Illustration 60 - The Conjurer's Folding table and tools. Engraving illustrating the title page of the work Amusements et recreations de societe by M. Pelletier, Paris. Corbet aine. Librairie 1835.

From the middle of the sixteenth century to the beginning of the nineteenth century, the artists of this period would conclude their performances by selling explanatory manuals - four, eight, or twelve pages long - on which their names and titles were sometimes printed, followed by revelations of a few secrets. These brochures are today very scarce, with only a few dozen copies surviving through the centuries, the majority of them being unique examples, but they are often the only documents that prove the ex-

A Brief Glossary of the Cups and Balls Cups and Balls: A set usually consists of three cups. Balls: Various-sized balls of cork, fabric, ivory, or bone. Gibeciere: A sort of small, ovalshaped canvas bag permitting the secret procurement and deposit of the balls. The bag was tied around the artist's waist. Magic wand: This staff was often nicknamed "Jacob's wand."

62

NOTES TO ACT I

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Illustration 61 — 7"/!>e Conjurer by Hieronymus Bosch. Preparatory drawing for one of the versions of this famous painting. fMusee du touvra)

63

ROBERT-HOTJDIN

30. Let us emphasize that in the author's writings, he attended Carlosbach's show following his

/ / • / / . .

eria

Illustrations 62 and 63 - Traveling Conjurers. Engravings from an anonymous alphabet book (n.d.) and from the work Las Grotesques by "In Archeologue. " Paris. 1838

studies. Robert-Houdin. in dating this event after his eighteenth birthday, faithfully respected the rules of morality that strongly ad\ ised parents not to let their children attend the shows of traveling performers. Although this edict was destined for all children and all social classes, it concerned mainly wealthy families whose offspring lived under the watchful eye of zealous governesses. We must remember that it was this society, then considered to be the elite, that carried the name of Robert-Houdin to the greatest heights a few years later. It was also in these ranks that the author found his earliest readers. Faithful to his public. Robert-Houdin. without hiding his interest in the skill and picturesque aspects of Carlosbach. the "mystifier from Bordeaux." did not hide the less appealing aspects of his personality, from his little deception concerning the content of his booklets to the details of his contemptible cheating. In reality, this colorful scene could have taken place prior to

64

Jean Eugene's vacation, and nothing leads us to believ e that it was the only show that our hero witnessed. At the beginning of the nineteenth century, there v\ ere very few fairs, carnivals, or markets that did not regularly have magic shows in tents or out in the open. There is no reason to doubt that Prosper Robert applied the same restrictions to his children as the upper classes did. However, this can also be questioned. Carlosbach and his colleagues probably fostered his calling for the art of magic, perhaps ev en earlier than the author implied, but Robert-Houdin could obviously not write this in his memoirs. In the eyes of his "noble" readers, he would have been considered an ungrateful student, disrespectful of the efforts made by his family for his education, and this to indulge a pursuit considered to be supernatural. The censors of the era would have had a wonderful time emphasizing how this bad example could have pernicious effects on the thoughts of the dear little children.

NOTES TO ACT I

Robert-Houdin was hardly likely to want to give pernicious ideas to the new generations because, even though he had lived according to his own rules, his attitude throughout his entire lifetime was that of a moderate conservative steeped in the social ideas of his time. His real fight in this uptight society, buffeted by major political events, was for his profession to be as honorably recognized as others were. He spared no effort to achieve this formidable task, and through his genius he raised his profession to the level of art. For Robert-Houdin. the professional renown of a man who has stepped out of his social class. whate\er his le\el of wealth, was not gratifying unless accompanied by social recognition and respectability, and this was more easily granted to men of science and literature than to artists. In order to accomplish this impossible exploit, given the prejudices of his time. Robert-Houdin acted contrary to several of his deepest convictions and agreed to pay a heavy price to finally be recognized by the elite as one of their peers.

31. Jean Chavigny. op. cit.. p. 31.

32. Memoirs of Robert-Houdin. cit.. p. 36.

op.

33.

Maisons at 8 o'clock. Arrived at Avaray at 10:30 - I had lunch with the Duke and Duchess, his son, his wife, his son-in-law, and his daughter; the doctor, the private tutor of the children, and the four grandchildren and the secretary - After lunch we all went for a stroll through the woods of the Verdelet It was quite nice weather. The Duke showed me my old room from when I was a clerk with Maitre Roger - and the interior and exterior of the chateau. We went to Maitre Roger's son's home. I was perfectly hosted by the Duke. I left Avaray at 4 o'clock - Arrived in Blois at 7 o'clock p.m. Tablettes fournalieres of December 19. 1867. The Duke and his family visited him at The Priory on September 4. 1868.

inspirations in the art of conjuring (see my memoirs)." But with both fire and ice in his heart, his wisdom led him to buy a second copy of this imposing dictionary, in which he wrote practically the same words, w ith the same sobriety and in the same location. One example would go to one branch of his family, the other to a second, and thanks to this precaution, he thought, at least one of the two precious historical \ olumes would certainly survive the destruction and ravages of time. Through a strange irony, though so many of Robert-Houdins mementos have disappeared, both copies have been preserved in perfect condition, one in the collection of the Chateau de Blois and the other in the family archives of his great-grandson, M. Andre Keime Robert-Houdin.

35.

The handwritten text on the latter copy reads as follows: ••RobertHoudin [Signature] I Volume in which I drew / my first inspirations for the art of conjuring."

Memoirs of Robert-Houdin. op. cit.. p. 38.

36. Jean-Martin Robert, son of Toussaint Robert, the younger brother of Prosper Robert, was the husband of Therese-Justine Renou. whom he married in Meung-sur-Loire, around 1824 (Jean Chavigny. op. cit.. p. 33). In the civil register the name of "Cousin Robert' was. after his wedding, Jean Martin Robert Renou.

37. Memoirs of Robert-Houdin. op. cit.. p. id

Charles-Michel Roger, born in Saint-Dye-sur-Lone on January 12. 1777. died on December 21. 1843. He was mayor of Avaray from 1816. (Jean Chavigny. op. cit.. p. 31)

Memoirs of Robert-Houdin. op. cit.. pp. 42-43.

34.

Memoirs of Robert-Houdin. op cit.. p. 44.

In December 1867. fort)-two \ears later. Robert-Houdin paid a visit to the Chateau d'Avaray. writing the following note in his Tablettes journalieres (daily journals) of December 19. 1867: Awakened at 7 o'clock - I left for Blois at 7:30 - I hired a coach at

38. 39. 40. Many years later, certain that he would be remembered by history, Robert-Houdin wrote the following lines on the title page of his copy of the Dictionnaire Encyclope'dique: "Volume from which I drew my first 65

41. Memoirs of Robert-Houdin. op. cit.. pp. 44-45

42. We know very little about this podiatrist from Blois named Maous who was also a conjurer, as related by Robert-Houdin in his Memoirs. It is interesting to note that Eugene Hatin. in his mini-biography dedicated to the artist in his series in Le Constitutionnel (which was also published as a som enir booklet that Robert-Houdin pulled out of his Horn of Plent) and generously distributed to the audience) also attributed the earl) training of the magician to Maous. Since Hatin's mini-biography was published nearly ten years before RobertHoudin's memoirs, we can stress the fact that the conjurer later preferred to insist on naming De Grisy-Torrini over the others as his initiator into the art of magic. This seems to me to follow the hypoth-

ROBERT-HOUDIN

esis suggested in my chapter "The Count de Grisy, French Conjurer, known as Torrini": Chance, again, this chance that always appropriately lies on our path, wanted Blois to have a conjurer who cumulated that art with that of podiatry. This man excelled in making balls and foot corns disappear, accompanied by the singing of birds, which he also skillfully imitated. Robert became an assiduous student of this meritworthy juggler. He never thought the slightest revelation was too costly; the best fruits of his garden, the oldest bottles of his wine cellar went first, then he even offered money. This decent man was not proud; he accepted everything, but in return, he generously lavished the treasures of his old experience on his generous student, who soon knew more than his master, except in the art of removing corns, to whom he left the monopoly. Eugene Hatin, Biographie de Robert-Houdin, extract from the series of the journal Le Constitutionel, Guiraudet and Jouaust, printers, Rue Saint-Honore. 338 (Paris, circa 1848).

43. Memoirs of Robert-Houdin, cit., pp. 48-50.

op.

44. See the complete text of RobertHoudin's articles on M, Comte in Appendix II at the end of the volume. This letter from Comte, the King's Conjurer, was sent to the Marquis of Flers by Robert-Houdin on February 24, 1869- Tablettes journalieres, 1869, Wednesday, February 24, S. Mathias: Awakened at 7:30. I received a letter from Lecesne about The Secrets. I went to see the construction at the Pont St. Michel. I am a little less ill now. I worked at l'Ermite. It is very nice weather. Was called on bv M....with his

young lady. Information on Paul, gardener. I sent the autograph of Comte to Monsieur de Flers.

45. These three pitchbooks, all published in Bordeaux, come from M. David's bequeath to Robert-Houdin. They are not cited in the various bibliographies of magic - including my own! — LA SCIENCE / DES ESCAMOTEURS / OU / SECRETS / DE GIBECIERE / Avec permission / A BORDEAUX, / De l'lmprimerie de Lawalle Jeune, allees de Tourny, no. 20. (18 x 10 cm.) — COMBINAISONS / AMUSANTES / TIREES DE L'ESPRIT DE I/HOMME. / To know the names of all of the People, men and Women alike; / with a strange method of learning to / guess in what month someone is born, what / day, hour and date / how old someone is and in what season someone was / born, either day or night, etc. / several tricks with Mathematics, Physics, Cards, and Coins / PAR LE CITOYEN DRIOT, Parisien / A BORDEAUX / Chez Lavignac, Imprimeur, Rue Porte-Basse, no. 2 / Year XI. (21 x 12.5 cm.) — RECUEIL / DE NOUVEAUX TOURS DE PHYSIQUE AMUSANTE / ET DE SECRETS UTILES / Demontres avec clarte et precision / A BORDEAUX, de l'lmprimerie LAGUILLOTIERE / vis-a-vis le Cafe de la Comedie, no. 21. (18.5 x 11 cm.). Under the engraving depicting an outdoor conjurer in the midst of a trick, which decorates the cover of this brochure, the following text can be read: M. ROBERT shows how to play / eups in a very short time; he also teaches / other parlour tricks, for a very reasonable rate. / He will perform at your home. / Ask two hours in advance. Although the name of Robert is familiar, it obviously has no rela66

tionship to the hero of this biography, who was not even born when the brochure was published!

46. Perrin, conjurer-mechanician, "Rue de la Verrerie, at the Hotel de Reims across from the petite Rue des Consultes in Paris" (David of Bordeaux, First notebook, p. 61). Sidney W. Clarke, in The Annals of Conjuring, highlights the passages of the conjurer Perrin in London between 1785 and 1789. Max Dif, in volume 1 of his Histoire de la Prestidigitation, Limoges (19711974), p. 142, notes Perrin's performance during this period on the boulevards and at the Palais-Royal, where he exhibited a little female dog who performed "very strange exercises, read French and English, and did conjuring tricks." In 1791, Perrin performed briefly between two plays in the Salle des Delassements comiques. His most famous tricks were the dove shot through a window from a gun and which then reappeared with a ring; the inkwell supplying endless ink in all colors; and the watch crushed in a mortar and found intact (Max Dif, op. cit., volume 1, p. 152).

47. Jacques Voignier has in his collection two playbills of "Old Palatiny" dated 2 Floreal, year 7 (Sunday, April 21, 1799) and 24 Frimaire, year 10 (Tuesday, December 15, 1801). The bill of 2 Floreal authenticates, if need be, the written manuscripts of David of Bordeaux because it gives specific details of the ''BRILLIANT SHOW of citizen PALATINY," particularly concerning the decapitation of an animal, which has top billing: UNDER THE SURVEILLANCE OF THE CONSTITUTED AUTHORITIES AT THE REQUEST OF ADMIRERS FROM THIS COMMUNE

NOTES TO ACT I

1. Citizen PALATINY will cut off the head of a living animal, he will throw it to one side and the body to the other, will take the said head and put it back on. and revive the said animal with physical science. 2. There will be a dozen eggs on the table; a person from the audience will take one. examine it, and will make sure that it is raw. after which he will ask for any sort of bird; the egg will be broken and the bird asked for will come out; it will sing a song upon demand, analogous to its species; the said bird will do acrobatics and astonish the Audience. 3. A silver vase will be on the table; citizens will ask for flowers they like, one will see them bloom in the said vase in four minutes, and they will have the same smell as if they had just been freshly cut. 4 A member of the audience will hold something in his hand: this will then change into a living animal. This trick is so surprising that it flatters itself in winning the applause of the audience... The box seats will cost 1 Franc, 20 centimes, or 24 sous; regular seats will cost 75 centimes or 25 sous. The show will begin at precisely 5 p.m. It is in the Pierre-Lentin theater hall [in Orleans].

48. Henri Decremps, born at Bedueren-Quercy, Lot, April 15 1746, died in 1826. Lawyer and mathematician, he was an attache for the French Embassy in the English Court, as a secretary-interpreter. Decremps's renown is for his exposures to the lay public of the tricks in the repertoire of Chevalier Pinetti. The explanations given in his first books are often subject to caution and rather imprecise. Decremps wras the author of five conjuring works: La Magie blanche devoilee, 1784; Supplement a la Magie blanche devoilee, 1785; Testament de Jerome Sharp, 1785; Codicile de Jerome Sharp, 1788; and Les Petites Aventures de

3, A

BLANCHE 0L1

EXPLICATION DL'J 'liuir.t ..'illprcniinnf.^qui /iV/l clcpili.'pt-'ti I'aJnuraluvi i/c /a uipitale ct t/e la Province, avec di'j rc/le.ywnj stir Itt 7iai/a<:l/c ilivctladxn led Automate*! Joiwuri d'Echecs &'c A c

PAR M. DKClUiill'S . •«.»/™»i.,,/.,/,;,,,,,,u,

CMVIU .'l/k-aum,/,.,/,,,, ,/,• Plif siqiK amus.mU; ,/nt ,7/v.v avoir r Mm/ <•« cent/res urn Carl.- lia-aiJjclle le .A;, ,vi I'au poor ifjUaV IvpamfhV .;, la c/ouantau mar d'un coup
,

/,•,«,!.

Illustrations 64 and 65 - La Magie blanche devoilee

Frontispiece and cover page of Decremps's work. The engraving depicts Chevalier Pinetti. Jerome Sharp, 1789. These works were published in many editions and some were translated into several languages, according to Robelly, Le Livre d'Or de Ceux qui ont eu un Nom dans la Magie, Tours, 1949. In The Secrets of Conjuring and Magic, Robert-Houdin narrates how Pinetti got revenge on Decremps by publicly discrediting him: ...During one of his performances, he [Pinetti] complained that an ignorant person, an impostor, in order to ruin his reputation, said that he could reveal secrets above his intelligence. No sooner had he said that, a man poorly dressed and who looked unhealthy got up in the middle of the assembly and vulgarly addressed Pinetti and offered to prove that the explanations he gave were exact. The public, unhappy about seeing a performance that they liked disturbed, booed the poor devil and may have been about to beat him when Pinetti intervened and gently 67

sent the man on his way with a bit of money discreetly slipped into his hand. This man was a confederate.

49The purpose of this chapter is not intended to give David of Bordeaux a more important role than he actually had in the careers of Comte or Robert-Houdin. but rather to emphasize through his example that professionals throughout conjuring history have often found help and sources of inspiration from enthusiasts who, in this manner, gave one of the finest proofs of their passion for the art of magic.

50. Memoirs of Robert-Houdin. op. cit., pp. 51-52.

51. If the reader belie\ es that the Torrini-De Grisy episode is true, this date, provided by Jean Chavigny, is likely and supported by facts.

RODERT-HOUDLN

52. Pinetti: Joseph de Pinetti de Willedal de Merci. Born in Orbetello, Tuscany, in 1750, died in Bertichev. in Yolhynie, Russia, in 1800. Pinetti was probably the most flamboyant conjurer of the eighteenth century, and apparently the most charlatan-like, if we are to believe the testimonies written about him by some of his equally famous contemporaries, and also the reports of the period, which range from excellent to much less flattering descriptions. Decremps published alleged explanations of Pinetti in his work La Magie blanche devoilee. On explications des tours surprenants qui font depuis peu Vadmiration de la capitale et de la province avec des reflexions sur la baguette divinatoire, les automates, joueurs d'echecs, etc.. 1784. In response to these exposures, Pinetti in turn published that same year a book entitled Amusemens physiques et differences ex-

LENOUVEAU

P I N E T T I , ou RECREATIONS DE SOCIETE; C O ^ T E N ^ T douze figures pour Uinlelltgeiice des principes parti-' culicrs pour les tours de cartes; les faux melanges, faire sauter la coupe etc. el touts sortes de tours agrdables > suivies de diffcrentes manieres de tirer les caries.

A PARIS, Chez T i o F. R, Imprim.-f Jbraire f Place Gambraj, au Piiicr litteraire. Le Nouveau PINETTI - p. 1 PINETTi Nv. P. de G.

Illustrations 67 and 68 - Le Nouveau Pinetti Engraving from the frontispiece and cover page of this very rare anonymous little work.

periences divertissantes composees et executees tant a Paris que dans les diverses Cours de I'Europe. Pinetti claimed he was a professor of mathematics and physics and said he was a Protege of the Royal Court of France and Pensionnaire to the Court of Prussia.

53.

Illustration 66 - The Chevalier Pinetti. Engraving from the frontispiece of the work Amusement Physiques by the famous conjurer.

The name of the mechanician Opre is mentioned several times in Harry Houdini's work The Unmasking of Robert-Houdin. The Publisher's Printing Company, New York, 1908. Although Harry Houdini was a prominent artist and at that time the greatest collector of documents on the magic art, the use he made of them in attempting to discredit Robert-Houdin's memory is at the very least questionable. Research v\ orks by Camille Gaultier, Maurice Sardina. Jean Hugard, Sam H. Sharpe, and many others have shed light on the author's re\ isionist statements and reestablished the historical truth. I will therefore refrain from elaborating on this subject

68

and only refer to Harry Houdini's work when I have the opportunity to bring some new information to the reader, or to shed light on some specific issue. This inaccuracy is especially the case in the paragraphs devoted to Opre (pp. 138-140) who was, according to Houdini, and among other "speculations," Robert-Houdin's mechanician! Houdini is very careful not to offer the slightest proof, any specific date, or serious, verifiable references to the "irrefutable documents" upon which he claims to base his "proof" because they are simply fictional. One of the documents that Houdini "discusses" with his readers, but which of course he does not reproduce and from which he builds a purely fictional story, is a Dutch book that mentions the name of Opre. Although Houdini provides neither the date nor other specifics about this work, the truth about this matter would one day be revealed.

NOTES TO ACT I

In his remarkable autobiography Illusion Show: A Life in Magic, published by David Meyer Magic Books, Glemvood. Illinois, 1988. the great illusionist David Bamberg (Fu Manchu), son of Okito and brilliant representative of the se\ enth generation of magicians in the Bamberg family from Holland, reproduces the document to which Houdini refers in The Unmasking and which the "Handcuff King" refrains from including since his entire "case" would fall to pieces! This work is an 1831 almanac published in Utrecht (Holland) that reproduces a woodcut of Eliaser Bamberg (the first magician in the family) performing in a public square in Leyden, the city where he was born in 1760. Beneath this engraving is shown a poem of that era (the end of the eighteenth century), of which one excerpt interests us: Many are clever in magic : Such as Pinetti and Opre [...] David Bamberg adds that Opre constructed his Bouquet Philosophique for Pinetti and that he also manufactured automata for Eliaser Bamberg. David Bamberg also confirms that these automata did not leave the family, as his grandfather Tobias still performed them and his father Okito played with them as a child. It is thus apparent that for simple reasons of dates that this Opre could never have had anything to do with Robert-Houdin. The truth about this ''Opre" is very different. Robert-Houdin did indeed write in his memoirs that Torrini spoke to him about an artist named Opre. We believe that this anecdote is only partially exact, because Robert-Houdin's interlocutor, as we will see, was probably David of Bordeaux instead of Torrini. However, in 1981, Jacques Voignier. in La Revue de la Prestidigitation, no.

339, showed that Opre was most likely M. Aupre, a Dutchman who presented card tricks, stunts, and mechanical tricks as well as an automaton. The Grand Sultan. He performed in the Chapeau Rouge theater on Thursday, January 18. 1787. [In French "o" and "an" are pronounced the same way, wich explains the confusion as to the spelling of the artist's last name. Translator's note] Jacques Voignier has also since discovered that during this period, a remote area of Bordeaux was oddly named Chapeau Rouge. The date of the playbill could thus imply that the young David of Bordeaux had the opportunity to attend M. Aupre's performances. If we take this hypothesis into account, it seems much more likely that it was David of Bordeaux instead of Torrini — whether real or fictional - who. se\ eral decades later, mentioned this bygone conjurer to Robert-Houdin, who obviously could not have played the "historical" and farfetched role invented by Harry Houdini for the sole purpose of his unfortunate thesis.

Here is the complete text of Aupre's playbill of Thursday January 18, 1^8"; BY PERMISSION - NEW UNIQUE SHOW M. Aupre, a Dutchman, advantageously known throughout almost all the courts of Europe for the subtlety of his Card tricks and the beauty of his experiments based on Physics and Mechanics invented by himself; the great quantity that he proposes prevents us from going into detail. Nonetheless, here are the descriptions of a few of them. An automaton eight inches high, called the GRAND SULTAN, of pleasant appearance, which will move like a real person and gesture to correctly answer all questions, and will attempt several Card tricks of which the description would be too long, and who can also answer everyone without his Master being present; this will be shown. He will also show the SYMPATHETIC MILL which will stop and go merely by having a light placed under a vial of a liquor concocted by him. The MAGIC LAMP will stop on command. He will do the surprising PISTOL trick which he will have loaded and in which one of

1

Illustration 69 - Castelli d'Orino and the dog Munito.

69

ROBERT-HOUDIK

iJalon le Carts e prcnoan>

Sbaratc c va I'jtneUo nella) Casscv

locator fermas la. Carta, daroa.

un. Lsovo.e oa.wnvvuoa, n<s

r

&

leva la Camiotct- & ruin

cun-o in, arrrwnuZ'

Illustration '0 - Guiseppe Castelli. Engraving of this contemporar)' of Pinetti printed from the original copperplate.

NOTES TO ACT I

the Spectators will place a ring, will fire into the air and have the ring brought by a turtledove, & several other tricks which will pleasantly astonish. The show will begin at 5:30 precisely. The first boxes will be 36 s., the second 20 s., the parterre 12 s. It will be at the Ghapeau Rouge Theater Hall.

It goes without saying that Aupre's repertoire - like his namesake Opre - which is along the lines of Pinetti's, obviously has nothing in common with that presented by Robert-Houdin fifty-eight years later.

54. See the biography of Comus by Robert-Houdin in Appendix II, Volume II.

55. See Act II, chapter entitled "Olivier, Conjuring Professor of Paris."

56. We know of at least two other performers named Castelli in the history of magic: Giuseppe Castelli, Profesore e demonstratore di fisica e mecanica, countryman and contemporary of Pinetti, whose entire repertoire he had apparently duplicated - unless perhaps it was the other way around - and Signor Castelli de Milan (Castelli d'Orino), who was the master of the famous calculating dog Munito. The narrative of the performance of Castelli that Robert-Houdin recounts is particularly savory, this charlatan not lacking "guts." Cf. Memoirs of Robert-Houdin, p. 69-

58.

64.

That is, if we ignore the novelistic character of the narrative and the inaccuracy of a few dates subject to caution. On this topic, see the two esteemed studies of Jacques Voignier, "Robert-Houdin et Torrini" and ''Torrini contre Pinetti," in La Revue de la prestidigitation, nos. 339 and 342, 1981.

Memoirs of Robert-Houdin, op. cit., p. 140.

65. Josephe Cecile Eglantine Houdin, born in Blois on April 1, 1811. died in Paris on October 13. 1843. See genealogical chart.

66.

59. Jean Chavigny, op. cit.. p. 39-

60. In the Chateau de Blois is a wax mannequin, sculpted by Albert Chartier, depicting Robert-Houdin which is dressed with clothing that belonged to the master. According to their size, he seemed to be between five foot seven and five foot eight inches tall.

61. Blau was, along with Davy, Fillon, Bastor, and Robert, one of the five watchmakers from Blois included in the almanacs of this period.

62. Jean Chavigny. op. cit., p. 40.

63. Memoirs of Robert-Houdin, op, cit., p. 137.

Jacques Francois Houdin, born in Blois on September 16. 1784, died in Saint-Gervais on November 12, I860. Married to Jeanne Adelaide Cecile Blondeau, born in Blois on November 22, 1791, died in Paris. See genealogical chart.

67. Jean Chavigny, op. cit., p. 42.

68. If Jean Eugene met Cecile Eglantine at the end of 1828 or the beginning of 1829 - Robert-Houdin wrote in his memoirs that the young girl was seventeen years old when they met for the first time he only saw her again a year later. The youth of his "bride to be" was probably the main reason for this delay.

57. Dr. R. Shelton Mackenzie, the author of the preface of the first American edition of Memoirs of Robert-Houdin (1859), questioned the truth of this episode, which according to him particularly showed the extent of Robert-Houdin's qualities as a novelist.

Illustration 71 — Traveling Conjurer by Victor Adam. (Dicker Moreau "Morax" collectionj

71

1830 — Paris, Here I Come • p. 77 • 1830 — "Father Roujol" • p. 87 • 1809-1833 — M. Comte, The King's Conjurer • p. 95 • 180(1 1832 — Olivier, Conjuring Professor of Paris • p. Ill • 1830 — A Marriage of Love During the July Revolution • p. 1/ 7 • 1831 — The First Son • p. 120• 183132 — The Componium • p. 123 • 1832-1835 — A Long Depression* p. 126+ 1833 — GiovaniBartolomeoBosco«/>. 129+ 18356 — The Fall of the House of Houdin • p. 137 • 1837 1844 — The Mechanician and the Watchmaker • p. 141 • 1837-1844 — The Salon Conjurer *p. 153 842 — The Little Parisian Curiosity Shows mp. 160+ 1843 — Philippe Talon, known as Philippe • p. 163 • 1840- $46 — Vaucanson's Duck, Von Kempelen's Chess Player, and RobertHoudin's Writing and Drawing Automaton • p. 169 • 1843 A Cascade of Mourning and A New Marriage • p. 181 • 1844 — The Exposition and Phineas Taylor Barnum • p. 187 > Notes to Act Urn p. 195

ROBERT-HOUDIN

£iLuc

Illustration 73 - The Conjurer Miette. Miette. who performed on the Pont-Neuf and called himself the inventor of La Poudre persane (Persian powder), was one of the picturesque characters of the streets of Paris. This engraving is the frontispiece of Rossignol Passepartout's work Voyage autour du Pont-Neuf et promenade sur le quai aux fleurs. Paris. A. Imbert, Bookseller. 1824.

74

ACT

II

"Here come those who made the nineteenth century the golden age of magic: Bosco, Philippe, Gomte, Robin, Anderson, Wiljalba Frikell, Gompars Herrmann, Dobler, Heller, Blitz, Hofzinser, Heimburger, Hartz, Macallister, Jacobs, Bamberg, Gazeneuve, Haselmayer, Bellachini, Wyman, Sylvester, the Fakir of Ava, Baron Seeman...One comes among them...slight...small of stature...inscrutable face...large mouth...incredible hands...glowing eyes. Conjurer...author...ambassador...greatest of his age...of any age...The Master of all the Magicians. JEAN EUGENE ROBERT-IIOUDIN

...His fellow craftsmen of the shadows salute him as they pass..." John Northern Hilliard, Greater Magic.

Reading the Memoirs of Robert-Houdin provides us with few indications as to the author's specific activities during the years 1830-1845, that is to say, from his arrival in Paris until the opening of his theater. His invention of the Alarm-Lighter and his famous Mysterious Clock are described in a few brief lines, and only his repair of The Componium and his construction of The Writing and Drawing Automaton are described in any detail. In the first volume of his memoirs, pages 216 to 374, which cover this period, consist primarily of anecdotes about Von Kempelen's Chess-Player and Vaucanson, as well as descriptions of the performances and lives of Comte, Philippe, and Bosco.

This deliberate choice of the author is directly related to what I have previously termed the relentless narration through which Robert-Houdin, with the talent of an experienced storyteller, guided the mind of his reader. Whether he is a magician or layman, the reader should hardly be surprised that from one chapter to the next and in the space of only fifteen years, the mechanician transforms himself into a magician whose outstanding talent is immediately recognized by the public. But this is only one interesting example of the kind of literary misdirection one finds throughout the memoirs of this author, who handled his pen as skillfully as he wielded Jacob's wand.

ROBERT-HOUDIN

.... / . ,r / • ' /'»"

Illustration 74 - Letter from Jean Eugene Robert to Jean Martin Robert. This letter from Februan 26. 1830. signed E. Robert, is the first known letter written by Robert-Houdm following his move to Pans.

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76

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ACT

II

Paris, Here I Come We cannot begin this chapter more appropriately than by allowing Robert-Houdin to speak through the following unpublished document, whose contents reveal his emotions about his first days in Paris and how he spent them, [i] The handwriting of this letter is not as full and confident as that of his later writings, and we discover a Jean Eugene who honestly reveals his first impressions to his best friend, "Cousin Robert." Paris, February 26, 1830 My good friends: You will not believe how much pleasure your letter brought me, especially when I learned of M. Frederic's success. He is happy and can ask for nothing more. Mme. Renou, who places her happiness in that of her children, must be very pleased; such a mother gives me deep regrets but perhaps one day I will be lucky enough to find a nice mother-in-law who can replace my real one. I would love her so much that she would have affection for me, and if I was Illustrations "5 and ~"6 - Traveling Conjurers.

77

granted such happiness I would never leave Paris, which would then become my home. But I would give up if not for a few sincere friends whose unlimited devotion one can depend on. I began work at M. Baullier's at the beginning of last week; I quite enjoy it. Everyone is very pleasant. I work a lot from eight o'clock in the morning until 10:30 but it does not bother me too much when I think of the future. I earn nothing but the rent, which will cause me some expenditure because it is costly to live in Paris. As much as I try to save money by eating in inexpensive restaurants, I cannot spend less than 1 franc 25 centimes per day on food; I therefore count on 80 to 100 francs per month, but this will not last for long. At times I somewhat miss what attached me to Blois, but I console myself by thinking about the motive of my journey. Sometimes I go to dinner at the young lady's home; I had dinner there on Sunday and for Mardi Gras. The father does not want us to talk about anything in front of his daughter but I hope that when alone with her, I will be able to transgress my future father-in-law's orders.

ROBERT-HOUDIN

i'ClflT

Un Robert Houdin de l'avenir. Illustration ^7 - Traveling Conjurer. "A future Robert-Houdirf (DidierMoreau Morax' collection

Festive days seemed quite sad compared to those I spent in Blois. Not the slightest pleasure, and it is in times like these that I miss the lovely little society and the pleasant evenings and balls I used to attend, instead of working half the day and going to the other side of the city to play ecarte until 10 in the evening. I could throw the cards to hell; the little games would amuse me much more. There is nothing new for the moment; the set time period is going to seem very long but I do not get discouraged because I know that it is for the best. I would be wrong to complain. My dear Robert, I do not know how you could have thought that I had forgotten you for an instant; you really insult me, accusing me of ingratitude...Oh, Robert...you do not really think it...it would be fine for a mistress, but for a friend, I would never forgive myself. Since arriving in Paris, I have learned that Mme. Renou Desfray [2] was

supposed to talk to me for Mile. Egret; everything was for her, but I do not know how they will take this; I sent them their candle-rings through an acquaintance without telling them anything. They will be furious with me. Try to find out what they think; I am sure that they will not brag about their advances. Try to wipe out all suspicion concerning me. I forgot to tell you in my last letter...when Demance gives you my two spheres [that he] is supposed to melt, there is also the model that I gave [to you], which makes three. It would give me great plea [sure] if you have them machine turned and send them to me when you have a chance. I beg you not to forget to send me any and all news of everyone as often as possible. I will be waiting for my shirt, hat, and plinths in the next trunk. Your cousin and friend, E. Robert

ACT

II

Mme Robert does not need me to address her directly to give her my regards; this letter is for both of you. I was with M. Baullier at the costume ball at the Porte St. Martin where I had a fairly good time, without dancing.

This letter indicates that the parents of Cecile Eglantine Houdin kept her unaware of the wedding plans, a union about which the Robert and Houdin families apparently remained very discreet with respect to their family members, who, unsuspecting, proposed other alliances to Jean Eugene. M. Baullier, with whom the young man obtained his first employment in the capital, was a watchmaker whose establishment was situa-

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ted at 9, Rue Vendome under the commercial heading "Baullier father and son, merchants, watchmaking, bronzes, Vendome 9." Strangely, COMWCttlC

Illustrations "8 and "9 - Traveling Conjurers.

ROBERT-HOUDIN

Imp litk "Feller

etc It'dif-exir (Depose ]

L'ESCAMOTEUll EN PLEIN VENT . Yous ailez voir,Mesdamrs et Messieurs, que Tien r.e mest par" m a ] ) e b i t e b a g u e t t e , il v a sortir de oe e p h d e t u i e n o i m e b a l l o a line deux trois Voila Messieurs aver TIC carotte .

Illustration 80

The Traveling Conjurer. Lithograph by Pcllcrin in Epinal.

ACT II

a decade later Robert-Houdin was to set up his workshops at this same address in 1841. Number 9 of Rue Vendome was therefore Jean Eugene's first Parisian dwelling. As soon as his marriage proposal was officially agreed upon by his charming bride-to-be, he moved into the apartment of his future in-laws at 78. Yieille Rue du Temple. Although the forced idleness weighed upon Jean Eugene, it also had its advantages for a young man whose ambition was to learn everything about the arts of mechanisms and illusion; at every crossroad of the streets of the capital, free performances of more-or-less known magicians could be seen. [3] Every night in every neighborhood of Paris, one could attend Curiosity Shows, which included phantasmagoria, optics, physics and mathematics, wax figures, phenomena, performing animals, puppets, tightrope dancers, automata, etc. The young man. whose skill in his art was already the best of calling cards, apparently had no trouble meeting all the "professors of white magic" of the city and he was read)-, he tells us. to "walk twenty leagues for the sake of talking with a conjurer." Jean Eugene was dying to see and learn everything; he forgot no piece of advice; every new routine and all apparatus, whether simple or complicated, remained etched into his memory. He did not cease to practice and improve upon these discoveries. Even if he did not judge all of his future colleagues' performances equally, Jean Eugene already understood that each one of them offered a bit of knowledge and that one could always benefit from observing all types of performances. He also knew how to make himself appreciated and uniquely repay the lessons he was generously granted. He graciously performed certain welcome repairs and expanded his study of and devotion to his

Illustrations 81 and 82 - Traveling Conjurers. Engravings from the works Robert Macaire et son ami Bertrand. (Anonymous). Paris. 1840 and (Euvres de Florian. les fables illustrees. Collection des grands classiques francais et Strangers, Pans et Lille (n d.).

Par elle on obtimil tout, on salt tutit, on fait Unit. C'eit la gratule eiicvctop6die.

81

ROBERF-HOUDIN

art to the point of agreeing to act as a confederate for his new acquaintances! Here is an unpublished text, part of the first drafts of Memoirs of Robert-Houdin, which will explain and illustrate his refusal to allow his performances to employ confederates, an ageold technique that conjurers and mountebanks had quite overused: "Of course, after the abuse I have showered upon the use of accomplices, I totally eliminated them. I have always regarded such trickery as unworthy of a real artist, as it raises doubts about his skill. Moreover, having frequently acted as a confederate myself, I recalled the unfavorable impression this role made upon me regarding the talent of my partner [*]." On one of these occasions, a brief but unique

event took place. The reader, used to my parentheses, will allow me to open one here to place my narrative. At that time, possessed by my passion for conjuring, I assiduously courted conjurers and became acquainted with a certain Saubert, whose name was not well known, but who was nonetheless quite skillful. He gave performances at the Faubourg St. Germain in a small hall he had built next to the Rue de l'Ecole de Medecine. Hardly a day went by without my going to see him, and each time, he gave me a small mission as an accomplice, which I did my best to perform. One evening I had promised to slip a card into the pocket of a spectator. I caught sight of a kind-faced man whose calm demeanor seemed to ensure the success of my undertaking. I furtively

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ROBHR1 -HoLDTN

slipped behind him and, pretending to lend an attentive ear to the performance, I explored his pockets to see which one would be the best for my purposes. On one side was a handkerchief and on the other a snuffbox: an unfortunate discovery! If this snuff-user put his hand into his pocket before the trick occured, the illusion would be spoiled! I had a very simple idea: place the card underneath the handkerchief; the trick could only be improved, but instead it became more difficult. Now after all, I said to myself, I cannot be timid; victory without risk brings no glory. How we will laugh later on! With this charming inspiration, I immediately went to work. To begin my difficult maneuver, I took advantage of a moment when the conjurer was dazzling the crowd, and, having seized the handkerchief by one of its edges, I pulled it out little by little, when suddenly I felt a tap on my shoulder. "Follow me, sir," quickly said an unknown voice, which I soon recognized as that of a police officer. This vigilant civil servant, having come to the performance as a spectator, had followed my innocent work out of the corner of his eye and felt obliged to do his duty in the face of such an obvious crime. I wanted to explain. My interlocutor did not give me a chance but whispered in my ear the following short and peremptory warning: "No discussion or I will grab hold of you." Now, being seized by a policeman was a humiliation I wanted to avoid at all costs. I calmly arose to avoid attracting the attention of my neighbors and exited. However, despite my distress, I had not lost the card, and this card could explain everything, as Grassot would say. I made it my safety net. "Can't you see, sir," I cried with such sincerity that a heart of stone would be moved, "don't you see that you are making a mistake? I am a confederate of M. Saubert; you encountered me just as I was trying to put a card into my neighbor's pocket as I was asked to do. You can come to my friend's stage with me; he himself will confirm what I sav."

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Deep down, the policeman was not as hardened as he seemed and, moved by the earnestness of my language and probably by the desire to see the inside of a conjurer's laboratory as well, consented to investigate my explanation and followed me. We found Saubert backstage; he had seen my exit from the theater and, suspecting what had befallen me, was preparing to chase after me to request my release. The conjurer expressed regrets about this unfortunate mistake in terms that could not leave the slightest doubt as to my innocence. A glass of rum was offered, and the authority, ceasing his severity, apologized profusely for the mistake of which I had been a victim. This adventure confirmed the repulsion I had for confederates, and since then I have never had the least desire to use them.

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In the second chapter of volume two of his memoirs, Robert-Houdin confirmed this talent, which derives more from the music-hall art of pickpocketing than from conjuring. He described his problems with a Belgian customs officer on whom he used this "unique gift." Dedicated to his first tour in Belgium, this chapter, like the one describing the mountebank-conjurer, was also deleted from certain editions of his memoirs. Was it a question of late "remorse'' felt by the author, or for material reasons linked to the cost of printing? We will be able to return to this subject in the chapter concerning the Paris and Blois editions of Memoirs of Robert-Houdin in 1868. Illustrations 84 to 90 - Unpublished chapter of Memoirs of Robert-Houdin. From the manuscript of Robert-Houdins memoirs.

Illustration 91 - Le Mercure galant (Gallant Mercury), an "automaton who answers all questions." from Alexandre Roujol's catalogue, no. 89 (Francois Voignier collection). Behind this lovely automaton, one can see the cover of Roujol's catalogue (Jacques Voignier collection).

ACT II

"Father Roujol' At the end of the nineteenth century, a magic enthusiast arriving in Paris would have sacrificed all the attractions of the capital for a visit to the magic dealer Andre Voisin and a front-row seat at the Theatre Robert-Houdin. Fifty years earlier, the magic dealer was Roujol and the temple of magic was the theater of M. Comte, the King's Conjurer. One can hardly doubt that after having paid his respects to his future in-laws and to his new employer, Jean Eugene hurried to these two addresses.

Illustration 92 - Alexandre Roujol's signature.

It is difficult for a layman to imagine the irresistible attraction for a magician of a magic dealer's store and a fortiori his storerooms or workshops for building the unique equipment, which are only revealed to very carefully selected professionals. The illusionmaker also makes one dream through his catalogues; large or small, or more-or-less descriptive or illustrated, according to the period, they are bearers of mystery and promises of success. The apparatus Roujol offered to neophytes and professionals were christened with evocative titles: Tantale's Cups, The Temple of Flore, The Bacchanalian Oven, The Magic Well, The Turtledove's Star, etc. All these marvels obviously had a price, often too high for the "wallet of a young amateur, since the price of certain tricks equaled one or two months of salary. The master of the shop thus needed the talent of making the customer forget his disappointment by selling him lesser tricks like Solomon's Columns or Jean de la Vigne, which would allow him at little cost and study to quench his passion and to shine in public.

Illustration 93 - Cover page of Roujol's catalogue (circa 1 8 3 0 ) . (Jacques Voignier collection)

CATALOGUE DES PRINGIPAOX INSTROMENS

RECREATIVE AMUSANTE, TOURS D'ADRESSE ET DE G1BEC1ERE, IJUI SE FiBIUQUEST

ROUJOL

u '} ttB 5 ; vid.~^-vi<4

Par on accord henreas, Part, joiat a la nature. Poor sorprendre les sens, lui pre*le sou secours; De leur divers secrets la charmante imposture Donne an air merveilleux au plus simple des tours.

K PARIS.

S"7

ROBERT-HOUDIN

Throughout the years, from "Father Roujol" to Georges Proust and including Voisin, Aubert, Delion, Chevallier, Marchal and Buffard, De Vere, Caroly, Mayette, Dickmann, and Guy Bert, the salons of these legendary Parisian magic dealers remained the preferred meeting point of aficionados and the major distribution channel of magic creations.

Illustrations 94 and 95 - T h e c o n j u r e r - m e c h a n i c i a n Prejean. Frontispice engraving a n d cover page of the very rare w ork b\ C Prejean, Lejeu des goblets, Paris, 1793. This artist was one of the famous clients of Alexandre Roujol's boutique.

LEJEU DES GOBLETS. RENDV SENSIBLE, Mis a la porte'e des Personnes les mains dextres , demontre' par des Principes iheoriques et pratiques . OB Sectieil Prfcieux de Recreations utiles et plaisantes, contenant en oixtre , des Tours de Cartes , d'Adresses , des Amusemens de Phisique et de MatWmatiqne des plus nouveaux , invente's et composes par le Le C. PHiiEAN.(*) Ce n*est l*0r ui !es Diamants , ui decide chiprix des choses, ouveut la moindre FIe«y des champs , lie dispute mtx plus belles Roses.

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(*) Le C. PR&rEA& M/canicien, eonnu par ses Machines d'utilitS et d'agrdment pour la Ville et la Campagne, demeure Rue St. Honors', lf°. en face la rue de PArbre-sea, au3" chez M". GRIVET,

Marchand de Rubam, et au Jardin de I'Egalitif, N". aoo. A Del1usmiMi&IE

PARIS. , rue Gallanie N°. 79»

Alexandre Francois Roujol, whom RobertHoudin affectionately called in his memoirs "Father Roujol" or "my old friend," was born on March 7 of the year 1776. (However, we must add that in a notarized document of May 18, 1800, the birthdate of Alexandre Francois Roujol is written as March 9, 1776 and not the 7th.) [5] His address was 5. Rue Richelieu and his name was found in the business almanacs under the heading "tinsmith." In this unassuming category was hidden the most important French manufacturer of conjuring material, with a catalogue that included 132 tricks ranging from the smallest conjuring prop to the most sophisticated trick automata of his era: "Catalogue of the principal apparatus of Physique recreative amusante, sleight-ofhand, and gibeciere tricks, manufactured by Roujol tinsmith-mechanician, inventor of various amusements; 5, Rue Richelieu, across from the Theatre Francais. In Paris." Before Robert-Houdin, another famous magician, Pinetti, had mentioned the name of Roujol, spelled Rougeole, on the last page of the third edition of Amusemens Physiques. At the shop of Rougeole, who could well have been the father of the aforementioned, the conjuring enthusiast could obtain the apparatus needed for the tricks described in the work of the Italian chevalier: [6] "One will find these cups ready-made by M. Rougeole, tinsmith, under the new archway. At his place can also be found different objects concerning the said work." M

ACT

II

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Illustration 96 - Letter from the Conjurer Brasi. Letter adressed b\ the conjurer Brasi (spelled Bras) by Robert-Houdin) on July 18. I84I to the Ministry of the Interior. This artist was among ihe Famous clients ol "Father Roujol". (Archives nationalesj

PAH PERMISSION DE M. LE MAlRE.

Dimanche

CO

S PIESE

AURA L'HONNEUR DE DONNEB UNE FOIS SEULEMENT

UNE GRANDE SOIREE

HTSICI lAITMTWII Produjcs, Transformations fderiqucs. Scenes comiqucs, Metamorphoses. Cnflu la vai'ietc dc ceite »otrce iouit; cabaliMiqne H« doit latssci- aiieiin dowte la sni'pi'isic et Ic plaisii* qu'on y goutei*a

LA BOMBE, LA CL1SIXE A LA MODE, VOYAGE AKUHf DHS MOUCIIOIR **

LA FOIRE AUX PLAISIRS

L'OPERATION SANS

TOUR

LES ECUS SOHCIEKS

offert aujc jcunes speclatcurs

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NECHOMANCIE

LE

SUBTILITES

COUP DE FEU MAGIQIE

LE MAGICIEN POUR RIRE

LA POUPEE DE Eitfiu V1NGT JOL1S TOURS seroni choisis dans son repertoire pour celt'.1 brillante representation

PRIX DES PLACES Logos,

NUTA.

; Premieres, ; Parquet, ; Parterre, ; SeconOes, ; Troisiuiries, Les Bureaux ouvriront a 7 Inures. — On coimnencrra a 81ieurcs. — M. t'wuuu a I'honncur dil prh'tftir fond on trappes.

BABBEZIBIX.

le j id lie rju'il Irarai'h sans materiel, bottes a double

!>ir. El' L1TH. BE P . BLA1X.

Illustration 97 - Conus The Conjurer. Small bill for the famous Conus. who was among the friends and clients of "Father Roujol along with Ro\ere, Bras\. Adrien. Chalon. Olivier and Prejean. and whose name is mentioned in Robert-Houdins Memoirs.

ACT

In the civil register, the parents of the magic manufacturer were Pierre Roujol and Francoise Henriette Godet. Alexandre Francois Roujol was the spouse of Marguerite Francoise Dannaux. The couple had three children: Alexandre Francois Adolphe, Louis Julien, and Marie Victoire. [>] The boutique and the workshop of "Father Roujol'' swiftly became a meeting place for Jean Eugene, who encountered there every conjurer in the capital, including Jules de Rovere, immortalized by the invention of the word prestidigitateur, approved by the Academie Francaise. A few modest purchases, a demonstration of his talents, and the avowal of his ambitions placed him in the host's good graces, and a true friendship was built between an experienced artisan who had known the greatest conjurers of his time, and a young man fresh from the countryside and thirsty for knowledge. Without having tangible proof, we cannot set aside the hypothesis of a professional collaboration between the tinsmith and the

Illustrations 98 and 99 - The Learned Turtledove and The Extraordinary Persian. These two automata a pedales by Roujol, part of Robert-Houdins Cabinet de Physique, were sold to Hamilton's successor Cleverman after the artist's death.

II

watchmaker. Their combined talents may have accounted for the quality of certain pieces sold in the little shop and it is very likely that it was thanks to "Father Roujol" that the young creator entered into contact with a few artists to whom he sold certain tricks of his invention which contributed to the quality of their repertoire and perhaps their fame as well. Jean Eugene had plenty of time; extra money would be welcome; and working with or for Roujol would have meant, for the neophyte, the immense advantage of discovering all the subtleties of these automata and conjuring instruments and therefore quench his thirst for knowledge. Until his death Robert-Houdin kept two trick automata with rudimentary mechanisms, which appeared in RoujoFs catalogue; the important document that we are going to partially describe, although it does not confirm this possible collaboration, at least shows a close friendly and professional relationship. In Robert-Houdin's archives is a manuscript in large format with the title Recueil de

ROBKRT-HOUDIN

Illustration 100 - Poster for the conjurer Victor Adrien. One of the members of the glorious phalanx of regulars of the boutique of "Father Roujol"

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ACT

Recreations de Physique amusante indiquant en abrege la maniere d'executer differ entes de ces recreations (1831). This artistically handwritten manuscript by Jean Eugene describes 97 of the 132 experiments, tricks, and automata proposed in Roujol's catalogue. [9] The teachings that one can glean from this document have an incalculable value for the history of conjuring apparatus and the state of the art of magic prior to Robert-Houdin's time. The manuscript contains the effects and explanations of numerous experiments in Pinetti's repertoire such as The Towering Inferno, The Wise Little Turk, The WorryFree Mill, the Simple Card Rise Houlette, etc.; those of Comte The King's Vase,

II

The Blooming of Flowers; and of Philippe - The Dutch House, The Miraculous Stew Pot; or even of Bosco - The Canary's Casket, the Device for Beheading a Shadow. The manuscript does not bother with partial explanations like those of Decremps describing Pinetti's repertoire, or the often incomplete - if not totally fabricated - secrets of popular works for the general public. It gives brief and extremely precise descriptions of the effects and mechanisms of various conjuring apparatus, written by a magician who had access to such equipment. For those impassioned by Robert-Houdin's creative work, these texts allow one to measure the importance of the conjurer's imminent renewal of the art of magic and to refute several unfounded theories on this subject. We will discuss the contents of this manuscript in detail in our upcoming study Les Secrets des Soirees Fantastiques.

Illustration 101 - Recueil de Recreations de Physique Amusante. Covet page of the very important unpublished manuscript by Robert-Houdm from 1831 which describes 9^ of the 132 experiments offered in Roujol's catalogue.

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Idli d'aprsss "nature pat E Desinaiscms

Ilustration 102 - M. Comte, The King's Conjurer. Lithograph representing Comte reading works by Berqum. one of the authors from his Theatre des Jeunes Eleves. The famous artist's portrait b} the sculptor Dantan the younger is shown on the table.

ACT

II

M. Comte, the King's Conjurer these pamphlets of little biographical interest but of much bibliographical value! — which were sold or given away in the days preceding the artist's arrival in town and provided excellent publicity. [13] Ideally suited for the imagination of a naive and rustic readership, these picturesque anecdotes were at that time part of the essential baggage of conjurers and mountebanks, whose artistic repertoire was fairly limited with repetitive tricks. In these little pitchbooks we find the description of the same "feats" which, depending on the era,

After this overview of the equipment available to conjurers for the performance of their effects, let us now learn about the person who was then the art's most famous representative. From 1814 until 1845 - the opening year of Robert-Houdin's Soirees Fantastiques - Comte dominated the Parisian stage, was extremely popular in aristocratic salons of the capital, and made his name a veritable institution, giving him a status unmatched by his European colleagues during his long professional career. For example, although Bosco and Philippe acquired international fame during the same period thanks to their remarkable talent, their tours on the continent, in Russia, and even in Asia - with their succession of triumphs and also unfortunate setbacks - did not grant them a level of comfort in their old age comparable to their reputations.

Illustration 103 — Comte by Dantan. Portrait of the conjurer Comte by Dantan the \ounger from the Album de portraits comiques. Pans. Office of Magasin des Families, 34. Rue Richer, (circa 1850)

From a good family, of noble ancestry, Louis Christin Emmanuel Apollinaire Comte M was born in Geneva, Switzerland on June 22, 1788. His father was a French watchmaker, [n] Before becoming the premier ventriloquist of his time, Louis Christin began as an employee at the court clerk's office and as a notary clerk. His vocation arose after attending the show of an engastrimythe named Thiemet. [12] From that moment on, Comte realized that he, too, would become a ventriloquist. He was only eighteen years old. Like many of his colleagues, Comte did not hesitate, at the beginning of his career, to publish brochures in which an "anonymous witness" recounted his adventures. The impossible magic tricks, the dramatic situations where ventriloquism saved his life, abound in 95

ROBERT-HOUDIN

had already been attributed to Pinetti or Philadelphia! For more than a century from Comte to Bosco and even Commander Cazeneuve, who did not disdain this type of publicity - but which Robert-Houdin always forbade — the same stories, with few variations, served generations of magicians for "tragi-

comic-magic" tales that differed only in the name of the protagonist. After humble beginnings in Swiss villages, Comte romantically swept away Marie Madeleine Rabatel, who became his wife, and arrived in France, where, thanks to his art of ventriloquism enriched with feats of Physique amusante, he became successful in the provinces. It was during these first tours that he met M. David of Bordeaux, [i<| the wealthy amateur magician who helped and encouraged him in the field of conjuring. The manner in which Comte presented ventriloquism has little in common with today's ventriloquists. Comte did not use ''dolls" or "dummies" and had the talent of making his voice come out of all sides of a theater: the balcony, the flies, a box, behind the scenes, etc. The most famous of his ventriloquism acts was The Lame Devil, during which a mysterious voice, surging from all sides, asked "embarrassing" questions or revealed little amusing secrets about the personalities attending the performance. Before schoolboys in the stalls, this same voice designated the good students and denounced the hidden faults of the bad ones. This trick, of which Comte was a master, necessitated a good "information service" in the main salons of this era, in cafes where gossip was whispered, or even in high-school courtyards.

VOYAGES ET

STANCES ANECDOTIQUES DE M. COMTE (do Geneve), PHYSICO-MAGI-VESTRILOQLTE I E PLUS CELEBR£ DE SOS JOURS ,

Public's par un teinoiti auri-oculaire invisible de tous lesdits fails et tours extra ordinal res , miraculous , instructifs et amusans de ce modeme et incomparable enchanteur. ORNJ3 DE TROIS GRAVU&ES.

Cbarta sicut columba Yolat; loquitur renter; uwibus attonitis stupeat gentcs; fama slat.

PARIS, J. G. DENTU, IMPRIMEUR-LIBRAIRE, rue da Font de Lodi, n» 3, preslePont-Neuf.

l8l6.

96

ACT

II

Illustration 108 - M. Comte at the Theatre de l'Hotel des Fermes. Engraving from the Hotel des Fermes. where Comte moved around 1814. Behind the archway is a sign marked M. Compte. [sic] ventriloque. Illustrations 104 to 107 - Voyages et seances anecdottques de M. Comte (de Gendve). Title page and engravings from brochure of M. Comte published by J.G. Dentu in Paris in 1816.

r\ Is

Seance chez le !Roi .

In 1812, Gomte came to Paris [Actually, June 22, 1809] and moved into 24, Rue Thionville (Rue Dauphine), a children's theater, already named Theatre des Jeunes-Eleves. His performances suffered from the competition of the magician Olivier, [15] who was very fashionable at the time, and also two ventriloquists, Borel and Fitz-James, [15] who shared with him the favors of the Parisian public. [16] After this half-success or half-failure, Comte returned to his profitable tours in the provinces and from 1814 exclusively performed in the capital at the Hotel des Fermes, 55, Rue Grenelle Saint-Honore, in a venue that his predecessors Pinetti, Bienvenu, [17] and Olivier had used. It was at this time that he was called to the court

ROBFRi-HOUDIN

of Louis XVIII to perform. Here is the account by the Duke d'Aumont of this memorable performance:

Illustration 109 - Comte by Dantan. Portrait of the conjurer Comte by Dantan the younger, taken from the Album de Portraits Comiques, Paris. Office of Magasin des Families. 34 Rue Richer, (circa 1850).

Illustration 110 - Comte and The King's Vase. Engraving of M. Comte performing The Kings Vase effect specially created for a performance before Louis XVIII. After this brilliant performance, the artist was officially given the flattering title of the King's Conjurer. This engraving is taken from Max Dif's V» ork Histoire et evolution technique de la prestidigitation (op cit.).

The First Gentleman of the King's Chamber At the Chateau des Tuileries on December 30, 1814 The Duke d'Aumont Lieutenant General of the King's Armies and the First Gentleman of the King's Chamber Attests that M. Comte, Professor of Conjuring and Ventriloquism, had the honor of performing before H.M. on Sunday, December 18, 1814 a program of his feats in the Palace des Tuileries, which he carried out with a truly surprising skill and ease, with twelve lovely conjuring demonstrations and scenes of ventriloquism that infinitely amused His Majesty, His Lordship the Count d'Artois, Her Ladyship the Duchess of Angouleme, Their Graces the Dukes of Angouleme and De Berri, and more than one hundred people admitted to this show. Among M. Gomte's various experiments, His Majesty particularly noted that of a watch and a turtledove which appeared on a casement of the castle that had been designated, and several jewels belonging to the royal family which were discovered in the drum of a cent-suisse [Drum of the Swiss Guard]. Numerous other experiments pleasantly filled the evening from seven o'clock until nine-thirty. H.M. deigned to applaud M. Comte many times and say kindly things to him. Dictated at the Chateau des Tuileries on December 30, 1814 Signed, the Duke d'Aumont [The Duke's seal] A few years later, Comte's tricks at the Tuileries forced Robert-Houdin to surpass himself, at Saint-Cloud before another sovereign. We previously mentioned the inclusion in Roujol's catalogue of the effect of The King's Vase, created by Comte for this performance in honor of Louis XVIII, thanks to which the great magician and talented courtesan was rewarded for his skill by the royal title of King's Conjurer that the king officially granted him in July 1816 [is]:

ACT

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FANTASMAGORIE, VENTRILOQUIE ET PHYSIQUE

R

DE M COMTE.

Illustration 111 - Fantasmagorie,

Ventriloquie, et Physique de M. Comte. (BibUotbdqm nationals)

Royal Warrant of The King's Conjurer For M. Louis Gomte We, Claude Louis, Duke de la Chatre, Minister of the State, Peer of France, First Gentleman of the King's Chamber, Lieutenant General of his Armies, etc. Being informed of the good life and morals of M. Louis Comte, Conjurer, residing 32, Rue Coquillere in Paris, we have, with the approval of His Majesty, named and do name him Conjurer Mechanician of the King's Chamber, and in consequence allow him to add the inscription to his coat of arms before his residence and to assume the title in all assemblies and public and private acts,

TIIKATRK OK M. COMTE PHYS1CIEN DU ROI, HiHrt dr. l-urliiei Hue <)e <,rti*!le-M..Honorf, n". 53, o» me Ju Braih/, n'. • * In >|«cude, wiiMinliwi jnidl 7 Bvricr 1813,11 t/jr i w m fl i W > 4> K#,

M. COMTE DOJX SCKNRS COMIQUE MELEES DR VRNTRILOQUE U i'»i I n EU*i«tc« uirprciuut (Ee

LI'LEPHANT BABA,

AI'.K I)B DEUX JUS, (.IIH a cittern* f>- fittis brilUtft MK-CCS drnii£reie«itt ao Cimnc (!A M'\fi'ft4W0Ntr nA{t* IIUUH' ulin lie «il«iiul« ieii.-dsciiniin.il!. On m i m i n n 11... LN M)UJ Ufc U.AGEOUi'i', ' lie M. 1 IWNK'KOV. nun (Kir

1,'fXRPHANT GASTRONOME KT MUSICIEN. U \11A 11'a J»!IW tjue I«B4-|«MI lie M!|jriJ«iiiaUon« k (*«»««• K l»«rH( v« [wrlir

Illustration 112 - Theatre de M. Comte, Physicien du Rot From L'lllusionniste, December 1908.

99

ROBIRl-HOUDLX

Comte presented a few scenes of buffoonery that added to the audience's amusement, with the participation of children." [20] In 1814 he had a gated box built in order to host a veritable congress of crowned heads, including the Russian and Austrian emperors, the King of Prussia, and the Grand Duke Constantine. The Cirque Olympique at that time was located in the Rue du Mont-Thabor. When Franconi built a larger theater on Boulevard du Temple, M. Comte left the Hotel des Fermes in 1817 and occupied the abandoned hall in Mont-Thabor. He had it modified and made more compact for his type of performance. His privileges, at first quite limited, little by little became more extensive; the authorities tolerated much and he took the rest! After having been allowed to let his children perform Comte had fifteen children from his first marriage, of which five survived, among them his

as much in judgment as without, with the benefits and honors and advantages attributed to those with the same title. In faith of which we have sent the present royal warrant, which we have signed and had countersigned by the ordinary secretary of the Ring's Chamber, and have presently affixed our Seal of Arms. Completed at the Chateau des Tuileries, on July 26,1816 Signed: Duke de la Chatre By the First Gentleman The Secretary of the King's Chamber [Signed]: L. de Champollet

By way of illustration, the income declared from M. Comte's theater in 1816 reached 12.960 francs, [19] while that of his main competitors Robertson, creator of phantasmagoria, the conjurer Olivier, M. Pierre's Mechanical Theater, and even Seraphin's Chinese Shadows - peaked at 3,000 to 4,000 francs. Here is the text of advertisements that the King's Conjurer published in journals: M. Gomte continues to amuse and astonish the public through his inimitable ventriloquism, his skillful tricks, and his conjuring experiments; he sells phantasmagoria of all sizes, chemistry, and amusing and experimental conjuring instruments. This performance is constantly varied by new interludes, such as Jacques de Falaise, The Indians, Madame Baby, The Man-Fly, etc. Nota. M. Comte informs the artists that in addition to his theater, placed in the center of Paris, he has another adjacent hall that is the best for talented persons or curiosities of all types capable of varying the audience's pleasure. Contact the director at the theater, who will make all necessary arrangements and even advance income.

After having occupied the first floor of the Hotel des Fermes, he moved down to the mezzanine in a more spacious room that he rented for 5,000 francs per year: "In this underground space where Jacques de Falaise, the Polyphage, dazzled Parisians w ith the ease with which he swallowed roses, watches, birds, mice. etc..

Illustration 113 -Jacques de Falaise, the Polyphage.

100

ACT

son Charles, whom we will discuss later - he did not go a day without hiring more. Comte asked for, and was granted, permission to perform plays with several characters, on the condition that he only showed them to the audience through a sort of gauze that covered the stage from the footlights to the ceiling; so he turned his show into a sort of animated phantasmagoria where impalpable shadows roamed, with talking statues illuminated by pyrotechnic lights. The skillful director used such a thin, transparent gauze that on several occasions the police chief thought he had caught him red-handed until he touched the diaphanous curtain that proved the contrary. When the honorable civil servant was finally satisfied, once and for all, Comte immediately had the gauze taken away! After a few years of trial and error, Comte maintained a show that made his theater famous: a theater entirely dedicated to children with "blossoming artists, young artists who will make all of Paris rush to see them." These actors, whose ages supposedly ranged from four to seven years — but in reality reached seventeen - acted in children's plays that the director had fashionable authors write. I cannot resist the pleasure of reproducing here a letter by Comte addressed to a man of letters, asking him to write a play for his theater. This letter confirms the King's Conjurer's qualities as a director and businessman who, in his request, tells of his humble means and appeals to the author's artistic, "selfless" sensitivity:

II

Sl'EGTA'* K w. ,MA(»iku ooi ENFANSUEM.COMIE ^ > (,IIYSMI:N nr nm, i'v*s.wr. ms WMinams.

Dot aii Berceau, leju||nj£asnifexf?§ „ .

_.,,,_ „., Ka,Neri'l-t.nFN*WK>,J1^<"W"'-'lt«* •*** •*• e*^4«* , (irtt a^lMi*, d»ii Barn** , < B W i t i r i i l i . i i h i «

le hoii (ils

malade malgre lui, IWnai.«T«l l*.«.«*Ol).B >>*•*«• ".JKoifemp**.,& H-P^.ll«,i- UU ftmW, AMr».l, l^ilnr, tr-t«M. Iluri, »U»U- WBr. JtioM

fcn aHumiitiit 1 IVfimm-w*|i IH< Ulf\M'ltf

«r Hi I ' l h M C H - A , s-iimiJOvmcU1 tit*t >n|i1«i*.

'D'JSS 331iBIB3 iKBIKB'jnflS 3)'JB i l l , Atijntirdiitii Mororrdl 5 Ffvricr MM.

La 54 "" Rrpresrntalion I>K

HcnpjJV en Famille 9 LES SOEIIHS DE LAIT,

Illustration 114 and 115 - M. Comte's Theaters. Comte's playbills for the Spectacle de Magie et des Enfants de M. Comte and Theatre des Jeunes Acteurs de M. Comte. Documents from L'lHusionniste. December 1908. and the author's collection.

M. COMTE I'HVSICIKS D U M i l .

In 1832 and 1833, I called upon the artistic, well-hewn talents of men of letters, and several of them responded and enlarged my repertoire of charming productions. Today my authors have grown, as they once did at the Theatre des Jeunes-Eleves, a school from which emerged the artistic celebrities who have reigned and still reign in our major theaters. They can express, with great elegance, the passions and

ATRE DE L'HOTKL DES FKHMKS, Spectacle lioiweati, Mujimnl'liiii sminli ty jatuict

nix tteurvi et tkrmfo tlu soin W, COM II'. n u I'iiwirtW 'If lUnmn urn BltlU./lNIK

SEANCE DK M\(UE NKCROMANOE ET DK PHYSIQUE AMUSAXTE Illustration 116 M. Comte at the Theatre de l'Hotel des Fermes. Advertisement for Seance de Magie. Xecromancie, et de Physique amusante de M Comte, Physicien du Rot From I'lllusionniste. December 1908

101

ROBhRT-HOl DIN

UNE SOIREE AH THEATRE COMTE, - par MARCEUN. (D« u Ml* *•• Iia«c4««.)

n mot, femnw riiirmmiB, H je drpot* & 1« dfl moo tiKe (is comic ( I I K I moa WI« M

Fir 1M m««rt ie f»n joil RMttcXmnl it bnlk, £l sans dtoffn U mire J eoodttirs u nombmiw f*will«.

i ^s* I'M, J« te d

= - -^W Illustration 117 - A soiree at the Theatre Comte. Plate from Journal pour fire, no 53 102

ACT

abundant emotions without which a play would never be complete, although my type of show is devoted to education. I have come to ask you again, Sir, to please devote some of your waking hours to me. My theater does not allow me sacrifices worthy of a talent such as yours, but the love of monetary gain, in the heart of a true dramatic author, could not possibly be more important than the desire to create a lovely play and work of merit. Constantly in the field for the past 32 years, I clearly know the type of work that would correspond to my needs, and therefore it would be a good idea for us to agree prior to commencement...! am eager to accept an appointment at your convenience. Please accept the sincere expression, Sir, of my distinguished consideration. Gomte New Theatre des Jeunes Ele\ es One act Two acts with tableaux Three acts idem ...

6F 8 12

II

THEATRE DES JEUNES ACTEURS DS M. direct, prop- ,pat$. Choi*eul et r. Monsigny. Tous les jours a 6 h. du soir. Av -scene des 1"* et rez-de-chausstie... fit'. » c. Premieres de face, loges grilWes de face au rez~de-cliaus«6:: 3 « Orchestre , premieres de c 6 t £ . . . . . . . . a » Premiere galerie et poartonr......... a • Parterre et *econdes 1 » Ce theatre, honore* de la protection de S. A. R. Madame , donne des pieces gaiet et instructive*; dc nombreuses families et des instituteurs y conduisent une jeuncssc qui prend plaisir k ces soirees varie'es par les prestiges et les scenes de, ventriloquie de M- Comte. M. Comte vend fantasmagorics (it instruiaeos de physique arnusantc; se charge d'envoyer, pour les fetes, dans les maisons particulieres, » jour et heure fixes, a l.i ville <>u a la campagoe, les spectacles ei-apres : vaudevilles, physiciens , scenes d'iraitatioo, ventriloqucs, marionnt'ttest fantasmagories, lanfernes magiques, etc., theatres et eiubellissvntcns necessaires. Prix : i5o , 300 ou 5oo fr. par soiree. M. CouUe trailt'M • avantageusoment tes pensionnats, et (era une remise, iorsquunc soir^o«e camposera <|« plusieurs genre*, COMTE, PHTMCIRK DV HOI,

Director of the Ghoiseul Theater.

The famous conjurer Comte deigned to stop in our little town. [22] He gave three performances and conjured up much approval and a lot of money. The flowers of all different types that he lavished on the audience especially enchanted the ladies.

1812. THEATRE DES JEUNES KLEVES DB PHTSiciKK DU not, direct, prop., pass, Choiteul, 65. Tous les jours a 6 h. •§- du soir. Fe'eries, drames, comedies, vaudevilles, pieces morales et enfantines, stances de Comte, magic, prestiges, illusions, fantasmagorie historique ctanim^e. Av. scene 5 f. »c, Loges de face, stalles 3 » Orchestre, premiere galerie et pourtour a » Parterre et secondes ... 1 » De nombreuses families et des instituteurs y con duisent journellement une jeunessc qui prend plaisir a ces soirees amusantes et instructives. Une loge enliere aux premieres est mise chaquc soir et pendant toute l'anne'e a la disposition de l'elevc qui aura obtenu aux compositions la premiere place de sa classc on le premier prix lors des distributions annueilfsclans les colleges royaux etdanstes pensions des deux, sexes de Paris et de la banlieiie; cette loge sera ddlivrde sur un bulletin signd du professeur que Ton adressora franco trois jouvsaravaucea M.Comtc. M. Comte donne des lemons de magic blanche. II donne des soirees en ville du prix. de 100 a 15o, aoo a 5oo fr.

In 1823, the famous ventriloquist rented in the Passage des Panoramas, from M. Thayer for 4,000 francs per year, a bijou residence that was built for his Lilliputian troupe. It was

Illustrations 118 and 119 - M. Comte's Theaters. Comte's advertisements for the Theatre des jeunes acteurs and the Theatre des jeunes eleves. (Archives nattonales).

When, despite all his efforts, Comte did not manage to avoid the demands of the authorities whom he regularly flaunted, the skillful diplomat knew how to bring his powerful protectors to his side with appeals that the hardest heart could not resist. [21] In spite of his Parisian successes, Comte was not forgotten in the provinces, where he sometimes still went on tour. In a letter dated November 9, 1821, a certain M. Victor Augier from Valence wrote an account of events taking place in the town. I cite this short excerpt:

COSITE,

103

ROBFRl-HOUDIN

&0 a

Ilia Illustration 120 - The ground floor of the Theatre Comte at the Passage Choiseul.

ACT II

in this theater that Puss in Boots by Emile Vanderburch was performed for the first time. a classic masterpiece of which each new version was a success. After three years of good fortune and believing his arrangement to be permanent, M. Comte one day received an order to relocate. The owners of the Passage, perceiving a perpetual fire hazard in the vicinity of the theater, shared their fears with the authorities, who ordered the closing of the small Salle des Panoramas, granting only three months for M. Comte to find a new space and have a theater built from stone. This insufficient period was the equivalent of the expiration date of his authorization, but, used to facing destiny and seizing opportunities, M. Comte did not despair. He managed to find an appropriate space at the former location of the old Ministry of Finance, where the Passage Choiseul was about to be built. His theater and a tobacco merchant's boutique lined the edge of the windowed gallery. Aside from acquiring the land to build his hall, Comte, being a remarkable long-term planner, bought 25 centimeters of land at each end of the Passage. The wily director continually refused to sell this odd property which he considered perfect for advertising each night's performance to passersby. His shopkeeper neighbors, following his example, wanted to post their own advertisements as well, but he refused by invoking his "sacred" right as landowner. There was a trial and, despite the efforts of the opposing parties, the King's Conjurer won the case.

THEATRE DE CALAIS. AUJOURD'UVI HS&CRXJOI s6 NOPEVBRE 1817, slbormemcns i?l louie cspece d'mlrtles defaveur geniralemeni sitspendus,

GRAND SPECTACLE NOUYEATI ET EXTRAORDINAIRE,

SEANCE AMUSANTE

DE PHYSIQUE, MAGTE, NECROMANCIE ET

FEyTRlLOQOIE.

M'COMTE, DE PARIS, VeMsfktfjH el Pkjskini ISJ ROt. vwWfll d'AnwIcrdam, te rendini i Ptsis. iara Mumneor J t donntr

LE BATEAU A VAPEUR. OV LE JARDIN1ER ASPBYX1E, S e i n e r..i.i.ii ij«':! :.:ut fj.ro ;• i l r i!.s » < J i v(-i> 'k i!-!jiii.rs directions, k s I c i r f s c i r a t s . ™ CJCO flu jKiSil-ctt! 11- U» in. !.s t-'.i!it ' . ) . * - » - : - ! = pr.-ls.^: .-ici t L-s O r v l f * lit la fcrft d e D o d o t i t . !orsi[u J iU f-ii?"i"uE ['^rti'f lei c l i . r ^ s o a lor^^K ;b ^voq.1.1:!-. t U j iiL.it^ /-r spritatle sera rtiri-: par

DOUZE EXPERIENCES DE PHYSIQUE AMUSANTE,

£>£ MADRAS,

it incomivis 3a:is !i; ,-nn!rf:i l.t!ra;vcnnM ft l.-.ui rri« d « Indicns. oort nonvmre ct inconnvis 3i:is !<s enniiV:? l.!-va;v.-nn,^ ct riCVrfr. ...n1 um'ioiii! r-.i : > ;:e |-' '* • ll lirioi-ra tics a- v:i

BOCLES5 D'OR COil EN iS/V L'AIR £'4/R el e« [action [action elonnante

D'AVALER UNE EPEE, LE CALIFE DE BAGDAD, e otkaiak,

7f

The inauguration of the Theatre Comte in the Passage Choiseul took place on December 23, 1826. Two new plays were performed: Les Clefs de la Salle - prologue by M. Croisic, Inspector of Theaters, and M. Georges Duval and Le Mari de Cinq Ans (The Five-Year-Old Husband) by the theater's famous playwright M. Emile Vanderburch. The evening of the

icofvenlnlc < ' ii \-: \\ < \ ;!~--.-

if.

-I-

"" LI h from Mali • liiiia-to fiilhfTlou.lkln.il 11 ]» 1 uropVui cuiinl.-i^ \n:i-:~\i ultu.;, hcwil'l,;!.', .•;: ,c, f .ipsn a straw, he mil jtnd ,.rn. . i-.n-liJI-, d,T 1 « Ihp (itceplion of i,fi in thr ?,;>• s~iir.il "Iv.c j.'. •„ i 1! ;i,;. : will el es !i '• ]vt.'«'hM, Uifb j.j.ind ilonishing feat of iwaL!-j..ing a s^oid jluli ivliicli he jtili d a ^ a / i

Illustration 121 - Large bilingual bill for Comte at the Theatre de Calais in 1817.

105

ROBERT-HOUDIN

m ift2.

fve 1M moan „ U JKWI gaftt isodwUnurat II laUl*, Et M»S danger b mire y condiidni» fllli.

dress rehearsal, the Duchess de Berry attended the show with the little Duke de Bordeaux, who had just reached the age of the play's main character. M. Comte, in order to host the princess and her son, had built a small salon leading onto the "royal box." The ambassador of England occupied the box across from this one, and the hall was inundated with reservations from princesses and duchesses; ordinary marquises had to be satisfied with a stall!

it' unit.

THEATRE DBS JEUNES I3LEVES

On commencera A 6 licures 1/2

fl

ABONNUJlENX POOH I.ES FiHIIXES

1

(Bon /ww I» 9 > S <%? 4 zretu<»me
The halls managed by Comte had diverse names: Theatre de Physique amusante, ventriloquie, magie - Theatre des Nouveautes Spectacle de magie et des enfants - Theatre des Jeunes Eleves de M. Comte - Theatre des Jeunes Acteurs de M. Comte - Theatre de M. Comte, Physicien du Roi, etc. On the brochures for his children's theaters, the following motto could be read:

Illustration 122 - M. Comte's Theatre des jeunes eleves. Free entry coupon to a show by the King's Conjurer.

Through morality, good taste modestly shines And without fear the mother may bring her daughter. This experienced manager invented several methods to maintain his income in all seasons; he created "family tickets" and "boxes reserved for prizewinners of boarding schools and junior high schools"; he had 500,000 medals struck offering half-price tickets to his performances during "low season" and had them widely distributed on walkways in the Tuileries and on the boulevards. Comte would even secretly drop them into the pockets of those he passed by. He invented playbills painted on walls, to avoid the cost of engraving, and posters in which certain words were typographically set so that enormous capital letters, isolated from the complete sentence, had a meaning that attracted the eye and held attention - an invention that would later enrich fairground businessmen. To vary his programs, the King's Conjurer employed The Man-Fly, the clown Ratel, the two Baby sis-

307 POUE

Illustrations 123 to 126 - Tokens for the Theatre Comte; famil) subscription and discounts for tickets. (Francois Voignier collection)

106

ACT

ters, and even the Incombustible Man who enclosed himself in an oven with a leg of lamb - in spite of this heated tete-a-tete, the man emerged from the oven unharmed and gallantly offered the public slices of lamb cooked medium-rare. Comte found material for his shows everywhere. He had a play written based on the story of the lady with a skull for a head, a myth blindly followed by the Restoration press. This taste for mystification, which he used abundantly in his conjuring performances, one day led him to advertise that on a certain evening he would transform the audience into animals. The room was full, and since the audience had let themselves be "caught," the trick was irrelevant: they had been transformed! Comte nonetheless applied his professionalism to this jest and had accomplices put on animal heads in the dark just before the announcement of the feat. Discovering their neighbors in the glow of the Bengal lights, naive spectators or perhaps other accomplices began to scream and run from the hall in terror! During this period, the King's Conjurer often practiced his art in lucrative performances several times per week in aristocratic and bourgeois salons of the capital:

II

Illustrations 127 and 128 - Note and letters of M. Comte. Note from the artist's journal of home performances Comte comments here on a performance in Neuilly on July 10. I84O before the King and his family and gives a few details about his magic performances and \ entriloquism shows. Below, a letter from Comte to one of Ins theater's house playwrights.

rtgi/

U>

PASSAGE

$/

/

Gomte might have left the stage entirely and contented himself with being manager and nurse to these children of Thalia, for he possessed a very comfortable fortune, but he made it a point to appear [onstage] at least once a week, for two reasons: his performances, due to their rarity, always had a beneficial effect on the receipts; and, on the other hand, by continuing to perform, he prevented other professors of conjuring from setting up in competition with him. [23]

J

s

As a manager, Comte was undoubtedly a model for Robert-Houdin, who, though he did not always like the genre in which the famed conjurer excelled, considered Comte a master: As for mystification, a more powerful pen than mine must undertake its apology. In saying this, I 107

Jz%e&&CMn tut

OHOKBEHX..

i&t-ot.

ROBERT-HOUDIN

have no wish to cast censure on Gomte, [far from it]. I am writing at this moment in accordance with the spirit of my age; Gomte acted in accordance with his: we both succeeded, though differing in our treatment, and this only proves that "all styles are good except that which is wearisome.' [24] We must not doubt that these "different principles' haunted Jean Eugene, who was yearning to put them into practice. He was nonetheless going to have to wait patiently for a good many years, Paris being too small to celebrate two princes of illusion at the same time.

L'ADROIT

ou RECOKR DE KOUVEAUX TOURS DE SOClfiTfi, DKMOItTR^S A.VEC CLARTlS BT P R t C I S l O B ,

PAR UN £L6VE DE M. COMTE.

A ROUEN, l'lmprimerie <3e BLOQUEL, rue Saint-Lo, K° 34

1828. Illustration 129 — I'Adroit Escatnotenr *b) a student of M. Comte." published in Rouen in 1828.

108

Seance

OPERA. — La ISonne sang Ian te* fantasmagorie, par M. Comte etM. Scribe. Illustration 130 - Phantasmagoria performance by M. Comte and M. Scribe. 1855 engraving depicting la Xonne sanglante at the Opera.

ROBERI -HOUDIN

GRAND DE

SPECTACLE

FANTASMAGORIE,

Et Experiences Physiques du Sieur O L I V I E R , Au ci-devant Bureau des Finances , Place Notre-Dame.

Aujourd'hui Dimanche 5 e . jour Complimentaire an XIII, Sieur OLIVIER donnera une Representation tres-variees. II commencera ses Experiences par des Tours d'adresseinconnus , et fera, pour la seconde iois , l'incomprehensible Experience des Oiseaux morts et vivants, a la volonte des Spectateurs j ensuite ii fera couper et bruler plusieurs MouchoirS; et les fera retrouverdaus leur premiere forme ; le Verre de Vin enchants,et plusieurs autres Expeiienees , dont on ne donne aucun detail, afin de causer une surprise agreable aux Speciateurs, En faitde Pieces mecaniques , il donnera le Secretaire ing^niem , la Bauette magique , la Houlette de Magnes , la Colonne d'Egjpte } la Maison [ollandaii>e, et fera manosuvrer les deux Automates } de grandeur d'homnie. JLJE

S

LA FANTASMAGORIE, jf

OU LE SPECTACLE DES APPARITIONS , Telles qu'clles ont pu Stre produites chess torn les Peoples de la Terre , succedeia a ces diverses Experiences ;alorsl'Hoiison semble s'obscqi'cir , et la Nature s'envelopper d'epaisses tenebres; des eclairs allotment et embrasent l'atmosphere ; le tonnerre eronde dans le lointain , et redouble en approchant ; le vent , la pluie , la grSle, et la foudre qui tombeavec fracas, serttblent presager l'horrible catastrophe d'un nouveau deluge ; mais bient6t le calme renait ,et des apparitions de Personnagesvivansou morts , des Fant6mes» Genies^ Amours , etc. frappent la vue, surprenaent et captivent l'attention des Spectateurs, Dans l'entr'Acte , il donnera

LE

FLAMBEAU

INFERNAL,

Qui fera un efFet risible sur tous les Spectateurs, en les iaisant paroitre couleur de bronze, semblables aux Fantomes. Le Spectacle sera termine par les Experiences physiques, experimentales et masquees ; E T

LE BALLET OU

DES

SORCIERS,

LA MULTIPLICATION,

Illusion unique, qui , jusqu'a ce jour, a cause le plus grand plaisir. PRIX DES PLACES : Premieres I liv. io sols ; Secondes i liv. , et Troisibmes 8 sols. On commencera k 6 heures et demie precises. Les Bureaux ouvriront k cinq heures.

Illustration 131 - Le Sieur Olivier, Conjurer. 1804 bill for GRAND SPECTACLE DE FANTASMAGORIE Et Experiences Physiques du Sieur OLIVIER.

ACT

II

Olivier, Conjuring Professor of Paris Although he never reached the level of fame of Comte or his friend Bosco, the conjurer Olivier - Pierre Joseph Olivier, known as Olivier - has his rightful place in this essay because Robert-Houdin was his dedicated and observant spectator. In an unpublished text written during his youth for his newspaper Le Cagliostro, the future conjurer painted a portrait of Olivier describing the artist's show, along with a narrative of an anecdote that took place during one of his performances:

l;\'HiiUENCES DE M- ROBERTSON,

l'kysiaen et ahvuautc,

houlcvutt Mantmaitre, it.

Ktjtmtfort d'ubjfU d« conoatUs.—Salua dt jiLj^quc.—Salle de« iJImiooJ—S, Tom let juurs , a six he tires iu tuir.—Prix UVutu-e, 5 fr- ou 3 fr. SPECTACLE PITTOaiiSQUl*: UV MliCANlQUE, Sue dn Part-Mufion , 4 , ci-devant Fontaine-Mtcliodiere. MM. M I l l i l t m ddi fft g X. . FFie i e r e , invenleuret dirertur lU lU p . ddonnent spectacle l loss tes «oirs, k tcpt hiur«^ et dtmie. ( D*JIUI» pta , ce spectacle tat augment^ tie p$u>i«ar» ooavelfes piecesqut attuetit falJltutice cleasmateuis.} Prix dttplaces. Fremitres, 5 fr.—Seccjodes, 2 fr.—-Truisieoies, t fr. PAKOttAMAS. KftTA. Lea Panorama* it Bonlugne , Naptes H Amsleirdnm qui out paru 4epUtt citjtte* auttiiRs, M voitnt au p«s«age d a lia Panorama, boulevart MoRtmKtn, S P E C T A C L E DC M. O L I V I E R , RueNauve-deS'Petil»-C/tamps, *5. Tnnrs d'adresse, piecpi me'can'KjQes et faalasrnagorie, Tous le< jours, a sixlwm. i» i Lngi>t grit feet 4 f. a c. IPuurttmr. , . . . 5 5o 'nx ties places.f ricnuerei 3 »

The latter created a genre, if we can so term it, that Bosco later imitated: that of adopting a foreign jargon with which they could easily hide their linguistic inadequacy, since neither of them was educated and they performed in shirtsleeves.

Illustration 132 - M. Olivier's show. Advertisment by Robertson and Olivier in an almanac from the period. (Archives nationalesj

Illustration 133 — The Conjurer Olivier. (Identification from caption of this engraving from an anonymous undated work. Scenes de Polichmelle.

Ill

ROBERT-HOUDIN

fO)

sy

XT-

Illustrations 134 and 135 - Letters from Olivier. Letters from 180 and 1813 sent b) Olivier to the Ministn of the Interior. (Archives nationalesj

by the spectator who, to avenge himself for the impolite manner in which the sorcerer had treated him, the next day pasted on the bottom of the playbill on the door of the theater the following rhyme, which could almost have passed for a quatrain. ''Over him, Sirs, a donkey has an immense advantage: To be understood if he wants to speak what he thinks; Correctly, he speaks in his language; But Olivier, never!"

Olivier played a dirty trick on one of his faithful spectators - because all of his tricks were not equally good and some were even indecent or opportunistic; thus, once Olivier borrowed a spectator's hat, and as soon as it was in his hands, to the great amusement of the crowd, he produced half a dozen wigs from it, saying to the owner of the hat in his usual gibberish: "Sir, you forgot in your hat, not on purpose I suppose, these little items for your personal use." The spectator in question was completely bald. This joke in poor taste was hardly appreciated

Olivier, in association with Demmeny, de112

ACT II

V

<• -1

f"

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Illustrations 136 and 13" — Curiosity show of Olivier, son. Authorization to open a small curiosity show at no 16 of the Rue de Bie\re granted to Olivia's son on May 16. 1850. (Archives natkmales)

buted at the Hotel des Fermes at the end of 1800 in a show made up of sleight-of-hand tricks, automata, and mechanical instruments, concluding with phantasmagoria "as never seen before in Paris." This false advertising must have especially exasperated Robertson, the creator of this effect. Olivier advertised his shows for years with the title "Show of Novelties! Physique amusante, sleight-of-hand, phantasmagoria, and mechanical instruments." Under the title "Spectacle de M. Olivier," he performed in 1815 at 15, Rue Neuve-des-Petits-

Champs. His son performed under the name "Olivier, son." [25] Henri d'Almeras recalled Olivier as one of the favorite entertainers of the Duchess d'Abrantes, who said of him, "Olivier was a man who did card tricks and sleight-of-hand with marvelous talent." Olivier also had the honor of being celebrated in one of Desaugier's songs, "Soiree de Cadet Buteux, passeux a la Rapee, aux experiences du sieur Olivier, " [26] a sufficiently rare privilege to justify its being published here. 113

ROBERT-HOUDIN

Je m'vois, en fait de spectacles Foi d'Cadet Buteux, Rien qui vaille les miracles D'nos escamoteux; J'en savons un passe maitre Qu' j'avons vu Taut' soir; Gn'y a qu'un moyen de l'connaitre Et c'est d'aller l'voir.

Il me d'mande que j'li garde. Six ecus tournois ; J'les prenons, mais quand j'y r'garde V'la qu'i' m'en manqu' trois ; On les trouv' dans un' aut' poche : A Paris, quoiqu'ca N'faut point z'un' lunett' d'approche Pour voir ces coups-la.

J'crois que c'luron-la s'appelle Monsieur Olivier; Et c'est dans la ru' d'guernelle Qu'travaille l'sorcier; I'sait vous r'tourner, vous prendre Qu'on n'y connait rien Et j'dis qu' s'il ne s'fait point prendre C'est qu'il le veut bien.

Il perce un mouchoir d'percale D'la grosseur d'un oeuf ; I souffle dessus, il l'etale, Crac, le v'la tout neuf. Pour nos fill's, ah ! queu trouvaille, Dans c'siecle d'vertus Si, pour boucher z'un' entaille N'fallait qu'souffler d'ssus !

J'pensons une carte, i' m'la nomme, C'etait l'roi d'carreau : V'la qu' d'une main i prend z'un' pomme Et d' l'autre un couteau ; II la partage, il la montre, Et voyez, l'malin ! V'la mon roi qui s'y rencontre En guise d'pepin.

V'la qu' tout a coup la nuit tombe... Et, pour divertir J'vois comm' qui dirait d'un' tombe D's esquelett's sortir : A leurs airs sees et minables, On s'disait commen' ca ; C'est-i d's artist's veritables Qui jou'nt ces rol's-la ?

C qu'est pus fort, c'est qu'il prepare Un grand verre d'vin, Et vous l'flanque, sans dir' gare, Au nez d'mon voisin : L'diable d'vin s'metamorphose En rose, en ceillet: V'la, m'dis-je, en restant tout chose, Un vin qu'a l'bouquet !

Mais avant qu'un chacun sorte (Et c'est la l'chiendent !) Via l'Fanfan qui nous apporte Deux torches d'rev'nant Morgue ! que l'bon Dieu t'benisse, Suppot d'Lucifer ! J'croyions que j'avions la jaunisse, Tant j'avions l'teint vert.

J'li pretons, a sa priere, Mon castor a glands, pare' qu'il avait z'envi d'faire Une om'lette dedans ; Gn'y a point z'a dire, il l'a faite, Et ca sous not'nez Et, jarni, moi, d'voir c't'om'lette Ca m'a tout r'tourne.

Bref, c't' Olivier s'est capable, Dans l'mequier qu'i' fait, D'escamoter jusqu'au diable, Si l'diable l'tentait; Par ainsi, sans epigramme, Crainte d'accident, Faut toujours, messieurs et dames, S'tater en sortant.

This song, written in old French, is difficult to translate, as it contains several old slang terms and bawdy allusions.

114

ACT

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AVIS. Samedi 23 mai 1815. Ouverture de quelques representations du Spectacle de MR. OLIVIER fils, phisiciens et ventriloque de Paris, auteur d'un nouveau genre de FANTASMAGORIE. L'affiche du jour de l'ouverture en donnera les details.

Illustration 138 - Olivier, son. Poster for Olivier fils. phisiciens (sic) and ventriloque de Paris, for a phantasmagoria show performed at the Theatre de Berne (Switzerland), Saturday, Ma> 23, 1815

II

ROBERT-HOUDIN

Illustration 139 — Wedding announcement ofjosephe Cecile Eglantine Houdin and Jean Eugene Robert.

ACT

II

A Marriage of Love During the July Revolution In evoking the date of his future marriage in his letter of February 26, Jean Eugene confided to his cousin: ''It seems a long way off." The marriage, however, took place on July 8, 1830 at the city hall in the ninth arrondissement, and then at Notre-Dame, thus only four months after writing his letter...although it seemed like a century for a young man in love. The marriage contract was signed forty-eight hours earlier on July 6 in the office of Maitre Deschesnes, [27] in the presence of the future spouses; their parents; Agnes Josephe Marteliere, Jacques Houdin's widow; Jean Eugene's sister Marie Celine; Cecile Eglantine's brother Louis Francois; his uncle Dr. Desfray; cousin Elisabeth Josephine Desfray; Charles Claude Dallet, landowner and first cousin of Jean Gherbrant, attorney; and Mile. Marie Jeanne de Narmau, wife of M. Desrondingh of Nantes. In this notarized document, the declared profession of Jacques Francois Houdin, like that of Jean Eugene Robert, is watchmaker. The text of this wedding contract, concluding with a communal estate settlement covering only property acquired after marriage, shows that the young couple started out in life in the best possible circumstances, at least financially, although the notarized documents do not include the wealth of the spouses' feelings. The future husband brought as a dowry; 1st: One-fourth in full property and onefourth in property without usufruct, minus that of M. Prosper Robert, the totality indivisible with Mile. Marie Celine Robert, his sister, owner of the same portion, in five houses situated in 117

Blois (Loir-et-Cher), lieu dit, at the foot of the quarter, bearing the numbers 6, 7, 8, 9, and 10, and another house situated in the same city on Faubourg Saint Jean. 2nd: One-fourth of the rent of the aforementioned houses amounting to 150 francs. 3Rl; Various claims from the succession of Jacques Guillon, his grandfather, to which he had the right to one fourth and which were attributed by the division of this succession before Maitre Riffault and his colleague, notaries in Blois on February 12, Eighteen-hundred and thirty, as officially registered... Finally, the sum of 3000 francs, all in monies which include the value of his clothing, linen, furniture, and furnishings for personal use. The total, not including the value of the buildings brought in kind and the assets, cited for memory at 13,095 francs 63 centimes. The future wife brought as a dowry: I-1: The sum of 15,000 francs in cash that they [M. and Mine. Houdin) together promise to pay to the future spouses, as donators, on April 1, eighteen hundred thirty-five and they promise to pay until the effective payment of the interest of five percent yearly, with no withholding, also payable at their home every six months, from the day of the celebration of the wedding. 2nd: A trousseau made up of linen, clothing, and furnishings, for the use of the future wife, of a value of 1,000 francs that will be given to the future spouses the day before the wedding, whose celebration will stand as acquittal.

ROBkRT-HOUDIN

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Illustration 140 - Wedding contract for Jean Eugene Robert and Josephe Cecile Eglantine Houdin. First page of the wedding contract signed on July 6, 1830 in the office of Maitre Jozon, Parisian notary, between the future spouses.

ACT

Thus, it was with a certain ease that this couple in love, nineteen and twenty-four years old, formed a family, and we can hope that the tragic events of the July revolution did not darken their honeymoon too much. The riots

and bloody combats of the Trois Glorieuses of July 27, 28, and 29 in an insurgent Paris forced out Charles X and only calmed down with the oath of the new king, Louis-Philippe, on August 9-

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119

ROBERT-HOUDIN

The First Son What were Jean Eugene's career plans in settling down in Paris? His ambitions were twofold: to progress in his knowledge and construction of automata, and to perfect his learning and practice of the art of magic. These two combined passions were to give birth to the show he dreamed of performing in public and whose shape was not yet precise in his mind. Robert-Houdin, as we will call him from now on, never had the intention of arriving in the capital to open a watchmaking business. He certainly planned to work with his father-inlaw, who knew and shared his views, for the time needed to build a few mechanical pieces and accessories essential to his performances. The author confided to us in his memoirs: "[Proud of] the approbation of a man [His father-in-law] with whose extreme prudence I was acquainted, I gave myself up seriously, during my leisure hours, to my favorite exercises, and began by contriving some instruments for my future cabinet." In order to do so, the young man utilized a small amount of capital which would suffice for the needs of his family and his first creations. If he failed in this undertaking, he could either set up on his own as watchmaker-mechanician, or go into business with his father-in-law, whose only son, Louis Francois, had chosen to pursue his studies. We do not know for how long RobertHoudin kept his part-time job with M. Baullier nor if this job became full-time, but it would seem that their relationship lasted for many years because in 1843 Robert-Houdin was still supplying his own manufactured clocks to this shop.

As Robert-Houdin's thirst for discovery had not been quenched, he soon had the frustrating feeling of going around in circles. A few weeks, perhaps a few months had sufficed for him to study the automata and conjuring apparatus of "Father Roujol", and the impassioned neophyte was left unsatisfied. His research in libraries on mechanical creations of the past had not entirely fulfilled him, and he dreamed of undertaking some great challenge in order to learn and acquire the experience he lacked. Before the end of 1831. providence would give him the chance to do so. The young family was preparing for a great joy. Cecile Eglantine was pregnant and their first son was born on May 21, 1831. JeanJacques Emile Robert-Houdin, |>s] who would later participate in his father's performances, holds a special place in the history of magic, at least in that of Soirees Fantastiques. For the time being, both the Parisian and Blois families shared the joy of the happy young wife and that of the father, who did not hide his pride. The baby smiled and cried just like any other robust newborn and his father was perhaps already entertaining the idea of rocking him to a very strange musical instrument.

Illustration 142 — Signature of Emile Robert-Houdin.

120

ACT

Illustration 143

Original portrait of Emile Robert-Houdin by his friend Lemercier de Neuville towards 1880.

II

ROBFRT-HOUDIN

Illustration 144 - The Cotnponiutn.

(Philippe John van Ttggelen collection)

ACT II

The Componium the beginning of the nineteenth century. [29] In Holland, he dedicated himself to the manufacture of automatic instruments and, despite his genius, acquired only a modest reputation among his peers. His lack of business sense and his passivity in asserting his rights over his inventions probably contributed to his relative anonymity. The example that best illustrates Winkel's setbacks is that of his invention of a revolutionary musical chronometer that he created in 1814. At the end of the summer of 1815, Johann Nepomuc Maelzel whose name is familiar to those interested in

On December 16, 1823, the Wenzel Pavilion, Rue de l'Echiquier, welcomed an exhibition that the Restoration's high society rushed to see. The object of this flattering curiosity was called The Componium, a mechanical orchestra that had the ability to infinitely improvise music and create new variations on a given theme. This extraordinary instrument was exhibited in the central gallery of the Echiquier Pavilion, where it was shown twice a day at a ticket price of three francs. Both the general and trade press published laudatory reviews of this masterpiece, which the artistic, literary, scientific, and even political tout-Paris came to hear and applaud. In 1826, when its success began to dwindle, The Componium was seized by creditors of the exhibition promoters, dismantled, and stored in the humid cellars of the Barriere-du-Trone Pavilion (currently Place de la Nation). The magnificent instrument would be stored in these unhealthy conditions from 1826 to 1829, then reassembled and exhibited in London in May 1830, where it was only moderately successful. Because the promoter neglected to fill out the customs formalities upon its exit from France, The Componium was again seized by the French authorities upon its return from London. During the year necessary to settle the customs conflict, the crates containing the various parts of the instrument were exposed to cold, heat, and humidity, resulting in the deteriorization of this jewel of mechanical music.

THK Hi RMAH M "SH'AI,

The inventor of The Componium was Diederich Nicolaus Winkel, watchmaker-mechanician, inventor, and manufacturer of automatic instruments, who lived in Amsterdam at

Illustration I45 - Poster for The Componium. English advertisement used during the presentation of The Componium

123

in London. May 1830. (PhilippeJohn Van Tiggelen collection)

ROBFRT-HOUDIN

turely on September 28, 1826 in Amsterdam at the age of forty-nine. Having finally recuperated his property from the customs office, the promoter, whom RobertHoudin identifies only by the initial D, was attempting to dispose of the cumbersome instrument, but in order to sell it for a profit, it had to be restored, or at least reassembled.

the history of magic because he exhibited Von Kempelen's Chess Player automaton in America as well as in Europe - saw Winkel's invention, bought it, and filed patents in London and Paris for a similar apparatus. Mass-produced and deemed The Metronome, it found immediate success throughout Europe. Although years later Winkel managed to exercise his rights, his instrument remained known under the name of Maelzel's Metronome and it was the plagiarist who obtained the glory and all the profits...Winkel, who had created such a unique and fantastic instrument. The Componium, died prema-

The repair of The Componium was a tedious business - a work of perseverance and research because its arrangement had always been kept secret and no one could supply the least information. D himself, having no notion of mechanisms, could not be of the slightest use, so the workman could only depend on his own ingenuity. I heard the matter talked about, and, urged by a probably too flattering opinion of myself, or rather dazzled by the glory of executing such a splendid job, I offered to undertake the immense repairs. I was laughed at; the confession is humiliating, but perfectly truthful. I must say, too, that it was justifiable, for I was only known at that time as a humble workman, and it was feared that, far from making the instrument act properly, I should cause still greater injury, while trying to repair it. However, as D met with no better offer, and I offered to deposit a sum to be forfeited in the event of my doing any injury, he eventually yielded to my wishes. It will be allowed that I was a very [cooperative and above all] conscientious workman, but, in reality, I acted for my own benefit, as this undertaking, by supplying me with an interesting object of study, would prove a perfect lesson in mechanism for me. As soon as my offer was accepted, all the boxes in which the Componium was packed were carried into a large room I used as a workshop, and emptied, pell-mell, into sheets spread for the purpose on the ground. When alone, and I saw this heap of rusty iron, these myriads of parts, whose meaning I did not understand, this orchestra of instruments of every size and shape, such as cornets, bugles, hautboys, flutes, clarinets, bassoons, organ pipes, big drum,

Illustration I46 - The Componium as it looked in 1908. 'Philippe John \a>/ I iggelen

collection)

124

ACT II

triangle, cymbals, etc. all arranged in sizes according to the chromatic scale, I was so frightened by the difficulty of my task that I was quite annihilated for several hours. To better understand my mad presumption, which only my passion for mechanics and my love of the marvellous can excuse, I must add that I never even saw the Gomponium performing; hence, all was an unknown country for me. Add to this that the greater portion of the works was covered with rust and verdigris. Seated in the midst of this musical chaos, with my head resting in my hands, I asked myself a hundred times this simple question: "Where shall I begin?" - and then my imagination was quite paralyzed. One morning however, finding myself well disposed, and feeling the influence of the Hippocratic axiom "Mens sana in corpore sano," I felt disgusted at my long sloth, and rushed headforemost at my immense task. If my readers were only mechanicians, how willingly would I describe to them all my trials, attempts, and studies! With what pleasure I would explain the skillful and ingenious combinations that successively arose from this chaos! But as I fancy I can see my readers turning over my pages to seek the end of a chapter that is growing too serious, I will check my inclination and content myself with stating that, for a whole year, I proceeded from the known to the unknown, in solving this inextricable problem, and one day I had the happiness of seeing my labors crowned with complete success. The Gomponium - a new phoenix - had risen from its ashes. This unexpected success gained me the greatest praise, and D bade me name my own price; but I would not accept anything beyond my actual outlay, feeling amply repaid by such a glorious result. And yet, however high my reward might have been, it would not have repaid me what this task, which overtasked my strength, eventually cost me! [30]! The restoring of The Componium brought notoriety and credibility to Robert-Houdin in this very specialized domain. During his en125

tire career, and even during his retirement, individuals and institutions called upon his talent to repair and restore the most famous automata. A few years later, The Componium was sold to an organ enthusiast, M. Mathieu de Livran. Today this uncommon instrument is part of the collections of the Musee Instrumental of the Conservatoire Royal de Musique in Brussels.

Illustrations 147 and I48 - The Componium. Front and back \ lews of The Componium. with pipes partially r e m o v e d , fPhilippe John Van Tiggelen collection)

ROBERT-HOUDIN

A Long Depression The year 1832 began under cruel circumstances. Robert-Houdin's older sister, MarieCeline, passed away in Paris on January 20 at the age of twenty-nine. [31] She had come to help her sister-in-law, pregnant for the second time. Cecile Eglantine's child did not survive. The young mother endured this terrible shock with great difficulty. Jean Eugene and his spouse had seven children, of which five died very young... [32] The repairing of The Componium was therefore probably not the only reason for the ills described by Robert-Houdin. My sleepless nights, my incessant toil, and, above all, the feverish agitations resulting from all the emotions of such an arduous undertaking, had undermined my health. A brain fever attacked me, and though I recovered from it, it was only to pass five long years in listlessness and vacuity. My mind seemed quite gone; I felt no passion, no love, and no interest, even in the arts I had so delighted in; conjuring and mechanism only existed for me in the shape of recollections, [33]

Although it is helpful to recall that at the beginning of 1832, the population of Paris was severely affected by a cholera epidemic that caused thousands of victims - which probably explains the premature death of Marie Celine Robert and the reason why Robert-Houdin and his family left the capital for a few months for the fresh air of the Blois countryside - one must refrain from taking the previous paragraph from the Memoirs literally. Robert-Houdin "conjures away" five years of his existence, thereby avoiding telling readers about the beginnings of his research in the field of mechanics and his activity as illusion-maker for his future colleagues, which would have been of little interest to the 126

public but full of teachings for enthusiasts of the art of magic. However, it is precisely during this period that the first outlines and initial versions of several of his future creations would be sketched. The years 1830 to 1835 were years of creative freedom for the young mechanician, during which he could learn, work, and invent without restraining his imagination. He was also free of the daily worry of providing for his family. The other side of this agreeable situation was that, even though his creations progressed, none of them became definitive. A creator, free of material worries, has the leisure to continually perfect his works and redo in the morning the undertakings of the day before. Although his entire repertoire was already in gestation, the fruit was not yet ripe. Did RobertHoudin really have a brain fever? Was it a relapse of the same illness from which he suffered in his youth? In reality, if we consider the symptoms described, we can imagine that he was struck with an illness that he would fight with all his strength: depression. He asked himself more and more questions about his future and the answers hardly reassured him. In coming to Paris, he had dreamt about impressive discoveries in the art of magic, but, after only a few months, he had the impression of having already seen it all. There were certainly more renowned artists in the capital than in the provinces and Robert-Houdin had observed them assiduously as a spectator, and also in private, but he could not see himself performing this type of magic, with "Father Roujol's" "doublebottomed boxes," stooges, or the mystifications dear to M. Comte. His vision of this art was too different, but nothing allowed him to believe that it would lead him to success because these

ACT

performers, whose talents he appreciated in various ways, seemed to please the audience. Some even became rich. If, in order to obtain the favors of the public, an artist must be different, trailblazing in an overly flagrant manner could, on the contrary, condemn him to failure. Robert-Houdin did not yet feel in tune with his time and his mind was overcome by bleak thoughts. He could not imagine using the same artifices as his colleagues, and seeing them delight spectators, he felt close to neither of them: Besides, it must be remembered that, at this

II

period, conjuring was not so respectable as it is now; people went to an exhibition of that sort to laugh at the conjurer's victims, even if themselves exposed to his attacks. My readers ought to have seen the mystifier [par excellence], the celebrated physico-ventriloquist of the age, Gomte, to form an idea of the cool way in which the public was then treated. This performer, though so graceful and gallant towards ladies, was merciless to men. According to his notions, the cavaliers (as they were then called) were predestined to supply amusement for the fair sex. [34]

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Illustration 149 - L'AN 1845 PROPHETIQUE - QUADRILLE BRILLANT ET FACILE

If Robert-Houdin could have plunged into this quadrille, published a decade later, he would perhaps have seen in it "the fabulous destiny" of Soirees Fantastiques, which would certainly have reassured him about his future. CDtdferMoreau 'Morax"collection)

ROBLRT-HOLDIN

Illlustrations 150 and 151 - Giovani Bartolomeo Bosco Frontispiece engraving and title page of an Italian brochure for Bosco in 1837.

ACT II

Giovani Bartolomeo Bosco When we travel into the past of the magic art, we cannot avoid the memory of the hundred, perhaps thousand conjurers, palatines of the gibeciere and the Cups and Balls, who traveled throughout Europe from the Middle Ages until the first half of the nineteenth century. A glorious figure dominated them all; his name was Bosco and he was certainly the most famous among them, and also the last representative of that brilliant school where celebrated artists rubbed shoulders with performers who would remain forever anonymous.

GURIOSE AWENTURE BREVI CENNI SULLA VITA

PRESTIGIAXOKE

IKYEKTORE DELLA MAGIA EGIZIANA CON UN CO1WPENMO NOMINATIVO DS DH.ETTEVOLI OIOCHI Dl F1SICA K DI MECCAXJCA DA hVl IUTHOVATI.

NAPOLI DAIXA STAHPEIUA B CAUTIKltA DEL FIIffiENO Largo S. Domenico Maggiore Nr° 3.

1837.

129

Bosco was born in Torino, Italy, in 1793. t35! At the age of nineteen, the young man was unwillingly drafted into Napoleon's army for the disastrous Russia campaign. Injured during an attack, he was left for dead on the battlefield. When he regained consciousness, an individual was in the process of robbing him. Pretending to be unconscious. Bosco allowed himself to be robbed and at the same time robbed the robber. Bosco was supposedly the inventor of a skillful trick that invariably filled his theater. He would always walk through the markets of the city where he had scheduled a performance; after spotting an egg merchant and agreeing on the price, Bosco chose one egg carefully, examined it, broke it, and removed a gold coin, to the great surprise of the poor vendor, who, as soon as Bosco had left, broke all the eggs herself, hoping to find other samples of the precious metal. This little scene, renewed at each new stall, amused passersby, set off hilarity, and, through word of mouth, the theater and Bosco's cashbox were filled that same evening. [36] These amusing anecdotes — which of course are true! — were part of the stories printed in the artist's advertising brochures. Like those of Comte, the)- included many adventures, one more incredible than the next. Robert-Houdin attended Bosco's performances during his first passage through Paris from late 1832 to early 1833. In reading his record of the conjurer's performance, we understand that Bosco w as not an artist after his ow n heart. For a young amateur of magic who w anted to make conjuring a tasteful, refined entertainment, some aspects of Bosco's show s could

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Illustrations 152 and 153 - German and French biographies of Bosco.

only repel him. His presentation, his old-fashioned suit, and his performance in shirtsleeves, his overuse of stooges, his macabre decor, etc., all of this seemed archaic. RobertHoudin criticized him, among other things, for a revolting cruelty to animals. During his tricks, Bosco twisted birds' feet, suffocated them, actually cut their necks onstage, and skewered canaries with a sword. [37] if the majority of the audience was unaware of the reality of these tortures, we understand the uneasiness of a fellow artist watching the succession of these cruel

tricks - an uneasiness also shared by certain columnists of the time (see note 38). The sensitivity of nineteenth-century individuals was probably not the same as ours, but we must note that Robert-Houdin's soul was probably not very far from our own...On the other hand, he credited Bosco with an unequaled manual dexterity in Cups and Balls and was determined to analyze the objective reasons for this artist's success in his memoirs and a posteriori : I have seen Bosco several times since then, and each time I studied him carefully, not only to 130

ACT

Illustration 154 — Bosco's performance as shown in L'lllustration.

try and explain the cause of the great fashion he enjoyed, but also to be able to compare the various opinions expressed about this celebrated man. Here are some deductions drawn from my observations. Bosco's performances generally please a large number, for the public supposes that, through some inexplicable address, the birdmurders are simply feigned, and, tranquil on this point, they indulge in all the pleasure caused by the talent of the conjurer and the originality of his accent. Bosco has a quaint and full-sounding name, adapted to become popular, and no one knows

Illustration 155 — Signature of Bosco.

131

II

ROHIRI-HOIDIN

better than he how to take advantage of it. Neglecting no opportunity for notoriety, he performs at any hour of the day, whatever may be the quality and number of the spectators. In a coach, at a table d'hote, in cafes or shops, he never fails to give some specimen of his skill, by juggling a coin, a ring, and so on. The witnesses of these little improvised performances consider themselves bound to return Bosco's politeness by attending his public performance. They have formed the acquaintance of the celebrated conjurer and are obliged to sustain the reputation of their new friend. Hence, they urge all their acquaintances to go also, puff off the performance, and thus the room is always [usually] full.

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It must also be mentioned that numerous accomplices help Bosco's popularity materially. Each of them, it is known, is instructed to hand the magician a handkerchief, shawl, watch, etc., which he has in double. This allows him to pass them with an appearance of magic or skill into a cabbage, a loaf, a box, or any other object. These accomplices, while aiding in the conjurer's experiments, have a great interest in securing their success: for their self-love finds its profit in the success of the mystification. Besides, they have no objection to accept some of the applause as their due; hence the magician has as many admirers as accomplices, and the influence a dozen intelligent prompters can exert in a room is well known.

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Illustrations 156 and 15" - German bills for Bosco in 1829 and 1827. The first of these two German bills was part of J.B Findlavs collection, the second is in the authors collection.

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Such were the influences which, joined to Bosco's talent, gained him a great renown for many years. [38]

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A minority of magic historians of the twentieth century criticized the bluntness with which Robert-Houdin expressed himself about his colleague throughout his memoirs. Although we cannot doubt the sincerity of some, others are clearly more suspicious, as their writings portray a purely fictional artistic nineteenth century in which all conjurers, physiciens, and prestidigitators seemed to benefit from the same sympathy and success with respect to the public. Any researcher who does

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132

ACT

I'HlUTKl. OK Ull'.PPfc. — M. tonBS.Ni, Olrrneur

LUIKH 5 Septembre 18o<>, ii>i:\TATi«a EvvnA<mnn

de Magie egyptieniie et de Prestidigitation,

AV BEVEB1CE

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Illustration 158 - French bill for Bosco, 1853. Poster printed on white silk, framed with multicolor silks, garnished with lace, printed for a charit\ performance gi\ en b\ Bosco on Monday, September 5. 1853 for the victims of a fire in the village of \ncourt.

II

ROBHU-HOUDIN

not satisfy himself with mere compiling and who returns to primary sources discovers a social and physical reality very different from the one described in works that are often deliberately idealistic and somewhat moralizing. The comparison between these artists' repertoires, the quality of the theaters where they performed, the entrance prices of their performances and their frequency, and the reviews of their shows and not simply their advertisements - published in the press give an entirely different view of the artistic and professional reality of the times. Such research confirms comments by Robert-Houdin about his colleagues, whose true merits he examined with great perceptiveness. In several cases, he proved to be a much more kindly columnist than journalists of the time. Sometimes he wrote what he thought, as with Bosco, whose cruel behavior to animals he deplored. Should he be blamed for that? Beaumarchais wrote a very meaningful sentence on this subject: "Without the freedom to condemn, there can be no flattery"; as for laudatory comments, those written by Robert-Houdin about Bosco's dexterity are undoubtedly the most flattering ever made.

Illustrations 159 and 160 - German Bosco brochure. Frontispiece engraving and title page of brochure of the famous conjurer published in I84 i in Leipzig.

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Illustration 161 - Bosco and the Cups and Balls. Engraving from Robert-Houdin s work The Secrets of Conjuring and Magic fop citj.

134

A a II

Illustration 162 - Bosco, circa I860. Sole photographic document of the famous conjurer during the last years of his career.

ROBI RT-HOUDIN

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Illustration 163 - Diploma for silver medal awarded to Jacques Francois Houdin in 1859. This prize was granted to Robert-Houdin's father-in-law by the jury of the Societe Philomathique of Bordeaux on November 20. 1859 This medal was the last of a long list of honors received by Jacques Francois Houdin during his watchmaking career He passed away, one year later, in his son-in-law's home. The Priory, in Saint-Gervais.

136

ACT

II

The Fall of the House of Houdin Having completed certain works in the field of watchmaking and mechanism, RobertHoudin thought that the time had come to sort out his professional status. Following a proposition by Jacques Francois Houdin, the board of directors of the Societe d'encouragement pour l'lndustrie nationale accepted 'Jean Eugene Robert, Watchmaker, 41, Rue Neuve Vivienne, in Paris" on March 4, 1835 and registered him on its member list. This date is the first official mention of Robert-Houdin as a Parisian watchmaker. The five preceding years had allowed him to perfect his knowledge in magic as in mechanism and from then on, all his creations would bear the mark of these two sciences. The watchmaker would create masterpieces from which the magic was never absent, and with the precious aid of mechanics, the conjurer would invent legendary tricks. We remember that the Houdin couple had promised in their daughter's wedding contract to provide the "sum of 15,000 francs in cash that they together promise to pay to the future spouses...on April 1, eighteen hundred thirtyfive." This large sum made up Cecile Eglantine's dowry and was only partially paid to the young family for the following reason: M. Houdin had decided to expand his business and planned to open a second store in the Rue Vivienne, which had just been created and where many large trading businesses had set up. He asked his son-in-law to be his associate in this undertaking, which called for a very large investment. Logically, having faith in his father-in-law's business sense, Robert-Houdin placed the rest of his wife's dowry and the majority of his assets in the project, a sum of

20,000 francs. Jacques Francois Houdin took out other loans to cover the costs of the expensive undertaking but, just as the store seemed to have a promising future, the notary responsible for the funds ran off with his money and that of his clients. Ruined by this theft and incapable of reimbursing his creditors, Jacques-Francois Houdin was placed in liquidation. Bankruptcy was declared on

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Illustration 164 - Extract from the minutes of the Societe d'encouragement pour l'lndustrie nationale of March 1835. These minutes officialh confirm Robert-Houdin's entr\ into this prestigious society.

137

ROBERT-HOUDIN

September 28, 1836: "Houdin, watchmaker in Paris, 10, Rue Notre-Dame-des-Victoires, Judge Commissioner M. Deniere; M. Biglet, agent, 5, Rue d'Orleans in the Marais." Jacques Francois Houdin's creditors were "invited to come to the Tribunal de Commerce on October 8 at two o'clock in the bankruptcy room to name the temporary receivers." To try to save their family from certain ruin, Mme. Houdin asked the courts in vain for her assets to be separated from those of her husband: From a writ of De Branger, bailiff in Paris, the following dating October twenty-fourth, eighteen hundred thirty-six, duly recorded. It seems as though the lady Jeanne Adelaide Gecile Blondeau, adult spouse whose assets are shared with those of M. Jacques Francois Houdin, watchmaker, residing with him in Paris, 10, Rue NotreDame-des-Victoires, has asked for the separation of her assets from those of M. Iloudin, her husband, as well as against Messrs. Riglet, bronze manufacturers residing in Paris, Rue des Filles du Galvaire, temporary receivers of the bankruptcy of the said M. Houdin; and she has mandated for M. Jean-Laurent Gherbrant, [39] attorney near the said court of the Seine, residing in Paris, 74, Rue de Richelieu, for the execution of the said request.

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Illustrations 165 and 166 - Letter from Societe d'encouragement pour l'lndustrie nationale. This personal letter addressed to Eugene Robert, watchmaker, confirms his admission to the society.

Robert-Houdin, in order not to lose all, and on the advice of his father-in-law, enlarged the mass of creditors of the bankruptcy. This catastrophe hit a family already struck with a tragic blow: Louis Francois, Cecile Eglantine's brother, a brilliant young man and high-school student who associated with the young princes of Orleans, had just committed suicide because he failed his baccalaureat. [H Before concluding the events of this chapter, which were to have so many repercussions on Robert-Houdin's life, we can state that he was granted 6,000 francs in the liquidation, which he gave to his in-laws, who were on the brink of ruin, and that M. Houdin was placed at the

ACT

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head of his business to take care of the final liquidation on May 20, 1837, concluding arrangements approved by the Tribunal de Commerce of the Seine on May 30. Jacques Francois Houdin would never recover from this disaster and, after having managed a company his entire life, courageously chose to become an employee. He was the artisan of the success of the Destouches watchmaking company, which had just opened its doors at 160, Rue Saint-Martin, where he became its foreman. His abilities contributed so much to the prosperity of this business that he was considered a co-founder and at the Exposition of 1855, M. Destouches very loyally wrote to the minister that he would accept the award that was offered to him only if M. Houdin was honored at the same time. This is what in fact occured. [*i]

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Illustrations 168 and 169 - Dues receipts. Sent to Robert-Houdin by the Societe d'encouragement pour 1 Industrie nationale as receipts for his dues.

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MECAMSME TOUli EMTECE1ER LA SOWN ERIE MS FKNDVLES BE MECOMPTFlli, PAR M.ROBERT HOFDIN, Illustration 1~~0 - Plate of the patent for the Mechanism to prevent clocks from miscounting. Taken from the Bulletin de la Societe d encouragement pour1 Industrie nationale.

ACT II

The Mechanician and the Watchmaker The year 1836 had nonetheless started out well for Cecile Eglantine and Jean Eugene with the birth of their first daughter Marie Rosalie on February 25. l>2]

but I had too few, and the specimens I had in hand still required years of study and labor. These wise reflections restored my courage, and, resigned to my new situation, I resolved to affect an utter reform in my budget. I had nothing more to look for than what I earned with my own hands. So I hired a modest lodging, at three hundred francs a year, in the Rue du Temple. It consisted of a room, a cabinet, and a stove in a cupboard, to which my proprietor gave the name of ''kitchen." I converted the largest room into our common

I could no longer think of inventing machines, but [had to] work, day by day, to support my large family. I had four children, all very young, and this was a heavy burden on a man who had never yet thought of his own interests. [43]

Robert-Houdin speaks here of four children; we know of three at this period: JeanJacques Emile, Marie Rosalie, and Joseph Prosper Eugene, who was born on June 19. 1837. i44] We do not know the exact first name of this fourth child, probably born between 1833 and 1835, and who did not survive, at any rate, beyond the year 1843. The author also confirms that it is because of his fatherin-law's disaster that he took on a business activity that he had not previously planned.

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"Why should I despair?" I said to myself. "At my age, time itself is a fortune, and I have a considerable reserve fund of that. Besides, who knows whether Providence, by sending me this trial, has not wished to delay an undertaking that was not yet quite assured of success?"

•

In fact, what had I to offer the public that would overcome the indifference a new performer always inspires? - improved conjuring tricks! Those, I thought, would not prevent me [from ] failing, for I was unaware at that period that, in order to please the public, an idea must be, if not novel, at least completely transformed so that it cannot be recognized. Only in that way can an artist escape a remark that always fills him with dread - "I have seen that before." My automata and mechanical curiosities would not have betrayed the hopes I built upon them,

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'i Illustration 1 1 - 63, Rue du Temple. Robert-Houdin's modest apartment was situated under the gables.

Ill

ROBFRT-HObDIN

Illustration 1"72 - Outline of Robert-Houdin's Alarm-Lighter.

ACT

sleeping apartment, the cabinet served as my workshop, while the stove kitchen was used to prepare our modest meals. My wife, though in delicate health, undertook the household department. Fortunately, this was not very laborious, as our meals were most modest; and as our rooms were limited in number, there was not much moving about required. The proximity of our mutual laboratories had also this double advantage, that, whenever my housekeeper was absent, I could watch the potau-feu or stir a ragout without leaving my levers, wheels, and cogs. These vulgar occupations for an artist will make many a reader smile, but when a man cannot afford to keep a servant, and the quality of the dinner, consisting of a single dish, depends on the care devoted to it, it is better to pocket one's dignity and attend to the culinary department, at any rate, without feeling false shame. Besides, it appears that I performed my confidential mission admirably, for my exactitude gained me abundant praise. Still I must confess that I had very slight talent for cooking, and this boasted exactitude was produced by my fear of incurring the reproaches of my head cook. This humble [and parsimonious] existence was less painful to me than I had imagined. I had always been moderate, and the privation of succulent dishes affected me very little. My wife, surrounded by her children, to whom she devoted her utmost care, seemed equally happy, while hoping for better times to come. I had resumed my first trade, that of repairing watches and clocks. [-15]

II

magic repertoire, as well as his creations in watchmaking and mechanisms. In all these activities, his interest in science, especially electricity, is present. The phenomenally creative work of Robert-Houdin matured and refined itself during this entire period, through his experiments, doubts, depression, and possible total ruin. From 1837, and for nearly seven years, inventions abounded, and though the portrait he painted of his private life and his humble financial position may seem a bit too sincere, those years did allow him to develop his research. Then, necessity forced him to make his inventions public. On September 20, 1837, he filed his application for a patent for an Alarm-Lighter, which was officially registered on November 13 by Louis-Philippe: Louis-Philippe, King of the French, To all those present, greetings...We have ordered and do order the following...no. 343: M. Robert (Jean Eugene), watchmaker, residing in Paris, no. 41, Rue Vivienne, to whom it was delivered on September 20 the certificate of his request for an Invention and Perfectioning Patent for a five-

Contrary to stubborn legends for which he was partially responsible, their source being his writings, Robert-Houdin did not have as compartmentalized a professional life as reading his works sometimes suggests. He was not a mechanician, then a magician, then a scientist. Since the beginning of his calling or callings, Robert-Houdin undertook all these different disciplines at the same time. From 1830 to 1837, he developed the fundamentals of his

Illusration 173 - Robert-Houdin's

143

Alarm-Lighter.

ROBERT-HOUDIN

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Illustration 174 - Robert-Houdin's clock. This model predates the famous Mysterious Clock.

Illustration 1~"5 Clock.

year period, for an Alarm-Lighter whose function is to provide light as one awakens...

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Illustration 176 - The Mysterious Clock with double mystery on the crystal column.

same year at 9, Rue Paradis; and from 1841, 9. Rue Vendome, where he took over the space occupied by his first Parisian employer, M. Baullier. [«] Here is an example of the advertisements for Robert-Houdin in the business directories in 1841:

This lovely piece of clockwork was the size of a travel clock. The time was set when one went to bed and the bell woke up the sleeper while a lit candle, hidden behind a small door, popped out from one side of the alarm clock. No more groping in the dark to light one's candle. The Alarm-Lighter became very fashionable and brought new comfort to the Robert family. Robert, in order to distinguish himself from his numerous homonyms - there were many Roberts under the watchmaker headings in the business almanacs of his time - unofficially took the name Robert-Houdin as he had done since his wedding, and it is under this patronym that he was officially listed in the professional directories: in 1835. 41, Rue Vivienne; in 1840, 11, Rue Vendome; then, the

Robert-Houdin, mechanician, granted patent for Alarm-lighter that lights a candle the moment it wakes one up; simple perfected alarm clock; new ring; mysterious clocks, idem with crystal column, conjurer, and mechanical tightrope dancer; execution and repair of automata and items of this sort. B 1839, R. Vendome 9, in the Marais.

Robert-Houdin was working on a small clock whose base was decorated with a winged griffin holding a very thin, round enameled dial. This clock was the origin of his famous Mysterious Clocks, whose transparent 144

ACT

II

Illustration 17- - Mysterious Clocks w i t h triple mystery. CDaotd u Baldwin collection)

crystal dials, containing the minute and hour hands, are supported by a column, also made of crystal, embedded in a group of imaginary animals set onto the base. These clocks, whose transmission mechanisms are invisible to the uninitiated, were extremely successful and their reputation was definitively established at the Exposition of French industrial products in 1839. With acute business sense, Robert-Houdin developed several different versions of his Mysterious Clock at various prices: the small model was the most popular and had one hand; the medium-sized one had one hand but the dial was supported by a crystal column; and finally, the most prestigious had two hands and a column - it was called the Pendule a Triple Mystere. He also made a version with two hands whose dial was supported by two columns that we have not seen on the market recently, contrary to

the other models. Although scarce ten years ago, their mysterious ''reappearance" in abundance in public auction rooms and private transactions seems to suggest an inexhaustible source just like their creator's famous Bottle. [47] One of Robert-Houdin's very first creations, the Chinese Conjurer - some of the first versions actually bear the stamp of J. F. Houdin's workshop, where they were built [4s] _ W as also developed into different-sized models: a little inlaid base on which the Chinese man and his conjuring table are placed; a version in which the conjurer and his table are presented on a large, finely worked golden bronze base; and a final model we can only discuss those known today — in which a clock dial and a watchmaking mechanism are fit into the platform. In this model, the automaton conjurer "performs"

145

ROBERl-HOUDIN

whenever the hour or half hour sounds; it can also be activated at will, independently of the various rings.

Illustration 178 - Painting by William Manning. This illustration is from William Mannings work Recollections of RobertHoudin, London, 1891. and represents one of the tumbler" toys made with mercun commonly known as Sautriaut and manufactured in the mechanician's workshops

Robert-Houdin created other automata known as The Dancers on a Tightrope, or Dancers on Mechanical Cords, which he produced in different versions - with a large dancer, with or without musicians - whose prices varied depending on the elegance of the setting and the number of animated figurines. He also offered mechanical birds embedded in precious boxes or snuffboxes. One of his most beautiful creations in this area was his bird piece - known as The Bird Organ, The Singing Lesson, or The Music Lesson — of which we know of at least three versions today, including L'Odalisque and the example known as Du Perron. [49] During this period Robert-Houdin also manufactured watches and more traditional clocks, of which only a few copies have been preserved, [so] We must also mention more modest activities such as the manufacture of toys and automata for wealthy children, as discussed by his friend William Manning in Recollections of Robert-Houdin (London, 1891). There is also The Writing and Drawing Automaton, a mechanical piece placed on a clock. Robert-Houdin seems to have been more

Illustration 179 Bronze medal from 1839 Exposition. Awarded to Robert-Houdin for his Mysterious Clock and Chinese Conjurer, (chateau de la \Me de Bloisj

Illustrations 180 and 181 - A small automaton pianist by Robert-Houdin. Under the pianist's dress of this mechanical toy is a plate with the serial number B 23 followed by Robert-Houdin's name

ACT II

proud of this than of all his other creations in this domain. He spent a great number of years working on it, much more than the "eighteen months of retreat" that he refers to in his memoirs. We will return to this automaton, which holds a very special place in the story, but to complete this inventory of Robert-Houdin's mechanical works, I will add that the inventor developed his Writing and Drawing Automaton in the same way as his other creations. In addition to the model later shown at Giroux's, then at the 1844 Exposition, he made other impressive clocks, crowned by the mechanized figurine of The Writing and Drawing Automaton, in the same decorative style of his Conjurer clock.

exposition of French industrial products that opened on May 1, 1839, and at the 1844 Exposition - from May 1 to June 30 — the tools and individual parts presented with The Writing and Drawing Automaton and The Singing Lesson won him a silver medal, accompanied by the compliments of the French sovereign. I will end this chapter with a very instructive document, taken from the "Inventory after the death of Cecile Eglantine Robert," dated February 12, 1844. This was a notarized document established in the presence of the auctioneer of J. F. Houdin and E. Robert. The inventory lists all the objects that filled each room of the Robert family's home, from the coffee spoons to the contents of the library. The exThis carefully prepared and tract that will follow concerns majestically executed produconly Robert-Houdin's worktion lasted from 1835 to 1844 Illustration 182 - The Mysterious Conjurer shop, the appraisal of his works, and merely slowed down duby Robert-Houdin (Pierre Mayer collection) the state of advancement of the ring the period of Soirees mechanical and watchmaking pieces, as well as Fantastiques. the value of the tools. In the workshop that day, To attempt to be as exhaustive as possible in there were also two magic automata that have this area and this period, we can add that Robertsince become famous: Pierrot in the Egg and The Houdin filed a new patent on September 29, 1840 Ladies' Favorite. The majority of the other mefor his Alarm-Lighter, which was preceded by the chanisms were stored in another place, and we filing of a patent on August 17, 1839 for a will soon discover them: "Mechanism for resetting the chime of a clock that sounds at the wrong time"; in its general assembly No. 1: Finished objects and works : of August 11, 1841, the Societe d'Encouragement A Mysterious Clock with two crystal columns, 300 francs; a Mysterious Clock with caryatids, pour l'Industrie Nationale, after having heard the 150 francs; a simple Mysterious Clock, 120 report of "M. Francceur, member of the committee francs. of mechanical arts," awarded Robert-Houdin a silAn alarm clock made in inlaid rosewood at 40 ver medal for his "new watchmaking mechafrancs; a clock in black marble, small sculpted nisms"; he then made an agreement with the Japy temple, 120 francs; a clock with days of the brothers of Beaucourt and gave them the right to month, 130 francs; a vertical regulating clock, utilize this patent. He won a bronze medal for the 150 francs; a vertical clock with days of the Mysterious Clock and the Chinese Conjurer at the month, 50 francs; a regulating clock with four 147

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ACT

columns, 130 francs. An old Alarm-Lighter, 40 francs; nine complete square alarm clocks at 30 francs apiece and six complete square alarm clocks at 21 francs. No. 2: Automata and works in progress : A Clock-Writer, no. 9, at 808 francs; a ClockWriter, no.11, at 500 francs. A Mysterious Conjurer, well-advanced, at 280 francs. A bird instrument, Du Perron model, well-advanced, 700 francs; Odalisque, clock with bird, 150 francs. A mechanical Dancer on a Tightrope, well-advanced, 160 francs; another Dancer on a Tightrope, well-advanced, 400 francs; a Large Mechanical Dancer, 100 francs. A Conjuring Clock, 400 francs. Two Alarm-Lighters not yet gold-plated, 96 francs; an oval alarm clock, 30 francs; a travel Alarm-Lighter, 60 francs. A Mechanical Bird, 50 francs; another Mechanical Bird, 20 francs; a small Mechanical Chair, 15 francs. A Mechanical Bouquet, conjuring piece, 200 francs; a Mechanical Egg, conjuring piece, 100 francs.

Illustrations 184 and 185 - Large and small models of Robert-Houdin's Conjuring Clock.

No. 3: Models in brass: Various models for the Conjuring Clock, 400 francs; various models for Bird Clock, The Singing Lesson, 500 francs; a model of the Drinker, a clock, 100 francs; a model for the Dancer on a Tightrope, 100 francs. The combined value of the workshop's contents, including "watchmaking materials and mechanical pieces'' as well as '"tools," totaled 13,495 francs 50 centimes. This notarized document has great importance because it clarifies for us the state of Robert-Houdin's inventory. We realize to what extent his production was handcrafted; all the important works were probably specially ordered. We can note that the most expensive objects appraised that day were The Writing and Drawing Automaton or The Clock-Writer in a well-advanced state at 800 francs; the bird 149

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ROBKRT-HOUDIN

Illustration 186 - "Inventory after death" of Eglantine Robert-Houdin. The first page of this inventory informs us in detail of the names and official information of Robert-Houdin's three children at the time of their mother's death (Archives nationales)

ACT

instrument, Du Perron model, well-advanced, at 700 francs; The Dancer on a Tightrope, welladvanced, at 560 francs; the Conjuring Clock, well-advanced, at 400 francs; and the Mysterious Clock with two crystal columns, 300 francs. In the context of this appraisal, these prices must be considered to be at cost and not retail. This "Inventory after death" provides us with much information on the Roberts' daily lives. In Robert-Houdin's wardrobe, amongst his other clothes, we find a "national guard uniform, a pair of pants, cartridge pouch, and accessories." Then "a double-barreled gun, two pistols, a gunpowder pouch, a cap-holder." The contents of his library reveal much about his reading habits: Qiuvres Completes de Jean-Jacques Rousseau in 21 volumes, 1826 edition; Cours de Physique in two volumes by Desagulier, 1751 edition; Machines et Inventions by Gallon in six volumes, 1735 edition; Traite d'Horlogerie by Moinet in two volumes; Traite d'Horlogerie by Thiout, in two bound volumes, 1741 edition; an incomplete volume of Description de Machines et Procedes; Bulletin de la Societe d'Encouragementpour I'Industrie Nationale until 1844; six various volumes of Dalembert's Encyclopedie Methodique; and others. We also find 23 small paper-backed volumes in English, including two volumes of Robinson Crusoe, 85 paper-bound volumes "unworthy of description," three various volumes of Ozanam's Recreations Mathematiques, four volumes of Guyot's Recreations Physiques, three volumes of La Magie Blanche by Decremps, alongside two volumes of Musee des Families, two volumes of the Dictionnaire de Napoleon Landais, and three volumes of the most recent edition of Mille et line Nuits (Arabian Nights).

151

Illustrations 187 and 188 - Two models of RobertHoudin's The Singing Lesson. (Musee Paul-Dupuy of Toulouse and private collection)

II

ROBERT-HOUDIN

PST!T SI8I1I mta,non.

M i t «K...« 4*30.

rvun

i*

r •n nv

A'. MEUE k::ii'r

MUemoiselk SIMOtf,

y.S i 4 « » « j *f 50 DU MEM iWtEUR

USE LEBVC

la £(Hu

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Pans, ALPHONSI LEDVC. Rue k it B««se, • * " • " ' " -^S K T U t * CWSStKMU,

Illustration 189 - Le Petit sorcier. Quadrille Mignon. Child's salon show. (Dtdier Woreau Umax collection)

152

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II

The Salon Conjurer nonetheless alluded to an aborted first attempt to open his own venue, which can be situated around 1836-1837:

From 1831 to 1835, while building his clockwork creations, Robert-Houdin began to manufacture the mechanical pieces of his future performances.

I performed this wearisome progress during six months, and, at the end of that time, though I had several specimens far advanced, it was still impossible for me to fix the period when they would be quite finished. In order not to defer my appearance before the public, I therefore resolved to begin with my conjuring tricks and such automata as were ready. I had arranged with an architect, who was to help me in finding a suitable site for a theater, but I had scarce taken my first steps, when an unforeseen catastrophe [almost completely] ruined both my father-in-law and myself. [52]

I have already repeatedly mentioned the automata I made, and it is high time to describe the nature of the articles intended to be used in my performances. The first was a small pastrycook issuing from his shop door at the word of command, and bringing - according to the spectator's requests - pastries and refreshments of every description. At the side of the shop, assistant pastrycooks might be seen rolling paste and putting it in the oven. Another specimen represented two clowns, [my] Auriol and Debureau. The latter held out at arm's length a chair, on which his merry comrade performed acrobatic tricks, like his namesake at the circus in the Ghamps-Elysees. After these performances, Auriol smoked a pipe, and ended by accompanying on the flageolet an air played by the orchestra.

Robert-Houdin always had a long-term vision of his career and one can scarcely understand his day-to-day choices without considering them in the context of a wisely planned professional and artistic strategy. During the years preceding the opening of his theater, the magic aspect of the mechanician's activities was linked to two very distinct domains. While continuing his research and personal development in various branches of the magic art, Robert-Houdin commercialized some of his inventions and sold them to a few performers including, if we believe the press of the period, Ludwig Dobler, Philippe, and other "celebrities" of that time. We know that both amateur and professional conjurers were already paying frequent visits to the mechanician's workshops because in an undated note. Robert-Houdin refers to an order by "M. Donckelle [sicReal name of Robin], which Legrand will de-

The next was a mysterious orange-tree, on which flowers and fruit burst into life at the request of the ladies. As the finale, a handkerchief I borrowed was conveyed into an orange purposely left on the tree. This opened and displayed the handkerchief, which two butterflies took by the corners and unfolded before the spectators. Lastly, I made a dial of transparent glass, which marked the hours at the will of the spectators, and struck the time on a crystal ball. [51]

These four experiments are listed on the inaugural playbill of the Soirees Fantastiques de Robert-Houdin on July 3, 1845. Although Robert-Houdin's narrative is, as we have already written, fairly vague concerning the years preceding the debut of his theater, he 153

ROBbRF-HOUDIN

Illustration 190 — A salon seance around 1865- Stereoscopic Mew

debut as a conjurer for Parisian society in a most brilliant and unusual way. Robert-Houdin did not receive the majority of his support from other professionals, but instead from his clients, wealthy collectors of mechanical objects. To acquire these masterpieces, handcrafted in very small numbers, one had to be able to afford such luxuries at a time when the majority of citizens had to work hard just to make ends meet. These collectors formed a friendly network around Robert-Houdin over the years. His creations were admired, his company was enjoyed, his skill was found fascinating, and his workshop began to attract visitors in the same way as those of famous painters or sculptors. These collectors, who were all of his generation, occupied or would occupy very important positions, and the familiarity and friendship - the word is not too strong that developed between them furthered his destiny.

liver to Rue Vendome on Thursday," with no further details A few years later, the connecuon of these two latter characters had regrettable consequences for the secrets of the future conjurer s repertoire. Psychological and financial reasons explain Robert-Houdin's decision to sell some ol his creations rather then exhibit them himself. His father-in-law's bankruptcy had broken the- sound financial equilibrium of Robert-Houdin's young household and the mechanician, having a family to support, did not feel he had the right to risk everything for an artistic career where glory did not always mean security. In addition, as we have already written, Robert-Houdin did not feel any affinity for the type of performances that the public seemed to enjoy. This fact could have led the mechanician to give up his ambitions for the stage had not certain encounters far from the universe of "Father Roujol propelled his 154

ACT

II

The second reason is linked to the fact that he performed in these salons as a guest and not as a paid performer. Relating the events of these evenings would have given readers the impression that Robert-Houdin had revealed the private life of his hosts, which is something the author always correctly avoided. The only allusion by Robert-Houdin to this type of soiree is found in his posthumous work The Secrets of Stage Conjuring and one must stress that, well before the publication of this book, all the protagonists of the story were already deceased. In his mini-biography of RobertHoudin, Eugene Hatin - who was very close to Robert-Houdin - is the only author to refer to the conjurer's first public performances, which preceded those of Palais-Royal:

At first, it was not Robert-Houdin's financial situation that most benefited from these relationships. His clients, on the contrary, forced him to surpass himself and constantly reinvest his income in new research. This insistence on quality, this absolute artistic dedication, earned him the respect of his early admirers, who naturally took him under their wings and sponsored his entrance into the most closed circles of the capital, where Robert-Houdin's natural elegance could only blossom. In his memoirs, Robert-Houdin did not describe his artistic activities in Paris prior to the opening of the Soirees Fantastiques for several likely reasons. The first is that in a narrative destined for lay readers, any description of his salon performances would have merely repeated that of his theater performances.

He began by performing in amateur soirees, and he so completely succeeded due to the originality

Un attire fait des tours tie cartes :(de qa'elle canlenr vonlez-vtrasroecette carte de'vieim.e ? ronage,1bleue,"verte, jaxme ? W. PlrjmicW apart • je m'en.ras l'eiabamsser:) liariht jaime, mossieu. — eli! lieu portez-la chez le tfiiatarier }

!

Illustration 191 - A seance in a bourgeois salon. Engraving from the work Les Soirees de M. Cocambo by Baric, in Paris. Arnauld de Vresse, Editor (n.d).

155

RoBbRf-HOUDIN

Illustrations 192. 193. and 194 - A salon seance around 1865. Stereoscopic views. The name of the conjurer in these photographs is unknown.

and finesse of his act that the most prominent salons of Paris wanted to see this new wizard, who from then on became the hero of all the best parties. It was indeed no longer the old-fashioned conjuring with rolled-up sleeves and the ever-present collection of cups and double-bottomed boxes; this was a man of the world mixing in with the audience and leading them from surprise to surprise with no apparatus other than his fingers, with no other accomplice but himself.

Among the good souls interested in the brilliant craftsman's future was the young Count de l'Escalopier, who frequently invited Robert-Houdin to his hotel particulier situated at 25, Place Royale - today the Place des Vosges — for his intimate soirees where RobertHoudin willingly displayed his talents. The elegance with which he carried out his performance flattered the elite audience's good taste (which one evening included His Grace, Monseigneur Affre, Archbishop of Paris). These spectators did not hesitate to encourage him. 156

Robert-Houdin's fame grew in this little circle, and, following the example of the Count de l'Escalopier, his other protectors, among them Benjamin Delessert, director of the Caisse d'Epargne, contributed to his first steps in the performance world. Even though artists of various talents were paid to entertain the guests at aristocratic salons or the haute bourgeoisie, their presence at these soirees was limited to the length of their performances. They did not mix with the guests, either before or after their performances, following which the social barriers were again raised. Only certain types of artists escaped the era's social prejudice, including poets, writers, painters, and composers. The fact that Robert-Houdin's astonishing creations were so admired allowed him to be part of these soirees where only those of the same social class mixed. Robert-Houdin knew how to project himself as an interesting and well-read raconteur and very quickly learned how to

ACT

model his behavior on that of his interlocutors. Throughout the evening, he was expected to be one of those charming personalities "who can enliven a select group and whose social talents can amuse or amaze.

II

cause some of his clocks and automata decorated the reception rooms. Robert-Houdin was admitted to all these residences for maintenance of his mechanical creations, and one can easily imagine that he had the chance to secretly prepare, a few days in advance, the place where his "improvised" show would be performed.

This unique situation brought a great many advantages to the artist, who was aware of exactly why he had been invited. His network of friends grew and both his reputation and business benefited from this arrangement, and numerous hosts, aware that he had become the star attraction of their receptions and their charity events, considered themselves indebted to him. At a time when the protection of the powerful was as good as law. Robert-Houdin, recognized artist and unpaid magician, accrued considerable assets in public relations, whose interest he would receive until the end of his life.

This would have provided him a huge advantage in terms of the impact of his effects. A playing card slipped under the center of a heavy carpet, a bill or coin conveniently hidden under a candelabra or a vase could transform a simple trick into a small miracle. In certain cases, the "invisible" help of household servants could be just as useful. At all such events, card tables were set up in the living room, where the guests could play against each other whenever they desired. One can readily imagine the success of RobertHoudin's demonstrations of card-sharping. This aspect of his repertoire must have been one of

At these soirees, Robert-Houdin's repertoire consisted mainly of "parlor tricks." He often knew the places where he was to perform be157

ROBER'l-HOLDIN

standard elements of the card-sharp's wardrobe. Robert-Houdin was one of the first, if not the first, to adapt several of these invisible weapons to evening wear exclusively for conjuring, and he invented many others. Before becoming the world famous illusionist, Robert-Houdin was already at that time a master of the brilliant magic specialty that was later called table magic, then close-up magic. Without having ever performed, at least officially, before the Parisian public, the conjurer had already been accepted by an audience whose approval alone could make an artist famous. We can be certain that during the seven years from 1837 to 1844, Robert-Houdin created and refined the formula for the Soirees Fantastiques, whose context and structure so closely resembled the places where he performed during this period. Because he was a revelation to these worldly circles, their appreciation and attention put an end to many of the author's doubts. His vision

the most popular because twenty years later he wrote in his daily diaries that in certain soirees to which he was invited, he could not "refuse to perform a few cheating demonstrations" at the guests' request. These examples, to which we could easily add, show that for years preceding the opening of the Soirees Fantastiques, Robert-Houdin practiced his art in public using only his remarkable manual dexterity. The necessity of performing at these salons in a seemingly improvised manner forbade all use of obvious equipment. At these events, his only props were those of any worldly man: handkerchief, coins, bills, visiting cards, watch, wallet, etc. This led him to perfect the resources that his evening wear could provide, and which he began to modify by adding all sorts of secret pockets, which he would later describe in The Secrets of Conjuring and Magic. Although some of these principles were already used in traditional magicians' clothing, they were also 158

ACT

of magic, his elegance, his carefully composed texts, a bit scholarly but full of humor, seduced a public that abhorred puns and mystifications and would never have deigned to attend a curiosity show. The refined elite, curious about all scientific progress, had found itself the perfect artist; and as for Robert-Houdin, he had finally found his path. It was now simply a matter of time, means, and lucky opportunities.

Fig. 8.

Fig. 9.

Illustrations 195 and 196 — The secret pockets of the conjurer's vest. Engravings from Robert-Houdin s work The Secrets of Conjuring and Magic (op cit).

159

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ROBERT-HOUDIN

The Little Parisian Curiosity Shows Besides specialized theaters like that of M. Comte, or halls in which certain magicians sporadically performed, there were in

Paris many small curiosity shows whose longevity was variable. As Robert-Houdin's Soirees Fantastiques w as classed three years

Police Prefect General Headquarters 2 ' Office

district

8" 9 10"

IT"

12"

Address

Status of in virtue of authorizations or tolerances

Name of Entrepreneur

Type of show

Grand carre des Champs Elysees — Sire Langlois Panorama Avenue Gabrieile id. --Navalorama Gamain Wax figures " Porcelet Avenue des Champs Elysees N° 94 idem N° 138 Various living animals — " Genal Rue du faubourg Montmartre N° 18— " Perdrizet & Richard Extraordinary horse Palais Royal Seraphin Seraphin's Chinese Shadows Rue Nve Coquenard, N° 18 Morin Puppets A savage's exercises, at the Cafe des Aveugles Palais Royal Henri Rue StHonoreN0 324 " Harrington — Conjuring tricks Boulevard Bonne Nomelle Nos 10 & 12 Curiosities Pradel Dwarves, various animals Dubernes id id - N° 8 — Juggling Caveau Montesquieu " Hesnard Boulevard St Denis N° 10 Various curiosities " Devalette Rue Neuve Chabrol " Emile Bougeat Tightrope walkers Boulevard du Temple N° 84 Mechanical show — " Massey id N° 54 Wax figures " Se Jores id Jardin Turet N° 29 Gas microscope Trousse! Boulevard Beaumarchais Various curiosities Quinel No such show exists in this District Rue de Charonne N° 56 -I Auclerc Chinese shadows Rue des Barres St Gervais N° 22 1 Mercier • Puppets No such show exists in this District Rue de VEcole de Medecine Robert Optics Gouaut — Butte Montparnasse Experimental physics • Liote idem Conjuring tricks Salaberi idem Learned horse idem idem idem idem Rue de VHotel Colbert N° 9 Rue de Bievre N° 21 Rue Moufetard N° 48 Rue St Nicolas du Chardonnet N° 7 Rue St Jean de Beauvais N° 34

Gamier • Mercier • Botte Flanc — Bastard Steub Sexe Queval Morin —

Optics Various curiosities Puppets Mechanics Tightrope walkers, jugglers • idem -idem • -idem Mechanics

I

ACT

later in this particular category, the reader will hopefully be interested in this table of the capital's "minor" distractions during

Csllf"lOSlty

the year 1842 in which the art of conjuring was represented by M. Harrington and M. Liote.

Paris, January 25, 1842 SflOWS currently running in Paris,

granted by the State Counsel, Police Prefect.

Authorizations or tolerance

Comments

Authorization of the Minister of the Interior ---• Authorization of the Prefect of Police on November 2, 1838 _____ id id , May 3,1838 id , October 18, 1841 — id idid , December 11, 1841Tolerated by the Police Prefect Authorization by the Police Prefect on November 15, 1841 — Tolerated by the Police Prefect --Authorization by the Police Prefect on December 23, 1841 — Tolerated by the Police Prefect ididAuthorization of the Police Prefect, obtained in March 1828 id — id , October 8, 1841 ----- id id , May 7, 1835 id id , June 30, 1840 id —id --, September 22, 1822..... id - id , January 18, 1841 — id id , March 1, 1837 id id

• -

id id

id idid idid idid id • id - idid idid-— idid — idTolerated by the Police Prefect -— id-— ididididididid-

-, November 1, 1841, October 8, 1841 — -—, May 26, 1840 —-, April 7, 1836 -—, April 21, 1836 -—, December 17, 1835 -—, May 21, 1834 —-, April 7, 1835 —-, February 20, 1836 -—, October 17, 1831 -

II

Permission also granted for the Place St. Sulpice

Seen by the State Counsel Prefect of Police

ROBLRT-HOUDIN

Grandes soirees mysterieuses de til'. PHILLIPPK (Boulevard et Bazar Bonne-N'ouvelle)

1 2 3 4

Cuisine de 7arafarajamus l e Chapelierde 1943. Le Faon majjique la Rnn)fiilLe enchantee

Illustration 19"7 - Grandes Soirees Mysterieuses

6 I 8 8

taTele mfernale LeChapeaumerveilleux lArleqmn savant Le ConBseur qalant.

de M. Philippe.

162

10 U Bassm de Neplune ou lespoissons dor ella menadene prodigteuse. 11 Eclairaje de toullelhealre improvise

ACT

II

Philippe Talon, known as Philippe In his memoirs, Robert-Houdin concluded his portrait gallery of famous magicians with Philippe. Before Robert-Houdin exclusively reigned in the capital, Philippe was the last tenor of the profession who won the approval of Parisians. The biographical notes the author dedicated to him are lighter in tone than the preceding ones. Robert-Houdin showed an amused kindness that is sometimes absent from his portrayals of Comte and Bosco. We cannot conclude from this that Robert-Houdin had a more profound admiration for Philippe than for his other colleagues, but the manner in which he discusses him certainly shows an obvious fondness. After somewhat successfully practicing the trade of confectioner in France, England, and then in Scotland, Philippe became a conjurer, and with his assistant Macallister, toured the English provinces and Ireland. It was in this country, wrote Robert-Houdin, that a Chinese conjurer revealed to him the secret of two feats with which his name remains associated: Neptune's Basins, or The Goldfish - a trick in which crystal basins filled with water and fish were produced from under a shawl previously shown empty - and The Chinese Rings, in which wide metal rings link to one another and mysteriously separate. Throughout his career, Philippe benefited from a flattering reputation in England, where some critics did not hesitate to say that he was superior to all English magicians. Robert-Houdin undoubtedly had a chance to attend Philippe's Parisian performances in the Montesquieu Hall in 1841, but in Memoirs of Robert163

Houdin he described the performances given from 1843 to 1845 at the Bazar BonneNouvelle. The artist had a small, stylish room set up on the second floor of the establishment, "excellently adapted for this style of performance," christened the ''Palais Enchante, Soirees mysterieuses de M. Philippe" with stalls, pit, gallery, and tiered seating. Accompanied by six musicians "of dubious talent," Philippe performed shows that at-

Illustration 198 - Philippe, le celebre magicien de Paris. Austrian engraving from the first half of the 19" century.

ROBERT-HOUDIN

(Philippe le prestidigitateur, au bazar du boulevard Boune-Nouvelle.

Illustration 199 - Philippe in the effect Neptune's Basins or The Goldfish.

ACT

tracted a large audience for a few months. His repertoire consisted of conjuring experiments; the presentation of automata - such as The Cossack, The Magic Peacock, and The Harlequin; a version of the Inexhaustible Hat, renamed Fortunatus's Hat; a burlesque scene. The Kitchen of Parafaragaramus; and finally a second part entitled The Festival of Nankin in which, in a Chinese setting, dressed in an ample Oriental-type outfit, Philippe performed the ring routine and the goldfish effect, the latter's modus operandi requiring the wearing of a robe. In his description of Philippe's automata. RobertHoudin deliberately omitted mention of The Gallant Confectioner - a cousin of The Impromptu Liquor Merchant and The Dutch House sold by Roujol - to avoid confusion in the reader's mind between the effect of this trick and his own Pastrycook of Palais-Royal. We will later also see that the general structure of these two mechanisms, their effects, and especially the means and principles used by Robert-Houdin in this trick were completely different from those of Philippe. Roujol, and De Rovere.

STRAND OPEN

II

THEATRE.

EVERY

EVENING,

And (by desire) M. Fhillippe will give A

GRAND MORNING PERFORMANCE Every Wednesday and Saturday. The Morning Performances commence at 2 o'clock. The Evening Performances commence at quarter before 8. " l a Galate est la sante de L'ame la Tristesse en est le poison."

Stalls $s.

Boxes 2s.

MODERN

Pit Is.

Gallery 6d.

MIRACLES!!

Part l—Will comprise Ms celebrated and Unrivalled Tours du Physique, and Astcundinjf Feats of Magical Delusions, including a Selection from the following popular

Experiments and Astonishing Deceptions, Which MI 1 prepared nt an immense expence during the recent recess, so as to render an entire change in his various entertainments;

M.

E will commence the Performances on each occasion by LIGHTING

250ThisWAX CANDLES BY A SINGLE PISTOL SHOT, Unique and brilliant Experiment was originally performed by

M, PliiUtppe for upwards of ;oo consecutive nights in Paris. The Miller of Amsterdam Mndamoiselle Poupee A New Svstem of making SwertThe Obedient Cards meatft i Bon botisforthe Million, 1'lie learned Mercury Gratis ! The Fenlher Bush Cupid's Pulace and the MHRIC Rose Flight Myslerieuse " A Lesson for the Ladies," or a Ntw The Metamorphoses, or the Charmed Method of Making Coffee, The Voyage of Papa t,ftpin

ORAND DISTRIBUTION OP THE BRITISH FLAG!! " The Flag- that"s Braved a Thousand years," | " The Battle and the Breeze," IS THE COURSK OB THE liVltNINQ M. 1'HILLIPPE WILL INTRODUCE

HIS GRANDMOTHER'S CAP WITH AIX ITS RAPID AND HUMOUROUS TRANSFORMATIONS.

Pas de Characters Pas de Zephyr The Highland Fling -

-

Mile. PAULINE CHIARINI. Mile. CONSTANCE CHIARINI. - Mile. VAUUNE CHIARINI.

Composed and arranged for La Petite Adele CHIARINI (only 3 years of age) AFTHR WHICH THE CBl.EBItATED

AMERICAN BROTHERS

Ohio, Missouri and Askanaas, will appear in their popular scene, entitled Ot.YMUC GAMftOLS. in which they will perfoira several of their most powerful and nbtoundiog Feats of Agility, The whole to conclude with

A NIGHT IN THE PALACE OF PEKIN,

In which M. 1Phillippe will -perform some of the «iost Extraordinary Tours d Addrcsse, including his most brillinnt & peculiar

INDIAN AND CHINESE FEATS !

THE HAT OF GOOD FORTUNE Endless and Inexhaustible Profusion1 Including the Grand European bazaar 1' and Prodigious Distiibutum of Flora's f The Pyrotechnic Bottle* """ '" The Kntertainiuentss will terminate each evening, with the astounding a nd surpribing delusions, entitled

The Ma^ir Telescope The Prolific Aviery afj and Flying i

l e Bassins de Neptane et les Poissons d'or and the Grand Menagerie. %*) The above Programme is the most novel Entertainment now in London, and must be seen to be believed, the Public Press has pronounced it to be the most marvellous pfrforntance evrr executed, and taffies all description. The Morning Performances will commence at a o'clock. The ttveuing Performances at Quarter-before 8. Private Boxes (lor I?our Persons) 10s.fidand £\ is. {for Six Persons), which may be secured at Mitchell's Royal Library, 33, Old Bond Street, and at the Box Office of the Theatre, which is open daily from 10 till 5. li'JR & MUIXIN, Printers, Silver Street, Golden Square.

Illustrations 200 and 201 - Philippe at the Strand Theater. Engraving and bill of Philippe in London This bill is taken from Magic, November 1904.

165

ROBKRT-HOUDIN

** EL Wlli.S. -=Z = = H

Illustration 202 - Salon seance by Philippe. Engraving from Madame Albertine de Juvigny's work Abecedaire progressif. Paris, Fonteney and Peltier. Booksellers-Editors (n.d.).

Robert-Houdin's arrival on the the Parisian stage in 1845 helped "convince" Philippe to leave the capital for lucrative tours in the provinces and abroad. A few years later, he resumed the trade of confectioner, but either his business was not entirely successful or the call

of the stage was stronger, because Philippe, already elderly, returned to his lengthy travels. He went to Russia and the Balkans for a last, disastrous tour before heading to Asia, where he passed away in Boukhara, Turkey, on June 27, 1878 at almost seventy-six years of age. [54]

,$<xtm de PxtsttdUfntion m, fyiu- ^airu: KsoaMola/lts Tours de passe* ptis.se tie la
Illustration 203 - A few of Philippe's effects. Plate from La Nouvelle magie blanche devoilee by an Amateur, Paris, Ruel Aine, Publisher-Bookseller. 1852.

ACT

II

Illustration 204 - Sole photographic portrait of Philippe (circa 1868). Philippe Talon, known as Philippe. Born in Allais (Gard) on December 25, 1802, died in Boukhara (Turkestan) on June 27, 1878.

ROBFRI -HOUDIN

Illustration 205

Robert-Houdin's Writing and Drawing Automaton.

Drawing inspired by Leon Noel s 1848 lithograph.

ACT

II

Vaucanson's Duck, Von Kempelen's Chess Player, and Robert-Houdin's Writing and Drawing Automaton tion as many scientists contend. But this is what I plan to address and demonstrate on this occasion. The digested matter in the stomach is brought through tubes, as in an animal's intestines, to the anus, where a sphincter allows it to exit. I do not attempt to claim that this digestion is perfect, capable of making blood and nourishment for the well-being of the animal: it would be unfair, I believe, to reproach me for failing to do so. I merely try to imitate the mechanics of this action in three ways: first, swallowing the grain; second, chewing it, heating or dissolving it; third, making it come out in an altered form... [56]

A very large part of the first volume of Memoirs of Robert-Houdin is dedicated to educating the reader about the celebrities of magic who preceded Robert-Houdin, as well as about the creations of the famous automaton builders. This choice of the author was dictated not only by an objective pedagogical intent, but also by the goal of placing his works into perspective with respect to those of his colleagues. In the area of automata, Robert-Houdin humorously recounted the supposed merits of The Bronze Fly. The Bronze Head, and finally The Bronze Man, before lengthily presenting in the most laudatory manner the illustrious mechanician of the eighteenth century, Jacques de Vaucanson. [55] Vaucanson's genius brought us The German Flute Player, The Tambourine Player, and The Artificial Duck. The latter automaton had already become a legend in Robert-Houdin's time. Here is how the mechanician from Grenoble described his Duck in a letter addressed to Monsieur l'Abbe D.F. (Father Desfontaines) in 1738:

This mythical duck, which had remained so vivid in the public's memory, enormously stimulated Robert-Houdin's curiosity and admiration. During his early days in Paris he had begun researching the creations of his glori-

The New Automata, Sir, that I plan to exhibit on next Easter Monday, along with my Flute Player, are: first, a Duck, in which I present the mechanisms of the viscera in order to show the functions of drinking, eating, and digestion; I declare that all the necessary elements of these actions are perfectly imitated - he stretches his neck to take the seed from one's hand, he swallows it, digests it, and renders it in the ordinary way completely digested; all of the gestures of a Duck as he hurriedly swallows and increases speed in the movement of his gullet to make his nourishment descend to his stomach are copied from nature; the food is digested in the manner of actual animals, by dissolution and not by tritura-

Illustration 206 - Jacques de Vaucanson. Medallion of the illustrious mechanician.

169

ROBHiT-HOUDIN

MECANISME DU FLUTEUR AUTOMATE, Prefcntc a Meffieurs de l'Academie Royale des Sciences. Par M. VAUCANSON, Auteur it cette M*chm, Afec

La defcription d'un Canard Artificial, mangeant, beuvant, digerunt & fe vuidant, epluchant fes ai'es &fesplumes, imitant en diverfes mameresun Canard vivant. Invent^ par la mefine. Et nilCi

Celle d'une antre figure, ^galement merveillenre, jotiint da Tambourin & ae [a Flute, ituvant la relation, qa'il en a donn^e d^puis fon Mtfmoirc £crit.

A

P A R I S,

Ckei ]ACQ,UES G D E R I N , Imprimeur-Libraire, Quai

des Aagultins. E T SE V E N D Dans la Sale de dite figures Automates, M. DCC. XXXV I I I . yEC

PERMISSION

D U

R 0 I.

Illustrations 2CT and 208 — The mechanism of the Flutist Automaton by Vaucanson. Frontispiece engraving and cover page of the work of the famous mechanician published in 1738.

memoirs [of the Academie des Sciences], was only a mystification - a real canard, in fact. Decidedly, Vaucanson was not only my master in mechanism, but I must bow before his genius for juggling. The trick was as simple as it was interesting. A vase, containing seed steeped in water, was placed before the bird. The motion of the bill, in dabbling, crushed the food and facilitated its introduction into a pipe placed beneath the lower bill. The water and seed thus swallowed fell into a box placed under the bird's stomach, which was emptied after exhibitions every three or four days. The other part of the operation was thus effected - bread-crumb, colored green, was expelled by a forcing pump, and carefully caught on a silver salver as the result of artificial diges-

ous predecessor. A few years later, providence would allow him to auscultate this masterpiece and discover a secret that he would reveal to us. ...but in 1844 [In fact in 1846], Vaucanson's duck was exhibited in a room at the PalaisRoyal. Of course I was one of the first to visit it and was much struck by its skillful and learned formation. Some time after, one of the wings having been injured, the duck was sent to me to repair, and I was initiated into the famous mystery of digestion. To my great surprise, I found that the illustrious master had not disdained to have recourse to a trick which a conjurer would have been proud of. The digestion, [the tour deforce of his automaton], so pompously announced in the 170

ACT

II

tion. This was handed round to be admired, while the ingenious trickster laughed in his sleeve at the credulity of the public. [This trick, far from changing my high opinion of Vaucanson, on the contrary inspired a twofold admiration for his knowledge and his savoir-faire.] [57]

Certain early twentieth-century authors or historians of automata, like Pierre Devaux [58] or Alfred Chapuis, [59] never forgave Robert-Houdin for revealing the trick used by Vaucanson. Without giving the slightest proof to the contrary, they accused the conjurer's ''secret" of being false. We must then deduce that the legitimate admiration that Vaucanson inspired in these authors made them gullible enough to really believe that in the middle of the eighteenth century, the illustrious mechanician had created reallife digestive mechanisms that would still be envied today by our most knowledgeable surgeons. After this revelation about Vaucanson's Duck, Robert-Houdin explained in a long narrative the reasons leading to Von Kempelen's creation of The Chess Player. This was the most famous automaton of the eighteenth and nineteenth centuries, the one that was most written about, and the one whose authenticity and feats were the most contested by its contemporaries. In the public's opinion, Vaucanson's Duck and Von Kempelen's Chess Player were both genuine automata, a perfectly justified view in the case of the famous duck of the mechanician from Grenoble, but totally wrong in the case of the Viennese baron's android. The latter was one of a host of trick automata to which their creators attributed a sort of artificial intelligence that was demonstrated through tasks performed by apparently highly sophisticated mechanisms. In numerous cases, these mechanisms were only for show or

Illustration 209 - Supposed mechanism of Vaucanson's Duck.

M. Charles DULLIN, Han:. le role du btiroti i)t" KrmpeUn, du film

LE JOUEUR

D'ECHECS

J e l« Socu-ttf des Films historiques (exrtn,fn>tlt' Jean tie .'//
Illustration 210 - Photograph from the film The Chess Player. From La Petite illustration cinematographique, February 1927. (Georges Proust collection)

171

ROBERT-HOUDIN

ASITOMATOBT.

LETTRES SUR

V S

AUTOMATE, QUI JOUE

AUX

ECHECS.

*€

Premiere Lettre a 1' Auteur du Mercure de France. si Prtshourg 1770.

Monfieur,

%, J '.He laiffe k d'autres le foin de faire V" le recit des iites btillantes qu'a occafionne ici la prefence de 1' Impe'ratrice Reine, de V Empereur & de toute la Fa-

Illustration 211 - Lettres sur un automate quijoue echecs. Title page of this booklet published in 1770.

Illustration 212 - The Chess Player.

aux

English engra\ ing of The Chess Player

beginning of the performance all the doors of the desk were opened to show the audience that there was nothing inside except a finely tuned entanglement of cogs, springs, and cams. The metallic shell covered with the material of the Turkish chess player's body was also opened, and all these procedures hopefully proved to the audience that there was no possibility of human presence in the android. After the mechanism had been wound up, the chess game could begin between the automaton and a player chosen from the audience. The Turk's head started to move, his arm hovered above the chessboard, and his fingers

"powder in the eyes" that hid the presence, inside or outside the automaton, of one or more assistants, who remained invisible to all and who were the real '"brains" of the device. These artifices did not make the concepts and the extraordinary actions of these machines less remarkable, but they belong more to the patrimony of illusionism than to that of mechanism. Von Kempelen's Chess Player [60] was a life-sized automaton dressed in Oriental clothing and wearing a turban. He was seated behind a desk with a chessboard. This desk contained the various mechanisms that allowed the automaton to move, and at the ri

ACT

grasped the pieces, which he placed one by one onto other squares. Whatever the outcome of the game, which the automaton often won, the performance was so fascinating that crowds rushed to see it and even some of the world's most prominent individuals deigned to play against the android, who, on these occasions, knew how to be a good diplomat and lose.

II

t

Of course it did not enter into RobertHoudin's mind to reveal to the lay public the real modus operandi of The Chess Player automaton - which a certain number of "exposers" had already taken it upon themselves to publish more or less accurately. He also had no intention of providing a history lesson for future chroniclers of the magic art. Instead, he wanted to prevent his own such creations from being associated with trick automata. Robert-Houdin also magnified Von Kempelen's personality in his narrative by attributing generous and humanitarian motives to him, ideas that, according to the author, were the only reasons behind the Viennese mechanician's creation of The Chess Player!

Illustration 213 - Baron von Kempelen.

For the great pleasure of his readers, Robert-Houdin painted an epic portrait of a young and heroic Polish officer named

Illustration 214 — The secret of The Chess Player. Engravings from a plate in Brewster's work, Xouveau manuel de Magie natiirelle et amusante. published bv AD Vergnaud, Paris, Roret. 1839

173

ROBFR'I-HOCDIN

MAELZEI/S EXHIBITION,

EXHIBITION

No. 28, St. Jamet'i-Street,

Of the Ne Plus Ultra in Mechanism, The AUTOMATON

EVERY DAY FROM ONE TILL tOUK O'CLOCK, AND F5OM EIGHT WLL KIMS 1H 1HS K73

A REPRESENTATION OF THE

Conflagration of Moscow, flg

PLAYER,

'•- • -hich ^ • Mr. • • * •M • fins • -•• ' to •• combine -••• the •••- An 'rw of Dfcigt., Mech»r.U», «ndMa»ie,Ml* IK endeavoured lie of ilie ii ro» froM in elee rut X icene. feme. The Theview «» W o produrc, by » novel imiulian of Nstnr*, a perfect f.csimile Med .lauon an the fortrw* of t)« Kremlin, U llie mommi wlint ihe inhibit int. .re encattln* t t » lire, tiie hnrryiiifj himlc uf the fugitive*, ifie «n;emti> nf the hit us entry. The gnduil prcjfw* of the Czarc, and the head of ilia French cotuirini commence* f d h i h f h f i f f h l i ,*" md P the din of «Hlike-*wti

AKD

Automaton Trumpeter, 4, SPRING GARDENS,

" THIS"

Automaton Ohess^JPlayer

JFrojB 1 tfCtotk to i>, tad et 8 i* Ike Etming. T H R Automaton Chew Pl.iyer bai conquered the first Players in Europe, and excited universal astonisimieut. Altliougii every part of the interior Mechanism is exhibited to public scrutiny, previously to every Pcrformant-e» no one has yet succeeded in discovering the principle of its action. The Automaton will play with any of the Company inclined to oppose it; and such is its experience on the Board, that the Knight may be set at pleasure on any of the sixty-four squares, and the Automaton will move it successively into every square of the Hoard, without touching the same sauare twice. The Automaton Trumpeter (the Invention of Mr. J. Maefzel, of Vienna), is known to a limited part of the British Public, by its performance during two nights at the English Opera, when the audience honored it with the most rapturous applause. It will perform a variety of Cavalry Signals, as also several Marches, with Instrumental Accompaniments, written by the moat distinguished Composers. The three Morning Exhibitions will begin precisely at One, half-past Two, and Four o'clock ; when, for the general accommodation of the Public, the Chess Player's operations will be limited to the playing of several curious and scientific ends of Games against any Opponent.—In the Evening it will be ready to commence a Game with any Antagonist. Both tht Automata are tunable *f prrformirtf in OM« purl o/ the Ream, but ike Mechamim of Ih i'rumpettr cu*not it ta.'iibittdto the Public. Admittance toeach Performance2i.6
Of Mr. DE KEMPELEK ^

The Automaton Cii«'«- i'lsjer will ll pL> pL> tlie Mi Mine came it played attaum attamit the Empwof Empeiof NATOLYOW during hit Itit campnt|ti hen M. U I ilia Im h Mr. M M i honour hnour of exhibiting hbiti Im various u i u i meciwnkil A c u runralicc*HE Hchonbrutin, i t. Tlie Chen-Player h u -itlmooJ the fir« Pl.ver* i s EarotMf, and excited u n m r n j attune lent. Ahlttiiigh Ihe interior mwhinwm » exliibiied lo bo' 1 ' no one tiu yet mcceeded hi d covering the |>rinciple of its action.

THE ORCHESTRION, A grand Musical Instrument invented by J O H N M A E L Z E L . The Orchestrion U a Musical InMmmetit, corulructed on different principl« front my biiL»ita • * Wblt«dln Loatlon,fll It contafnv ig ftli'v, •>» iJn. l.i.iiuun.-nt*«inpkiye<J in » imlunry liani); it in purely mwlitnlcil, but could esuiy be adipied (or any one to pl*y on. It dilVcn etwutiiliy from the APOLLONlCOK,aiid all otlier imtrutnenli eunsirurleil ftilfi organ-pipes; it it, Wide*, the only one of ihe Htne liie ond iiuwei in Euroj)«, Tlie moit eoiinent Comnwar. in London and on the Continent h»ve given it their onqu»l,fied appro. utng it it to to the tli jj tidgmenl g e n t nff B Brinth public: public be be a Brinth ballon ; Mr. M fecit, therefore, *omt conGdence iin tdlimiutng j w i i n h r l y m u n i ! ihni attantloo to \bn precision, delic.cy, .nd e »pre..ia n with «hieh it perform; the ntott difficult piece* of rnutic, pradocing aliogetlief «n efTett which can only bu eiiuitlkij by liVinn beinrt ° It will perform w o o f the following Vines: THE OVEHTURK TO T1M0THKUS, COmpote
T THE AUTOMATOlTTRUMPETER Of JOHN MAET.ZEJ, of Vienna. The Tmmpeto* will perform two Mwchc*, with loiuumenul Accompaniment, untten, expre»ly for r ' I t e A a u m i u a , by (be UWM aUtlnguif bed C o n j w t n . Adauthmet

3*.—Ctii(drt*t 1».

• # • 'fhc Exhibition will positively close on Saturday the V4th.

OAK*)*, Pritltr,4,

No. 29, St. James's Street.

Ia I

Chess Player

The Automaton

Worousky, who found himself heading a heroic and desperate insurrection against the Tzar's armies. Gravely wounded by a gunshot that broke both his legs, Worousky owed his salvation to Dr. Orloff, who, in order to save his patient, had to amputate both his legs. In spite of his recovery, the Polish hero's life was still in danger because the Tzar's police actively pursued him. The renegade's only consolation was the game of chess, at which he was remarkably talented. M. Von Kempelen, having come in a most timely fashion to visit his friend

1 |

MAELZEL'S EXHIBITION,

8

3

1 Edinburgh and Liverpool, where (giving the Pav , in upwards uf 200 Games, although opposed by AT,L

oycucD itjs WITH THE

! AUTOMATON T R U M P E T E R , AND TH E

Conflagration ofJUoscow,

• tit which M M. has endeavo ired to combine (he A&TS of DESIOH, MIJCKANISK, and Music, so an h MbyM h d dof Nature, opeifucl Fie Simile of the leal Scene. The View is from I a novel Iinitntion produce, an elevated Station on the Fortress of the Kremlin, a t the Moment when the Inhabitants are evacuating the C.ipilul of the Czars, aud (he Head of tUe French Columns commence* it Entry. The gradual Progress of the Fire, the hurrying Hustle of the Fugitives, the Eagerness of the Invaders, ami the' Dm of warlike Sounds, wilt tend lo impress the Spectator with a true Idea of a Scene which Ijalllts nil Powers of Description. Tiie MORNING EXHIBITIONS begin a l l wid 3 o'Clocb, and the EVENING EXHIBITION at 8 precisely, uhen, OAMl'-S will be played AGAINST ANY 0 P P 0 N E 8 T , lo whom the double Adyantoge of A PAWN AND T H E MOVE W l L t BE GIVEN. Jidmisswn gs.6ii

Children is.M.

each.

04- Eaeh ExIiiWUon 1n»U One Hour. Should a Game nnUnfiniihed in that Time, the Parly Vii! b e a t Liberty to take it *n with a View to ill liciag resumed at another Opportunity. \!r,M- itgi leave to eniioKttce that the OnCHBSTBioN, the AaTaU4Ton TaowrsrsB, the CoHfuaHjrivx Moitoir, end the I'atetilfor the MBTUVNOHKS, are to be dmpntd of.

CtAtriitt-Smtt,Btmt.

IQ (ID

i I i

Figures 215. 216. and 2V - Advertisements for Maelzel. Posters announcing Maelzel's exhibition of Von Kempelen's Chess Player in London at no. 29. St. James Street. (215 J.B. Findlay. 216 - John Gaughan Collection, 217 -Histoire et evolution technique de la prestidigitation by Max Dif).

T ! or

I 174

ACT II

Dr. Orloff, noted the outlaw's unhappy situation and his skill in chess, which then gave him the idea of a machine whose humanitarian goal was above all to allow Worousky to escape. A few years later this eminently romanticized tale, lacking historical foundation, became the basis of a drama entitled La Czarine, to which we will return later. In his memoirs Robert-Houdin explains that in 1844 he had the opportunity to examine the wreckage of Von Kempelen's Chess Player shown to him by a certain Cronier, "mechanician in Belleville," to whom Maelzel's heirs had sold it. If it is historically true that Von Kempelen's automaton was sold to Maelzel and that he died before 1844 [si] - more precisely on July 21, 1838 - the Viennese mechanician's automaton remained in America after Maelzel's death. Robert-Houdin believed that he saw the original of the famous automaton at Cronier's, but it may have simply been a copy. We have attempted to discover more about Cronier, whose first name was Alexandre, like that of his colleague Roujol, and who often worked for Robert-Houdin during the period he manufactured and sold mechanical pieces. In my edition of the Memoirs published by Stock in 1994, I reproduced a letter by Robert-Houdin dated October 19, 1847 in which he mentioned mechanisms made by Cronier for a mechanical picture depicting cats. In this letter, Robert-Houdin seemed to speak about the talented mechanician in the past tense: "...for which our poor M. Cronier had made the mechanism..." Alexandre Cronier was not unknown in the magic circles of the era. He was one of a few craftsmen who manufactured conjuring equipment and automata to be used by conjurers and amateurs. Some of his adver-

RORERT-HOlDItV1, i^cdeue, de, "PalW, i&&, efc lite De

$->J ,

16

-^ , -

-

- ~.

_

/

• '

-

•

*

j

Illustration 218 - Letter by Robert-Houdin in 1847. Letter addressed to the painter Lefebvre in which RobertHoudin alludes to works by Alexandre Cronier.

ROBERT-HOUDIN

tisements could be read in certain directories under the heading "Opticians'' as follows: Cronier Alex., Instruments of Physique amusante, automata, acrobats, dancers on a tightrope, mechanical and picturesque theaters; Pierre, at Belleville, 20, Rue des Rigoles.

LETTRES IDE M.

CHARLES GOTTLIEB DE WINDISCH $ UR

OPTICIENS.—PA.RIS.

LEJOUEURD'ECHECS

tttivre de at sique par a Jecker fils, rue de 1'on 1834. Konnerailt, 17.

DE M. DE KEMPELEN. q

TRADUCTION LIBRE DE L'AIXEMAND,

Accompagnde de trois Gravures en tuille-doiice qui reprefentent ce fameux Automate, & publiee

It was therefore not a novice who showed his friend Robert-Houdin the remains of the Chess Player automaton, and nothing definitively proves it was any more than a copy of the famous android, which ended its "career" on the other side of the Atlantic. [62] Having described the merits of these two famous automata, Robert-Houdin was then able to tell the story of his Writing and Drawing Automaton. We learn in Memoirs of RobertHoudin that it was thanks to the confidence of a Monsieur G., who financed his work in advance, that Robert-Houdin could begin creating

PAR C H R E T I E N DE MECHEL, Membre de l'Academie Imperiale & Royale de Vienne & de plufieurs autres.

ABASLE CHEZ

L'EDITEUR.

MDCCLXXX1II. Avec Privilege de S. M, Imperiale & Royalt.

A PARIS, RUE D A U P H I N E , A I'ensric a. droitepar UPont-Neuf, Chez A 1 E X A N D B . E J O M B E U T

IEUHF.,

fuCCefleUt

de C H . ANT. JOMBERT, fon pete, tifaraite du Roi, pout l'Aitillerie & le Genie.

Illustrations 220. 221. 222. and 223 - Lettres sur le Joueur d'echecs. Cover page and engra\ ing of the «ork of M Charles Gottlieb de Wmdish published in 1~83 These illustrations are taken from Robert-Houdin s personal copv It is very likely that these plates served as a model for Robert-Houdin when he began the construction of a new version of \on Kempelen s Chess Player foi the pla\ La Czarine. written in collaboration with Jules Adenis and Octave Gastineau, and which was performed at the Theatre de 1'Amblgu comique in May 1868.

Z S

J :• i ::_£^_-i I s

176

ACT

the android. This man, for whom he provided only an initial, was Alphonse Giroux, who had his store and salons at 7, Rue du Coq-SaintHonore. This establishment reserved for very wealthy clients was specialized in the sale of merchandise of exceptionally high quality, such as mechanisms, uncommon watchmaking, or even luxury toys for the use of princely offspring.

II

mechanicians were already capable of performing, albeit by different procedures, some of the feats later performed by his Writing and Drawing Automaton. The romanticized story Robert-Houdin wrote concerning his long retirement to Belleville, a period during which he dedicated himself to the construction of The Writing and Drawing Automaton, are among the best pages of his Memoirs. The development of the narrative is, however, subject to caution. In this text, the author had a clear desire to share with the reader his solitude, trials, doubts, and disappointments, which were illustrated through the picturesque figure of his porter M. Auguste, apparently based on the character of M. Pipelet, a traditional show-business foil of this period. This narrative, poignant in certain respects, raised the creative pathway of the mechanician to that of a composer, feverish from his own music, or of a painter haunted by the beauty of a model whom he is trying to permanently capture on canvas. This was probably one of the primary goals of the author who, on this occasion and many others, wanted his art to be considered equal to that of his peers. In this passage of his memoirs, brief remarks also

The dream of many famous mechanicians has always been to create androids in the image of man, an ambition or sign of vanity from which the young Robert-Houdin did not escape, since his Writing and Drawing Automaton became one of the first projects he undertook in his father-in-law's workshop. Although this creation was the one of which he seemed to have been the proudest, we can nonetheless make a few comments about it. A youthful work is often marked by the admiration that the young apprentice has for the masters he dreams of equaling or even surpassing. Prior to Robert-Houdin these masters, with names like Jacquet-Droz and De Maillardet, had created writing and drawing automata that the author "forgot" to describe in his memoirs, probably because the androids of the Swiss

Ill

ROBERT-HOUDIN

likely that he abandoned his family and left his successful workshops and workers unsuperTtvised for eighteen months. M. Giroux and Robert-Houdin were both wise merchants whose best interest was not to sell unique pieces, even at a high price, but to profit from the publicity organized around these creations to sell the largest number of examples possible. "The Inventory after death" of Cecile Eglantine Robert which we have reproduced also shows without ambiguity that, as of February 12, 1844, four months before the Exposition, eleven examples of The Writing and Drawing Automaton had already been manufactured. As with his Mysterious Clock, Conjurer Clock, and The Singing Lesson, the mechanician would Illustration 224 - Robert-Houdin's Writing and Drawing Automaton. Engraving from William Manning's work Recollections of Robert-Houdin fop at)

show Robert-Houdin's perfect knowledge of the public's psychology. This insight led him after having created and built an automaton with such a perfect mechanisms that it was silent - to put this subtle equipment slightly out of order because the spectators wrongly imagined that the squeaking noise of springs and gears were synonymous with quality and showed how hard the artist had worked to please them! As with several of the mechanician's other creations, the plan for The Writing and Drawing Automaton was in progress years earlier. Robert-Houdin never or rarely devoted all his time to a single work. If he did so, it was only for short periods. His journals provide several examples of his daily schedule. The mechanician liked to divide his days between four or five creations in progress on which he successively worked, probably in order to avoid all risk of routine and to provide him with an objectivity with respect to the work just completed. Although the writer tried to convince us of the contrary in his narrative, it is highly un-

Illustration 225 - Profile of Robert-Houdin made by his Writing and Drawing Automaton, /chateau de la i die deBloi-,)

178

ACT

have undoubtedly continued to manufacture other versions of The Writing and Drawing Automaton had not a certain Barnum, whom we are about to discover, come to the Exposition. The conditions of the transaction that followed prevented Robert-Houdin from recommencing the manufacture of the The Writing and Drawing Automaton for two decades, but allowed him to exaggerate its importance by implying that it was unique. [to] The advanced rough models of the The Writing and Drawing Automaton, The Dancer on a Tightrope, and The Singing Bird convinced M. Giroux to pay Robert-Houdin the sum of 5,000 francs in advance, in two installments, as a deposit on the sale of the finished automata. This agreement was respected because the following advertisement could be read in L'Illustration, December 9, 1843:

II

very curious pieces consisting of: 1. A Writing and Drawing automaton; 2. A Singing bird; 3. A Shenobate [Tightrope dancer] Children can see these masterpieces of mechanical art, executed by M. Robert-Houdin, every day, even Sunday, beginning today. A strange, mysterious link reunited the fate of the legendary automata described by the author. Vaucanson's Duck, Von Kempelen's Chess Player, and the copy of The Writing and Drawing Automaton sold to Barnum all came to sad ends: the first vanished in Dresden, the second in Philadelphia in a fire in the Chinese Museum in 1854, and the third in 1865 in New York in a fire at the American Museum. 7, RUE DU C O Q - S A I N T - H O N O R * .

The Maison Alphonse Giroux has just opened his lovely Salons d'Etrennes to the public, and presents this year even more attractions than the previous in the infinite variety of new objects within. Among other marvels the Automaton Exhibition must be highlighted; it is made of three

L

A MAISON ALPHONSB GIROUX vient d'ouvrir an public ses beans Salons d'Elrennes, qui presentent cette annec encore plus d'attraits que les preeedentes par la variete inflnie d'objets nouveaux qu'ils renferaeut. On distingue, enlre autres merveilles, VExposition des Automates, formee de trois pieces fort curieuses represenfcmt: \" Un Ecrivain dessinateur; 2* Un Oisaaw chantant; 3° Un Schinobate. Ces chefs-d'oeuvre de Part meeanique, executes par M. RoBEBT-HOUDIH, sont visibles pour les enfants tous les jours, meme le dimanche, a compter d'aujourd'hui, MM. ALP. GIROUX out avance de beaucoup cette annee l'ouverture de leurs magasins, dans le but d'etre aggreables aux nersonnes qui craigaent k foule et qui desirent faire aisement ieur choix, en prontant de la fralcheur et de la nouveaute des objets preseutement exposes rue du Coq-Saint-Honore, n° 7.

Illustration 226 - Apparatus used by Robert-Houdin to imitate the chirping of birds and regulate his mechanical pieces. (Chateau de la Ville de Blots)

Illustration 22" - Advertisement by the Maison Giroux for the automata exposition of Robert-Houdin in December 1843.

ROBFRI-HOUDIN

Illustration 228 - Robert-Houdiii in 1850. This portrait of the artist at the age of 44 is the earliest survn ing "photograph" of the artist It is a daguerreotype taken by Vaillat during the year 1850. (Chateau de la vtlte deBlots)

ACT

b

•

II

'^/i

A Cascade of Mourning — A New Marriage In 1843 Robert-Houdin learned of the death of his early mentor, David of Bordeaux, who, we recall, bequeathed to him his collection of playbills, programs, and documents from the majority of conjurers and mountebanks he had known. This collection perpetually fascinated the conjurer. Cecile Eglantine Robert had always been fragile; seven pregnancies had weakened her, and she ached from the death of four of her children at a young age. She passed away on October 19, 1843, at the age of thirty-two after a long illness. In reading the "Inventory after death," compiled four months after her death, it appears that Cecile Eglantine was a discreet spouse and a good housewife whose tasteful "wardrobe was free from any excessive vanity. This death plunged Robert-Houdin into a profound despair; he mourned a beloved spouse but also the mother of his children, then aged six, seven, and twelve. The family in Blois took charge of the two youngest, Prosper Eugene and Marie Rosalie; Emile, the eldest, stayed in Paris with his father. This family was about to endure yet another tragedy with the death of Marie Rosalie in Blois, Rue Saint-Honore, on February 28, 1844 at ten o'clock in the morning. She had turned eight three days earlier. Her grandfather Prosper Robert, with whom she was staying, also died the same day. Already stricken by the loss of his wife, Robert-Houdin lost his only daughter and his father on the same day. A few months later, preoccupied above all by the education and well-being of his two boys, he resolved to remarry.

7 Illustration 229 - Notarized document concerning Marie Rosalie Robert-Houdin. The w itness of this document is the clockmaking worker Omcr Augustin Legrand, emplo) ee of Robert-Houdin. v, ho \\ as one of the main protagonists in the trial described in Act III. (Archives nattonales)

181

ROBERT-HOUDIN

Illustration 230 - Olympe Robert-Houdin in 1850. Robert-Houdins wife is thirty-five years old in this daguerreotype by Vaillat. (Chateau de la I file de Blois)

ACT II

lady had made the decision not to marry and to live with what she had with her mother, and also, my two children were an obstacle.- in spite of that I convinced her to change her mind. This lady is 28 years old, with a pleasant countenance, very sweet of nature, and a good housekeeper; our wedding is set for August 22nd. Her father having passed away only a few months ago and because of our two great bereavements, she did not want us to have a wedding party and we will therefore get married with no ceremony but that of the church and the city hall. I am forced to go out this morning for a few purchases; if not I would have come myself to announce the news. I warmly shake M. Desmadril's hand and beg you to accept, Madame, the assurance of my hurried regards. Robert-Houdin Madame Desmadril / 60, Rue des Tournelles / in the city. [65]

Illustration 231 - Marguerite Francoise Olympe Braconnier, Robert-Houdin's wife. Terra cotta medallion of the profile of the artist's second wife, sculpted by his friend Dantan the younger, (chateau de la Ville de Blots)

Marguerite Francoise Olympe Braconnier [64] was twenty-eight years old and single; her sister Amelie Charlotte had a flower shop and her brother Charles Michel held the rank of second lieutenant in the Belgian army. She had also just recently lost her father, Charles Albert Samuel Braconnier. Here is how Robert-Houdin presented his future wife in a letter written to a certain Mme. Desmadril: Paris, August 15, 1844 Madame I was sorry last night to have been prevented by bad weather from coming to your home to thank you for thinking of me for M. Charles's soiree, which it will be impossible for me to attend, as you will judge for yourself. For a while I have been entirely occupied by a serious matter; I am getting married.- the activity that I have been obliged to engage in this business has prevented me from coming to see you. Until now, it was quite uncertain; on the one hand the

183

The author was as precise in his private "portraits" as he was in those he later published, and his dislike for revealing his intimate feelings in public is obvious here. Cecile Eglantine Houdin had been the spouse of a renowned mechanician; Marguerite Francoise Olympe Braconnier would be the wife of a famous conjurer with an international reputation and the retirement companion of a respected scientist. Olympe and Jean Eugene were married on August 22, 1844 at the city hall of the ninth arrondissement in Paris. The marriage contract, a communal estate settlement for the spouses, had been signed the day before at the notarial office of Maitre Jozon, in the presence of M. Charles Jules August Adam, former notary, residing in Paris at 8, Passage de l'Industrie, cousin by marriage of the future husband; Mme. Rosalie Metivier, widow of M. Prosper Robert, residing in Blois, Loir-et-Cher, future mother-in-law; Mme. Marguerite Louis Martin, widow of Braconnier, mother of the future wife; M. Louis Michel Martin, infantry captain in Orleans, uncle; Mile. Amelie Charlotte Braconnier, sister; and Mme. Laure Marie Porcher, cousin, wife of M. Cavillier.

ROBLRT-HOI DIN

Illustration 232 - The wedding contract of Olympe Braconnier and Jean Eugene Robert Houdin. MrcAftw «a/,0«fltev

ACT

The future wife brought as a dowry land and houses situated in Belgium, the native country of her father's family. Her contribution was jointly held with her sister Amelie and her brother Charles: one third in a house situated in Mons. 33, Rue des Clercs - two buildings with a cellar, courtyard, stables, and a shed; one third in a parcel of farmland of eleven hectares, sixty acres, in Aulehin, a district of Charleroy, in fifteen leased parcels; and one third in a small house with a pasture in Aulehin rented by lease. Her contributions were reduced by one third of a debt of 3,000 francs due to M. Leroux, one third of rent of 71.15 francs due to a M. Labbe, and of another for 21.71 francs.

II

The future husband brought a dowry of 18,000 francs owed to him in the short term; the value of his merchandise, estimated at approximately 15.000 francs; and three houses, completely owned, at the location known as Au Pied du Quartier in Blois and bearing the numbers 8, 9, and 10. The debts of the future husband totaled 7,085 francs. If we compare the assets that the mechanician possessed upon his arrival in Paris to the state of his finances nearly fifteen years later, we realize that in spite of the considerable loss due to his father-in-law's bankruptcy, Robert-Houdin knew how to intelligently take care of his business, but he was still far from having made a fortune. That would happen during the next decade.

Illustrations 233 and 234 - M. and Mme. Adam Ruelle. These photographs of M. Adam (former notary) and his wife, relatives bymarriage of Robert-Houdin. appear to date from 1865 (Private collection)

185

ROBERT-HOUDIN

Illustration 2-^ - Phineas Taylor Barnum. Portrait and signature of the famous showman, from the 18~2 edition of his memoirs.

ACT II

.

:

The Exposition and Phineas Taylor Barnum The first Exposition took place in 1798 with 110 exhibitors; in 1844 there were 3,963. The vast room that housed the Exposition was situated in the grand carre des jeux on the Champs-Elysees; the building, constructed in a few months at a cost of 340.000 francs, formed an immense parallelogram of nearly 20,000 square meters. The outside perimeter of the edifice was reserved for large objects that could be left out in the open: various roofing systems, tents, bridges, agricultural tools, plows, etc. Inside could be seen the most useful and aesthetic objects manufactured. The public rushed to see this exhibition, which opened its doors on May 1, 1844. The King supported this ode to the progress of industry with his presence and attention, and showed his satisfaction to the exhibitors by inviting them to Versailles for a party given in their honor on June 8. Robert-Houdin had asked for authorization to exhibit pieces he had manufactured. The place he was assigned was. he tells us, "one of the most beautiful in the hall." All his mechanical pieces were presented on a circular tier. The Writing and Drawing Automaton was given the place of honor: Louis-Philippe paid daily visits to the Palace of Industry, and as my automata had been pointed out as deserving his attention, he evinced a wish to see them, and gave me twenty hours' notice of his visit. I thus had time enough to make all my arrangements. Illustrations 236 to 246 - Louis Philippe, conjurer. King Louis Philippe was frequently depicted as a conjurer by satirical cartoonists of the time In engraving 240 he is caricatured as Jean de la Vigne and in 243 he is wearing Bosco's costume.

Lit Dllirftt Efct'rfapteil P« atf.ri ftlUntion Citijens l i s a s * de fain disparate cette petite lemaistllt ,«t J j substltuer ¥ jeao bonhomme. qui ne demande ini'a vemr saluer laima% societe: mais pour que le lour sort, bien fail.je demande encore t^uelque temps de preparation

(Collections of Georges Proust, Didier Moreait "Morax." and the author)

187

ROBERT-HOUDIN

hi* M M t C'

I MOf U MtlRttRt MITtl!

* »0l

LA

DfRNIERE1

The King made the following inquiry: "How many inhabitants does Paris contain?" The writer raised its left hand as if to indicate that it required a sheet of paper, on receiving which it wrote very distinctly: "Paris contains 998,964 inhabitants."

The King arrived, holding the Comte de Paris by the hand, and I stood on his left hand to explain my various articles. The Duchess of Orleans was by my side, and the other members of the royal family formed a circle around his majesty, while the crowd, kept back by the keepers of the palace and the police agents, left an open space round my exhibition. The King was in a charming humor and seemed to take a pleasure in all I showed him. He frequently asked me questions and missed no occasion to show his excellent judgment. At the end of the seance, the party stopped before my Writer. This automaton, it must be borne in mind, wrote or drew according to the question asked.

The paper passed from the King's hand into those of the royal family, and all admired the beauty of the writing; but I saw that Louis-Philippe had a critique to offer; his smile proved that plainly enough. Hence I was not surprised when, pointing to the paper which had come back to him, he said, "Monsieur Robert-Houdin, you did not, perhaps, recollect that this number will not agree with the new census, which is almost completed." 188

ACT

II

Contrary to my expectations, I felt quite at ease with my illustrious visitors. "Sire!" I replied, with sufficient assurance for a man not much accustomed to the society of crowned heads, "I hope at that period my automaton will be intelligent enough to make any necessary corrections." The King appeared satisfied with this reply. I took advantage of his good humor to mention that my Writer was also a poet, and explained that, if he would deign to offer an unfinished quatrain, the automaton would fill up the rhyme in the fourth line. The King chose the following: Lorsque dans le malheur, accable de souffranee, Abandonne de tous, Vhomme va succomber, Quel est I'ange divin qui vient le consoler? C'est... (Philippe] I' Guizol)

Rien Jans Its Minis, rien Jans les Pnclies, AHez' Allii 1 loutdms It Sac

[When in misfortune, on a suffering slope, Abandoned by all, a man is going to succumb, What divine angel to console him will come? It is...] L'Esperance [Hope], the writer added to the fourth line. "That is really charming," the King said to me. "But, Monsieur Robert-Houdin," he added, in a confidential tone, "you must have given your writer instructions in the poetic art?" "Yes, sire, as far as my weak powers permitted."

Louis Philippe

Depuis dix-huitans.jelravaillesurcetteplaceouje suis parFailemcnt connu pour mes tours dadresses Tenez, Messieurs, je vais vous en executerun encore plus surprenant que ceuxqiie je vons tais voirjusqil'a ce jour Guiiot Cestvral. Louis-Philippe _ Remarque* tien une' deux 1 Chiuot JinfonceleBanquet'

189

ROBLRT-HOL'DIN

"Then my compliment is merited more by the master than the pupil." I bowed to thank the King as much for his compliment as for the delicate manner in which it was conveyed. "Now then, Monsieur Robert-Houdin," LouisPhilippe continued, "I see by the note attached to this automaton that it is a draftsman, in addition to its merits as a writer and poet. If it be so, come," he said, addressing the Gomte de Paris, "choose your own subject for a drawing." Thinking to cause the prince an agreeable surprise, I had recourse to palmistry to influence his decision, and he consequently selected a crown. The automaton began drawing the outline of this regal ornament with great skill, and everyone followed its movements with interest, when, to my great disappointment, the point of the draftsman's pencil broke, and the crown could not be finished. I was going to recommence the experiment, when the King declined, with thanks. "As you have learned to draw," he said to the Gomte de Paris, "you can finish this for yourself." This performance...[was the] prelude of the kindly interest the Orleans family afterwards displayed towards me... [66]

The anecdote about the pencil point breaking, thereby preventing The Writing and Drawing Automaton from finishing his work,

L'ESCAMOTUR KSCA.MOTE

190

ACT

II

you did not apply the talent you have evinced in fancy objects to serious labors." This criticism wounded me the more, because at that period I considered nothing superior to my works, and in my fairest dreams of the future I desired no greater glory than that of the skillful inventor of the automaton duck. "Sir," I replied, in a tone that betrayed my pique, "I know no works more serious than those which give a man an honest livelihood. Still, I am ready to change my views, if you give me the same advice after you have heard me. "At the period when I devoted myself to chronometers, I hardly earned enough to live upon; at present, I have four workmen to help me in making my automata; and as the least skillful among them earns six francs a day, you can easily form an idea what I earn myself. "Now, sir, I ask you if I ought to return to my old trade." My critic was silent, but another member of the jury coming up to me, said, in a low voice, "Go on, Monsieur Robert-Houdin, go on; I am convinced that your ingenious works, after leading you to success, will conduct you straight to useful discoveries." "Monsieur le Baron Seguier," I replied, in the same key, "I thank you for your encouraging prediction, and will do my best to prove its correctness." I have followed the advice of the illustrious savant, and find myself all the better for it. [67]

was apparently a forewarning because the Count of Paris, heir to the throne of France, was never crowned. The jury of the Exposition awarded RobertHoudin a silver medal upon which were inscribed the words ''You enrich me, I honor you," and he was presented it by the King himself on July 29 in the Tuileries in the Salle des Marechaux, where the sovereign distributed the prizes to the exhibitors designated by the different juries. The brilliant mechanician was one of the two hundred medallists who took part in a splendid banquet held in the great hall of the Louvre. A toast made by the King "To industry and commerce" ended this celebration. At the end of his memoirs, the author related a small disagreement he had with one of the members of the jury of the Exposition, as well as the quite "prophetic" conclusion of this incident: The jury entrusted with the examination of mechanical instruments and designs had come to my productions, and I had repeated the little performance I had given a few days previously in the presence of Louis-Philippe. After listening with interest to the details of the numerous difficulties I had to overcome in making my automata, one of the members of the jury said to me: "It is a great pity, Monsieur Robert-Houdin, that soiiTios DI tmnim m mt.

Trois ceufs, dont on cbape*n, iHanl djonfe, on di-ire sato.r QDC! esl cdui <|ui soUondra deboul, sans sc caucr..

191

ROBHH-HOLDIK

STRUGGLES AND TRIUMPHS:

FORTY YEARS' RECOLLECTIONS

P. T. BARNUM WRITTEN BY HIMSELF.

AUTHOR'S

EDITION.

[BIOGEAPflY COMPLETE TO APRIL, 1873J

" a map of busy life, Its fluctuations, and its vast concerns."

BUFFALO, N. Y. WAEBBN, JOHNSON & GO.

Illustration 248 - Barnum's memoirs.

Illustration 247 - General Tom Thumb. Engraving from the work Fahrend Volk, Signor Saltarino, Leipzig. J.J. Weber. 1895.

The Exposition was visited by royalty, politicians, scientists, and artists, including the great Barnum, [H who was already famous on the other side of the Atlantic and was exhibiting in England one of his best-known discoveries: Charles Stratton, known as General Tom Thumb. Wanting to find novelties for his American Museum in New York, Phineas Taylor Barnum could not miss the Exposition. In his memoirs, he recounts his meeting with Robert-Houdin:

I met and became well acquainted with a celebrated conjurer, as he called himself, RobertHoudin, 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 [sic]. 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, for an emblem of "fidelity," it would instantly draw the picture of a handsome dog; if love was wanted, a cupid was exquisitely pencilled. The automaton 192

ACT II

would also answer many questions in writing. I took this curiosity to London, where it was exhibited for some time at the Royal Adelaide Gallery, and then I sent it across the Atlantic to my American Museum, where it attracted great attention from the people and the press. During my visit, Houdin was giving evening legerdemain performances, and by his pressing invitation I frequently was present. [70] 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, [TX].

We do not know the details of the contract that was probably exchanged between the wise showman, the mechanician, and M. Giroux. If

there was a contract, and it is difficult to imagine otherwise, we can reasonably assume it included a clause granting Barnum exclusivity of The Writing and Drawing Automaton. Thus, during the length of the automaton's exhibition, no manufacture or commercial showing of a duplicate was permitted. The end of the story of The Writing and Drawing Automaton seems to support this hypothesis. His business and his home restored, RobertHoudin finally decided to "strike the grand blow," an exhortation constantly launched at him by the Count de l'Escalopier, and began to journey the capital looking for a site suitable for his future theater.

LE GENERAL TOM POUCE. Lt ibe'aire du Vaudeville. Tina d'obt?nir un itCM iueec* him rare* dc mn jour*. Chsqun «oir U re«;ptte eit de 4,00>; ft. ci ceue TOIJUC a Hi p»>;>heiiide par (out !<•.« jnumaux qui imi

>es diTann, rceolt ton R«m, ft mire,fait*i(o»hue, caroiso to meoton de la bl&DetaltMnie. Vo!«i qu'it outre »»eorre«poDdaaeet({U'Hchi. tie un valet maladroit, et rtrtno de pied fa cap do costume du f;rand PrMfrio, pom slier combattre i« michanl ogre.

renducouipledu U puco du P E T J T i OVCHT.

de MM. Clain-ille et Domaooir. • TomPoucc. d)t le Sihdt, e*t le p!ui jolt petit enfant qu'on public Imap.iner; nou» avons «t6 admix a le titltrr dint, too cablnrt de toilette, il cit Impossible d'ftire mieux fail oi plug proponlonnfi; l e i ytax trfii vif. ont loujourt unecxpresvlon Joytu»c.»ibouchpert bifnd<-x»lnfc. On ne peut M faire une id«e dc I'jnle'llgenccque Dieu t placee dan* ce petit cerveau,.

• Quant aw gfadral. d!t le Commaru, I ett rcellemem plo* petit que tea protprefoi cus-rotme*n4lftdl«ent. Parml let bovqoeu de Heuri qui lui ont aejotet et dent i'oa— doax piril—afillli lVeraier.il ta*UiU't\nt\ hauti e,w. lui, pour In moini. Tom Pouee,q««l. que part qo« lea auteura I'alent fuurrd, dtni une botte, dsns un nid d'oUeau, dint un pii^>*etnb!c toojours ktonsise.

Gniableau J° On lit darn 1ft Constitvdonntl: fdiilajjlement a«{reable et curieux, e'est c«-lui "J^ qui r»prdi>ente Tom Pnoce dam non Iwurioir, un boudoir de* plus / W a n s , orne de glare* ft dp iriAiib'et rift »olr. Tom >'otice. enveloppd d'une robe de chambrechamanie.M rouls tur

Le Charivari, a ion tour, wmarooe • que |'*dmlnlair*«ioo du ihfatre du Vaodeiille t monte* la pltac. dans laqnetie Tom Ponee parait. a»ee un luxe extraordinaire tt on toiu "nalment partlcuHer.»

L» statuette du glnlral Tom POUCP, qua-t nature (17 c o m . ) , costume du grand Fr6de*ric, s e vend 3 (r. Chez SUSSK tthrtt, place A* la lkmrse, 3 1 . Illustration 249 - General Tom Thumb. Advertisement published in the press in 1845 on the occasion of the Parisian performance of Tom Thumb in the play Le Petit Poucet by M, Clairville and M. Dumanoir at the Theatre du Vaudeville.

193

NOTES TO ACT II

to Act It

1.

3.

Robert-Houdin was probably still in Blois on February 12, 1830. See article 3 of his wedding contract.

In his Tablettes Parisiennes (Brussels, H. Tarlier, Libraire Editeur, 1825), M. Santo-Domingo portrays the streets of the capital in the following manner:

2. Relative of Doctor Desfray, former head surgeon of the Hotel Dieu in Blois, corresponding member of the Academie de Medecine, district councilman and widower of Josephe Madeleine Houdin, who was the sister of Jean Eugene's future father-in-law, Jacques Francois Houdin.

But [the people] are more and more hungry for conjurers. Should I be surprised, given that I myself cannot see such tricksters without joining the crowd who, with strained necks and gaping mouths, devour the gestures and words of these amusing mystifiers with eyes and Illustration 250 - Cover page of "work by M. Santo-Domingo.

195

TABLETTES PARISIENNES, PAE M. SANTO-DOMINGO.

BRUXELLES, H. TAELIES, HBEAIRE-fiDITEUR. M DCCC xxv.

ROBERT-HOUDIN

t_9t, s2u/Z*uu

MJ<»iOY'^/^ri*

Illustration 251 - Cover page of the army remplacetnent paper of "gunner" Alexandre Francois Roujol. See note 5. (Archives nationales)

NOTES ro ACT II

ears? Man must really want to be fooled, because he finds this such an amusing pastime. The mystifiers are always careful never to forget the cup tricks; these days one cannot take one step without meeting some conjurer. Here, a joueur de gibeciere changes three coins into one. and out of that one makes three.

magic manufacturer, one notes that their effects are not described. The conclusion of this opuscule on pages 11 and 12 is as follows: All of this apparatus, either in brass or varnished tin, in modern shapes, mechanically simple, are perfectly constructed for the purpose they serve, and for which any sort of confederates or secret handling is unnecessary. Consequently. the master ROUJOL will provide amateurs who deign to honor him with their trust (even the most unskilled in this art), the means to perform with ease. In addition to the objects designated in the present catalogue, we also build any type of fantasy instruments and tools related to the art of conjuring and to science in general. All these devices can be easily sent to any country: one may request this by indicating the number placed next to each piece. NOTA: Those who wish to add one franc more per item will receive a detailed descriptive note explaining how to gracefully use the apparatus. Those who are far away must indicate an address in Paris where we can receive the sum due when the article is sent: otherwise we ask for payment via messenger or cargo transportation. Please stamp letters when inquiring about price and other information.

4. Memoirs of Robert-Houdin. op. cit . p. 235.

5. This document is an army order replacing "gunner" Alexandre Francois Roujol with a certain Bruneteau and is signed by the notary Tricard (Caran Etude II. register 778). This act. dated 28 Floreal. Year VIII (May 18. 1800) situates Roujol at no. 20. Rue des Petits Champs. The addresses I have found for Roujol are 5. Rue de Richelieu until 1837. and 21. Rue de Richelieu from 1838 to 1852. One of his sons was also a tinsmith in 1845 at 368. Rue Saint-Denis and in 1852 at 232. Rue du Faubourg Saint-Martin.

6. Jacques Yoigmer noted this similarity between names. Roujol and Rougeole. and this possible kinship, in the work The Magic of France: French Laboratories of Legerdemain (1769-1992) by Jacques Voignier and Robert Albo. 1993, in the Albo Classic Magic with Apparatus series. It is also in this work that Jacques Yoignier describes Alexandre Roujols catalogue, which he was the first to discover. Roujols little tw eh epage catalogue offers 132 tricks and 23 articles in boxwood with prices ranging from one franc for Le Portefeuilie a la Bague (no. 108). to 200 francs for Le Temple de Flore (no. 91). Although this catalogue lists the names of the effects or props offered by the

7. Jean-Joseph Pmetti. Amusemens physiques, third edition. 1791. p 83

8. Alexandre Frangois Adolphe Roujol. baptized at Saint-Eustache on 2 Frimaire. year IX - November 23. 1801 - married Mile. Masse at Notre-Dame-des-Victoires on January 9. 1836. A Masse family was running a Theatre Mecanique at this time. 197

(See Act II. The Little Parisian Curiosity Shows.') Louis Julien Roujol. born on April 29. 1811. baptized at SaintMery on April 30. 1811. Marie Victoire Roujol. born on April 21. 1808. married at SaintRoch on June 2. 1827 to M. Georges Langolff.

9. I here owe much to Jacques Voignier. who compiled a list comparing the effects described in this manuscript with those of Roujol's catalogue, of which he owns one of the few know n copies.

10, Comte was born in Geneva, Switzerland, on June 22. 1788 and died in Rueil. Seine-et-Oise. on November 25. 1859. His second name is Christin and not Christian as spelled by numerous authors.

11. In this biographical note on Comte. I ha\e reproduced several unpublished documents and unknow n facts on the life of the illustrious Kings Conjurer, thanks to the kindness of descendants from a branch of his family who agreed to open their archnes. Other elements from this same source have allowed me to reconstruct certain episodes that would later unite Messrs. Comte and Robert-Houdin. The obituary from the FigaroProgramme of November 27. 1859 by Jules Prevel also provided me with a few of the anecdotes that adorned M. Comte's career. For all conjurers, no matter howrenowned, Comte's influence was considerable throughout his long career. His privileged relationship with those in power was impressive, and the high rank he held in Freemasonry at the end of his life in Freemasonry was perhaps not unrelated. Comte was initiated into

ROBERT-HOUDIN

MM.

UiVE S O I R E E DE M. T H I E M E T , Mercredi 19 Nivdse an iS,

SOIREES D'AUTREFOIS, Zxz trotsfemeaura lieu le Mercredi 7 Frimaire an iZt

SUAB 01s RiD0aTi3 ET COKCIRTS ( Rue de GreaeUe St. H o n o r e , N u . 40-, i 7 Acurw et

Sxt.Lt, »is RZDOBTIS ET CONCERTS , Rue do Crenelle St. Hoaor^, N°. 4° *

a -7 heures et demie tnss~precise$, par

LES

Elle t u n lieu par

DERVICHES ov LES MOINES GOURMANDS,

LE COMSDIEN I3E SOCIRTE,

Settle de moi, que jt jouerat seal, dans laquelh je changerai de visage »t de voix JiuitJbUf et ferai aHec ma figure ctllt d'un Derviche plturantt d'un cdN du visaga tt riant da I'autre en mime terns ; Suivie :

Proverbe a sceuei dpisodiquei, /« Jf«i d'argenttla MalUparlant$, »t dtfforentei imiiaiiotii. Le» KOHSH SABiLtASDU, Scina imittSe de M. Touztt.

DU Ci5LXBA.TA.iRE an L ' O U I I I T T I , Inlerruede. Easuite J

Lx Diaxn MAMQui , Sceuti de Veulriloqiie, duns laquelle M. Tmiutv jeiera » volz de maniere qu'etle aera ealandue commit si eliu parloit de quaire endroili a la fob. LE CORPS.DB.GARDE , Sceae dau ItqueUe M. ThUmet repreieatera 3 ivrogues de di&retu carteieret. LE DEPART OK NICAISE , Seine it 8 voix, dans laquelt* U fora entendre ua MaUde dan* ito Hi et Nicaisetnr lfl dov«Dt do la Scene, UQ Ramontur dam It cbgoiin^t, un Tottdeur de chiens iiama cabinet, le Crigur de Journaux dans U rue, ele.

]• ferai diffirentes Seines a"imitation ; entr'autm zs DINSJI MAXQU&, scttci &t vtnraiLQQUX, dans laquelle je jetterai ma voix de maniire qu'elle sera entendua comma si elle partoit de auatre endroits a la Jots ; VARRACHBUR BE SBNTS, Scene Italienne de fnu, Carliu j j'imiterai dffirens, Instrument de Musiaue, plusieurt Acteurscdlh&res, et sur ma main la figure d'un* Vieilte Femme qui toil, mangpek

Le Specitcle ser» t«rraioi pir $ X'A S S S M B L ^ E D ^ P A I L T E M E N T A L E T^Ke vua, Dans iaqueUe jHmittrai 40 voix et idi4m*s Affirent j pr&rfdie d«

Sans un entr'acte, M. Tmiutt

LA CHASSE 00 LE MOULIS, Sc^us ds X'sravent, ^us j'«i faito en 1780* dim laquelle i'imiterai le bruit da Moulin, la Convtrsauon tin. Meinieret de sa Femmt , le Chant des Paysans, ctlui des Coqs, VAboyemtnt das Chlens de loin et da pret % le ion des Cars de pris «* iloignd, touts une Mtt&tet enfin tons let acctstoiret d'unt Chats*.

fera u»a Seine de Ventriloque* I'iatdrUur delaSalle.

Le Spectacle sera termine* par

LA CHASSE on LE MOULIN, Kina de Paraveat, de M. T m i x i r , dam laquelle it irniter* lo bruit du Moulin, la Conversation du Mt&nier et de sa Femme, le Chant des Paysans, ctlui des Coat, I'Abatement d«s Chiens de loin et de prks, le son des Cor* de pris et dloigni, toute une Me&tt, erifin tout les accestoires d'un* Chats*, CCrT

Mademoiselle STXPIUHJE TSJLYOWIU,* ex^cutera lur U HARP» , apr&s U premiere Scene et aviut It detuiere, difTeren* morceaux de Mmitjue.

Salut et respect,

Prix de* Places t ?»mieres en Sof«t, 6 fr. 60 cent. — Secoadet, t fr. 5o cent, —TroUtemei» x y> 20 conf,

Prix det Places ; Parquet ca Sofaa j 9 francs. — Premieres, Sfr.Qo cent, — Seeondes, 5 fr. 5o tent. TroUIeraes, 2 francs 20 cent.

Tribunei, 1 Jr. 65 cenf. Les Bureaux seront ouverts k 6 heures, Hota, On pourrt te procurer a 3'aTance de» billet! che« M. THXEMET, •iiiviirr^*. 9.

Les Bureaux seroat ouverts h G heures. 27ota. On pourra te procurer A I'ovance de* billet* desquels hs places leroot yarddeJ > et louer de* Sofoi cbez M. THIEMET, a m 1 • fyunni^Wn, 3 . && a>y

Illustrations 252 and 253 - Bills for the ventriloquist Thiemet. (Archives natlonales)

the o . . of Bordeaux. In 1821, he was 85th/87 on the chronological list of the Sacred Order of Soph .-.

the time were Baron de Mengen, Saint-Gilles. Thiemet, Fitz-James. Borel, Alexandre. and Comte.

12.

13.

In 1805, the ventriloquist Thiemet (or Tiemet) performed twice a week, Wednesday and Saturday, in the Salle des Redoutes of the Rue Grenelle-Saint Honore, where the conjurer Olivier also performed. The most famous ventriloquists of

Illustration 254 - Signature of Thiemet.

Illustration 255 - The ventriloquist M. Alexandre.

198

Voyages et Seances anecdotiques de M. Comte (de Geneve) physico-magie-ventriloque, le plus celebre de nos jours, pubtie par un temoin auri-occulaire invisible... (Tales of the Travels and Performances of M. Comte [of Geneva], The Most Famous Conjuro-MagicVentriloquist of our time, published by an invisible ear- and eye witness) Paris J'.G. Dentu, 1816. Biographie de Comte, Physicien du Roi, avec des documents historiques sur sa vie, ses voyages, et ses aventures. suivie de la Biographie en miniature des acteurs et ac-

Non.b ro ACT II

trices du theatre Comte (Biography of Comte, the King's Conjurer, with Historical Documents on his Life, Travels, and Adventures, followed by the immature Biography of actors and actresses of the Theatre Comte) by fulien Deschamps, Paris Desloges, 1845.

14. See Act I, "The Mysterious M. David of Bordeaux."

15. See more about Olivier in the following chapter. Robertson recruited the •* entriloquist Fitz-James - who claimed to be the illegitimate child of an actress and a Duke - while performing at the Cercle des Artistes in L'impromptu de la cheminee. He started at the theatre of the famous fantasmagore on December 13. 1799 and his talent quickly became one of the main attractions of Robertson's show. After leaving this show in 1802, citizen Fitz-James performed in England before returning to France, where one could applaud him at Palais-Royal in the very popular Cafe des Aveugles,

Illustration 256 - Le Cafe des Aveugles, where the ventriloquist Fitz-James performed.

so named because the orchestra that entertained was composed exclusively of residents of the QuinzeVingts hospital for the blind. He died heroically on the Butte-Montmartre on March 30. 1814. defending Paris against an attack by the Cossacks.

The ventriloquist Borel was also a Parisian celebrity who performed at his Cafe Borel, former site of the Fevrier restaurant, in the Salle Montansier at Palais-Royal

16. Grand Dictionnaire du XIX siecle b\ Pierre Larousse, article on Comte, volume 4, pp. 819-20.

17. Magic literature is silent about Bienvenu, v\ hose name Robert-Houdin cited in this excerpt from the biography of Comte we have included here. The only information I have been able to discover regarding the career of this contemporary of Pinetti comes from a long letter that he sent from Tours on December 16. 1814 to the Minister of the Interior to complain about certain theater managers. This letter has great historical interest because the famous conjurer revealed the main steps of his career as an artist, scientist, and even as a magic dealer: To His Excellency Monseigneur the Minister of the Interior Monseigneur!

Illustration 25^ - The ventriloquist Borel.

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NOTES TO ACT II

The undersigned, Bienvenu, professor and presenter of Physique experimentale, has the honor of protesting to your Excellency regarding the pretentions of theater owners in the provinces, who state their privileges authorize them to receive a fifth of gross ticket sales. The undersigned, with the authorization he obtained from the previous government (letter from the Minister of the Interior dated July 11. 1809) to present performances of Physique experimentale without depending in any manner on theatre owners, as long as he did not add any dramatic presentation to these performances. We have objected in vain to this claimed privilege of theater owners allowing them to receive a tax on all types of performances, including that of the Physicien. What arc what one calls physiciens? Mostly wandering", homeless charlatans who travel from fair to fair with a few card tricks, sleight-of-hand, or white magic adequate to earn the admiration of commoners, carrying a rickety wooden table for spreading out the debris of a few automata and some shabby devices they call conjuring equipment, claiming to be a Physicien. This is far from the status of the plaintiff. He is a homeowner in the Indre et Loire region; his show is filled with beautiful brass apparatus costing him because more than 80,000 francs; he is perhaps famous enough for it to be pointless to speak of his celebrity; he requires a vast and decent venue; his performances call for an enlightened public that seeks science as well as amusement: and he incurs large costs, his demonstrations mainly being performed with the help of machines and equipment of the greatest proportions in order to dazzle the eyes of a large audience. Finally, the plaintiff asks that one not confuse a legitimate, serious series of experiments in various branches of this science with oldfashioned shows of sleight-of-hand stunts and card tricks.

It is helpful to recall that prior to the revolution, the plaintiff had in Paris. Rue de Roubaix, a boutique with conjuring apparatus manufactured for him. He usually gave conjuring lessons twice yearly, which made him well known enough to earn him the honor of a request to maintain the devices in the establishment of Monseigneur le Dauphin in Meudon from 1787 to 1788; during the revolution, the plaintiff, like so many other Frenchmen, was obliged to depart Paris and soon after leave the country. After several stays in the southern provinces where he taught conjuring lessons, he sailed from Marseille to Italy; pursued by the troubles of this country and obliged to seek asylum elsewhere, he left for Spain, where he offered conjuring lessons in the major cities. It was only after ten years of absence and travels that he was finally able to return to France. Back at home, he traveled through various regions, always with his show, but not with as much success as abroad. Afterward, as a result of these revolutionary torments, wartorn France had nearly lost its interest in these sciences and could not offer much of a welcome for shows based on them. This circumstance forced him to return once again to Italy, where he remained for several years. then traveled through various countries such as Germany, Austria, and Bavaria before returning to France through Strasbourg in 1808. It was around this period that the pretensions of the theater owners began. In Paris, before the revolution, all shows paid a fee to the Opera, but conjuring performances never did so. For three years. I performed my conjuring in Madrid as I had in France, without any privileged theatre owner ever demanding a fee. In Milan. Rome. Naples, Florence, Vienna, and Munich, I also performed in theaters without any-

201

one dreaming of claiming a portion of my income, in spite of the fact that the public purchased tickets, since this is the only way to compensate me for the considerable expenses necessary for the transportation of my show, which weighs sixty quintaux. I have tried subscriptions; they barely succeeded for me. In France, one tries to educate oneself without appearing to do so. I believe that I am the first to have traveled and given legitimate lessons in conjuring. I have had the honor of presenting them before several rulers; the special protection and testimonies of satisfaction they deigned to grant me are titles too precious and too honorable for me to not mention them. It is therefore only in France, my homeland, that I am deprived of advantages that were enthusiastically lavished upon me abroad. The type of performance I offer for the curiosity of an enlightened public approaches science — to the progress of which it could even contribute; progress, because its goal is to stimulate one's interest in it through the pleasure it creates — too closely for your excellency to refuse it the high protection that Your Majesty so generously grants to the arts and sciences. I have the honor of offering the deepest respect, For Your Excellency, Monseigneur. The Very Humble and Very Obedient Servant, Bienvenu Tours. December 16. 1814, Rue de la Gellerie, no. 100.

18. At the end of a performance that he gave at the Tuileries before Louis XVIII. he invited his majesty to select a card from the pack. It may be that chance led the King to draw his majesty of hearts: it may be, though, that the conjurer's address produced this result. During this time, a servant placed on an

ROBLRT-IIOIDIN

isolated table a vase filled with flowers. Gomte next took a pistol loaded with powder, in which he inserted the King of Hearts as a wad: then, turning to his august spectator, he begged him to fix his eye on the vase, as the card would appear just over it. The pistol was fired, and the bust of Louis XVIII appeared among the flowers. The King, not knowing how to explain this unexpected result, asked Gomte the meaning of this strange apparition, adding, in a slightly sarcastic tone. "I fancy, sir. that your trick has not ended as you stated.'" "I beg your majesty's pardon.' Comte replied, assuming the manner of a courtier. "I have quite kept my promise. I pledged that the King of Hearts should appear on that vase, and I appeal to all Frenchmen whether that bust does not represent the king of all hearts?" It may be easily supposed that this trick was heartily applauded by the audience. In fact, the Royal Journal of the 20th December. 1814 thus describes the end of the performance: "'The whole audience exclaimed, in reply [of] M. Gomte. 'We recognize him — it is he - the king of all hearts! The beloved of the French — of the whole universe - Louis XVIII. the august grandson of Henri IV.' "The King, much affected by these warm acclamations, complimented M. Gomte on his skill. '"It would be a pity.' he said to him. 'to order such a talented sorcerer to be burnt alive. You have caused us too much pleasure for us to cause you pain. Live many years for yourself, in the first place, and then for us." M. Gomte answered this compliment from his King with a ventriloquism feat, in which a distant voice, with the accent of the conjurer, expressed himself in the following manner:

"Your majesty, a single glance ennobles my successes: All of my voices do not equal yours: Why can't I. after one. after the other, Speak of your virtues, your talents, your goodwill: I would become the echo of the voice of the French".] Memoirs of Robert-Houdin. op cit.. pp. 146-47

19. Francoise Levie. Etienne-Gaspard Robertson: La vie d'un fantasmagore (Etienne-Gaspard Robertson: The Life of a Phantasmagorian). Collection -Contrechamp.' Le Preambule, 1990. p. 249

20. Grand Dictionnaire du XIX' siecle de Pierre Larousse. letter C. article on Comte. volume IV. pp. 819-20.

21. To His Royal Highness. His Grace the Duke d'Angouleme Your Grace. He whom his Majesty honored with sueh kindness with the title of the King's Conjurer, a title that he seeks to ennoble even more, if this is possible, by interspersing his conjuring demonstrations and feats with moral and instructive children's performances, is now about to be ruined and forced to leave the country if Your Royal Highness does not deign to cast a kindly glance in his direction, and it is with the utmost confidence that he places at the feet of Your Royal Highness the subject of his most troublesome afflictions. A recent decision of His Excellency the Minister of the Interior has ordered Monsieur the State Councilor and Prefect of Police to forbid me to continue to publicly perform in my tiny hall the moral and children's performances that have been presented 202

several times before Her Royal Highness the Duchess de Berry in front of the noble children of France. Now I am to be reduced to simple conjuring tricks that have no dramatic element and. despite all of my efforts, cannot justify the enormous expense of an establishment in Paris, so. in spite of the powerful protection of Your Royal Highness and the tolerance that S.E.. the Minister of the Interior, has granted me for almost two years, I will be exiled, so to speak, and will have to travel from town to town to support my large family. I am a father of eight children, I have spent more than thirty thousand francs to create an establishment that the capital needed, because, between the Chinese shadows of Seraphin and the monstrous genre of melodrama, there was no intermediary for a child at the age of reason. I put the fables of Aesop and La Fontaine into action, as well as the Proverbs of Berquin: with what joy did I not celebrate for my little children the glorious victories of V.A.R. in Spain, with what enthusiasm did the public applaud their songs. H.R.H. the Duchess de Berry has tried to encourage my efforts; she has even been so kind as to ask His Lordship the Count de Corbiere for a twelveyear permit for the genre I have created and which is performed by no other. His Lordship the Count de Corbiere told her that he preferred to grant me a provisional exception rather than a license, but stated that I would be perfectly protected; and it is now in the midst of this apparent tranquility that I am somewhat stricken by this curse and threatened with complete ruin if V.A.R. does not look upon me benevolently. Fathers of families have found my performances a stimulating reward for their children; a single instant could destroy everything; but informing V.A.R. of the threat looming over me is as good as knowing that it will never reach me. I am. with the deepest respect

NOTES ro ACT II

for my lord Your Royal Highness, his very humble and very obedient servant. Gomte. the King's Conjurer.

22. Words underlined in the manuscript text.

23. Memoirs of Robert-Houdin. op. cit.. pp. 141-42.

24.

SPECTACLE INSTRUCTIF DE

ROBERTSON, PHYSICIEN ET AERONAUTE,

Memoirs of Robert-Houdin. op. cit.. p. 152.

25. Also see page 343 regarding Olivier's son.

26. Chansons de Desaugiers. Paris. 1858. p. 110.

27. By a strange coincidence, Jean Eugenes notary. Maitre Deschesnes, was also that of Robertson, the famous inventor of phantasmagoria and the pioneer of parachuting Archives Caran. cote mc/and/LXV/711 Froger-Deschesnes aine 1820/1842. etude XXXI. The jurist might have facilitated a meeting between the neophyte, whose marriage contract he had recently written, and his famous client. At this period, the latter was writing his memoirs, and one might imagine that one or several encounters could have taken place between the old man. who readily related his memories, and Jean Eugene, who would have had so many questions to ask him. about optics of course, as well as about his creations and perhaps even Pinetti. Without placing too much importance on what may simply be a coincidence, it is far from unreasonable to think that one of the first professional magicians that the young RobertHoudin would have liked to meet would be Robertson, who. in addition to phantasmagoria and conjuring, had exhibited during his travels

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Illustration 259 - First page of the program of the conjurer Robertson.

MEMOIRES E. G. ROBERTSON, Aernslah j cs itens )cs princ;] alos v lies de f Kurojie ex-lVofcs de Physi'jue aa Collrge central do ci-devant dcparteniyut de 1'Our MotuLtc de h SocieEe Ojfvaa.que io Paris, de la Socitte lies Af des Sciences de Hambourg cf da Jo SrtnetB d'j^mulitiop Ac r j OKIES DE PI ASCHES ET FIGLItKS

TOME PREMIER.

A PARIS, CBE2 L'AUi'liUB, BOULr.VARO M O ^ I M A R T R K . R« EV i l . i LtBHAinib DE «DRTZ. HOE DK BOURBON , %• f

1831. Illustration 260 Title page of t h e first volume of Robertsons Memoires.

203

legitimate mechanical pieces that would ha\ e enthralled our hero, and whose memories and experiences could satisfy his thirst for knowledge. Young beginners in the art of magic have always tried to meet their glorious predecessors, who have made it their duty to receive them and sometimes teach them. Robert-Houdin did the same during his retirement in Blois. where he met neophytes and corresponded with beginners from all over the world. To meet Robertson, Jean Eugene had a name that he perhaps used as an "open sesame." because the phantasmagorian was also born with the surname Robert: Etienne Gaspare! Robert, known as Robertson, born in Liege. Belgium. June 15. 1763. died in Paris. France, on July 2. 1837.

28. Jean Jacques Emile RobertHoudin. born in Paris on May 21. 1831. died in Paris on March 17, 1883. See genealogical chart.

29. Diederich Nicolaus Winkel, watchmaker, mechanician. in\ entor, and creator of automatic instruments, born in Lippstadt, Westphalia on August 24. 1777, died in Amsterdam. Holland, on September 28, 1829. In this brief chapter, we cannot describe the marvels of ingenuity that made The Componium an exceptional example of a mechanical orchestra. Philippe John Van Tiggelen dedicated a completely fascinating and extraordinarily well-documented volume to this instrument. This chapter owes everything to the erudition of this author, who has generously allowed me to reproduce documents from his collection. Philippe John Van Tiggelen. Componium: The Mechanical Musical Improvisor. Institut superieur darcheologie et d histoire de Tart. Louvain-la-Neuve 1987.

RofShRf-HoUDIN

LE MIRACLE DES CEUPS — Illustrations de H«

II n'est pm ^^ W on de veus, Sur laltadesavte, Robeit-IIoudin s'dtaltreilrd mes peiits amis, qui n'ait emendu parler de aus environs de Blois, dans une charmame prole prestsdigitateui", et lou.^ ks pri£t6. Or, UR jotif qu'ft passak en voiture sur k Rabert-Houdin, >! ™ tsParisiensontassiH(!«uxi-epri>s
L« fermiere ne rtpondit pas. L-autre inslsuit: - Madame, je n'ni pas de i;iiui i.chtu i-citi mils pour mon enfant, ilest maiade.Deuxosufsnevous rutneront pas!

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• • Voulej^vouSj Madante, «ri sou de vos ee La femme au pameF se i^cria E — Un sou, mes ceufs! Est-ee q«e vous fou? Yitigt-dnq sous la dou^aine, et encore t

STEIMER.

... qui *"*——~ marehait peniblement, poftaottittdtiorme panier piein d'ceufs ffais, quana eiie fut accostee par unepsuvie vieiHc temme qui lutdit; — Par piiiii, Madame, dotinez-moi ddus cettfs fraisp<jurmonen!':it-it tjtiU-it maladet

La p«VMnne rtpliaua, mm s'arrtRobert-lloudtn avait vu touie la ge&ne. IE suklt en ter r — Je uc nourris pas les f.iim'ants I Mon voUure la marcliande d'asufs, gut se reodak aa marbrenest 4 moi, « jc U: ;:.mie i Kiellc poursuivii ch6 de Molssac. Quand cite y rut ins talkie, le prestlso« chemin. digitateuf* qui av«U conduit a 1'auberge sa voltufe.*,

Robert-iiou ^W din prit an des eeufs, le cassa, et ' — Pesiel Vous ovezraison.dit-il.Void cinq sous doce1ui-dl

La foulc La fefmi^ret stuptsfaiie, d£ctsF4» — ie ne ies vends pins Itftucuttprlx I Et etle s*eftfuit 4 son tour ew emponani son pander, pour ^ter UQ |»eu plus loia casser ua de ses as«ts, et en sontr «ne

Bt, devant la femme ^bahle» il sorllt de fceuf «i a^ue ens or. *— 9 V««t miite francs ks deux, ces ceufs-la, fit-it Et if se saus*a en emponsnt la liague.

|ue, comme le Monsieur I'avatt fatt. illec«ss» un oof, tea ceafs.totis les mufs y pass^rent IUIY npfe$ Iautre, et nature'llement elle Be trouva ni bsguc, ni ir<3sor d'aucune sorte.

CeqneUefiit sait u n e t^te, 1& fenuKre (•— J'ai eu tort, se dit-eHe. de refuser dmt ceufs a eeite ftmmc. £t efie rentra eher. clle, se promeuant Men d'etre plus eharilable a ravcnlr.

Illustration 261 - The Miracle of the Eggs. Cartoon published alter Kobert-Houdins death in which the cartoonist wrongly credits the illustrious artist with the anecdote of the gold coins found in eggs, a trick which generations of conjurers from Pinetti to Philadelphia, not to mention Bosco and Cazeneme. used to "glorify*1 themselves.

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30. Memoirs of Robert-Houdin. op. cit., pp. 173-75.

31. Robert-Houdin inherited the majority of his sister's wealth. Through a notarized act of October 15. 1832, Prosper Robert gave his parts and their usufruct in the five houses in Blois inherited from grandfather Guillon to his son Jean Eugene. In exchange, Robert-Houdin paid him a lifelong allowance of 757 francs. In a separate act, Robert-Houdin made a gift to his mother-in-law of a lifetime allowance of 400 francs "only in the event that she survive her husband" (Jean Chavigny, p. 45) Robert-Houdin, therefore, along with his spouse, was the sole owner of the five houses situated in Blois, the sixth having already been sold and its income shared among the rightful heirs.

32. The number of these children, all having died very young, is indicated by Georges Robert-Houdin, first son of Robert-Houdin's second marriage, in handwritten genealogical notes regarding his family. Among these five prematurely deceased children, we have the names of only three: Marie Rosalie Robert-Houdin (see note 42 of this act), whom we will have a chance to discuss later; Louis Henri Robert-Houdin, born in Paris on March 6, 1839 and Auguste Adolphe Robert-Houdin, born in Paris on January 1, 1841. The latter, contrary to writings of Chavigny and Sharpe, must have died before 1843. because his name is not on a civil register or a notarized act of this period, which had the names of the other heirs who were then alive. (See Act II.) Auguste Adolphe could therefore not have helped his father in his performance in Palais-Royal.

The text of a song by RobertHoudin that the artist sang at each baptism is reprinted in a letter from January 21, 1903 written b\ Georges Robert-Houdin to his sister Eglantine in response to a request for information on the number of children their father had. Here is the excerpt from this correspondence: I had more trouble finding the number of children born from both marriages; I luckily remembered a song written and sung by my father at each baptism. The 3rd and last refrain gives us the total of births from each marriage; here is the refrain (very joyful): How much have I spent this year To pay for baptisms Because I am at my tenth To the priest I am going to speak To get the Church To give me a discount Then unlimited credit Because of the quantity Friends, I am indeed happy Very happy to have done Even better than my father Even better than my father! Of the ten children, you were the last, and my mother had before us only a little girl (Marie) whom she lost. Apparently the eleventh - and last - child of Robert-Houdin was Henri Louis, who passed av\ ay ten days after his birth. It was undoubtedly to perpetuate the family tradition that Emile Robert-Houdin ended a letter announcing the birth of his first son Paul with: ''Even better than my father!" (See Act IV of Volume II.)

33. Memoirs of Robert-Houdin, op cit,, p. 176.

34. Memoirs of Robert-Houdin, op. cit., p. 69-

35Giovani Bartolomeo Bosco, born in Torino (Piemont) on January 3, 205

TO ACT

II

1793, died in Dresden (Saxe) on March 7. 1863. The dates of birth and death of Bosco. engraved on his tombstone, are apparently wrong. The ones indicated above seem more plausible.

36. Prior to Bosco, certain authors attributed this anecdote to Pinetti, who found gold coins in cakes he purchased from bakers. It was also attributed to Robert-Houdin after his death, and became the subject of the comic strip reproduced here.

37. Decremps's v% ork succinctly provides the explanation for "The Dead and Alive Bird." The unfolding of this cruel experiment, still performed decades later by Bosco, is described in detail in the manuscript of the "Third Notebook of Experiments, Conjuring, Subtleties, Small Effects" of David of Bordeaux. This routine, which the author seems to have performed, is illustrated with drawings of this long-gone amateur of our art: The Dead and Alive Bird You must have a sort of tin canister in the following shape [Drawing] in which fits a second one [Draining], The surface BB must be slightly longer than surface AA. Glue to end C and end F a layer of seed covering the container. In D are small holes. You must also have a bell [Draining] that can cover the two canisters when one is inside the other. All is thus arranged so that when one canister is inside the other and the bell completely encloses them, it compresses the edge BB enough to remove it, leaving the other container. Now here is how to use all this. You have two identical birds, or nearly identical. One bird is enclosed between bottom C and bottom F. The other is kept to display to the spectators. State that you

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have raised this bird with great care and that at the command of the spectators it will sing any requested song. As you say this, you hold the bird by one leg and in this

manner the spectators, seeing it struggle, will be quite convinced it is alive. Ask one of the spectators to choose a song and during the brief fun that this choice causes.

206

you suffocate the bird. When the choice has been made, hand the bird to someone to hold. If possible, choose a little girl and place the bird in her hands. Tell her not to let it escape and to hold her hands closed without moving them, which prevents her from seeing that it is no longer alive. This done, ask if they want the bird to sing the previously chosen song or if they would like to change songs, and if they would like the bird to sing it once or several times. While the audience is thinking about this, take the bird back and look sad. Finding that it is dead, gently scold the little girl. Ask if she did this on purpose. She always answers, "Oh. rnon dieu. no." Then, with great calm, tell her that she has made a great error. Show everyone that the bird is truly dead. Throw it brusquely on the table several times to prove that it is not a bird trained to play dead. Next ask the young lady if she wants to resuscitate it and when she responds affirmatively, show the canister and the bell as above. State that the seed in the container is formulated to bring the bird back to life if it eats only three seeds. But the difficulty is making a dead bird eat, but that by warming it up you hope to succeed. Thus, you place the dead bird on the layer of seed. Heat the bell with flame of the lamp. Place the bird on the container and ask the little lady to blow on it (I have seen some who. after having cried over the death of the bird, have blown repeatedly with all their strength and ended up laughing hysterically when they saw the bird resuscitated). Lift the bell, grasp the canister, and with a little shake make the bird fly out. While they chase it, remove the duplicate container inside the bell and conceal it so that if someone suspects your method, you can have the apparatus examined and deter the curious. I have altered the shape of this apparatus. Here is the one I use [Drawing]. This shape looks rough in the drawing but when constructed is infinitely elegant.

NOTES TO ACT II

38. Memoirs of Robert-Houdin. op. cit.. pp. 190-91. During a meeting of collector friends I hosted in the Bordelais in June 1999 including Georges Proust, Jacques Yoignier. Pierre Mayer. Volker Huber. Bob Read. Bill Kalush. and Ricky Jay, the latter two told us that certain words used by Robert-Houdin to describe Boscos work were abnormally shocking. These words are "the bird-murders." In comparing this American translation w ith the French edition, we all noticed that in the sentence ~Le public suppose quepar une adresse inexplicable, les executions capitales et autres sont simplement simulees" ("The public imagines that due to an unexplainable skill, the principal actions and others are only simulated"), the translator, instead of accurately translating the words "les executions capitales et autres" ("the principal actions and others"), summarized them as "the bird-murders." On page 304, the words "Bosco Vavait etouffe'e" ("Bosco had suffocated

Illustration 265 - The Canary Caught on the Tip of a Sword.

it") w ere translated into English as "Bosco had strangled it." These differences in text, expressed at \ arious points in the English translation, could have wrongly given Anglo-American readers the impression that Robert-Houdin, in his writings, had excessively emphasized Boscos cruelty towards animals. Robert-Houdin's opinion about this aspect of Boscos performances w as furthermore shared by certain important chroniclers of the time, among them Philippe

GABINETTO MAGICO

Busoni, who described in L Illustration the treatment of "the poor ammunition" which the conjurer "shoves into his pistol alive"; then, after the gunshot has been fired by a "well-meaning spectator, the sorcerer catches the flying bird on the tip of a sword." All magicians familiar w ith the principle of The Card Sword can readily understand the horror of this procedure for the unfortunate bird, this effect being its first but also its last performance. To be convinced of RobertHoudin's objectivity, it seems to me that it suffices to read The Secrets of Conjuring and Magic, a work in which he again praises the dexterity of the Italian artist. ..but only his dexterity.

39. Jean Laurent Gherbrant was one of the witnesses of the wedding contract of the Robert spouses.

40. From written notes of Georges Emile Robert-Houdin. RobertHoudin's son from his second marriage to Mile. Braconnier. Despite my researches, I have not found confirmation of the death of Louis Francois Houdin during this period.

41. L'ARTE DEL PRESTIGIATORE CONTKNENTE

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Illustration 264 - Gabinetto tnagico del Cavaliere Bartolonieo Bosco.

20^

Robert-Houdin always had great affection for his father-in-law, M. Houdin. When the latter became a widower and could no longer w ork as before, his son-in-law decided to host him at The Priory, given the financial difficulties of continuing to live in Paris. Robert-Houdin traveled to Paris in June 1859- took care of the moving of M. Houdin. and returned with him on June 20 to Saint-Gervais. He gave his father-inlaw a lovely room and set up a private workshop for him. On November 15. a letter informed M. Houdin that he had w on a silver medal at the Bordeaux Exposition.

ROBERT-HOUDIN

42. Marie Rosalie Robert, born in Paris, second arrondissement, on February 25, 1836. died in Blois on February 28. 1844. See genealogical chart.

43. Memoirs of Robert-Houdin, cit.. p. 193.

op.

44. Joseph Prosper Eugene RobertHoudin. born in Paris on June 19, 1837. died in the battle of Reichshoffen on August 6. 1870. See genealogical chart.

45. Memoirs of Robert-Houdin. op cit.. pp. 193-95.

46. Illustration 266 - M. Houdin during the final years of his life. (Private collection)

In February I860, his health began to seriously decline. Dr. Arnould diagnosed his condition as critical. On February 13 he was given communion and as a result M. Houdin was quite distressed. His state prevented him from sleeping in his bed for fear of suffocating, so he had to spend his nights in an armchair. The state of his legs and thighs, already quite swollen, greatly worried Robert-Houdin. BY the end of February, thanks to Dr. Arnoult's good care and the love his whole family offered. M. Houdin was graced with somewhat of a remission and was able to return to his workshop and sleep in his bed. This remission lasted until October, when he again fell very seriously ill. He passed away on No\ ember 10 at three o'clock in the evening. Robert-Houdin. who called him Papa, lost a dear relative, friend, and mentor. His death would long and profoundly affect him.

In the 18-M business almanac, Robert-Houdin is listed at two different addresses: 9. Rue Vendome and 9- Rue Madame. His father-inlaw Jacques Francois Houdin is listed as In ing at 19. Rue Bergere in a building where his spouse was employed.

47. On this subject, see the inventory reproduced at the end of this chapter, which shows how limited Robert-Houdin's handcrafted productions were and how scarce his creations already were during his lifetime, chiefly because of the time and care required for their construction, and probably also because of their high cost, which reduced the number of potential purchasers. The number of Mysterious Clocks and other mechanical creations wrongly or correctly attributed to Robert-Houdin. and which have •appeared" over the past ten years in England at auctions or private sales, seem to exceed the total number of clocks made by the master during his brief career as a clockmaker.

208

The magic community, which discovers advertisements for formerly scarce objects every month in its magazines, would appreciate clarifications as to their origin by the sellers or their representatives, who are "experts' or dealers, all well-known in the world of magic.

48. M. Houdin was a traditional watchmaker who imposed strict rules on those employed in his workshop. It is therefore not surprising that Robert-Houdin signed his Chinese Conjurer automata in his own name. In fact. M. Houdin believed that even if a worker had made all the parts of his work, the sole fact that it w as done in his workshops was enough for the worker to relinquish credit in favor of his employer, w ho signed in his place. A few years later, w hen M. Houdin had become the foreman of the Destouches workshop, he applied these same principles. This earned him biting comments from the trade journalists of the Exposition, who criticized him for thus depriving certain workers of their credit at the company he directed. On this same subject, see Bulletin de 1 Association Nationale des Collectionneurs et Amateurs d'Horlogerie Ancienne, no. 58. summer 1990. pp. 15-17.

49. A version of L'Odalisque, from the Edouard Gelis collection, is at the Musee Paul-Depuy m Toulouse; the example known as the Du Perron, which belonged to Paul Robert-Houdin. is in the Chateau de Blois. and a third version, similar to the example sold by Emile Voisin to the conjuring amateur Grivolas, is part of an American collection.

NOTFS TO ACT II

50. In France, the Chateau de Blois has preserved a traditional clock in ebony supported by four columns: a French collector owns a clock in black marble, as well as one in elm. also with four columns, signed "Robert-Houdin Palais-Royal; and I have in my collection a gold-plated pocketwatch engraved inside no. 160. Robert-Houdin, rue Kve Vivienne no. 41 - Paris — Echapt. a cylindres quatre trous en rubis."

Par permission de M. le Maire.

THEATRE HISTORIQUE, Edairi par 100 Bees de Gaz.

r:

SPECTACLE DES

BARRICADES, EVENEMENTS DE PAIUS.

Attnqnc et Barricade da Pantheon , LE 2 5 JOIN,

51.

OU XiA PRISE DE XiA BASTILLE.

Memoirs of Robert Houdin. op. cit.. pp. 179-180.

MORT

DE MONSEIGNEUR L'ARCBEVEQUE DE PARIS

52.

Ces Eepresentations seront rendues par des milliers de figures mecaniques a pied et a cheval, qui viendront combattre contre les barricades. L'artiste n'a rien neglige pour donner a toutes ces figures meeaniques les mouvements qu'exeeute un eorps d'armee. Admirable Polyorama mouvant, le seul qui ait paru jusqu'alors, mele de chromatrophe anglais et suivi d'une double Fantasmagorie nouvelle et risible par toute espece de jeux comiques.

Memoirs of Robert-Houdin. op. cit.. p. 192.

53. In his posthumous work The Secrets of Stage Conjuring, RobertHoudin related the effect he specially invented for Monseigneur Affre. After having entrusted to the eminent ecclesiastic's vicar "a stationery envelope \\ ith seals at each corner," Robert-Houdin asked the prelate to secretly write a sentence or a thought on a piece of paper. The slip was then folded into quarters and apparently burned. The ashes having scarcely been dispersed. RobertHoudin asked the Archbishop to open the envelope he held in his hands. It contained tw elve other hermetically sealed envelopes, one inside the other. In the last one. the prelate found intact the slip with his handwriting that everyone had just witnessed being burned. The astonished spectators then passed around this paper, upon which was written: "Without being a prophet, I predict. sir. your great success in your future career." Robert-Houdin asked Monseigneur Affre permission to keep this autograph: he was granted this "with a charming graciousness." In 1849. Monseigneur Affre died a mar-

i S

LA SUSPENSION ETHEREE1E B'lPRES tiOBERT HOi_DI\.

APOTHEOSE DE M.er L'ARCHEVEQUE DE PARIS. Les Interludes seront remplis par dens effets de peinture peints par les deux plus grands maitres, MM. Cioeri et Cambon. L'inte"rieur de la loee est eleganiment decore J II y aura tous les jours one seancp. A 7 heures l'ouverture des bareanx. On coinmencera .Ji 8 heures. Les Dimanches, deux stances, ]a premiere afiheures, la derniere ii 8 heures.

La Loge est situde Place

d'Armes.

PBIX DES PLACES : Premieres, SO c ; Secondes, 30 c. 91. CHARLES, olrecteur dc ee Spectacle^ ose ejspcrer, ici eoinme partout a IIIews'8; avoir un grand noiubre de visit curs ; <|ui snuront appt'ecici* H on Spectacle} et qui ne le jugcront pas par la niodiclte de scs* prix.

1

Alencon, Imp. de M."" Y.

c

Illustration 26~ - Historical Theater, Spectacle des Barricades This mechanical shcyw appeared to show Monseigneur Affre's heroic death on the barricades, which we mention in note 53. Fate decreed that this evocation of his glorious death be accompanied bj a demonstration of Robert-Houdin's invention The Ethereal Suspension, for whom he had predicted, in the earh years in the salons of M. De l'Escalopier. "great success in [his] future career."

tyr on the barricades. Robert-Houdin always kept this slip with him like a pious relic and reserved a special place for it in a w allet that was always with him. During his journey to Algeria, he lost the wallet and the precious document it contained. 209

54. Here is a letter from Philippe written to his wife. Louise Yictoire Masson, a few w eeks before his death: Boukharat. May 30. 18^8

ROBERT-HOUDIN

My poor wife, I am taking advantage of a friend's departure to write these few lines; by the grace of God I have left Russia, which I liked very much compared to [Illegible word]; everything is new to me in the country where I am presently. To give you a more precise idea. I would say that I left hell for paradise; I entered the first village accompanied by five people: a watchmaker and the Jew to whom I o\\ e money, a Sarthe-Russian interpreter, my servant whom I am trying to train to assist me on stage, and another Sarthe. The Jew. watchmaker, and the servant have a carriage: Illustration 268 - One of the last engravmyself, my Sarthe, and my interings of Philippe. preter are in another; and my bagFrom L'lllusionniste, May 1902 gage in another. The carriages are tipcarts covered in straw and the wheels are six or seven feet in diameter: no suspension, but they roll gently Like simple [Illegible word] we travel six to eight leagues a day. At the first village that I arrived in, Bimanehe © Kara 1860 the Bek invited my companions Chaque personne recevra gratis pour une and myself to his home. All of the baignoire et bel Stage, 10 numeros, 2me et 3me rang 8, loge lettree 12, 4tne rang 6, ioge Sarthe are covered by a sort of robe letteree 4me rang 8, Fauteuil ler rang 3, Fauteuils Stailles et Balcoo 2, gallerie4me rung, and a Calicot turban. Impossible to place au B etage, 1 numero. see the tip of a woman's nose; they On commencera a 7 heures 1/2. are covered with a thick black veil. It would be difficult to describe the M" P H I L I P P E reception we have received and all DE PARIS of this is thanks to the letter of inPhysicien prcstidigilateur du Bazard bonne troduction that the governor of Nouvelle etdes principaux Theatres d'Europe, d'Asie, d'Amerique et d'Afrique, donnera une Samarcande gave me I was led into Soiree mysterieuse Indienne et Chinoise en a sort of square house made of 3 parties. earth, as all the houses here are Premiere Partie. made of earth and remarkably simTours varies de dexterite, illusion et prestiges Mecaniques des plus nouveaux. ple. I was able to give a perforDeuxieme Partie. mance in this house my second day Grande fete magique. Une nuit dans un pahere. I must tell you that as soon as lais de Pekin ou seront executes divers tours indiens et chinois splendides et merveillieux, I entered the room, which w as dont rien ne saurait egaler l'effet. fairly large, a table was set and inTroisieme Partie. stantly covered with cabaret platters Les amusement de la soiree seront termines filled with praline, almond, and pispar une surprise agreable et risible d'un genre enticiement nouveau. Cette surprise consistera tachio cakes. The pistachios in their en une distribution des priz [gratis] composes de neuf lots heureux et trois raalheureux. shells are five shillings a pound; endless tea and sugar as well. In this country, no white or red wine Illustration 269 - Russian poster for nor liquors of any sort are drunk Philippe at the Alexandra Theater. Onlv water or tea. This does not Taken from L'lllusionniste of May 1902. 210

bother me at all because I have had only water for a long time. The Bek was charming and grandiose [Illegible word]; curious to see the audience attending my performance seated cross-legged on rugs on the ground, except for the Bek. who was seated on a bed prepared for me. Before leaving, he gave me a hundred coins of 32 kopecks and three robes worth 50 to 60 rubles. The three carriages of my companions were given a robe that the Sarthes wear I packed up the same evening and we left the same day accompanied by two gandouras on horseback. The same day we arrived in a small town where the Sultans son lives. Everything was ready when we arrived because of the letter I had sent ahead so that food and lodging could be prepared. The next day the Sultan's son received us and said that upon my return I would perform for him but that his father had to see me first. While I was leaving his humble home, fifty soldiers bearing arms told me to wait, and a Sarthe brought me three hundred coins of 32 kopecks and three pelisses and one for each of my companions. The Jew took the 60 rubles by force and there w as almost a fight. As a scandal would have ruined me, I had to give way. On the way to Boukhara, everything was ready for us. The emissaries sent by the Ministry were waiting for us at the station to show us the way into town, where everything was ready for us. One of them took my letter to the Ministry, who sent it to the Sultan. The Sultan is currently forty leagues from Boukhara and at the moment I am writing I have no response. Paper is scarce: as soon as I have some I will send you money. People are half black since I came to this country. I am housed and fed free...at the moment It is hotter than I have ever seen: if you put an egg on a sand dune, it will be hardboiled in an hour. My position is

NOTES TO ACT II

as much as by age as by the numerous restoration attempts it had endured. Certain parts, among them Alfred CHAPUIS et Edouard GELIS the most delicate, were ruined and forever lost. There were various eleLE ments mixed in that had nothing to do with it, and what the repairer DES had in his hands could either help an inventive mind or fool it. And the mechanism, as such, was not even ETUDE HISTORIQUE ET TECHNIQUE the main thing, because in order Illustration 270 - Philippe's signature. PRfiFACE to establish the entire digestive tie M . Edmond HARAUCOURT process, the help of more complex 55. elements was needed, and yet the TOME PEEMII Jacques de Yaucanson. born in mechanical side alone was enough Grenoble on February 24. 1709, to discourage the most experienced died in Paris on November 21. 1782. specialist" (Les Automates, pp. 24142). 56. So here is the pitiful state in M. de Vaucanson, Le Mecanisme which Duck, which Rechsteiner du Fluteur Automate, Chez Jacques was to restore over three and a Guerin, Printer-Bookseller, Paris half years, was found. The first 1738. presentation of the magic bird reborn from the ashes was in 1844 at 57. the Scala in Milan, and it was then Memoirs of Robert-Houdin, op. exhibited - I am still quoting Illustrations 2~1 and 2~2 - Cover pages of cit., pp. 159-160. Volumes I and II of Le Monde des Chapuis - in Torino. Besancon. automates. and Paris. This new narrative by 58. Chapuis therefore confirms point Pierre De\ aux, Automates et by point that of Robert-Houdin reAutomatisme. Presses Universitaires garding the date of the Duck's de France, Paris, 1941. exhibition in Paris and concerning its mechanism. Indeed, Robert59Houdin could have only described Alfred CHAPUIS et Edouard GELIS In Le Monde des Automates, writwhat he saw in examining the ten in 1928 with Edouard Gelis, LE Duck in 1844 and could not know Alfred Chapuis refutes Robertwhether or not the digestive mechHoudin's "secret" of the digestive anism was Vaucanson's original mechanism of Vaucanson's Duck. In DES 1949, in Les Automates, written with work or the result of Rechsteiner's restoration, assuming the two difEdmond Droz, Chapuis relates new fered. Despite this evidence. discoveries about Vaucanson's Duck. ETUDE HISTORIQUE EJ TECHNIQUE Chapuis not only remains consisPR£?ACE This automaton, he tells us, after unde M.Edmond HARAUCOURT tent with his previous writings but dergoing a variety of circumstances, was rediscovered in Berlin in 1839 declares on page 246 of Automates: "As for the trick referred to by Georges Dietz, who found the owner in Prague, a certain Professor by Robert-Houdin, it does not at Doebler; the author does not say all seem to be a creation of the whether he is the famous magician great Vaucanson; see footnote 17.' or one of his namesakes. Having acWhen we hurriedly go to footnote quired the Duck from him, Dietz en17 of Chapter XI, we read the foltrusted its restoration to Rechsteiner. lowing text, which completely Still according to Chapuis, whom we contradicts the itinerary and even quote, "...the famous fowl was at the authenticity of the automaton that time completely broken down, described by Chapuis in the precompletely changed: if God gives me strength. I will soon be able to help you. Adieu. I kiss you all. Your husband. Philippe.

MONDE

AUTOMATES

MONDE

AUTOMATES

211

ROBl RT-HOUDIX

ceding chapter: "Robert-Houdin relates that Yaucanson's duck was exhibited in Paris in 1844 [This is exactly what Chapuis has just written in his Chapter XT] and that it was subject to certain of his own repairs. There is in any event a mistake about the date, because it was in 1839 that the bird was found in Berlin and entrusted to Rechsteiner. It is extremeh likely that the one repaired by RobertHoudin was an imitation. [!]" We can be legitimately surprised that the author so blatantly contradicts himself in his work in order to continue to support his initial assertions, and all the more because Chapuis also specifies that Rechsteiner. after Milan, did not want to take Yaucanson's automaton - w hich he had just restored to Torino. Besancon. and Paris, a city where, due to Rechsteiner's absence, Robert-Houdin was asked to repair a wing of the duck that had broken! It is possible, how ever, Chapuis emphasizes, that Robert-Houdin made a mistake in the date (1844 instead of 1846) because Parisians did admire Yaucanson's masterpiece in 1846 alongside a •mechanical elephant" at 123. Place du Palais-Royal. Robert-Houdin had obviously written the truth about the trick he discovered inside the famous Duck. These observations, which an attentive reader can make in reading the w orks of Chapuis. are confirmed by the academic study of M. Andre Doyon and M. Lucien Liaigre. Jacques Vaucanson. mecanicien de genie Presses Universitaires de France. 1966, in which, on pages 123 and 125. the authors reproduce an excerpt from the writings of Christophe Frederic Nicolai. (Chronique a trovers TAllemagne et la Suisse. Berlin and Stettin. 1789. p. 284) confirming as early as 1781 Robert-Houdins version of the famous Duck's so-called "digestive" mechanism point b\ point.

In his work Alfred Chapuis strangely tried to minimize the importance of Robert-Houdins mechanical creations during the nineteenth century. We could do nothing but bow before his verdict had it been based on his own personal research on the subject. This was regrettably not the case and the Swiss historian, who perhaps wanted to assert the superiority of his eighteenth-century countrymen in this domain, oddly carried out no research in France and based all his writings about Robert-Houdin on the least reliable and least objective source: The Unmasking of RobertHoudin by Harry Houdini. The author contacted the famous King of Handcuffs" through his compatriot from Geneva. Adolphe Blind. "Professor Magicus," during the first decade of the twentieth century. Harry Houdini then gave him authorization to use all the "information" published in his work. Here is one of his letters:

1*

Cote

81

Danr PI-of. Cliapuls; • iMC

OF A u g u r t

-Ht.

23

ThlB

BBfel

WJ •"-.' tdtf: r ~of.--'. e l .

-ong

BB

xi In s=y book "Ibo ;

a r.aj tatai-L

repv L ":•. m

"• V*

\lt Si

Illustration 273 - Letter from Harry

Houdini to Alfred Chapuis.

September 14th, 1921 Prof. Alfred Chapuis Rue de la Cote. 21. Neuchatel. Switzerland. 212

Dear Prof. Chapuis: Thanks for your letter of August 21st. This note is only to let you know your letter has arrived and I will go into details at my first leisure moment. You have my full permission to reproduce or use any of my information in my book The Unmasking of Robert Houdin as long as you courteously give me credit for my material. [Which Alfred Chapuis did not always do, especially after Harry Houdini's death.] I will send you both of my books with my compliments some time this week. It may interest you to know that I have at home an automaton which I purchased from De Yerli, who claims it was bought at a Robert-Houdin sale. I will try and give you a full description of it shortly. Kindest regards. Sincerely yours, Iloudini This letter by Harry Houdini includes a sizable inaccuracy. Contrary to what he implied in this letter, the famous artist never owned any of Robert-Houdins automata. He merely purchased from the magic dealer Charles De Yere in 1913 an imitation of the trapeze artist Antonio Diavolo. manufactured and signed by the mechanician Deveaux. De Vere very clearly specified - in a letter which is today part of the archrv es of the University of Texas in Austin, which John Gaughan kindly provided me with — the origin of this automaton, which the "King of Handcuffs" thus could not have been unaware of. Although at the time there w as in fact a Belgian magician named De Verli, there was never a "RobertHoudin sale"! The consequences of these unfortunate epistolary contacts influenced Alfred Chapuis's works It led him to corroborate certain totally erroneous hearsay of Harry

TO ACT

Neuchatelois of May-June 1926 without verifying or carrying out any additional research. Twenty-three years after this unfair and slanderous claim, which had no basis in fact, and due to the discovery of Maillardet's auORGANE DE LA SOCIETE DKLSTOIRE DU CANTON tomaton in Philadelphia. Alfred DE NEUCHATEL Chapuis was obliged to reverse FONDE EN 1 himself. In Les Automates, figures artificielles d'hommes et d'animaux (Neuchatel, Editions du Griffon. 1949), written in collaboration with Edmond Droz. Alfred Chapuis qualified Robert-Houdin 1Q2D for the first time as an illusionist of genius" and had to resoh e himself to finally write this sentence as a very discreet mea culpa-. 'Today one could admit that RobertHoudin. inspired by the work of Jacquet-Droz. could \\A\ e constructed such an automaton in his workshops." This short, tardy Illustration 2^4 - Cover of the Musee avowal alas did not suffice to reNeuchatelois. pair the damage caused to RobertHoudin by the author in various publications for more than forty Houdmi and e\ en in one specific years. case, to 'authenticate" the writings Although I believe that Alfred that the 'King of Handcuffs" had Chapuis was deliberately led into the prudence to formulate only as error by Harry Houdini. and I do hypotheses. This was the case connot doubt his sincerity and erudicerning Harry Houdinis theory tion, we can only regret that one of about The Writing and Drawing the most important historians of auAutomaton, which suggested that it V\ as an automaton created by tomata so cavalierly allied himself with the revisionist theories of the Maillardet which had been lost at "King of Handcuffs" at the expense that time and which Robert-Houdin of the memory of a great artist who "remade" before taking credit for it! was rightfully considered to be the This unfair hypothesis - which is finest mechanician of his time by definitely denied by the history of contemporary scientists and laythe creation of The Writer-Drawers, men. of which Robert-Houdin made at least ele^ en examples: the report of the 1844 Exposition jun; and also 60. the existence of Maillardet's origiWolfgang von Kempelen. born nal automaton, which has since in Pressburg on January 23. 1734, been found and can be admired died in Vienna on March 26. 1804. today in the collections of the He was advisor to the court of Philadelphia Research Museum - Empress Marie-Theiese of Austria, was surprisingly repeated and cor- w here he show eel his Chess Plaver roborated by Alfred Chapuis. who automaton for the first time in published it in no. 3 of the Musee 1769 or 1770. He apparently ended

MUSEE NEUCHATELOLS

SOMMAIRE

213

II

the exhibitions of his automata in the years 1773-74. At the end of 1781. and on the occasion of the visit to Vienna of Grand Duke Paul of Russia. Von Kempelen restored his machine. In April 1783. The Chess Player was presented in Paris, then in London in November. In September 1784 it was in Leipzig, then in Dresden, and finally in Amsterdam in 1785. Von Kempelen stopped showing The Chess Player in public and resumed his position as court advisor in Vienna, where he died in 1804. It was at this period that Maelzel acquired the famous android from his heirs.

61. Maelzel was born in Regensburg on August 5. 1772 and died at sea on July 21. 1838, on a boat going from Havana to Philadelphia.

Illustration 2^5 - Signature of Maelzel.

62. Certain reasons could have indeed prompted Maelzel not to take the original of The Chess Player to America. Maelzel acquired the automaton from Von Kempelens heirs in I8O4 and again exhibited it in a Europe prey to the Napoleonic wars. Eugene de Beauharnais. the Emperors son-in-law. who was then Viceroy of Italy, had the chance to play against the famous machine. Impassioned with chess and unable to accept not knowing the secret of the automaton, he bought The Chess Player from its 1 >wner for the amount of 30.000 francs around 1809 or 1810. The aui >maton then

ROBfcRT-HOUDIN

returned to obscurity for a few years, but in 1818 Maelzel went to Munich and negotiated the exhibition rights and the sale contract of The Chess Player with Eugene de Beauharnais, who had by then become the Duke of Leuchtenberg. The details of this transaction are unknown, but it seems that Maelzel promised to pay to the duke the sum of thirty thousand francs, in installments, and also pledged not to leave the continent with the pawned automaton until the totality of this sum was reimbursed. In spite of the profitable exhibitions and tours in Europe, Maelzel could not or did not want to respect the agreement, and the duke, and then his heirs, dragged him through the courts in Paris in 1824. From then, to explain what next occured, one must think as both a jurist and a historian. Maelzel hurriedly left France for America in the last days of 1825 with his automata and The Chess Player - for which he did not even have time to hire a "director"! What we mean by this is a great chess player, the actual brain of the machine. In order to not be considered by the French police as a thief on the run, which would have earned him a jail sentence and immediate seizure of all his material once he arrived in New York, Maelzel could have very well left the original Chess Player as collateral, gone to America with the copy, and definitively paid off his debt to the Duke's heirs from the profit of his shows in America. Concerning the last point, we have a trace of a final transaction between Maelzel and the Duke's heirs after Maelzel had successfully presented The Chess Player in New York. We can also refute this assumption and imagine that Maelzel left a copy of The Chess Player as collateral to the heirs of the Duke of Leuchtenberg, or purely and simply ran away leaving nothing behind,

but we must keep in mind the huge legal risks of such behavior. It is hard to believe that he would have risked such a swindle any more than he would have left France with a machine confiscated or about to be confiscated by the law. Any of these crimes would have made him an eternal outcast with no possibility of return. On the other hand, leaving with a copy of the automaton would have been a very skillful maneuver, such a misdemeanor being negligable compared to leaving with a pawned or confiscated object. He would have been sent to prison for several years and would not even have repaid his debt. Did Cronier, the mechanician from Belleville, participate partially or totally in the manufacture of the copy of The Chess Player? Was he aware of the details through one of Maelzel's mechanicians? Vast questions whose answers we will probably never know any more than the arguments Cronier gave Robert-Houdin to persuade him that the wreckage he presented him was really one of the most famous trick automata of all time.

MICHEL SELDOW

ROBERT-HOUDIN

63. At the Chateau de Blois is a miniature gilded table that was long FAYAKD

Illustration 276 - Small gilded-bronze table of The Writing and Drawing Automaton.

(Chateau de la Ville de Blois)

214

Illustrations 27"'. 2^8 and 2"?9 - Photograph and signature of Michel Seldow framing the cover page of his biography of Robert-Houdin.

NOTES TO ACT II

believed to be a model of the center table of the stage of Soirees Fantastiques. This confusion can be explained because we find a drawing of this table in an engraving depicting the theater stage in the posthumous work of the master. We now have photographs from Hamilton's time and that of Melies in which we can see RobertHoudin's central table, which looks different from this model. However, if we compare this miniature table to the only known print depicting such an object, which shows Robert-Houdin next to The Writing and Drawing Automaton, we realize that the tiny table in the print is identical to this table, whose size is perfectly on the scale of the automaton's table and its creator. This object is probably all that remains of the famous Writing and Drawing Automaton. See the reproduction in the third color section of the revised edition of Confidences d'un Prestidigitateur published by Stock in 1994. The engraving of RobertHoudin and his automaton is on the first page of the first color section. This table is also shown on page 79 of Michel Seldow's work, Vie et secrets de Robert-Houdin, Fayard, 1971.

64. Marguerite Framboise Olympe Braconnier, born in Orleans on October 14, 1815, died in Blois on January 2. 1901. See genealogical chart. Olympe's father. Charles Albert Samuel Braconnier, was Belgian and from Mons. Having entered into the administration of the First Empire, he was assigned to Orleans, where he married Marguerite Louise Martin, daughter of an old, important cloth-manufacturing family in Romorantin. We can therefore assume that Robert-Houdin met his second wife through old family relationships, because he had an uncle. Jean Toussaint Robert, who was a cloth manufacturer in Blois.

Olympe's paternal grandmother was from the noble Dumont de Longpont family in Mons, whose ancestors had occupied important local positions in the sixteenth century: magistrates, village leaders, etc. Olympe had maintained close relationships with the Dumont de Longpont family. Her brother Charles, although born in Orleans like his sister Olympe, decided to assume Belgian nationality, became an officer, and participated in Stanley's expedition for the conquest of the Congo. He became a general and held important positions.

65. I am indebted to the kindness of M. Keime Robert-Houdin for the copy of this letter, conserved in the Bibliotheque de Versailles. The words underlined in this letter are also underlined in the original text.

dwarves and the dance steps of Siamese twin sisters? Robert-Houdin preferred to let his readers dream about his automaton and to end his narrative after the brilliant tete-a-tete between The Writing and Drawing Automaton and the King of France. This purely artistic and literary choice to give the chapter on The Writing and Drawing Automaton a romantic conclusion does not show any disrespect for the great Barnum, with whom he maintained the best of relationships, as confirmed by the writings of the shrewd showman. This again shows that the conjurer, when he played the role of storyteller, always knew on which 'climax1' he needed to end a lovely story. N.B. In the vocabulary of magicians, the 'climax" is the culminating point of a trick, also known as his 'ending.'

70.

66. Memoirs of Robert-Houdin, op. eft., pp. 231-233.

67. Memoirs of Robert-Houdin, op. cit., pp. 369-370.

68. Phineas Taylor Barnum, born in Bethel, Connecticut on July 5, 1810, died in Bridgeport. Connecticut, on April 7, 1891-

69. Some authors have claimed to be surprised that Robert-Houdin did not discuss this transaction with P.T. Barnum in his memoirs. The explanation is, however, clear: after exalting the qualities of his extraordinary invention, which earned the admiration of thousands of visitors to the Exposition and its jury, how could Robert-Houdin have risked disappointing some of his readers by revealing that the final destiny of The Writing and Drawing Automaton was to be displayed in a museum of phenomena, where it was exhibited for nearly twenty years between comic 215

In this narrative, published in his memoirs, Barnum is mixing three of his voyages to Paris, the first during the 1844 Exposition, the second during performances given by Tom Thumb in the capital in 1845, and the third after the young prodigy's tour in the provinces, when Robert-Houdin's Soirees Fantastiques were at the peak of their success. On this subject, see the remarkable biography of the great showman, P.T. Barnum. The Legend and The Man by A.H. Saxon, Columbia University Press, New York, 1989-

71. According to certain authors, Barnum, following the advice of Robert-Houdin, negotiated, for 3,000 dollars, a diorama illustrating the return of Napoleon's ashes from Saint-Helene to Paris. The great showman, in his memoirs, mentions a sum of 12,000 dollars paid for a huge panorama, "Napoleon's funeral at the Invalides.''

I - The watchmaker, mechanician, and conjurer.

Robcrt-llouditt's •

collection)

I'u »> nimU1!1*

Clock iind Mysterious Clocks bv (Christian Fechnai" collection)

Mysterious Clock "Three Graces" by Robert-IIoudin. (Volker 11 uber collection)

Mysterious (lliwk (Chris

collection)

tin h'cchncr collection)

mid IX - Mysterious Clocks hv

Robert-Iloudin from David M. Baldwin's collection.

V "

•

•

•

1 - The Chinese Conjurer by Robert-Houdin. (Foitner collection of Madame Marteret)

(Christian Fechner collection)

XIV and XV - The surprising "footwork" of Robcrt-I loiulin's Mysterious (Conjurer. (Pierre A/aver collection)

136" STANCE. AOJODRD'HUl MARDI 18 NOVEHBRE. 1/2.

siiiiiimtutiuiiin

PALAIS-ROYAL, Hi i, galerfa d<< Vnlats, 15, ni* (Ic \ aloK,

i i i - LLJ

2 HEURES WUm DE MAGIE SOIREES FANTASTIQUES

ROBERT HOUDIW PUYSIGIQH KT MI5<:AMCIK\,

TOURS D ADRESSE ET DE PRESTIDIGITATION INCOMVUS J l S Q l ' V CE .101 U. Art seance sera conliniielteinent r«/'iV<> par les c.vperii'iu-es Sllivtlllles : I.t' 1 uutn J iiier\f'iHt'U\ proiU^uaiit les [ihulti'ts, It's Qoura, It's dfOg^QB} t'tt-.; la Pctitliilt- t-at):ilislit|llf, It) l'a\ori tics tlaiiK's, la IN-dif mii-at-ulfiisc, lt> II^MII tliuliolit]uc, le Chasseur hi-olieu.— It's (irtilesqties A....I el 0 u, — rOranj(er sails pai-ftl — la dioucllo faseiiuih'iee, le I*alissier iilt'|Uiis:il)ie, fie.

Pour completer la seance lie prestidigitation, le Fils de M. Hobei'l-iloitdin, djiue dune secmide rue penetrante, dimnera itvec son pere nne experience entiereinent ninnelle el dti plus grand inlerel. PRIX D£S PUCES. t.alerie

1 f. .V)

Lo^es tie faee t't (ra\aiit-M*em\

4

IA- jii-ir ilr* fitures IIHIHS tfttintur B*MI Jut*

11. IIOIH'UI H O I I ) 1 \ -c- Tail ml plai.ii ilc immlwr nn\ iiumlciii'n ttet loars HDtliMUX wtr^n.nnrnl rnotliM, n l'«fdftii»qiitla an pout pni-mtir a Tarn- illusion. Set lOfOnsiQllI tl ini prh

IUCKIPIT.

OII Inmvc dniis son wbincl ioui I n iiishii-

V In smindvparlit. i|iiitiimniciicfjtUli. 1/2, It- |>riv tic* blaws esl rttlnit tie mciitit-.

u. lumi.m-uoi nixm-di.

<- /« reparation tie Inns automates ct piiccs wtumitiurs

Robert-Houdin'a S Htian Fechiwr collection)

com/i%ur

Aiijoiird'ltiii Vendredi 17 Mars 1848.

PALAIS-ROYAL.

.rv«4.T.Uafc, I * .

ROBERT HOUDIIU > MK IMIIKV

«K««KK nc H I NIKI us MKirn:s *»uvm>.

SiffATAMT 2NCORE JAMAIS PAH1I TEIXES ODK

SEANCE ENTIEREMEWT

LE CARTON ROBERT HOUDIN

LA PELOTTE DE LAINE.

LA BOUTEILLE INEPUISABLE

LA PECHE MERVEILLEUSE.

LA VOLTICE OU TRAPEZE.

LAPENDULE AERIENNE

•i"li nvuvclie I H M M

2 LdlMMtNL

SUSPENSION ETHEBEENNE HI SKI'.O%D H U t DE ROBF.BT-IIKIDIH

ii'Mont

T M l EH BQUIUBBK AVIX I.'tIB

Clu^mtjtmr dn ifM,**, fri*, f&mi irlUi i,faM ntfnm,»/b< »•' LunwuiinuiMini. lunnmiuiirnnwii uKwamuoui u IMMIIII m U K

: Li nnim.

n.i

t A mOONDE VOE. - L'ESCAMOTAGE 1XED. ROSEHT-HOODIN, <-ir., srr»»lj«a

• mie M«v««h' Hcwr.

I 'v"^-**Vy^f- i»»»l* Stance sera terminee par le» merveilleu\ eflfets du Polyorama. "* J

'.s* Soirees

UKUU

u mm m m

FutlUi&tiifUVH ill

GALEIK DE YALOIS. 1S4

PALAIS-NATIONAL

IDE DE YALOIS. 13,

lx% Hurmut iMirmml a 7 hrwm 1/2.

\iijtiurJ'hiii Merrredi 44 Janvier 1852.

I*C**. 3 t,

SOIREES FAWTASTIQUES

ROBERT HOUDDy ILLUSIONS, SUBTILITES IIIAGIE

AUTOMATES PRESTIDIGITATION. DIMANCHE PROCHAIN

DEUX SEANCES I* frtmiirt

* 1 fctara, la ..camfc a $ V i m
I . ROBERT HOODIN SE CHARGE DBS SOIREES PARTICDLIEBES.

is Soirees

I'diitttsdifitcs

nt l'nln

(dhateait Jc In \'illv tlv Blols)

SOIREES FANTASTIQUES DE ROBERT- HOUDIN Tou5 les Soirs a 8 Heures precises. Palais Royal . Gale Me de Valois,164 et rue de Valoisl3

XX - Robert-Houdin's Soirees Funtasticfues at Palais-Royal and the Siiint James's Theater in lcS45 ;incl 184cS. (Christian Fechner collection and Huriy Ransom Humanities Research Center, University of Texan. Austin,

ENTilAfflMENT Tuesday Thursday Saturday Evening lHHIII.S IH'I.V

PERFORm ANCE

Mornin

Robert-IIoudin sit the Saint James's Theater in 1S49. (I'rivate collection)

ST. JAMES'S THEATRE. Saturday Evening, Aug. 19. POSITIVELY THE

LAST

NIGHT

OF THE SEASON, BEING FOR T H E

BENEFIT OF

EMILEHOUDIN ROBERT

OUDIM Last Appearance in London WILL POSITIVELY MAKE HIS

Saturday Evening, Aug. 19, Owing to his Engagement at the '! hentro Royal, Manchester, which commences on Tuesday Evoniug nt-xt, August 2 2 .

THE PROGRAMME WILL Rfi SELECTED FltOM TQB HOST POPULAR

EXPERIMENTS & ORIGINAL INVENTIONS OF M. HOUOIN. DURING -1 III: I.VKMNG.

E M I U v I I O U D I N will exhibit his extraordinary poiOert of

SECOND SIGHT, " INVISIB1LETE," ESGAMOTAGE EXTRAORDINAIRE, IJY KMILK-IIOUDIN.

Suspension Etlicrceime, U Y E t1 O K N E -H O U D I X .

BOKISS, 4 s .

PIT, 2s.

GAL. STALLS, Is. 6d.

PKIVATI, BOXES \ti> STALLS

MAY DS

«ECUBI,D AT

Mr. UElTCHEXil'S EOYAL LIBRARY, 33, OLD BOND RTREET; Mr. SAW*' !to|fll Uhmy, ftt JBIIMT** Uirert. M a n

Aad

£•**»', ANDIKVI", HUOKIIAW'*, ALLCMTT'*, LXADU i C O M , h OLLIVIM*

i H.I .. i!"t(,( MIM: !,.*'>....,-..; th« Caiium Library, )£, Itt-goii Sin-et, »t tbo Ooz ORIca of tha Tbtair*, whloh 1* op«a di.i.y from 11 to S o'closk. W J I r n m l ' Iiuit'i f, PiutnJt. LfHnt

in 1S4S. >t Texan,

Austin)

ROBERT H0UDI1 ST. JAMES'S

THEATRE.

' ' o n . M n c a t t u M, OW Bowl 3uwt

ILLUSIONS. «

i©

H 0

/» O ° •

•

•

.

°Om

°O

• - . • •

*

•

mI

M

AWT,'•

H

n

Ae

i

E,

MONSR

PSBSTIOieiTATBDIL

FRENCH CONJURER, EXPERIMENTS »>D

WOND13118 OK

NATURAL MAGIC t> Inv, I,I. .1 l,y him. ..ml Pcrfbimnl fur Tm Ouucmtln U n a n u t k i M i i n

SEANCES FANTASTIQUES, I T E O

N U M B E R

O F

R E P R E S E N T A T I O N S ,

E V E R Y

k

E V E N I N G , .1t

llalfpait

l.tyhl a {hick.

WEDNESDAY A SATDRDAY IODN1KCS ' m i . * , tii ,n,/ at Half-pott

sr

I""

o'Vluck

FOR FILL PROGR\!B1IE, SEE SMALL BILLS.

""THB E M P E R O R S POLKA, competed by THOMAS ROLT, THE NEW ' CASTANET WALTZ, i « 8 . by EMILY A- WALKER. "THt IHI>H(

LOOISA I'ULKA, compoi-il by Mr T. BROWNE. Mt CHABLES I h l l Of Her M»jcm» Th*.trr

Stalls,7* BoocesA* PW Gallery,\ Pltn ATK BO\J-S
MITCHELL'S Hrti

EOTAL'LIBEAET

kr.ll

Th« BOX OFFICB of ihe

38, O L D .ad BO|_Cni, H OCaurtu S T I B «T; Liuu

Qf«a^jyly.. from Keren till Five a«l«k-

y W. J COLBOLiKh « P i i u n «4mt.

Will - Robcrt-Ilotidin at the Saint James's Theater in 1848. (I lurry Ransom Humanities Research Center. Lninersitv of Texas. Austin)

THEATRE,

ST. JAMES'S KING STREET,

ST.

JAMES'S.

The Surprising and Interesting Performances of

ROBlTJlllN AS PRESENTED BEFOEE

HER HOST GRACIOUS MAJESTY THE QUEEN, HXS ROYAL HIGHNESS PRINCE ALBERT, AND THE ROYAL FAMILY, / AT THE GRAND FETE, WILLOW BANK, FULHAM,Jpf ' WILL BK REPEATED

\C4 S

At the SI. Jani< s s Theatre, EVERY

TUESDAY,

THURSDAY, ANI>

SATURDAY EVENINGS, DOOBS OPEM A.T SXOHT O'CLOCK.

Jll, IIOUDIN WILL ALSO GIVE A

ON

WEDNESDAY MORNING, Commencing a t Half-past Two o'clock. l'HIVATK BOXES mo STALL8 u r DO Mounts u

Mr. MITCHELL'S

ROYAL LIBRARY, 33, OLD BOND

STREET;

w. i. CUUMUIS, r t i i t » , 0. paivtt» .i«Mr, LtitiiriK »uui««

i-crsirv of Texas, Mwttn)

I

ST. JAMES S THEATRE. BY PARTICULAR DESIRE.

THEATRE.

ST.

I'OSITIVELV THE

LAST NIGHT BUT »Vi; OF THE EXTRAORDINARY SEANCES FANTASTIQUES

GRAND .lnd Final Representations. ^ Mr MITCHELL bc«* t o i d u m M that. In compUuct M k nonuroii application* and ovln« to the dUappointmeat «*pert*ttc«d by n u a r partiw la not procwta* place* at U J . b u t repreicntatlon of RO2EB.T HOODIK, «rra^t>ne D u bar* 1MM mad*

Four Grand Extra AND FINAL PERFORMANCES,

WEDNESDAY MORNING AVtiVHT l«//(.

FRIDAY ETfENIMUl. 18. EMILE-HOUBIM'S

THURSDAY I-;\ IIM >«., AUGUST 17 FRIDAY 1 '\\ IvM\«., AUGUST 18, AKDTOELAST OK

SATURDAY I•; VI1M ><;, AUGUST 19, Which win Mart po*lU»eIjr Unolnat* U u tttraordlaarr « M J » W r*KTA«lioor» «f •OSCKT-HODBIM At l i t * T&Mtre. pr.rlotwJr to bis depart*** (or Kasek«*t*r, vtwr* be will appear on TM*day u*rt, Aofort 32ad. BOXES. 4«. FIT. 2» i M P E l T H E A T I t J.. *d

1 ST. JAMES'S THEATRE, Kl%(. BTBRBT, 8T J»«KS'8.

ROBERT-HOUDIM

EASTER HOLIDAYS. Ewery Eienin^ 1)1 KIM.

EASTER WEEK, DAY PERFORMANCE WV*rfin'M% iS f'riflai/

.Jiominf/s.

FAREWELL

LAST REPRESEMTATION.

SATURDAY EVENING Auc 19 ROBERTHOUDUTI

LASTMGHT IIS ENGLAND. ST. JAMES'S THEATRE.

FareweU Seance

SATURDAY EVENING. BEING MOST POSITIVELY HIS

LAST REPRESENTATION IN THIS COUNTRY, " — I '

'

'

—

- . X

• • *

-

-

PerlbruiaiK'eH in this Country In 0rd«r t o pet pctoatt a s a*rttable Koavenir of hi* *U(t to UU* C+wattj all the moat popular and tb* m»ic *utjiri*iB« Eip«rtin«Ht# will h* *xccat*d

""""

FarcTwcU Occasion*,

bU«t Uw DtstclbctioB (rom tbe - COSM£ D iBONDiNCE • « W W M 4 « wltfc

"*""""

Liberality St Profusion.

Tlr Aniuity V.*itTlmam'*ti M H H

tOXm*- rotnt *Hii»tj«o«. 1

• - i.s

a/ flalj-p.nl I ujki axA *- .U-faiif

« t . TWO *HIU.IMOB

- < ."••!"• 1 T 1

«<**( •

•

I'trfmrmmft. «f llal/^atl Turn

A*r«iTHE*r»«, u *•

The Programme on this occiurton w n eompctae tk* 8 J U L P8WCB A1BEHT, TBS BOTAL FA

the OODBT, at SDOXnrOBAV PALAOM. n fmm W^t /*>*. a. k l

•UfLf - • PRIVATI BOXXI u » M . . . . . . . ftf

. .

* • a H f l K B W l KOTAIi I-J»«.*«.T H ObB »O«B I T K r t T .

XW - Robert-llomli

ill IS4S .-mil IS53.

LY, and

ENTERTAINMENT esday Thursday

Saturday Evenings, D OOJI.S VPt.Y ,

PERFORMANCE

Horning

Iversttv of Texan. Austin)

Hi. James's Theatre I run

Mr. J O H N MITMIKI.I

XI III! II. ,,.! - . , „ , ,

EASTER

WEEK.

SEANCES

EVERY

DURING THE EASTER WEEK,

DAY PERFORMANCE WEDNESDAY * SATURDAY SVAX.UI,

. 4B.

R T . »•-

BOXKfc I II II, M. t « I. •- >. MIHTUIW, « wuxcu ynmm u u i w i

XXVII - Ko

(Private

collection)

OAXAEttY, la.

flliTI

1 •

-J»

If ROBERT

FOSITIYJSLT THE LAST SIX XI&ZSTS OF

M.

N\

JOB and

HOIDII • j U

•I

Whose Eitraordinory performaaces have been THREE TIMES HONOURED

BY THE EXPRESS COMMAND OF

B B S SSOST aBACtOHS BEfcJSSTV,

E

MONDAY- 1HAY 9th. 1863. and Even livening During the Week,

HI. ROBERT HOWDIN WILL GIVE FOB

ONE WEEK MORE at the PRESENT FRICES ••• n n u n i n i n

SERIES of MAGICAL

ILLUSIONS ON A SCALE Or PERFECTION NEVRB H» JE.EHTO AVTEMFTED

__

FIRST IMHT,

The rroduction of Flowers. The Instantaneous Transposition. The Golden Shower. The Bnohanted Garland of Flowers. A Wonderful Surprise for the Ladles.

The Intrepid Soldier. The Animated Cards. The Marvellous Orange Tree. »he IMtaphlstophelcs" Telescope. The Travelling Tnrtle Doves. The Transparent Crystal Box. Vbe Confectioner.

THIRD FART.

The Inexhaustible Bowl of Funeh. SECOND FART. Robert Boudin's Fortfollo. The Crystal Balls, or Oreat lories Astonishing Invisibility. of l i g h t of Hand Trtofcs. Dress Circle, - 9m. Boxes, - a s . Pit, - Is. Gallery, - Od. .

,.

PRIVATE BOXES,

-

Cl. ll, and £h Us. 6d

i oa application of Mr. AUSTIN Jim . at the Box Office. The Doors will be opened at a quarter-past Seven, and the Performance! commence at a quarter to Eight o Clook

(Volker lluber

collection)

XXIX - I'lic I'astrv

Cook

XXX - liohert-Iloudin'x Funtcistie Portfolio. (Madeleine Mtilthctc-XIclics collection)

The Fabulous Rosebush or The Love Nest, (Christian Feehner collection)

tttal Hell.

1XXIII - The Garland of Flowers

(Christian Fechner collection)

XXXIX7 - The Transparent Cashbox or The Light and Heavy Chest. (Ken Klostermun collection)

XXXV - Antonio Dicmolo, the tntpesse artist. (John Guu&hun collection)

\XYI - The Ladies' Fwoorite. (Volker Huber collection)

XXXVII - The

XXXVIII - Top luit and magic wand of Ronert-lloudin. On his wand, the conjurer wrote the following words: "This wand has served me in all the performances I have given during my entire artistic career." (Chateau (le la Mile tie Hlois)

XXXIX - Reproduction of The Fascinating Owl by Robcrt-Houdln. (Christian Fechner collection)

XL - The Mysterious Orange Tree. (Christian Feehner collection)

iipill •Balls •

1844-1845 — The Big Leap • p. 219 1845 — The Secret Machinery of the Theater • p. 235 • 1845 — Robert-Houdin's Soirees Fantastiques • p. 245 • 1845-1846 — Second Sight and The Inexhaustible Bottle • p. 259 • 1846 — First Foreign Tour and the Conjurer Louis Courtois • p. 271 1845-1852 — Promotion and Advertising • p. 281 • 1847 — The Fortune-Teller Alexis Didier • p. 287 • 1847-1848 — The Ethereal Suspension • p. 291 • 1848 — Moreau-Sainti and Andre Voisin • p. 297 • 1 $48— Revolution in France and Triumphs in England • p. 307 • 1849-1851 — Return to Paris and Pierre Etienne Auguste Chocat, known as Hamilton • p. 32 7 • 1850 — The English Connection or the Legrand Trial • p. 335 • 1851 — Letter on Education ; Shows and Children • p. 347 • 1851 — Roberti de Brescia, De Linsky, Deveaux, Berneuil, and the Electric Light • p. 351 • 1852 — "Farewell, My Dear Parisians" • p. 355 • 1852-1853 — The Final Flames • p. 368 Notes to Act III • p. 383

ROBERI-HOl'DIN

Illustration 281 - Robert-Houdin in 1848. Lithograph in large format by Leon Noel, 1848. Robert-Houdin is shown surrounded by symbols of his favorite disciplines: the instruments and tools of a watchmaker, the conjurer's Second Sight and Ethereal Suspension, and the mechanicians masterpiece. The Writing and Drawing Automaton. This very rare lithograph, of which only four copies are known, was given by RobertHoudin only to his closest friends and family. The one reprinted abo\e is dedicated to Dantan: To Dantan the younger with affectionate memories Robert-Houdin." (Private collection)

ACT

•

j

III

•

The Big Leap After searching all over Paris 'for a fortnight, passing from the largest to the smallest houses in turn." Robert-Houdin finally decided on a large apartment at Palais-Royal which could easily be transformed into a theater. It was thus at 164. Galerie de Valois [i] and 13. Rue de Valois that the conjurer finally found the long-sought location that fulfilled his requirements.

The galleries that surround the garden of the Palais-Royal are divided into successive arches, occupied by shops that are, with reason, reputed to contain the richest, most elegant, and

SOIH EES F A N T AST X QUES 1MB

ROBERT-HOUDIN, Gaff we. 3a Vrtioid

The proprietor of this house had been dreaming for a long time in vain about a benevolent tenant who, while paying an exorbitant price for his room, would come in without expecting any repairs to be done. I was, therefore, most welcome when I not only agreed to pay the rent asked, but endured passively every sort of imposition [concerning doors and windows, caretakers, etc.] Indeed, I would have given much more, so afraid as I was lest this desirable house should slip from me. [2] The owner, described in a sarcastic tone the two men would have a difficult relationship - and whom Robert-Houdin identifies only by the initial B. was Marie Jean Baptiste Bertin, a jeweler at 10, Rue de la Chausseed'Antin who lived at 13, Rue de Valois in an apartment situated above the one he rented to the artist. (We may remark that when the author uncharacteristically uses a sarcastic tone twro or three times in his memoirs, it is always in regards to someone who has behaved unfairly with him on a financial, professional, or artistic level, although this is not explicitly stated.) Here is how Robert-Houdin described the location of the future theater in his posthumous work. The Secrets of Stage Conjuring: 219

-j?d/rL

iGi, efc
/Tnuitij^t

4tous* -fat-. <)*A*4 *£*-

^O -

Illustration 282 - Letter from Robert-Houdin to Dantan. This letter accompanied the lithograph reproduced on the preceding page.

ROBERT-Hoi DIN

most tasteful wares that Paris can boast. Above these arches there are, on the second floor, spacious suites of apartments, used as public assembly rooms, clubs, cafes, restaurants, etc. It was in the space occupied by one of these suites, at no. 164 of the Rue de Valois, that I built my theater, which extended in width over three of the above-mentioned arches and in length the distance between the garden of the Palais-Royal and the Rue de Valois, or, in other words, the whole depth of the building. The dimensions of my exhibition room were therefore, as will be seen, very limited; a couple of hundred persons could barely be accommodated therein; it should, however, be mentioned that the benches were comfortably divided into separate seats.

forgotten to ask the police department for authorization to open a theater. There, a disdainful employee told him that a ministerial decision opposed the opening of new establishments within Palais-Royal. [3] In despair because of this refusal, Robert-Houdin asked for the help of one of his clients, Benjamin Delessert, the police chief's brother. After having witnessed the conjurer's talents at a reception, the kindly chief agreed to use his influence so the artist could obtain the necessary authorization. In reality, things did not turn out this way whatsoever, perhaps the only time in his entire life that Robert-Houdin was confronted with such a situation, in which he almost lost everything for reasons beyond his control. To understand the causes of the conflict between the police chief and the Minister of the Interior, we must go back in time a bit.

If we believe his memoirs. Robert-Houdin's search for the location of his theater lasted barely a few days. The new director supposedly then began major renovation work before noticing that he had "absentmindedly"

Illustration 283 - Close up" of no. 164 of the Galerie de Valois at Palais-Royal in the eighteenth century. CDldter Moreau Morax collection)

220

Aci III

Although Robert-Houdin had felt ready to face the Parisian public for several years, and even though he had precisely defined the formula for his show as well as the setting in which he wanted to perform, two equally important factors prevented him from taking the final step. The first was linked to his close relationship with Comte, whose fighting spirit and ability to retaliate were formidable when a newcomer tried to hunt on his territory. His glorious elder had advised him to wait because he was convinced that two establishments specializing in the same kind of entertainment could not be successful for long.

the Bibliotheque de l'Arsenal, this man befriended Robert-Houdin. During their conversations in the artist's workshop, he urged him to "strike the great blow'' and open the theater whose ingenious devices the mechanician had already described to him and which would be the ideal environment for the apparatus and automata he had worked on for so many years. The Count de l'Escalopier, convinced by the practicality of these novel ideas, was persuaded that his talent, which had developed in such a brilliant way in the salons, could blossom even more on a custom-made stage. It was this devoted friend, this patron, who gave ten thousand francs to RobertHoudin to partially cover the costs of opening Soirees Fantastiques. Adding generosity to tact, he refused to have a written contract for this unguaranteed loan, and only a handshake followed by a warm embrace sealed their agreement.

The King's Conjurer was sincere in giving this advice to Robert-Houdin. He did not fear potential competitors because during his rule over the Parisian stage, no magician had been able to create a theater in the capital to undermine his supremacy. Robert-Houdin would just have to be patient, as he had been during his entire youth. Moreover, M. Comte would know the right time to very elegantly step aside to allow his young and talented colleague to take over, and Robert-Houdin had no reason to regret trusting Comte's judgment. Robert-Houdin wrote the following about this model manager in an unpublished text: "...he was as remarkable for his skill in the handling of cards as for his moral and personal qualities." M

In 1842, Comte, while actively maintaining his profitable private evenings, began to perform less on stage. Soon there would be no more professional or financial obstacles to the inevitable ascension of the future conjurer. Robert-Houdin's strategic career choices had always been wisely thought out, and he never made rash decisions. This visionary, extremely imaginative artist, who freely expressed himself on all subjects, always managed to coexist with his twin: a wise and careful manager. For some time now, Robert-Houdin had been waiting for an appropriate space in Palais-Royal to become available. Setting up a new theater in this area was going against the trend of the times, which had elected the Boulevards as the new Eldorado of Parisian entertainment.

The second reason was purely financial. Building a theater, even a small one. as Robert-Houdin had envisioned it, required considerable investment and he did not want to take the risk because of his responsibilities as head of a family. We recall that it was thanks to the young Count de l'Escalopier that Robert-Houdin took his first steps in the closed world of Parisian salons. [5] Rich and cultivated, an art collector and learned bibliophile who was to become volunteer curator of

For decades, Palais-Royal had been the Mecca not only of frivolities and chic cafes, 221

ROBERT-HOUDIN

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Illustration 284 - Seraphin's

Audience

by Gustave Dore. (Georges Proust collection)

222

ACT

granted by the police department. RobertHoudin, with very solid instinct, had an intuition that his new type of show would attract to this location a quality crowd repelled by the shady crowds and vulgar shows of the Boulevards.

but also of prostitution and curiosity shows. These activities, under the severe directives of the authorities, had gradually departed, and a largely family-oriented, bourgeois clientele once again patronized the arcades. Seraphin's Ombres chinoises was the last vestige of the old entertainment of PalaisRoyal, faithfully remaining at its spot at 121, Galerie de Valois because of a waiver

Among Robert-Houdin's faithful followers was Benjamin Delessert, manager of the Caisse d'epargne, who was also one of the friends and clients who sponsored his entry into society. [6] It is not unlikely that this young banker was also a lover of conjuring, because he had in his library a book legendary among collectors of the magic art, La Premiere partie des subfiles et plaisantes inventions by J. Prevost, native of Toulouse, Lyon, 1584. M This is considered by historians to be the world's first published work entirely dedicated to magic tricks. Delessert undoubtedly must have introduced Robert-Houdin to Gabriel Delessert, his uncle, the all-powerful Parisian police chief. |>] This meeting probably took place well before Robert-Houdin asked for authorization to open a new theater at Palais-Royal, because the terms in which Gabriel Delessert expressed his high opinion of Robert-Houdin display a true familiarity "with his artistic and moral virtues.

PREMIERE P A R T I E DES SVBTILES, ET PLAISA

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Illustration 285 - "Prevost." Cover page of the copy of "Prevost" from the library of Benjamin Delessert. This book is now part of the author's collection.

223

When Robert-Houdin finally discovered his ideal location, the police chief authorized him to present his creations there. One must emphasize the unique nature of this authorization, which was in complete opposition to the political trend of the time, the eviction of all shows from the Palais-Royal area. Here is the complete text of this historical document, the official birth certificate of Robert-Houdin's Soirees Fantastiques.

ROBFRJ-HOUDIN

General Headquarters 2°d Office Decree authorizing a spectacle de curiosites Galerie de Valois, no. 164 at Palais-Roval Prefecture de Police Paris January 11, 1845 We, Peer of France, Police Chief. In view of the laws of April 16 and 24, 1790, The decree of the government of 12 Messidor Year 8 (July 1, 1800). The decree of June 8, 1806 and the 13th of August 1811 on curiosity shows. The decision of Monsieur the Minister of the Interior of 28th September 1837, which recognizes our competency in this matter. In view of the request of M. Robert Houdin, mechanician in Paris asking to publicly exhibit in premises situated at 164, Galerie de Valois automata and mechanical works of his own invention, with an interlude of Physique amusante; Have declared, Article 1. M. Robert Houdin, Mechanician in Paris, 9, Rue Vendome, is authorized to open a public show of curiosities in the salons of the second floor of 164, Galerie de Valois at PalaisRoyal. Article 2. This show may only include the exhibition of automata, mechanical elements, performances of Physique amusante, formally excluding all acting, dialogue, pantomime, dancing, and singing. Illustrations 286 and 28^ — The official "birth certificate" of Soirees Fantastiques Robert-Houdin.

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Article 3. The preceding authorizations are granted to M. Robert Houdin under the following conditions: 1. To show nothing to the public that is immoral and that would shock propriety; 2. To hold no performances before the formalities are examined by the theater commission, to ensure security; 3. To refrain from announcing the show by a crier, either in the Galerie de Valois or at the door that leads to the exhibition rooms; 4. To pay taxes for the destitute on the gross income; 5. To pay the police service in conformity with the tariffs of our prefecture. Article 4. The present authorization is specific to M. Robert Houdin, nontransferable without our authorization and valid only until January 1, 1846. However, it can be revoked in the case of non-execution of the aforementioned conditions or for public reasons. Article 5. The present decree will be rendered to the chief of police of the Palais-Royal district in order for him to survey its execution and to be notified to M. Robert Houdin with an injunction to conform to it.

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Of course, it was only after having received the notification of this precious asset from the hands of Alexandre Vassal, "police chief of the city of Paris, assigned to the Palais-Royal district," that Robert-Houdin signed a lease under private agreement with the owner of the location, M. Bertin. The signature of this act took place on January 15, 1845. The lease was established for a nine-year period and would expire on April 1, 1854. The rent was set at four thousand eight hundred francs per year. In conformity with this act, Robert-Houdin paid M. Bertin the sum of "two thousand four hundred francs for six months in advance, chargeable to the last six months of the lease." Robert-Houdin entrusted the young architect

Felix Martin, who resided at 35, Rue de Miromesnil, with the renovation work for his future theater. As soon as the work began, the relationship between M. Bertin and his new tenant became very tense. The owner frequently came to the site, alone or accompanied by his own architect. The following year, the two men appear to have opposed each other in a trial or serious litigation because Robert-Houdin asked Felix Martin to supply him with a sworn statement, which gives us a certain amount of picturesque information on the problems of the famous theater's site: The undersigned architect asserts that, having been hired in January 1845 to establish M. Robert-Houdin's theater on M. Bertin's property in Palais-Royal, he had, regarding these works, many conferences with M. Bertin himself and M. Guillemin his architect before the beginning of the work and during its execution, and on several occasions he explained to these gentlemen and especially to M. Bertin the plans, which remained unchanged during the execution of the work. Knowing that the work would destroy the configuration of M, Bertin's apartment, he had a blueprint specifically drafted by his architect, which was given to the undersigned to facilitate his task. Several times during the course of the work, M. Bertin came to visit them and had the architect called to his apartment so he could verify that the great expanse of the floor above the theater could not compromise the solidity of his building. In spite of the assurance given to M. Bertin by the undersigned and by the contractors (M. Lemaire, Rue Ghabrol and M. Ballu, Rue Faub. St. Denis), whom he thought it necessary to also consult, M. Bertin lengthily insisted that a column be placed under this span and did not refrain from insisting on the use of this support, until after many meetings he recognized the impossibility of placing this column in the middle of the theater. To cut a door to provide access to the stalls forced the removal of part of the chimney pipe;

Illustration 288 - Notification of the decree of Police Chief Gabriel Delessert to Robert-Houdin.

226

ACT III

M. Bertin approved the necessary work to be carried out and even had it done by his own chimney specialist. Finally, in all the circumstances where the undersigned had a chance to discuss with M. Bertin the work underway and which M. Bertin, who lived above, assiduously observed, it was always clearly agreed upon that the room was to be equipped with boxes and stalls, that is to say, turned into a theater. Several measures were approved or refined in a cooperative manner by M. Bertin, who even willingly helped the undersigned by giving him advice on many points. Paris January 16, 1846 Felix Martin

We note that Robert-Houdin obtained only a one-year authorization for the opening of his establishment, and in spite of this precarious time limit, he did not hesitate to sign a nineyear lease and undertake major renovation work. To proceed in this fashion, the artist must have had the utmost faith in his supporters and friends. They would soon publicly demonstrate their devotion. Although he benefited from a certain notoriety in Parisian high society, Robert-Houdin had also become throughout the years an essential figure in the small world of magic, which knew of his creations and often called on his talents as an inventor and manufacturer. When RobertHoudin moved to London in 1848 to give performances at the Saint-James's Theater, the English press stressed the fact that for more than a decade the French conjurer had conceived and created the most beautiful pieces of the repertoire of current celebrities, from Ludwig Dobler to Philippe. This relatively unknown aspect of Robert-Houdin's artistic activity "was recalled in Le Charivari in an article of July 10, 1845 devoted to the flattering account of the inauguration of Soirees Fantastiques. Here is an excerpt: 22-

Illustrations 289 and 290 - Ludwig Dobler. Engraving and playbill of Professor Ludwig Dobler.

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Robert-Houdin was a first-class mechanician, a precision watchmaker who invented the famous clock with a glass dial and who manufactured all the mechanical pieces used by the most famous French and foreign magicians for their best tricks.

L'Illustration of July 12th also confirms that the mechanician's talents had contributed to the success of his colleagues for several years: M. Robert-Houdin, the grand priest of this little temple, following the path of Vaucanson and Maelzel, is less a conjurer than a skillful mechanician, who, tired of creating the ingenious devices that made the reputation of past and present magicians, thought that it was finally time for him to submit directly for public approval a series of amusements that are much more perfected given that he prepared them for his own use and to prove his talents as a mechanician.

Eugene Hatin, in his mini-biography of the artist, did not neglect to emphasize this aspect of the mechanician's work, whose origin probably goes back to his Parisian debut with "Father Roujol": "However, the success obtained by his inventions in the hands of others led him to exploit them himself." It is likely that the creator's decision to perform made a number of his former clients wince as they foresaw all the dangers that this talented competition would represent. Seraphin was the first to worry about this danger, even more so because he was perfectly aware of the stature of his future neighbor. He had already asked him to create interludes to include between the acts of his Ombres chinoises, among these a Mechanical Trapeze Artist that Robert-Houdin manufactured for the 1840 season. Having quickly understood that the police department approved of the future conjurer, Seraphin directed his efforts and those of his contacts toward the Minister of the Interior in order to prevent Robert-Houdin from opening at Palais-Royal. We must indicate that this particular Seraphin - who was the son-

Illustration 291 - Portrait of Dominique Francois Seraphin. From L'Hhisionniste. April 1908.

in-law of the daughter of the original Seraphin - was used to epistolary denouncement (see note 10). On January 31, 1845, Gabriel Delessert wrote the following memo to the Minister of the Interior: To his Excellency the Minister of the Interior Your Excellency, I have the honor of transmitting to you a certified copy of my decree of the 11 th of the month, which authorizes M. Robert-Houdin to open a curiosity show, 164, Galerie de Valois, and this under the usual conditions for this type of show. Please accept my regards, Monsieur le Ministre... Peer of France, Chief of Police Gabriel Delessert.

Though the work contracted by RobertHoudin was already irreversible and all his energy was devoted to pushing his workers to complete it as quickly as possible - the theater 228

Acr III

If M. Robert-Houdin has not yet been notified of the decree you sent me, it seems preferable to withdraw it. If this is not the case, in keeping with recently applied measures to these types of shows, it would be desirable to add to the restrictive conditions one concerning the number of spectators, limiting it to sixty maximum.

had to be opened by the month of April - in early February, the conjurer was summoned by Gabriel Delessert, who had some bad news for him. Even though ordinarily the ratification of his decrees by the minister was only an administrative formality that was never contested, the prefect had just heard unofficially that, in this particular case, the minister was planning to refuse it. A certain number of interventions from different spheres supported Seraphin's complaints to the Minister of the Interior that he did not want an establishment he considered detrimental to his interests to open at Palais-Royal. Foreseeing these difficulties, Gabriel Delessert advised RobertHoudin to suspend sine die his work until the litigation was officially resolved. Although the prefect reassured the artist that he would put all his weight behind him, we can easily imagine into what state of despondency he was plunged. Would he ever be able to open his theater, and, if so, when? In the best-case scenario, the end of the season was already jeopardized, and in the worst, it would be the ruin of his hopes and reputation. The site had been abandoned for nearly a month when the official response from the Minister arrived on February 26th:

Please receive, Monsieur the Prefect, the assurance of my highest consideration. The Minister, Secretary of State of the Interior.

The solutions advocated by the minister both represented a death sentence for the theater: the first prevented it from existing and the second condemned it financially. The answer to the minister from the prefect proves how much Gabriel Delessert took Robert-Houdin's cause to heart, to the point of "confusing" the capacity of the foyer of the theater with that of the main room or including restrictions that could in no way impede Robert-Houdin. Moreover, the deep hommage of this highranking person to the work and the personality of Robert-Houdin amounted to a courteous but firm invitation to the minister to kindly end the debate: Police Department — General Secretary-2"d Office Paris, February 27, 1845 Curiosity Show, Galerie de Valois, PalaisRoyal Explanation on the subject of the authorization granted to M. Robert-Houdin Urgent. To his Excellency the Minister of the Interior Your Excellency, Through the letter that Your Excellency honored me with by writing on February 26th, Your Excellency regrets that I authorized M. RobertHoudin to establish a curiosity show, Galerie de Valois, Palais-Royal, in the same area as Seraphin's show. He therefore wishes that if M. Houdin has already been notified of my decree, several restrictions be added to it. I have the honor of informing Your Excellency

Paris February 26"1 Spectacle de Curiosite de Sieur Houdin Contrary notice to its authorization Monsieur, the Peer of Prance, Chief of Police We have received the letter you sent concerning the decree in which you authorize M. RobertHoudin to set up a curiosity show in the Galerie de Valois. I regret in general seeing the number of these shows increase, the competition of which is injurious to existing theaters and in particular the existence of this concern seems justified in the vicinity of a show of the same type, that of M. Seraphin, who has long been a few steps away in the same gallery.

229

ROBERT-HOUDIN

that the permission has already been conveyed to the agent and that it is consequently impossible to withdraw it. But the nature of the concern in question and the conditions already imposed by me will suffice, I hope, to dissipate Your Excellency's apparent concerns. In truth, this show has nothing in common with that of M. Seraphin. It consists mainly of an exhibition of artworks and automata, whose mechanisms aroused public admiration during the last Exposition. He certainly has the right to add a few amusing conjuring tricks with optical effects, but he has been positively forbidden, with precise notification, to present Chinese shadows or other curiosities like those already performed by M. Seraphin. Moreover, M. Houdin's authorization was granted for one year and has only ten months left to run and has not yet been used. The room where his automata will be exhibited can contain only 60 people and he has stated that he will be happy to receive merely 20 to 30 visitors per day [sic].

Here is the Minister's response to Gabriel Delessert: Minister of the Interior Paris, March 4, 1845 Monsieur Peer of France, Chief of Police In keeping with the wishes presented in your letter of 27th February, I have the honor of informing you that I approve the decree by which you have authorized M. Robert-Houdin to open a curiosity show. It would be desirable that in the future decrees of this type be communicated to me as proposals, and not after the notification of the decrees to the relevant parties. It would then be possible to introduce changes deemed appropriate and the administration would not be given the alternative of ratification of already-granted authorizations or their modification, thereby inciting the concerned parties to argue when they already have the official document. Please accept [etc.]

Finally, M. Robert-Houdin is not at all a mountebank or a charlatan, but a distinguished man, a savant in mechanical art whose main goal is to make his curious masterpieces known to the public. I think that, as a result of these explanations, Your Excellency will be convinced this show cannot at all harm M. Seraphin's establishment and that I have imposed all the necessary restrictions to prevent any troublesome competition. I would therefore be greatly obliged to Your Excellency if you would grant me approval of my decree of 11th January 1845, relative to the small proposed show, 164, Galerie de Valois Please accept the tribute of my respect, Monsieur le Ministre The Peer of France, Chief of Police G. Delessert

In order to be as complete as possible regarding this affair, of which Robert-Houdin was the unwilling detonator, we have included in the notes of this section the reply from the police chief, who did not want anyone, including the Minister of the Interior, to infringe on his legitimate rights. [9] It is with this letter that this wrestling match between these two powerful personalities ended, an episode that RobertHoudin had to keep secret and which obviously could not be included in his writings without compromising the memory of a devoted friend and that of a minister of state, and the reputation of his "colleague" Seraphin. [10] The delay in the renovation pushed the inauguration of the theater back to the month of July, the beginning of the hot weather and the least favorable time in Paris for the launching of a new show. The conjurer's immediate success under

In conclusion, Gabriel Delessert added under his signature this handwritten note: "M. Robert-Houdin is a knowledgeable mechanician of the greatest distinction and completely uncommon." 230

ACT III

these difficult conditions says much about the quality of his performance - even more than the most laudatory reviews. [During this act, we will see the experiments and automata that accompanied Robert-Houdin at his theater and on the European stages on which he performed. For the comfort of the magician reader to whom many of these tricks are already known, I have chosen not to interrupt the narrative to describe each effect, and to place in note 74 of this act the ensemble of the descriptions of Robert-Houdin 's main creations noted in the biographical part of this work. The history, procedure, and explanation of each trick will be the subject of a technical work which will be a complement to this essay.]

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Illustration 29^ -Les Soirees Fantastiques de Robert-Houdin from the 1845-1846 season, by Pruche. (Jacques Vbfgnlercollection)

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Illustration 295 - £es Soirees Fantastiques de Robert-Houdin. Large-format album containing the musical compositions created by Adrien Le Carpentier to accompany the artist's feats at Palais-Royal.

234

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III

The Secret Machinery of the Theater In his Memoirs, Robert-Houdin shared with his readers the principles and reforms undertaken for his performances of Soirees Fantastiques. The three main artistic trends of his time were represented by M. Comte, the King's Conjurer; the prince of mystification, Bosco, the brilliant and final heir to an ancient lineage of conjurers; and finally Philippe, whose hat and costume were straight out of legends and fairy tales. The principles and reforms that Robert-Houdin defined and practiced would become the new foundations of the modern, renovated magic art, which all the practitioners of his time would copy, without always understanding their true meaning and infinite possibilities: [My performance was to have two distinct characteristics: skill and mechanism, represented by conjuring and automata. One would help the charm of the other by diverting the mind with a pleasant variety. ] Remembering Torrini's principles, I intended to have an elegant and simple stage, unencumbered by all the paraphernalia of the ordinary conjurer, which looks more like a toyshop than a serious performance. I would have none of those enormous metal shades usually placed over objects that are to disappear, and whose secret duties cannot escape the notice of the simplest spectator. Apparatus of transparent or opaque glass, according to circumstances, would suffice for all my operations. In the performance of my tricks I also intended to abolish those double-bottomed boxes of which some conjurers made such an abuse, as well as all instruments designed to make up for the performer's want of skill. 235

Real sleight-of-hand must not be the tinman's work but the artist's, and people do not visit the latter to see instruments perform. Of course, after the abuse I have showered upon the use of accomplices, I quite did away with them. I have always regarded such trickery as unworthy of a real artist, as it raises doubts as to his skill. Besides, having frequently acted as an accomplice, I remembered the unfavorable impression this employment had left upon me as to the talent of my partner. Jets of gas, covered by opaque [frosted] globes, were to be substituted on my stage for the thousands of candles, whose brilliancy is only intended to dazzle the spectators and thus injure the effect of the experiments. Among the reforms I intended to introduce on the stage, the most important was the abolition of those long tablecloths reaching to the ground, beneath which an assistant is always suspected, and generally with some show of reason. For these immense chests of deception I substituted consoles of gilt wood after the style of Louis XV. Of course, I abstained from any eccentric costume. And I never thought of making any change in the attire civilized society has agreed to accept for evening dress, for I was always of the opinion that bizarre accoutrements, far from giving the wearer any consideration, on the contrary cast disfavor upon him. I had also traced out for my performances a line of conduct from which I never diverged; that was to make no puns or play upon words, and never to permit myself to be guilty of a mystification, even were I sure of gaining the greatest success. Finally, I wished to offer new experiments divested of all charlatanism and possessing no other resources than those offered by skillful manipulation and the influence of illusions.

ROHERI-HOUDIN

So what were the special arrangements whose surprising devices had been so carefully conceived by Robert-Houdin? The two semicircular consoles that decorated each side of the stage were equipped with circular trapdoors mounted on counterweights, to which there was secret access from backstage. Any object or package set on these consoles and momentarily covered or hidden could thus be exchanged for a duplicate. The first gueridon or side table, whose top was very thin in appearance, contained a rectangular space that could be loaded from the back of the stage. The recuperation of these objects was accomplished through a trapdoor situated at the center of its top. When the table, once loaded, was placed in a precise spot on the proscenium, one could set a box or any other object on it. A piston, located under the stage floor and activated by a pull from backstage, made a stem move up and slide into the base of the pedestal table, thereby opening the tabletop's trapdoor, which raised the loaded objects to the level of the opening in the box that was on the table. This table was used for the Cabalistic Drying effect. The same system, applied to a table that looked exactly the same but whose top was mechanized, was notably used for the Shower of Gold effect. A third side table allowed the invisible and instant transfer backstage of any small borrowed objects previously exchanged for duplicates by manipulation, such as rings, handkerchiefs, coins, watches, etc. It also enabled the magician to invisibly procure a pack of prepared cards without his hands going near his coat, and allowed Robert-Houdin to perform his Glove Column or any other effect using pneumatics. The top of the table in the center of the stage was equipped with other trapdoors and servantes and a set of twelve pistons used to activate the automata. The piston wires ran

This was, it will be seen, a complete regeneration in the art of conjuring. My only fear was whether the public would accept these important reforms and such elegant simplicity, [H]

In his memoirs, if the author does not mention the secret arrangements of his theater in the list of reforms he brought to the magic art, it is simply because his goal is not to reveal these mysteries to lay readers. We must not, however, ignore this aspect of his magic and his contribution to the patrimony of the discipline. Robert-Houdin did not invent trapdoors or sets of pistons. He never claimed to have done so, but he did create equipment that permitted multiple combinations of techniques, and the technical innovations of his stage made Soirees Fantastiques a theater of revolutionary magic in more ways than one. Never before had any of his predecessors managed to take such advantage of a permanent set-up and very few after him would understand the value of this approach. Later, the artist also knew how to adapt this arrangement to overcome the difficulties encountered by a traveling show. The succinct description to follow will concern the secret layout of the theater, which we will return to in detail in the technical complement to this work, will better show today's magicians the many strategies these devices brought to the artist's magic, as well as the overwhelming effect they had on the minds of the audience, whose reasoning capacity was obliterated by these weapons, whose existence they could not imagine, given the elegance of the decorated and furnished stage. It was identical to the most refined salons of the time and no object, prop, or element of decoration had anything in common with the clattering Pallas of mountebanks and conjurers. 236

Ac i- III

Illustration 296 - Cabalistic Drying. Engraving horn 1849 English bill for Robert-Houdin.

under the stage after passing through the table's two back legs, and from there, guided by a set of pulleys, ended up at a command panel backstage. Because of the wires, the table was permanently set in place by its four legs over a large central trapdoor, hinged at the rear. When the stage had to be cleared for something large, such as The Ethereal Suspension, the wires were released to provide some slack, the trapdoor was opened, lowering the table under the stage, and a panel covered with the same rug as the floor took its place. The passages under the stage

permitted the appearance of a child for the finale of The Fantastic Portfolio thanks to a strong lever activated from backstage. As in the main room, the ceiling of the stage - which had no flies - had hooks that linked suspended apparatus to electrical impulses furnished by Smee batteries. Among those we can list are The Garland of Flowers, The Aerial Clock and its Bell, or even The Crystal Casket. The stage ceiling was also specially set up for Antonio Diavolo's trapeze, which could be folded up onstage, as well as the finale of The Light and Heavy Chest, an experiment for 237

ROBERT-HOLDIN

Illustrations 297 and 298 — Trapeze

Acrobatics.

Engraving and poem of the famous Antonio Diavolo by Robert-Houdin. from the English souvenir album of the performances given by the artist at the Saint James's Theater for the 1848-1849 season.

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which part of the proscenium and two orchestra seats were also fitted with special devices. As in the main room, the ceiling of the stage - which had no flies - had hooks that linked suspended apparatus to electrical impulses furnished by Smee batteries. Among those we can list are The Garland of Flowers, The Aerial Clock and its Bell, or even The Crystal Casket. The stage ceiling was also specially set up for Antonio Diavolo's trapeze, which could be folded up onstage, as well as the finale of The Light and Heavy Chest, an experiment for which part of the proscenium

TRAPEZE.

Sur ma oorde voyez comme je cabriole, Souple oomme un serpent et prompt oomme l'eelair Je mo roule en tous sens et je vole dans Fair. Venez m'y voir voler, sans penr que je TOUS vole.

238

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and two orchestra seats were also fitted with special devices.

agem contributed to preserving the secrets of his creations for decades.

I always arranged my program in such a manner that each trick should last about ten minutes, thus making a total of twelve for a two-hour performance. At the conclusion of each trick, whether at a public or private performance, I used to retire and remain absent about a couple of minutes. This short interval allowed the spectators time to exchange notes of their impressions and gave them a temporary repose after the close attention which the trick they had just seen had involved. To myself these two minutes of interval were even more valuable. I first took a few seconds' rest, then I ascertained whether all was in order for the next item of the program, and provided myself with whatever was necessary for the purpose of that trick.

Several of Robert-Houdin's effects which we correctly classify today as trick automata were not seen as such by his audience. The Mysterious Orange Tree, for example, was at the beginning considered by the audience as nothing more than a stage prop. It looked very much like the orange trees in planters that decorated the winter gardens of the wealthy elite. Its leaves seemed authentic and the flowers and fruit which magically grew on its branches were indeed real. Bouquets of orange blossoms were offered to the ladies and appetizing fruit delighted their children. On the other hand, these same spectators could not explain the technical and intellectual prowesses of the Inexhaustible Pastrycook (who distributed candy, performed calculations and conjuring tricks, and made change) except by believing it to have an extraordinarily complex mechanism due to the creator's talent.

The scene, however, was never left "cold." At the concluding phrase of each illusion, the orchestra or piano recommenced, and did not cease until I again came forward. [12]

When we observe Robert-Houdin's magic art through the engravings depicting his effects, we might get the incorrect impression that his repertoire consisted mainly of the exhibition of automata. Other than the fact that this would have been repetitive and dull, it does not at all correspond to the repertoire of his performances, which alternated sleight-of-hand, parlor tricks, mentalism. stage illusions, and of course automata, the purely mechanical aspect of which was only one of the components of the routine or effect. Robert-Houdin is himself the source of the false view that we have of his repertoire, but one must not forget that his reputation as a mechanician led him, especially in Paris, to always emphasize this aspect and to create a certain ambiguity in his advertisements and in his memoirs about the specific qualities of his stage automata. He often called them mechanical pieces, which was more or less justified, depending on the example. This little strat-

This form of psychological misdirection masking the mechanism when in fact it is omnipresent, and doing the opposite when it is practically nonexistent — is one of the many tactics of the artist's magic philosophy. Robert-Houdin banished from his repertoire any object that could have been designated as conjuring apparatus. No more macabre curtains or confederates, accompanied by a parade of mystifications and vulgar, primitive double-bottomed boxes. This new outlook on the art of magic and its presentation, revolutionary at the time, disrupted and overturned timeless traditions. The novel tricks of Robert-Houdin's performances accounted for a large part of his success, but it was undoubtedly his style and personality that won all the votes. His distinction, elegance, and tasteful good humor, which the European press would emphasize throughout 239

ROBFRI-HOIDIN

CHASSEURUlustrations 299 and 300 - The Hunter. Engraving representing The Love Nest by Robert-Houdin from the English somenir mances at the Saint James's season.

Hunter and The Rosebush or with its accompanying poem, album of the artists perforTheater during the 1848-1849

his career, would alone have sufficed to set him apart from his colleagues. As soon as the theater's devices were finally installed, the rehearsals for the shows began every day after the departure of the painters, decorators, and upholsterers. Robert-Houdin first coordinated with his backstage operator who also had the job of stagehand and stage manager - the delicate and precise timing of the automata that had to be activated from a distance. He then rehearsed the texts of the introduction of each trick with a pianist, who quietly played the musical accompaniment

LE CHASSEUR.

Mesdames, mon petit chasseur, A votre presence est sensible, E6 pour mieux toucher votre cosur II fsrait -reaietnent l'impossible, Si vous n'etiez pas l a !

Si son bnt lni manquait!

Mon sensible chasseur pour la coop deviendrait Encore plus sans eiblo.

240

ACT

composed by Adrien Le Carpentier, the nephew of the "knowledgeable antique dealer, witty writer of tales," Aristide Le Carpentier, Robert-Houdin's friend and co-worker. These weeks of rehearsal were quite difficult because in addition to the nervousness, sleepless nights, and fatigue they created, he had to continue to manage his toy and mechanism workshop. Robert-Houdin also had to be conscious of the health of Olympe, his new wife, now pregnant, who would give birth to their first child, Louise Marie, on July 7. 1845, [«] barely four days after the premiere of Soirees Fantastiques. This put his working ability to the test, as well as his attention to detail and the unique talent that he had always shown in anticipating events. Everything had been prepared for months, even years, and the unforeseeable could rarely get the best of such a carefully designed program.

LE PATISSIER

III

ESCAMOTEUR.

Pour vous consommatoiud je souffle mes foumeaux, J e fotmris dcs sirops des tartes des gateaux, Mes brioches surtout prouvent mon savoir faire, Par leur fumet engageant; Goutez messieurs, en en mangeanfc Vous etes sura de n'en pas faire.

Illustrations 301 and 302 - The Conjuring

Pastrycook.

Poem and engraving of The Inexhaustible Pastrycook, later named The Pastrycook of Palais-Royal, and later, in London, The Conjuring Pastrycook. Taken from the English sou\ enir album of the artist's performances at the Saint James's Theater during the 1848-1849 season.

For his sons, Emile and Eugene, respectively fourteen and eight years of age, the rehearsals were a complete initiation. The two children would be the artist's stage assistants and the tasks assigned to them were as delicate as they 'were precise. The younger, Eugene — who later became the "subject" of The Ethereal Suspension and appeared every evening in The Fantastic Portfolio — had the responsibility of being the invisible servant presiding over the generous samples of The Pastrycook of Palais-Royal. From an early age his father had educated him for this project, and this training, previously a game, now found its justification. Emile, the elder, brilliantly aided the conjurer in numerous experiments, among them the famous Second Sight and Disappearance of a Child Under a Cup. The reader absolutely must consult the end of the first part of Robert-Houdin's memoirs, in which the author describes with much humor the fervor of these rehearsals, then the torpor and sleepiness that overwhelmed the performer and his close friends attending the dress 241

IA

ROBERT-HOUDIN

E«!L,ISUE PAROISSIAOS MM SAINT-ROCH, ME PARIS.

€xtva\t bu Jflegistrf bez 2lcUs bt

muf/ftaJ cent auaranie f

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Illustration 303 - Birth certificate of Louise Marie, daughter of Olympe and Jean Eugene Robert-Houdin.

242

ACT

rehearsal. He then describes the first performance, which was only moderately successful because of stage fright and accumulated fatigue, at the end of which he almost gave up everything, and finally the official inauguration that marked the beginning of a practically uninterrupted successful run.

III

By mid-June 1845 the construction and decoration of the little theater were complete, and the theater security commission visited it and reported to the authorities, confirming the ratification of the decree authorizing the opening. This document, signed on June 23, was conveyed to Robert-Houdin on the 28th. M

243

ROBI R1 -HOUDIN

SOIREES FANTASTIQUES DE ROBERT-HOUDIN Tons les Soirs a.8 Heures precises.Palais Royal, Galerie de Valois,164r,et rue de Valois 13.

Illustration 304 - Les Soirees Fantastiques de Robert-Houdin in 1845. Rare lithograph by Pruche, of which only two copies are known, both in private collections.

244

ACT III

Robert-Houdin's Soirees Fantastiques

In La Gazette des Tribunaux the text announcing Robert-Houdin's first performance was worded in these terms:

with all the usual elements of theaters — armchairs, stalls, galleries, and boxes - was designed to give the audience the illusion of walking into a luxurious reception room decorated mainly in red. The stage's layout - two consoles situated on either side of an off-white living room decorated in gold, and two side tables around a Louis XV-style center table in sculpted, gilded wood - along with RobertHoudin's demeanor, gave the audience the impression of being the privileged guests of a distinguished host. This apparently simple decor gave the magician the air of a miracle worker and made it inconceivable to imagine the invisible assistance that made the impossible possible. With the opening of Soirees Fantastiques, a page in the history of magic was turned once and for all; there would now be a "before" and "after" Robert-Houdin.

SOIHtKS FAXTASTlUl'ES DE nOBEKT-HOUDLN",

Palais-lioyat, ilii, galtric de Palois. On HiuuUKV pour jeudi 3 juilloi I'utivorlurc des soirees ftalasliqinjs tie M. Hobert-llouilin, uu PuUis-Uoyal, IGi, galerie ilo Valois. M. Hiilvri-Iloiuiin o.-t |>arvciiu, jiar mi long travail, aauplimior la iikVauU|uo a la prestidigitation , et il est arrive a pro(iitire des elfots »{ui ticiiiicul rtiollomont de la feerie. Tout Paris voudra assister a di-s experiences qui depassent lout ceque I'oa a \n dans if gtciirc.

We announce for Thursday July 3"' the opening of Soirees Fantastiques of M. Robert-Houdin, at Palais-Royal, 164, Galerie de Valois. M. RobertHoudin has managed through much effort to apply mechanics to conjuring and he has produced effects that are nothing short of magical. All of Paris will want to see these experiments, which surpass anything seen before of this type.

One of the first spectators of these early performances was M. Comte, [15] in keeping with the promise exchanged much earlier between Robert-Houdin and himself, and one can imagine the quality of the advice that he gave to his new colleague in this circumstance. [16] An unpublished document indirectly shows

Nous recommandons les Soirees que donne M. Robert-Houdin, au Palais-Royal, galerie Valois, n° 164. Cet habile prestidigitateur, emploie a la fois la subtile adresse de ses doigts et des moyens mecaniques trouves par lui et qui etonnenl chaque soir ses nombreux spectateurs. Illustration 306 - Robert-Houdin's Soirees at Palais-Royal. From an article by Madame Juliette Lormeau in Le journal des femmes,

1845 (Bibliotbique de I'ArsenaO

When the public arrived at the second floor of the theater of the Galerie de Valois, it discovered a stylish antechamber or foyer, where the host's automata and mechanical pieces were exhibited: the Mysterious Clocks, Mechanical Dancers on a Tightrope, Conjurer Clocks, The Little Canary or The Singing Lesson, etc. The appearance of the main room, although fitted

Illustrations 307 and 309 — M. Comte's performances. Cover page of the journal of home performances by M Comte. the Kings Conjurer, from 1821 to 1853. Page 247. left: Reproduction of the page noting the artist s sole per formance of the year I843 at a price much lower than those of previous years.

2-45

ROBERT-HOUDIN

Illustration 308 - Equilibre

Retnarquable.

Engraving of The Marvelous Fishing from an English Robert-Houdin poster. 1849

ACT

The first newspaper to publish a review of the opening of Soirees Fantastiques was Le Moniteur universel of July 6, 1845 in the theater column:

Ja> oA 1

M. Robert-Houdin, the skillful mechanician whose exhibition of mechanical clocks was noticed at the Exposition, has just opened a little theater of mechanism and phantasmagoria at Rue de Valois in Palais-Royal, the inauguration of which took place last night. The room, containing approximately 100 people [sic] is very comfortably and agreeably laid out. All of artistic and fashionable Paris will want to go admire M. Robert-Houdin's charming automata, which walk, act, listen, and hear as if they were animated, intelligent be-

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n the immediate success Robert-Houdin found with all social classes. It is the journal of the private performances given in town by Comte at the homes of rich individuals from the years 1821 through 1854. The frequency of these very profitable performances ranges from two to four per week until 1843. In 1844 this sustained rhythm was reduced to ten performances given in twelve months. From July to December 1845, the period when RobertHoudin opened his theater, Comte gave only a single private performance, on September 3 at the Baroness Billing's home. Robert-Houdin in turn reigned alone in the capital, and he became the one called on from now on for this type of lucrative performance. M. Comte was right to suggest that he be patient; [17] RobertHoudin was smart enough to take this advice, and both of them had their own season to reap the fruits of their labor and talent.

La Corne d'abondance.

Illustrations 310 and 311 - The Horn of Plenty. Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal'.

CORNE S'ABONBANCE.

Mesdameit, ce cornet, soumis hvos smihaits, Fount!t des £ventails, des corbeilies fleuiies, De savoureux bonbons, d'exquises sucreries, Des souvenirs el des bouquets; Vous n'avez qu% chobir. Cependant je me vante De voir, au taut que vous, exaueer mon desir : Vous reeevez ces dons, et moi je me contento Du bonhetir de vous les offrir.

24-7

ROB] Rl-HOI DIN

EQUIUBRE REMARQUABLE.

On fait en certains mob une p6ohe abondante, Cert Ytti, mais oea pontons tortia d'nn tour subta, Bont, quelque toil le mois ou je TOUS lee pr^sente, Da vnis jtousona d'Avril.

Illustrations 312 and 313 - Equilibre

remarquable.

Engraving and poem of The Marvelous Fishing from the English souvenir album of the artist's performances at the Saint James's Theater during I848-I849 season.

ACT

ings. This little theater is a good fortune for lovers of tasteful pleasures and for fathers of families.

III

given us a new show, where truly all fantasies imaginable are perfectly realized. M. RobertHoudin does not only perform his own tricks himself, not at all! That would be too simple! He makes his automata perform. Under his command, little wooden men, birds, and trees skillfully do what up until now necessitated the hand and mind of a thinking and living being. The clock trick with no springs that moves according to the onlooker's will, the orange tree trick that makes flowers, then fruits to your liking and which ends up conjuring away our handkerchief into its oranges; the trick of the little man that comes out of an egg and guesses the card you have thought of; the exercises of a wooden Auriol and Debureau that jump, smoke, laugh, and mimic as lively and joyously as their fleshand-blood counterparts...I will pass over even better ones that are prodigiously remarkable and successful. It is the science of Vaucanson, of Maelzel, and of Stevenard, combined with the art of Bosco, Gomte, and Philippe: it is mechanism and legerdemain linked together, and all this in a charming room decorated with taste by the skillful designer Henri Fugeres, a real box of treats, as commented by a lady who emerged delighted with her hands full of candy.

From the beginning, the artist was greatly praised by the press, as seen in the articles written in Le Charivari of July 10, 1845 and L'Illustration of July 19, 1845 from which we have already offered two excerpts: Soirees Fantastiques de Robert-Houdin. In the Galerie de Valois, at Palais-Royal in Paris, there is a sorcerer...This sorcerer is named quite simply Robert-Houdin. M. Robert-Houdin is a sorcerer, as I have said, but a real one, a true enchanter, guaranteed and tested, who performs miracles before the naked eye, for a trifling two francs [sic] from six to eight in the evening [sic], in a little theater that opened up last Thursday. O, you who descend from Thomas and are gifted with Parisian incredulity, eclectic skepticism, and a philosophical indifference toward the supernatural and the fantastic, go there and see to believe, and you will be converted; you will wonder if M. Robert-Houdin does not deserve to be burned or worshipped. [Here the passage already quoted on page 228.] The worker wanted to become a master in his own right. He wanted to perform using his own inventions and under the title of Soirees Fantastiques he has

After this article by Louis Huart in Le Charivari, here is the review by Philippe Busoni in L'lllustration:

Illustrations 314 and 315 - The Aerial Clock.

Competition is everywhere, but what we are going to discuss is not the competition that shamelessly trumpets its publicity; it is on the

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

AiHUEKTNE.

Mesdames, ma pendule obeit, compte, sonne, Marque l'henre ou s'arrite, au gre de tout desir; Mais pour vous, chaque fois quo son timbre resonne, Puisse-t-elle sonner une heure de plaisir. Robert-Houdin.

La Pendule Aerienne.

249

ROBFR I -HOUDIN

M. Koliert-Ifoudin.

Illustration 316 - The Marvelous Orange Tree by Robert-Houdin. Engraving by Forest from L'Illustration. July 12. 1845.

250

ACT

contrary so modest that although it has been running for quite some time, L'lllustration will probably be the first, as is its role and duty, to inform its readers that at number 164, of the Galerie de Pierre of Palais-Royal, not far from Seraphin's theater and the crystal staircase, those two favorites of children and provincials, an emulator of the sorcerer Philippe has just opened a charming little theater to which M. Martin, a young talented architect, has given all the finery and comfort of the most elegant salon. The manufacture of leather items has already demonstrated some of M. Martin's best furniture design. [Passage already quoted page 228.] However, without pretending to be a magician, M. Robert-Houdin shows that knowledge does not exclude savoir-faire and after having seduced the audience with the most complicated mechanical pieces - among which we must cite the fascinating owl, the acrobatic Jack of Clubs, and especially the magic orange tree and the conjuring butterflies which are the subject of our illustration - he manages, without any costume other than a simple black suit and without any apparatus other than a shawl and a light table to perform, literally before our eyes, the famous miraculous fishing trick that made the fashion and fortune of the mysterious evenings of Philippe the magician at the Bazar Bonne-Nouvelle. We wish him such popularity and fortune; others will predict this for him by saying that the times are currently favorable to conjurers: we disdain this banality.

III

him. The most astounding are: the mechanical actors who perform the tricks of Auriol and Debureau's pantomime; the pastrycook from the Louis XV period, full of feats and surprises; the marvelous orange tree that visibly blooms with buds, flowers, and fruit; this art can go no further; it is almost creation itself.

Thanks to the support of the press and the audience's satisfaction, the summer months went smoothly and word of mouth was such that, as early as September, the theater was full. The clientele was particularly elite; Count de L'Escalopier, Baron Seguier, and Benjamin and Gabriel Delessert were part of this vogue,

La PSche Merveilleuse. Illustrations 317 and 318 - The Miraculous

In La Presse of July 28, 1845, the famous man of letters Gerard de Nerval saluted the birth of Soirees Fantastiques in the following manner:

Fishing.

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

LA PfiCHE MERVEILLEUSE.

Theatre de Robert-Houdin It is scarcely a theater, but it is not lacking in marvels. It is an open room above the galleries of Palais-Royal and which is ready for anything, even playing variety shows if allowed. Stalls, galleries, pit, orchestra, nothing is missing. However, Robert Houdin [Without a hyphen] is a rival of M. Pierre in mechanics and M. Gomte in conjuring] His skill is marvelous, but more pleasant than that of street conjurers; he has no spectators behind

Ge tour est tellement subtil Que ces poissons a l'6cailie brillante, En quelque mois que jevous les presente, Sont toujours des Poissons d'avril.

Robert-Houdin.

251

ROBERT-HOUDIN

Illustration 319 — The Horn of Plenty. Engraving from an English bill for Robert-Houdin in 1849.

252

ACT

this craze, one could say, that swept the aristocracy and the bourgeoisie and led them to storm the little theater in Palais-Royal. Newspaper articles emphasized this, and from then on the difficulty of getting seats only stimulated the public's desire to attend the conjurer's soirees. In the Journal des femmes, Mme. Juliette Lormeau emphasized the "surprises performed by M. Robert-Houdin, all full of respectability and good taste." She noted that "an elite society meets every evening in this lovely candy box too small for the number of people who would like to fill it," and after describing the artist's feats, concluded her article with the following sentence: ''But I will go on no longer about these mysterious transformations of all sorts; I prefer to give you the pleasure of being astonished by the sight of these ingenious marvels, if you manage to get a ticket to the Soirees Fantastiques of M. RobertHoudin." Finally, the review in L 'Esprit public of September 28, 1845 adds to this concert of praise by emphasizing the fact that the artist's dazzling debut had forced Philippe to leave the capital:

III

Le Patissiei' (Automate).

Illustrations 320 and 321 - The Pastrycook. Engraving and poem from Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal.

L E PATISSIER (automate).

Poor les eoBsonnmatetirs alhimaBt mes foumeaux, Je fais des idbamAh, des tartes» des gateaux; Mes brioches surtcmt prouvenfc mon savoir-faire Parleur gofttsaFOttrenx, lent fumet engageant, Go&tez-y done ; en les mangeaat Vons serez a t e de n'oa pas faire. Robert-Houdin.

Soirees Fantastiques de Robert-Houdin — Never has a title been more deserved because it is impossible to imagine all the marvels to be seen during the two hours of magic that M. RobertHoudin performs every evening for a large audience. From the cabalistic clock that guesses your most secret thoughts to the tiny pastrycook who calculates as well as our most famous mathematicians, everything here is charming and delightful. Philippe stepped down before this formidable rival, and he was correct to do so because it is impossible to compare his experiments to M. RobertHoudin's ravishing creations, which go beyond everything that the imagination could depict.

J.P4LAIS-R0YAL.

IE MTISSIER

Pour les coBsoramateurs je souffle mes foumeaux. Je fournis des strops, des taites, des giteaux; Mes brioches surtout prouveal moa savoir-faire; Mais vous, Messieurs, en y gofliant, Assurement, Vous serez stirs de n'en pas faire.

Illustration 322 - The Pastrycook

To end this chapter, here is an unpublished text, amusing and instructive, from the manuscript of his Memoirs, in which Robert-Houdin

of Palais-Royal.

Engraving and poem from Quadrille mignonette des Soirees Fantastiques de Robert-Houdin au Palais-Royal by Adrien Le Carpentier.

253

ROBtRf-HOLDIN

LA CORNE D'ABONDANCE.

Ma Oorne &'-Abondancfl exance m Car qnelqna eoit Ie prix des different^ otjete Qni pour cbacnn de vots s"en &happeni sans En 90 v«iani elle lemplii ma ca>t':o.

Illustrations 323 and 324 - T/?e Ht>rw of Plenty. Engra^'ing and poem from the English souvenir album of the artist's performances m London at the Saint James's Theater during 1848-1849 season.

ACT

III

describes how he "extended" the space and income of Soirees Fantastiques, as well as his staff: LA CORBEILLE

The reader, hearing me speak of expenses and of employee salaries will perhaps not object to learning about my personnel. It is easy; all I have to do is set before his eyes the list of my staff. Theater of...or rather, Show of Robert-Houdin, Manager, Administrator, Author, Mechanician, Actor, ete....M. Robert-Houdin, undersecretary (secondary business) Cashier (Of course)...Mme. Robert-Houdin, Manager in training Actors (Major small parts)...Messrs. RobertHoudin, sons Stage manager, general handyman, stroller... Monsieur X or Monsieur Z Conductor, pianist singlehandedly filling the multiple positions of his large staff...Monsieur Z, student of the Conservatory (first place, invariably) Three welcoming and amiable lady attendants...Mmes. X.... Y.... Z.... (1) A servant in charge of cleaning the theater...X Total of salaried workers 3 Of which the combined salary raises my daily expenditures to the amount of approximately sixty francs. As for the income, because I want to reveal everything, it is somewhat more difficult to indicate the amount. It depends not only on the number of spectators but on thousands of other factors. For example, my theater might be full and only produce four hundred francs in receipts, while at other times it could result in six hundred francs. I will explain myself. Normally, the public purchased its tickets at the box office and if the theater was full, it amounted to four hundred francs; but in peak season, things changed. All the seats were sold in advance, and since the reservation fees totalled one hundred francs, I earned five hundred francs. Now I must explain how it was possible to earn another one hundred francs in a room that was completely full. It is one of the secrets, one of the little tricks of the trade. What I did is practiced everywhere.

QE FLEURS.

Si tie ma corbeille iietme t e tour que je pi •iseiue 2 pour vous quclque a.ppas, Joignez-k ee bouquet, M&sdaraes, j e vous prie, La Seur de i¥e m*o«fe/w* pew. ft. H.

Illustrations 325 and 326 - The Basket of Flowers and The Cabalistic Clock. Engravings and poems from Quadrille mignonette des Soirees Fantastiques de Robert-Houdin au Palais-Royal b) Adrien Le Carpentier.

LA PENDULE

CABAL1STIQUE.

Ma ptmdute obeit, compte> devme et sontie Les moments que cbactm ici passe \ loisir, Oraole de ca soir, en n'oublisnt persoune, Paisse-t-eHe souner deux houres de plaisir. B. U.

Illustration 32"" - Robert-Houdin's stage handkerchief. (Private collection)

255

ROBERT-HOI DIN

j^^^

LE FAVORI DES DAMES.

Mesdaines, plaignez moi!

Ma fremisaante allure,

Mea cis^nta et mcs couleuts peuvent bien voua cLarmer, Mais mon maltre en voulant imitor la nature, OuWia de mo foire nn cceur pour V0U3 aimer.

Illustrations 328 and 329 - The Ladies' Favorite. Engraving and poem from the English souvenir album of the artists performances in London at the Saint James s Theater, during the 1848-18 i9 season

ACT

First, we transformed one or several benches into stalls, then we placed chairs, stools, etc. in all the corners and empty spots; boxes with six seats contained eight; and even the space for the pianist was crowded, leaving him only the space for his arms. Finally, we managed to sell, for the same price as the boxes, the right to watch the show from the openings in doors leading onto the hallways. We were well packed in, squeezed, and uncomfortable, but we had much more fun than if we had had more space. Who is more enthusiastic than the spectator who had trouble finding a seat? This is how I eked out the amount of six hundred francs. I will also add that every Sunday, and often during the week, I gave two performances, but after my shows I also granted, upon

III

request, private performances that were very well paid, [is] (1) Theater attendants are always paid through the audience's tips only.

In addition to his "very well paid'' home performances, the artist occasionally performed, after his daily shows, in the large Parisian theaters at the conclusion of exceptional galas. He also performed free of charge for charity balls or for his colleagues in need. Robert-Houdin's success was discussed in the King's court and the sovereign of France would soon invite the conjurer to SaintCloud.

ROBERT-HOUDIN

Illustrations 330 and 331 - Emile Robert-Houdin in Second Sight. ^'atercolor portraits by Dailtan the younger.

ACT

III

Second Sight and The Inexhaustible Bottle

Of all the artists effects, this was one of the most impressive. Although he never claimed to have the slightest "power." Second Sight, its effects, and its inexplicable phenomena could only cause him to be suspected of heresy by his contemporaries. [«]

coat-of-arms of some family, his son had to answer, for example: "...shield, red field with two silver emanches placed in pal. " Sometimes these objects w ere even presented to Robert-Houdin in a closed case, making it apparently impossible to perform Second Sight. Although the basis of this experiment was a very sophisticated verbal code, mnemonic

Emile Robert-Houdin stood onstage, blindfolded, while his father, in the audience, accepted the spectators' requests for him. The young man could obviously not hear the audience's requests, which were spoken in a whisper. He nonetheless performed them with great precision, as if the conjurer had mentally transmitted the instructions. Whether the request was to "carry a bouquet to a lady that a member of the audience has secretly chosen." or even to "remove a snuffbox from the pocket of a chosen person, take out a pinch of tobacco, and put it in another person's wallet." etc.. we can understand that the effects of the secret communication between father and son offered great possibilities. Another aspect of Second Sight highly interested the public: "Before going to see Robert-Houdin's son. some people would agree to bring some object that would make it difficult for the father. Among these were partially unreadable antique medallions, minerals, books printed in alphabets of every description (languages both living and dead), coats-of-arms, microscopic objects, etc." For an antique medal or an ancient coin, it was necessary for our two partners to know the name of the piece, its value, the country where it had been minted, the engraved texts and symbols, etc.. and if someone handed the father a signet ring engraved with the

259

ROBtRT-HOUDIN

I ! "V \

Double vue. — Experiosiiius e*ecul«ess par Robcri-Houdin cw 1847. (ft'apres uno graviire de I'epoque.) Illustration 332 - Second Sight. Engraving from La Mature, June 7, 1884 (Dicker Korean Womx collection)

exercises, and perhaps certain agreed-upon signs that reached Emile in spite of the "opacity" of his blindfold, its success was also due to the use of "the game of Kim" - made popular by Rudyard Kipling in The Jungle Bookand the constant rehearsal of our talented duo, who must have known everything about heraldic art, numismatics, and many other sciences to unscramble the enigmas proposed by a knowledgeable public. Their studious time spent in Aristide Le Carpentier's antique office, among others, provided the artists with

concrete and priceless information. It is highly likely that father and son worked at this discipline for months, if not years, this type of exercise not permitting mediocrity or amateurishness. Over time, the success of this experiment could only stimulate the activities of imitators, plagiarists, and even exposers. Robert-Houdin retaliated a few years later with a silent version of Second Sight in which all verbal codes were eliminated; the ''electric fairy" was certainly no stranger to this new feat.

260

ACT

In his memoirs, Robert-Houdin implied that the first performances of Second Sight took place in February 1846; however, on the earliest poster we have of Soirees Fantastiques, from the 136th performance on Tuesday, November 18, 1845, we read the following: "To complete the seance of conjuring, the son of M. Robert-Houdin, gifted with a penetrating second sight, will perform a completely new and fascinating experiment with his

Hrh.n.

father." A brilliant article by Theophile Gautier, the author of Capitaine Fracasse, reviews this new routine in La Presse, December 1, 1845: Theatre du Palais Royal - Exceptional performance - Robert-Houdin Let us continue with Robert-Houdin, who performed a very strange experiment at the Theatre du Palais Royal. You know that adepts of mesmerism apparently make their slumbering subjects describe all sorts of objects presented to them, even though they are asleep and their eyes covered with cotton and thick bands which let no light penetrate. We followed Miss Pigeaire's experiments; we saw Yirginie and Alexis, the phoenix of this genre, who read a sentence hidden inside three gray paper envelopes. These extraordinary and inexplicable results greatly preoccupied us, without convincing us, however. Hidden behind it could have been unknown sleight-of-hand and magic, like any trickery we cannot name. There exist so many bizarre tricks and strange devices! M. Robert-Houdin greatly contributed to increasing our puzzlement about mesmerism. Do not conclude from this introduction that M. Robert-Houdin is a disciple of Mesmer and Puysegur. Far from it: he is a rival of Philippe, Bosco, and Gomte; he is a very skillful conjurer who does whatever he wants with his hands, but without magnetic gestures. Here is M. Robert-IIoudin's experiment: He takes his little boy, a twelve-year-old child; he seats him on a chair, tightly blindfolds him, moves away, and asks members of the audience to give him various objects - rings, watches, coins, or anything else. The child, with whom he has no communication, designates the objects given to his father in a most mysterious fashion. He names the value and the year of coins, the time, minute, and second of watches, the name of the watchmaker written in the case, the shape and number of rings. Incredible details! You will speak of confederates, but an entire theater cannot be filled with confederates of M. Robert-Houdin; I, for one, was no confederate, but nonetheless the object that we lent was immediately identified.

us Les coc»9series amusent les gens qui out un penchant a deviiicr les rebus.

JACQUES DUBOCHET.

Tir6 a la presse mecanique de LACBABPE ct C*, rue Pamieite, i.

Illustration 333 - Second

III

Sight as a r e b u s .

261

ROBERT-HOUDIN

136" STANCE. AUJOURD'HUI MARDI 18 NOVEMBRE.

PALAIS-ROYAL,

I,es horcntix am rent h 1 Insures ij'Z.

164, galci'ie de Valois, 15, ruodc Valois.

On ctmimviuM'a S II"IIITS piecittOh.

2 HEURES I S

DE MAGIE

SOIREES FANTASTIQUES

ROBERT-HOUDIN PHYSICIEX ET .Mi

TOURS D ADRESSE ET DE PRESTIDIGITATION I>CO\NUS JUSQIA CE JOl II. La seance sera conlinnelleitienl rarii'e par teg experiences suivanfes : Le Foulard moi'vcilleux prodiguani les plmnels, les (lours, les drawees, ele.; - la Pendule cttlmlisliqiio, - le Farori doa dames, la I'eofoe mli'iieuleiiSM', le Devin dialtoliquc, le Chasseur lyrolien,—• li*s<;iM!lesi]nes ,\....l el !)......n, (Mh'aii^er san^ pai'eil, — la Clionelle faseinati'iee, — le Vatissier iuepiiisahle, ele.

Pour eompk'ler la seance de prestidigitation,le I'ils deM.Robei'l-Hondin^done d'une seconds rue pdndfrante, donnera avec son pere une experience entith'ement nouvelle el du plus grand mle'ret. PRIX DES PUCES. Oalerie

M ItOBRRT-IHM U1S no Ml nil |>l»i»"' If. 5 0

cr ati\ aniiih'ttlH des nmrs iut:niMiiv nfill r.icilt^, « 1 iliilt*
Stulles 5 IvO^es de faee el d'avant-seenc. A

,t Cairo illusion. Sos learns snftl tl'un

/.(• f»iv tlit plucrs tollers ttatxmcn «Vs( pus astiiinfult.

•Olive dans son ejibtnrt tons kl> insli'u-

It' |irix laoc!> c^l r'iduit dr illoilii'.

ill. ROIihlYl-HOVnUS se charge de la reparation de Imis automates et pieces mecaniquescomiilujuces.

Illustration 334 —Les Soirees Fantastiques de Robert-Houdin in 1845. This unique bill for Robert-Houdin. dated Tuesday. November 18. 1845 is the artist's earliest surviving program.

The most lucid sleepers are nothing next to this. How does this feat work? That is what is impossible to conceive. The nebulous explanation of mesmerism can serve no purpose here, because the child is perfectly awake; under his black blindfold there can be no mirror effects, or acoustic ones because the miracle takes place in any room at random; never any hesitation, never any error! It leaves one speechless. This astonishing experiment, which differs

from card tricks and ordinary conjuring, is repeated every evening in the charming little room that he has built at the end of the gallery where one finds the old show of Seraphin, who, with his diaphanorama, now has to bow to the ideas of the day. Except for the divination experiment, you can see here automata that Vaucanson would have been happy to claim as his own: an Auriol, a Debureau which all the children will believe is real, a magical pastrycook, all with such incredible tricks that M. Robert-Houdin would have 262

ACT

been burnt at the stake in the fifteenth century. How can we understand how a man - unless he is the mysterious person pursued by Pierre Schlemil who had telescopes, Turkish rugs, tents, and horse-drawn carriages in his pocket - can make a huge crystal vase full of water come out of his sleeve with big violet and blue Chinese fish swimming in it? Of what value are these mesmeric experiments that have so excited the imagination of savants and poets, now that a conjurer can imitate all of them and even surpass them? ''Who is being tricked here?" as Beaumarchais said.

III

En toute saison je fteuris, Et je fournis Des fruits Smbauines de papfums eitqtiis. te/, geatils enfants dont t'essaim nt'environne; VfmeZj doux auges aux \eux bteus; Goutez a mes fruits savoureux, En attendant que ma llenr vous couronne.

Mesmerists will answer that M, Robert-Houdin's child is in a waking slumber and that the miracle is thus very simple. But the little boy is fully awake, and to answer the questions asked, he docs not need to be in contact with the audience. This proves to all those who are familiar with mesmerism that he is not at all asleep.

L'AMOUR

CHASSEUR.

- Theophile Gautier.

As is often the case in Memoirs of RobertHoudin, the dates are approximate and for the author the most important consideration is the continuity of the narrative. This leads him from time to time to make involuntary ellipses, as in the narrative of the performance he gave at Saint-Cloud, which in his memoirs begins in November 1846 and which he concludes five months earlier on June 6, 1846, while, in fact, it took place on Sunday, November 9, 1845!

On (Jit partout que 1'amoiti- eat sensible, Permeuez-moi d'en douter, .s't! vous plait Puisqu \\ possi'de un tir au pistolet, On lie pi.'Ut pas dire qu'tl est sans able

Illustrations 335 and 556 — The Marvelous Orange Tree and Cupid Hunting. Engravings and poems taken from Quadrille mignonette des Soirees Fantastiques de Robert-Houdin au Palais-Royal by Adrien Le Carpentier.

During this performance before King Louis-Philippe and his family at the Chateau de Saint-Cloud, Robert-Houdin performed an extraordinary effect specially created for the occasion. He borrowed six handkerchiefs from the noble group and bundled them into a small packet, then asked his distinguished spectators to write on little cards the location where they would like these handkerchiefs to be magically transported. The King agreed to select three of these cards. The first proposed that the handkerchiefs be found under one of the candelabras that decorated the mantel-

piece in the vast living room, a trick that was judged too easy for the skillful magician. The second suggested that the handkerchiefs be transported to the dome of the Invalides. but this attractive proposal was vetoed because of the distance that separated the two locations. Finally, the third requested that they be sent into the planter of one of the orange trees on the terrace. As soon as this suggestion was approved, the King sent guards and 263

ROBERT-HOUDIN

Illustration 337 - "Today June 6, 1786, this iron box containing six handkerchiefs was placed amongst the roots of an orange tree by me, Balsamo, Count of Cagliostro...." Reprint of a page of the manuscript of Memoirs of'Robert-Houdin.

264

Acr III

gardeners to surround the orange tree so that no one could approach it. Robert-Houdin then made the bundle of handkerchiefs disappear and a gardener was dispatched to the orange tree. In the earth, surrounded by the tree's roots, was a small iron chest that the gardener brought to the living room. The artist then made a turtledove appear wearing a little key around its neck, which he handed to the King, stating that the handkerchiefs had been in the small chest for a long time. Louis-Philippe opened the rust-eaten trunk and found inside a neatly sealed package ac-

companied by a rolled parchment with the "authentic" seal of Cagliostro. On the parchment could be read the following text: "This day, the 6th June, 1786, this iron box, containing six handkerchiefs, was placed around the roots of an orange tree by me, Balsamo, Count of Cagliostro, to serve in performing an act of magic which will be executed on the same day sixty years hence before LouisPhilippe of Orleans and his family." The King then unsealed the package, protected by the same seal, and found the six borrowed handkerchiefs. Robert-Houdin added: "This trick gained me lively applause, but in my Second Sight trick, which was to end the performance, I truly had to wage a terrible struggle, as the King had warned me." Apparently he won because, to thank him for his visit to Saint-Cloud, the Duchess of Orleans presented him with a diamond pin. The acclaim given this feat would, for many years, make it one of the permanent elements of his conjuring performances. Here is how Le Charivari of February 5, 1846 commented upon this success: Les Soirees Fantastiques de Robert-Houdin at Palais-Royal are causing a stir, and the second sight of his young son has bewildered all adepts of mesmerism, who will see him do much better than they, without charlatanism or trickery. Also, the only thing Paris is complaining about is that the marvelous sorcerer's enchanting theater is too small and that he does not consider using his magic powers to make it twice as large.

\

Thanks to Robert-Houdin's memoirs, we know there were ten experiments on the inaugural bill for Soirees Fantastiques: The Cabalistic Clock, Auriol and Debureau, The Marvelous Orange Tree, The Mysterious Bouquet, The Surprising Handkerchief, Pierrot in the Egg, The Obedient Cards, The Miraculous Fishing, The Fascinating Owl, and The Inexhaustible Pastrycook. On the second bill previously cited

COMTK de'dG _V'c hi tru>ff,,-/t,//if / aftf/it/C'1 eiitt'MWIn

mJsir/

, •Y;..

n'a/ume ti Htf-'U ti/j'/t*

A<'> I't'txz./f i/t^t/t 4t

Illustration 338 - The Count of Cagliostro.

265

ROBERT-HOUDIN

Sciini*.t;s UNiAsiiucrsilo Hiiltprl-I'timlm, culoiio
Ilil, flruo ilo Valois, 1.1, f'ulnis-Rnval. —Tonic la prom' »

I'II'1 uimuiiiin jHiur ri'inlii 1 liiimuinfin sm tiiloiii |M I'lmliili: |>rostuli«iliiic«i'/tl'l sail u i i n w cliaqiic will" In |ilu» In ilUinlo socii'U1! il« I'IIIMK duns *.n ilelicitusn Uuih. La. mronilo vno tin fil«
Lcs charmantes Soirees fanlastiques de M. Robert Houdin ne perdentrien de leur vogue. On s'empresse chaque soir de retenir des places a I'avance pour assister a ces raerveilles de I'adresse et du prestige. 51. Robert Houdin se fera line reputation europeenne.

Illustrations 339 and 340 - E x t r a c t s of p r e s s a r t i c l e s f r o m 1846. (Blbttoib&que de I ArsenaO

we note that only four months after the opening of his theater, Robert-Houdin had already introduced new tricks like The Diabolical Seer, The Tyrolean Hunter [20] (and The Glove Column), The Ladies' Favorite, and, as we have already noted, Second Sight. We must emphasize a few details of this poster, which ends with the following note: "Monsieur RobertHoudin takes pleasure in showing amateurs new, extremely easy tricks with which illusions can be created. His lessons are very reasonably priced. He has all conjuring tools in his premises.'' Then, finally, this last advertisement printed in larger type: "M. Robert-Houdin handles the repair of all automata and complex devices." The conjurer had not neglected to take advantage of Comte's experience and never let a chance for potential gain escape him. Comte's bills specified: "M. Comte sells phantasmagoria and instruments of Physique Amusante. M. Comte gives lessons in white magic."

ferred to a trick automaton which produced four to six liquors and which was similar in principle and appearance to the Confiseur Galant of Philippe or to The Dutch House of "Father Roujol," and which had been made popular in its time by Jules de Rovere. At the end of September 1846, Robert-Houdin rechristened his Inexhaustible Pastrycook, which became simply The Pastrycook of Palais-Royal and its old name was given to the Bottle, which lost its ribbons along the way! It is therefore under the name The Inexhaustible Bottle that this experiment appeared from then on in theater advertisements. Although the appearance of ribbons and all reference to color were eliminated, the principle of diverse liquor productions on demand in apparently unlimited quantities

It was during the month of December 1845 that the artist added a new experiment to his program that would cause quite a stir: The Bottle and Ribbons. The conjurer produced ribbons of any color chosen by the audience from an empty bottle of Bordeaux that was rinsed with plain water in front of the audience. After each of these productions, he poured from the same bottle glasses of various liquors, whose colors matched the ribbons. This new trick was quickly given a subtitle: The Bottle and Ribbons or The Impromptu Liquor Merchant. This subtitle re-

LA BOUTEILLE INEPUISABLE.

Cctte in^puisable bouteille Fournit des vins et des liqueurs De tous leg go&te, de toutesles eouleurs; C'est tine cave sans pareille. Bienveillants apeciateura de mes tours favoris, Ayez autant de jours prospftres, Anbmt de bong, de vrsis amis, One ma bouteille emplit de verres.

266

Aci III

Robert Houdin, apres ses libecalites de bonbons, de liqueurs, d'eventails elc etc. Robert Houdin et sa bouteille enchaatee Illustration 341 — Robert-Houdin's Inexhaustible Bottle by Gustave Dore.

hn BouteiUe inepuisable.

Illustrations 342 and 343 - The Inexhaustible

Bottle.

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal.

RODI RT-HOl DIN

THEATRE DU PARC. Aujourd'huiVendredi 12 Juin 1846, (Billet* et entre*c* de fateur gdnrfraleaicat sapprime*i)

CLOTURE DfiFlNmVE D£S

SOIREES FAIVTASTIQUES DE

BL ROBERT-HOUDIJS. M. ROBERT-HOUDIK escamotera son fit*. EXPERIENCE EXTJEREMENT NOVVELLE. PREMIERE PARTIE. I. Pa Pcndule Caballslique. 2. Lc Clmpcau Sao* Ptreil. 5, Lc Foulard «ux Surprlte*. 4. Grnudc DislrlbutioB <3e Donbona Faula*tiqnei, K. Multiplicntiou del Plumeti. C. I.es Tourlcrelle* SympaUiiqne*. 1. Lei Carles Ob&asante*. S, lies F.xcrcicfS Gyuinasiiquet de deux Artist** Into connoi Automates d'une complication sans ^galt.

4

Par M. £MILB ROBERT-I1OUDIN FHS. SECONOE PARTIE. 1, Uii Secret dc Coiitrebnnde, ou le rrioyen de tt procurer Bordeaux k Lou JlarcW 8, L'Oiseau Mort et vifaut, ou le Fa?ori det Damea. 5, La Cage incoiapr^heBsible. 4, Le Boufjuet Merreillcux. ?}. La jifcdie Miraculeuje. 6. L'Oranger Myst^rieux, la Wajsaancc Graduelle del I'Appm-itson subite del Fruits, ou leu PapUlont DociUt, 7. he I'atissicr-Giacicr du palais-Eoynl, Mi de «• d Escomolrur, Mathdinftticicn de premier Oriire. 8, Tombola, ou Distribution de Lot* Pr^cieux.

novwdle, COB11CORAMA, TOLYORAMA, CHROMATROPE, Ou Feu d'ArtHice sans bruit ni Future Lcs bureaux sevont ouvcrts a 7 hcures ija, on commcucer» i 8 becrM> Impi'iuierie et lilUographie dp Delric-TounfOij,

Illustration 350 - Belgian bill for Robert-Houdin from June 12, 1846. (Private collection)

Aci III

First Foreign Tour and the Conjurer Louis Courtois The beginning of 1846 witnessed new creations [21] like The Sympathetic Turtle Doves, The Ladies' Looking-Glass, The Safety Casket or The Light and Heavy Chest, A Contraband Secret or The Journey of a Glass of Wine, The Vanish of a Child under a Cup or The Disappearance of Robert-Houdin's Son, The Ball of Wool, and the projections of the Chromatrope and of Comicorama. At the beginning of summer 1846, RobertHoudin performed in Belgium, where he received a great welcome from the public and the press. [22] He was, however, the victim of an agent who had convinced him to leave Paris during the hot summer and who misled him about the portion of ticket sales he would receive. [23] Here are the terms in which L'Echo de Bruxelles of Thursday, June 4, 1846 reviewed Robert-Houdin's first performance: Theatre du Pare: Soirees Fantastiques de Robert-Houdin M. Robert-Houdin has unique hands, never seen before, as La Gingeole would say. Objects appear, transform themselves, and disappear beneath his fingers with a speed that defies the most trained and attentive eye. What am I saying? With his fingers, the skillful conjurer does not even need to touch the objects he wants to move, or whose shape or color he wants to change. x\ll he needs is a single gesture or wave of a little wand, which we suspect he borrowed from a wizard. We will not go into detail about the numerous tricks performed by M. Robert-Houdin; we want to let our readers be surprised. At any rate, what is the point of describing a trick whose merit lies in the skill of the conjurer in hiding his methods? We could alwavs sav M. Robert-Houdin makes lit-

Illustration 351 - Robert-Houdin in The Ladies' Looking-Glass. Engraving from The Secrets of Conjuring and Magic by Robert-Houdin (op cil)

271

ROBFRI-HOUDIN

Illustration 352 — The Pastrycook

of Palais-Royal. Engraving from La Nature. September 5. 1891

tie feathers come out of his sleeves or who knows where, while seemingly pulling them from an empty basket and showering the theater with them; we could not describe the undoubtedly natural-born dexterity with which he accomplishes this feat. Not only does M. Robert-Houdin have the most skillful hands in the world, he also has charming mechanisms that work to perfection under the influence of the same powerful wand. We greatly applauded the movements of little Auriol, who, with his companion Debureau, performs on a stage of six square feet. The little pastrycook, whose store is well stocked, had no

less success. The young spectators who attended the Monday evening performance in large numbers truly tested his intelligence and talent in serving cookies, cakes, candy, and refreshments. A six-year-old amused the assembly by his imperative-sounding demand for a glass of Jamaican rum. The greatest attention was paid to the experiment called second sight, which was carried out by M. Robert-Houdin's son, a ten- or eleven-year-old young man. The skillful conjurer claimed to have discovered the child's capacity to see objects from any distance through a blindfold that is impenetrable to visual rays.

272

Aci III

We do not believe in the gift of second sight, but we readily admit that M. Robert-Houdin's son answers without hesitation all questions asked by his father as to the nature, shape, and color of certain objects he receives from the first volunteers in the audience; we admit that he tells the time of a watch and the number a spectator has written on a chalkboard without making the slightest mistake. M. RobertHoudin states that mesmerism does not enter into this, and it is true that the young man is entirely awake. What are the people who blindly put their faith in Miss Prudence's mesmeric miracles going to say? There must certainly be a means of communication between father and son, but it is so prompt and perfectly hidden that even the most clairvoyant spectators can detect nothing. M. Robert-Houdin has the advantage over his rivals of a very remarkable understanding of staging. His theater is not like that of Philippe, whose performances excited great curiosity two years ago, and whose show is encumbered with old iron tools painted white; Robert-Houdin works, to use

the accepted term, in a salon garnished with a small number of rich and tasteful props. Moreover, he has a great ease in speaking, and that is an essential quality for a conjurer who must alone hold the attention of an interested public for an entire evening. The performance ended with a phantasmagoria show. Instead of the traditional figures that usually appear in these tenebrous exhibitions, M. Robert-Houdin substituted rebuses like those of L'lllnstration where a single character, in certain instances, indicates the meaning of an entire sentence. But what we noted most was a succession of paintings, landscapes, cityscapes, ruins, etc. that followed each other in such a way that our eyes had not erased the preceding image before the following one became distinct. This effect, created by a principle with light invented by M. Daguerre and applied by him to the Diorama, was new to most of the audience at the Theatre du Pare. Robert-Houdin made his debut on June 1 at the Theatre du Pare in Brussels, where he performed until the 18th, then interrupted his show in the middle of a successful run to rush back to Paris with his wife and mother-in-law. Their first daughter. Louise Marie, had just passed away on June 15 in Neuilly at her nanny's home. On July 15, Robert-Houdin was back in Belgium to fill an engagement in Liege. The city press gave him a welcome comparable to that of Brussels. [24] Here is the article published in no. 168 of La Tribune de Liege of Friday, July 17, the day after RobertHoudin's first performance at the Theatre du Gymnase: Soiree fantastique de M. Robert-Houdin The name of M. Robert-Houdin will become popular here just as the names Bosco, Gomte, and Philippe have become, and this popularity will be acquired, we are certain, in every city where he reproduces the magic, marvels, and even the impossibilities that we witnessed yesterday.

Illustration 353 - The French Guardsman. Engraving from La Mature. September 5. 1891-

2-3

ROBERT-HOUDIN

Illustration 35-t - The Aerial Clock and The Glove Column.

Illustration 354 - Tfoe Fabulous

Amateur drawing of Robert-Houdin by a spectator (magic enthusiast?), from the conjurer's archives.

Rosebush.

Another drawing from the same amateur series,

grotesque, shiny, varied, and bedazzling as the diverse subjects and landscapes that he alternately shows before our eyes. M. Houdin is so rich in marvels of all sorts that he gives as a simple intermission, as if it were just something trivial, a sort of exercise that would alone make the fortune of any other conjurer, so incomprehensible are the results he obtains. We refer to his second sight interlude, in which his young son, whose eyes are covered with a thick blindfold, can clearly distinguish objects. He names them, indicates their color, shape, destination, and the material of which they are made; he tells the exact time of a watch; yesterday, he stated how many cigars were in a closed case; he sees and designates even more astonishing things. We do not need to say that we do not believe in second sight. However, yesterday we saw things that could make a reasonable man have doubts if the experimenters themselves did not admit that mesmerism has nothing to do with the masterful effects they produce.

And to come show himself to be the rival of these renowned diabolical, satanic, and cabalistic men, it is necessary not only to show oneself their equal in the art of magic and wizardry, but also to prove that one is even more diabolic; and this is a proof that M. RobertHoudin, who will before long exchange his name for that of Robert-le-Diable, has no difficulty in producing. But do not think there is any trace of Beelzebub's ugliness and rudeness in M. Houdin's character: far from it. M. Houdin is a lion-conjurer, elegant, a charming speaker, skillfully launching compliments to the ladies and especially knowing how to continually please his audience. M. Houdin's show is so varied that we are having a difficult time giving a description. Should I speak of his sleight-of-hand tricks? This is something with which he astonishes. His automata? They are little masterpieces of perfection and truth. His phantasmagoria? Nothing is so graceful. 2-74

ACT

We will make another general remark on the skillful conjurer's theater and his experiments. All his instruments are elegant in shape, shiny and glowing as in an silversmith's shop. In his feats he not only surprises and astonishes the public, he pleasantly amuses sight and imagination through the elegance of his words and deeds. He works with lovely turtledoves, as well as charming birds, sweet-smelling flowers, fresh bouquets, bushes that bloom and produce fruit before your eyes, candies, favors, and sugary liquors, parfait amour, anisettes, even eau-de-vie - for certain enthusiasts who actually seem to enjoy this drink - and all this is fresh and appetizing. They smell lovely and are distributed with an abundance and eagerness that should win M. Houdin the esteem of gourmets both old and young. They will hurry, we surely believe, to make a first visit to ascertain whether or not we speak the truth, and a second visit to thank him. We will conclude by saying that the lovely Gymnase hall was well garnished and that the public seemed to be having quite a pleasant time. For each of their feats, M. Houdin and his son were met with unanimous bravos. In issue no. 169. Le Liberal Liegeois of Friday, July 17 saluted the arrival of RobertHoudin in its city and published the following account: People frequently discussed M. RobertHoudin before his arrival in Liege; now that he has given a first performance and it has fulfilled all expectations, we have the right to ask the reader to believe us in all the details of our account of this artist, unless he wishes to go see for himself. At first sight, M. Robert-Houdin does not seem to be different from the antique category of ordinary conjurers. Like them, he walks about in a very complicated and brilliant laboratory. He has before him all the tools used by all traditional magicians: tables with draperies, trunks, vases, magic wands, mirrors, etc. He even has the appropriate joke and pleasant anecdote to distract his spectator and relax him

III

at the crucial moment of the trick. But his sleeves are not rolled up. This is alarming; however, it does not prevent him from carrying out his tricks with great skill and being applauded by the entire room, including Father Gourtois, the prince of the pass and the cup whose competence in this matter cannot be disputed by anyone. Moreover, the performances are pleasantly varied by the exhibition of mechanical pieces of admirable precision; this is no longer in the area of magic, it is true, but that of mechanism. It is still very interesting. We espe-

Jf

L'Oranger.

LORANGER.

Chaque soir je Beuris, Et mes fleurs embaumees Sont tranformees En fruits exquis. Venez, gentils enfantsdont l'essairn ro'environne. Puisse-je par mes dons vous rendre tous heureux! Venez, regalez-vous de mesfruitssavoureux, En attendant que ma fleur vous couronne. Robert-Houdin Illustrations 356 and 3S"7 - The Mysterious Orange Tree. Engraving and poem taken from the Album des Soirees Fanlastiques de Robert-Houdin au Palais-Royal.

ROBERT -HOUDIN

cially noted the namesakes of two famous artists, Auriol and Debureau. The first of these automata does gymnastics with incredible skill, and the second, who is carrying him on his head, lent himself to the game with a complaisance and stamina deserving all our compliments. The cooks of the Palais-RoyaZ [sic] then received an enthusiastic welcome: marvelous cooks, three inches tall, bring on a silver platter, according to your wishes, flowers, brioches, glasses of rum and anisette [sic], silver sugar bowls, and golden thimbles! Let us also mention the phantasmagoric paintings, after which we can leisurely discuss the long sight [sic] experiments. At this point M. Iloudin works with no preparation — unless we consider the quick word of warning that he laughingly whispers to the audience between two feats: "Sirs, you will perhaps think there is something supernatural in all this. Do not believe it. There is nothing as simple and ordinary as my secret; and if it were not my secret, I would take great pleasure in sharing it with you now, so guess - there are many possibilities. It is not mesmerism, Dieu rnerci! It is less than that or more. However, as opinions are free, I will not in any way prevent you from thinking that it is mesmerism. And, as a matter of fact, why wouldn't I use it?" This little speech put the audience at ease, which means it redoubled its attention. M. Houdin takes his little boy, a child of about twelve, blindfolds him, and, moving away, leaves him seated on a chair in the middle of the stage in total isolation. He asks the audience to give him different objects, the first thing out of one's pocket - watches, rings, change - and the child minutely and instantly describes all these as they are handed to his father. With incredible ease, he carries out complicated calculations with numbers he has divined, such as the year of a coin. This is not all. He even gives the hour and minute of a watch with a mocking self-assurance, as well as the name of the watchmaker engraved on the case; he names the different flowers of a 276

on la Clochette mysteHeuse.

LASEGONDEVUE, on la Clochette mysterieuse. Diable, mon cher ami, si votre ceil penetrant Devine ainsi malgre le foulard qui le voile, Savez-vous qu'on pourrait hesiter en entrant? Rassurez-vous, Messieurs, sur ce que je devoile: Mon pere, en me donnant ce talent precieux, Pour votre seul plaisir voulut en faire usage, Et ne double le pouvoir de mes yeux Que pour vous charmer davantage.

Illustrations 358 and 359 - Second Sight. Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

bouquet, he designates the nuances of color of a carnation, etc. He does this from such a distance that this extremely precise and quick telegraphic communication between RobertHoudin and his son astonishes us. We say telegraphic, because the marvel must work in one way or another. This explanation is as good as the next, since mesmerism is not used. The child is not at all asleep and is the most alert child imaginable. What confidence! And above all, what speed! The answer comes almost be-

ACT

III

fore the question is asked and without any delay. There is never any hesitation or error. This experiment, which M. Houdin calls long sight [sic], is definitely the most interesting of the performance. This feat alone could attract a crowd. We were not yet suffocating in the Salle de Gymnase, but patience: this will soon be the case. For some time prior to the arrival of RobertHoudin in Liege, the fairground conjurer Louis Courtois, [25] a native of Belgium, was already performing in this city. Here is the tone of one of his advertisements: Grande Loge — Place de l'Universite — Sunday and Monday, 12 and 13 July. The last two PERFORMANCES AND DEFINITIVE CLOSING.

M. Gourtois, the father, and his family will have the honor of giving one of the loveliest evenings in all that the art of Conjuring and Prestidigitation has to offer. These performances will be varied with English juggling and balancing. The show will conclude with Grand Historical and Roman Paintings. Several Views of Paris, Rome, and London. 8 o'clock sharp.

Illustrations 360 and 361 — Louis Courtois, known as Papa Courtois.

Louis Courtois seemed to have much trouble doing business in Liege, and in spite of the publication of new, intriguing advertisements wherein the conjurer promised a 'Soiree Mysterieuse" and "Indian Juggling" or even "hydraulic lights and diamond lights," the public ignored his "Grande Loge. " RobertHoudin, once made aware of his Belgian colleague's difficulties, offered his help, a generosity that he would show unfortunate colleagues throughout his career and retirement. In La Tribune de Liege of Thursday, July 23, we can read the following advertisement: M. Houdin and M. Courtois

M. Courtois and his family have given many conjuring performances in our city; although M. Courtois and his son have remarkable talent 277

ROBIRI'-HOI DIN

and skill, they could not attract a crowd large enough to cover the expenses incurred by the construction of a theater at the Place de l'Universite. This father is now nearly in a very unfortunate situation. M. Houdin, who is also a conjurer like M. Gourtois, but whose performances have been well attended from the first day, wants to come to the aide of his colleague by performing for his benefit. The show will take place tomorrow at the Theatre du Gymnase. M. Houdin's skill has up until now sufficed to attract a large crowd to the Gymnase; we hope that this skill, linked to the pleasure in doing a good deed, will allow M. Gourtois to make up for his losses. It will be even more interesting to see M. Courtois and M. Houdin working together, which seems quite possible.

M. Houdin - Closing Bills have announced the definitive closing of M. Houdin's performances. Hey, M. Sorcerer, you have forgotten your host. Do not think that the public of Liege will let the father conjure himself away as he does his son. This is not so; when one works before such a large audience, when one makes them laugh for an entire evening, it becomes impossible to just leave; although you are superior in talent, skill, and whatever else you please, to the numerous conjurers that we have seen until now, you must stay true to tradition, as such; we will announce the closing, then the definitive closing, and then the definitive, absolute, and final closing; you are only at the closing stage, so you owe us two performances; be-

Following this article, the conjurer Louis Courtois wrote: IMPORTANT ANNOUNCEMENT

In spite of all the goodwill and efforts that M. Gourtois and his family have devoted to their performances, this artist has found himself with little success and great woes. M. Robert-Houdin, having heard about his difficulties, has offered to give a performance for his benefit on the 24th of the month at the Theatre du Gymnase. M. Gourtois, father, and his family hope that the public of this city will deign to attend this humanitarian act, which exceeds all praise for its very deserving benefactor. Greetings and respect, L. Gourtois, Belgian conjurer.

This generous gesture helped the Courtois family out of an awkward situation and won only more praise for Robert-Houdin from the citizens of Liege. La Tribune de Liege of Tuesday, July 28, announced the closing of Soirees Fantastiques de Robert-Houdin for the 30th in warm and humoristic terms:

6/MCH

Illustration 362 - Disappearance under a giant cup. Engraving from Delion s work (op oil)

278

ACT

cause three minus one equals two - ask your cabalistic clock that calculates and adds like Bareme. Readers, you must know that these reasonings and calculations have completely destabilized M. Houdin; his skillful pastrycook, who was about to turn off his oven, is now heating it up even more, and is waiting for you with fresh, hot buns; his ice-cream maker is making new syrups and lemonade ice cream; Auriol and Debureau are ready to recommence their exercises; and M. Houdin will now show you how he vanishes size 48 balls in a hat, how from a simple scarf he makes enough feathers come out to decorate a whole company of national guards, enough candy to feed an entire army of gourmets, and finally bouquets for each of the ladies who agree to come and add yet another attraction to the conjurer's final performance. The second-sight exercises between M. Houdin and his son will be performed for the sixth time, and for the sixth time the audience may experience the same astonishment, still without being able to understand the means by which the father and the son communicate. Bring the most bizarre and unheardof things to try to fool the two sorcerers; you will be doing us a favor because we have tried and failed. Remember: the last performance is Thursday. Spread the word.

Once back in Paris and after a short break "dedicated to the development of new experiments," Robert-Houdin reopened his theater at Palais-Royal.

III

Le Foulard aux Surprises.

LE FOULARD AUX SURPRISES.

Dans les secrets replis de ce tissu soyeux Sont caches, j'en eonviens, objets de toute sorte; Evenlails, souvenirs, fleurs, bonbons savoureux; Pour nos desirs enin il n'est rien qui n'en sorte. Mais pourquoi devant vous etaler ses vertus? S'il remplissait de fleurs des milliers de corbeilles, Mesdames, ces bouquets seraient-ee des merveilles? Ce ne serait ici que quelques fleurs de plus,

Robert-Houdin.

Illustrations 363 and 36 1 - The Surprising Silk Handkerchief. Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

ROBtRT-Hoi DIN

Illustrations 365 and 366 - Souvenir fan of Soirees Fantastiques, 1845.

280

ACT

III

InL Promotion and Advertising Tradition has always required that famous tricksters and conjurers offer little gifts to their audience: candy magically produced or offered in a raffle - Philippe's specialty or flowers or little bouquets for the ladies the specialty of M. Comte. Robert-Houdin maintained this tradition. He gave his female spectators bouquets and treated the public to his cakes and sorbets and the generously dispensed liquors of The Pastrycook of Palais-Royal. To these perishable gifts he wanted to add souvenirs of his performances for the audience to keep and show to their friends. The Horn of Plenty apparatus, a sort of truncated horn with a handle, which could be opened vertically to show that it was empty, provided him with an opportunity to do so. From this apparatus, first shown empty, Robert-Houdin produced advertising fans; the "Quadrilles

PRIX DE L'ABONNEMENT.

Brilliants" of Adrien Le Carpentier containing the musical scores of his routines; illustrated souvenir albums describing his effects; mini-biographies decorated with his portrait, written by Eugene Hatin; and copies of his humorous newspaper Le Cagliostro. Robert-Houdin generously distributed these "promotional" gifts to the audience. On the fans and in the albums were printed little rhymes from the hand of the master himself, who was also "editor-inchief of his newspaper. We must also mention the fake 500-franc bills - printed on thin pink or white paper decorated with beautiful engravings bearing the words "Banque des Soirees Fantastiques. Come see us five hundred times" - used in The Shower of Gold effect and copied in the following decade by the conjurers Adrien, Loramus, and Courtois, and later by the

INSERTIONS,

e^j

S3 1 fr. 50, 3 ft. ct ltr.,ad hbilam

Qncstpridd'affranchirleshUres, si Von lie profile ks adresser

En s'abonnant, on recoil comme VRIHE GRAiHITB

I.es puffet reclames b haute prcssion sont seuls admis dans co Jonnial.

I'espoiV fie

recevoir Uft numdt'o du Journal

tltA>CO.

(N«»,»»...„.J»«w«e-Pen.)

Journal,les E

LI

lie Redacteur previent qu'il n'est pas timbre Illustration 36T — Le Cagliostro, Robeit-Houdin's humoristic newspaper

281

QUftl

PAR

Dl^

(le journal).

ROBFRl-HOCDIN

Illustrations 368 and 369 — Souvenir fans of Soirees Fantastiques, 1846.

282

Aci III

magic dealer Andre Voisin, as well as the "Cartes du jour' proposing sweets made by the mechanical pastrycook and confectioner. The production of these souvenirs, as diverse as they were charming, and whose presentation and quality were particularly meticulous, continued from 1845 to 1852. Robert-Houdin also had Pruche design a small lithograph depicting eighteen of his effects from the 1845-1846 seasons and another spectacular one from the same period depicting the conjurer with one of his sons onstage at his theater with his automata. A very large lithograph, done by Leon Noel, dated from 1848, shows him full length surrounded by symbols of his main disciplines: conjuring, watchmaking, and mechanism. There was also a bilingual souvenir album, a memento of his first seasons in London in 1848 and 1849. illustrated by engravings different from those used in France. Finally, specifically to publicize Second Sight, Robert-Houdin ordered from a famous sculptor, Jean-Pierre Dantan, known as Dantan the younger, a small statue depicting his son Emile during this routine.

ROBERT-HOUDIN ( i FAR EUGENE HATIN. Extrait du Feuilleton da Journal le Constitutionnel

Illustration 371 — Biographie de Robert-Houdin by Eugene Hatin.

ROBERT-HOUDIN

ROBERT-HOUDIN

Illustration 370 - Quadrille Mignonette Fantastiques de Robert-Houdin

des

Soirees

Illustrations 3~2 and 3^3 - Volumes I and II of the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

283

ROBERT -HOUDIN

Illustration 37-i - Emile RobertHoudin in Second Sight. This small "promotional" statue is the work of Dantan the younger. (Chateau de la Ville de Blois)

Illustration 375 - Letter from Robert-Houdin to Dantan. 284

An III

During his tour in Belgium, the conjurer wrote to the artist:

we agreed, in as many stores as you can. Please accept my friendly regards.

Paris, April 25, 1846 My dear Dantan Gould you please deliver six small statues to me as soon as possible? I must send them at once to Brussels because they should be there at least three weeks before my arrival. Independently, you may place some in Paris as

Your devoted. Robert-Houdin [26]

Through the years, Dantan became a close friend of Robert-Houdin and we will have many opportunities to discover their relationship.

Illustrations 376 and 3""" - Seances fantastiques de Robert-Houdin. Cover and title page of the extremely rare English souvenir album of Robert-Houdin's soirees at the Saint James's Theater in 18i8-1849

ROBERT-HOUDIN'S

S PERFORMED BEFORE

Sffiffi SSSSff

SS!E£.®n8>!BS

THE QUEEN, HIS ROYAL HIGHNESS PRINCE ALBERT,

ROBERT-HOUDIN.

THE ROYAL FAMILY*

ST. JAMES'S THEATRE,

1843 & 1319.

285

RODFRl -HOUDIN

^ | U M Parsons au tour4e carte. - Toyons,mademoiselle, me tos-j«?ic»J^J^ line cartere*3u^«^sa^^.*yiwi;j Kem11 (& iu>uiw ei^aufc.) Surlafoi lafoi de vos paroles je crois aumajnetisme . a a m m a l mats mademoiselle peut fairemieux que cela' «#MXiuu, i Sansdoute.etla preavelavoici - Mademoiselle,Yeuillez weciserla carte.- ( t ^ t . ) C'estleroi ie ma.- [Wmm dwwt savmt w t Usu^Uft^limlk TOWHU m w . ie \fti\ (taibagwieaeu..) Tetais stir gue le sujet eprotLYait des centranetts: ( i elle apftrdula carte Y05 tours.. YQs lours... sont ra ra, yissants" |««.o«j*t.rDieu gue ca m'eabete!'

Illustration 3~8 - A demonstration

of mesmerism.

(Georges Promt collection)

286

ACT

III

The Fortune-Teller Alexis Didier the result of their demonstrations depended more on the procedures of the art of magic than on powers from beyond! [2s] The Marquis de Mirville was a knowledgeable and influential man, impassioned by spiritualism, mesmerism, and spirit manifestations. He wrote several volumes on these phenomena, and we also find this same form of gullibility in certain contemporary scholars, who support the reputations of our current parapsychologists.

Magicians have always had a variety of attitudes regarding so-called paranormal phenomenon. The majority, who claim to have no supernatural gifts, are justifiably skeptical. There have always been artists who publicly denounce the procedures and schemes of certain individuals who falsely claim that they have gifts or powers from heaven or hell. Although we might consider these law-abiding illusionists to be beneficial to the public by rightfully denouncing certain abuses, at times they come close to treachery when obliged to reveal to the public the procedures used in the context of a performance. During Robert Houdin's era, mesmerism and mesmerizers gave rise to great controversy and divided the scientific community. Although Robert-Houdin never spoke publicly about this subject, in private he could not refuse to give his advice to acquaintances who asked him about these phenomena. The position of arbitrator and expert becomes very uncomfortable when one is acquainted with both parties. Here is how Robert-Houdin chose to get out of one of these delicate situations, in which the protagonists were the Marquis Eude de Mirville, the medium Alexis Didier, and the mesmerist Marcillet. Alexis Didier and his brother Adolphe [27] were fairly successful nineteenth-century mediums. They performed for wealthy individuals who sometimes became their protectors. Marcillet, who then had the job of road contractor on Rue de la Grange-Bateliere, had the role of "mesmerist" and presented "his subject" Alexis Didier, who was then a clerk in his company. It is unnecessary to tell the readers that

ALEHS. Illustrations 3"9 and 380 - The medium Alexis. Frontispiece engraving and title page of the work by Henri Delage.

28"

ROBERT-HOUDIN

are harmless ones. Confronting De Mirville with his errors and publicly unmasking the two protagonists would create a mini-scandal that would shame his host, whose only fault was being blind and content to be so. Diminishing the marquis in the eyes of his peers would not have increased Robert-Houdin's prestige and would have gained him unwanted enemies in the scholarly set who shared De Mirville's opinions. Robert-Houdin therefore chose to make a judgment worthy of Solomon, saying that both sides were right. These two performances were a succession of "impossible" predictions and "miraculous" revelations, all in the great tradition of the thousands of "undeniable" accounts that can be read about in abundant "spiritualist" literature. The attestations given to the marquis after Alexis Didier's demonstrations with Robert-Houdin as an accommodating spectator are not to be taken at face value because their conclusions are masterpieces of irony. The conjurer probably did not imagine they would be published one day. [29]

LE

SOMMEIL MAGNETIQUE EXPLIQUfi

PAR LE SOMNAMBULE ALEXIS EN ETAT DE LUCIOITE,

PAIS HENBI D E L U G E .

PARIS E. BBNT0, LIBKAIRB-fiDITEUB, SUXMS H'OmMSS, 13, PALAKi-l;OHI,.

1856 Dtoils to Mfraduotioa et da tadittton risowfc.

Naivete was obviously not unique to nineteenth-century scholars. On May 3, 1847, the Marquis de Mirville asked Robert-Houdin to observe a demonstration by the medium Alexis Didier, which was followed by another seance a few days later. We do not know if Robert-Houdin knew Alexis, but we have discovered that the conjurer had a good relationship with his mentor, the ''mesmerist" Marcillet. Robert-Houdin was in an uncomfortable position because if he enlightened De Mirville, he would ruin the reputation of his "colleague," whose livelihood depended on these demonstrations. Robert-Houdin, as an astute psychologist, also knew that the public rarely forgives someone who shatters their dreams and fantasies, at least as long as they 288

May 4, 1847 ...Although I can hardly accept the praise M. de M... so kindly grant me, and above all hoping my signature will show no bias in my opinions for or against mesmerism, I cannot, however, avoid stating that the facts recorded above are entirely accurate and that, the more I ponder, the harder it is for me to place them among those who are part of my art and work. [!] Robert-Houdin. Here is the conclusion of the second: I have therefore returned from this seance as dazzled as I could be, and convinced that it is impossible that chance or skill could produce such marvelous effects. [!] Robert-Houdin.

It is agreed that neither "chance" nor "skill" played any part in these effects, and that the author could also write, without contradicting

Acr III

demonstrated by Daniel Home." It is true that the famous American medium had become the favorite of the imperial couple. In conclusion, here is the opinion of an expert in these matters, Alfred de Caston, in his work Les Marchands de miracles (The Miracle Merchants) (Paris, Dentu, 1864):

himself, that it was impossible for him to "place them among those who are part of [his] art and work!" On these two evenings, the conjurer, who had promised himself to never again be a confederate, became one again against his will. A few years later, Marcillet, having fallen into dire straits, wrote to Robert-Houdin to ask for help, which he generously granted. [30]

We have seen all the mediums from M. Lafontaine and M. Lassaigne to M. Marcillet. We have attended the seances of Miss Prudence, Alexis, and twenty other extra-lucid somnambulists, and we can assert that if by chance a glimmer of truth came to enlighten us, we always returned to the domain of conjuring.

This refusal to condemn "colleagues" was also the way that Robert-Houdin's family acted. His brother-in-law Hamilton publicly defended the Davenport Brothers in the press while Robin unashamedly revealed their tricks to the press and on the stage of his theater. Moreover, Robert-Houdin's friend Moreau-Sainti, before Napoleon III, "wisely" agreed "that there were no usual conjuring techniques in anything

The greatest conjurer-mechanician of our time, Robert-Houdin, in creating the anti-mesmeric double sight, has unveiled and multiplied the resources of mediums."

ALFRED de CASTON Illustration 381 - The medium Daniel Dunglas Home.

Illustration 382 - Alfred de Caston. Portrait by Etienne Carjat

Photographed by Disden.

289

ROBERl-HOUDLN

Illustration 383 - The Ethereal

Suspension.

(JHarry Ransom Humanities Research Center, University of Texas. Austin)

290

ACT

III

The Ethereal Suspension In 1847, several feats enriched the repertoire of Soirees Fantastiques: the new versions of The Fantastic Portfolio and The Aerial Clock, accompanied by its crystal bell; Antonio Diavolo, the trapeze acrobat; The Transparent Cashbox; and the extraordinarily renowned Ethereal Suspension in midair. The latter, the most sensational illusion of its time, was shown to the public at the beginning of the 1847-1848 season. We must remember that the invention of ether and the possibilities this product offered the field of medicine were an important topic of discussion for the artist's contemporaries. As a preamble to his experiment, Robert-Houdin spoke about one of the new characteristics of ether that he claimed to have discovered. His younger son, Eugene, then came onstage and his father had him breathe the fumes from a fake bottle of ether for a few seconds. Simultaneously, backstage, the stage manager poured a few drops of ether onto a hot shovel and the smell flowed through the theater, momentarily transforming the atmosphere of Soirees Fantastiques into that of a hospital, a perfect example of intellectual and olfactory misdirection. Eugene began to "fall asleep," and the conjurer placed a cane under each of his arms to support him. Robert-Houdin then took away the one under the left arm and raised his son's body parallel to the floor, leaving him seemingly suspended in midair with the only point of contact being the cane under his right elbow. For the first time, a body remained miraculously suspended in midair on the stage of a theater, until the artist decided to break the spell and bring

his son back down to the floor for the final curtain call. Here is an article from L Illustration of October 16, 1847 giving an account of the performance illustrated by an engraving of the Ethereal Suspension: And since we are still listing the entertainment for the week, how can we not give an honorable mention to Robert-Houdin's skillful tricks? L'lllustration offers a reproduction of one of his marvelous feats: the son of Robert-Houdin lying in space in a horizontal position. What is supporting him? An occult force, a genie no doubt, who is none other than his own father. The wizard Merlin, the ingenious Paracelsus, Swedenborg, Bosco, who effortlessly conjured his world, even Gagliostro, the man with the marvelous flask who brought back the dead, were not greater sorcerers than Robert-Houdin. This one knows all your secrets; the present and the future hold no mystery for him; he is endowed with a divinatory instinct that never fails him; the malicious imp of magic has subdued the invisible world before him. I am not talking about objects that change places and pockets all by themselves upon the magician's command, nor of candles that walk, nor portraits that speak; we will also remain silent about the surprise of Second Sight and the miracle of the multiplication of flowers; I will speak no more about the unique bottle from which flow liquors of every color of the rainbow: blue, white, yellow, black, and green; but every evening an adoring crowd fills the theater: to what trick do we owe this? And every evening this admirable Robert-Houdin makes gold with a flask and a pack of cards. Find me a greater sorcerer! The resounding success of The

Ethereal

Suspension created so many plagiarists that

291

ROBFRI -HOUDIN

Illustration 384 - The Ethereal Suspension. From Llllustration. October 16. 1847.

his reasons as their contents are particularly fascinating:

Robert-Houdin, in 1849, after his return from England, created a new version so sophisticated and perfect that it was never copied during his entire artistic career. Some of Robert-Houdin's audience took the routine literally and sent letters, the anonymous ones especially indignant, scolding him for endangering the health of his child. The author writes in his memoirs that he preciously kept these letters, two of which are still part of his archives. We understand

Many people went on Thursday to M. RobertHoudin's and readily admitted, as everyone else does, that never before has anything so extraordinary been seen in Paris as M. R.-Houdin's performances. But one notes with curiosity and displeasure the etherization of his young son. It has been requested that this experiment be discontinued, otherwise it will promptly weaken and kill this child. This unfavorable impression remained even after the end of the show; on the stairs, many 292

ACT III

said that the police should prohibit the final experiment and that they would surely do so if it were reported to them. Everything that M. Robert-IIoudin does is strange and extraordinary enough for him to cease this feat because he creates a painful feeling in general and elicits true concern for his child, and one may assume that either M. Houdin does not realize the harm he can do to him or that he is sacrificing him to increase the interest in his show — which is impossible to think. Since yesterday, many people have made the

same remark about M. Houdin's young child.

Here is the second letter, dated January 23, 1848: Sir, I attended your performances last year and they so charmed me that I wanted to return this year, and recommended to many your astonishing and interesting performance. But Sir, I must frankly tell you the unpleasant and painful impression that I and many others had concerning the ethereal suspension of your son, which you

s

I Ft*

iii

H

WE

Le Carton de Robert - Houdin.

I.E CARTON DE KOBERT-HOUDIN.

Par un expedient nouveau, De ce mtsme carton je tire L'air et le feu, la terre et Feau; Mais dans ces 616ments que je lui fais produire, Dans ces difficultes dont je me fais un jeu, Lea yeux les plus penjants n'y verront que du feu.

Illustrations 385 and 386 - The Fantastic

Portfolio.

Illustrations 38" and 388 - The Ball of Wool.

Engraving and poem taken from the Album of Soirees Fantastiques de Robert-Houdin au Palais-Royal

Engravings taken from the work by Delion (op cii )

293

ROBERT -HOUDIN

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LE CARTON ROBERT HQUDIN

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Illustration 389 — Robert-Houdin's Ethereal

Suspension.

This bill — unique and unpublished - dated Friday, March 1". 1848 is the second earliest French bill of Robert-Houdin still preserved today. (Jacques Voignier collection)

return despite the intense pleasure you gave them, because of this experiment. Believe me, sir: this feat can please only the vulgar or the heartless. I must also tell you, to speak of a lesser point, that the smell of ether that spread throughout the theater caused strong headaches to a few people, which is yet another reason for them not to return. I hope, sir, that none of these remarks will displease you, because they are dictated by the

felt you had to add to a program which, before, left nothing to be desired. I am telling you, sir, in your interest and in that of humanity, that you are killing your child little by little by etherizing him in this way. The life of this child does not belong to you, and God, who gave him to you as a blessing, will make you pay a terrible price. This child evokes concern as soon as he enters onstage with his look of suffering, and many people, seeing him etherized, said that they would not

294

ACT

concern that I have for your child and for yourself because of all the pleasure you have given me.

III

Aren't these letters worth the most laudatory press reviews for a magician? By preserving them, Robert-Houdin seemed to think so.

Wht&ttt &o$al, <&totlttntoxm. anager has the honor to asmoimefi that be has engaged thtt celebrated Ariist

11 Diavolo Antonio, For this ONE

MIGHT

Only,

When lie will Perforia bis Wonderfnl Evolutions on the

COllDE On TUESDAY, December 7, 1830, Will he presented, the interesting Comedy of

The BIRTH DAY Cut. Vartnii, Mr.DANBt H», J. W4TSOK—' Burr; florinm, Mr.BLVIK J«okla»k, . . . . Ur.Butna, -.»• «»• JOHKSTOff & lanjei Circuit, . , Mr. ADDIBOK H n . l b n l , . . . . Hn. BAHBT-——km*, . . . . Mm,JOHSSTONB

Emma Bertram,

Jue Voltigeur au Trapeze.

Miss K, WATSON,

H « first appearance on thil St»i;6

— — » » • • » >i^Sfr •>«>»••«—— ifternhioh,

IJL » I A V O t O

AMTOTVIO's

Pcrfotmanee on the

LE VOLTIGEUR AU TRAP±ZE.

CordLe Volante. , tba Interlude of

Hr.Bahu'0 llr.ADPBOH Hn. Bolrnmo, Mn. JOHNsTONR Bose, Mu. BANBT Hoiiict,

Avec ardeur lorsque je me balance, A vos bravos, Messieurs, c'est pour donner l'elan; C'est pour atteindre a votre bienveillance, Dont je serai toujours le zele partisan, Plaire, amuser, c'est ma devise, Et mon d6sir est, chaque soir, En me quittant que chacun dise : Au revoir! au revoir!

Mijs K. WATSON

To wmolniJe with t?ie Farce of—The

VILIiAGE LAWYER. SDflBS.

fthe CjRwysr) Mr, ELV1N—.

Wsooot

Simrl, K r D4>iBY—-ChiLrteii,

Mr«. BASBT

Kate,

Mr. ADQISON

M™. JT, WATOOir

BQS98 Fire SbiHinge —PitTwo Shillings and Sixpence—Gallery One Shilling (mil Sixpence, Second }'riceat9, Boxes 8s. —Pit l8,6d.—Gallery i s . Tlftces for the Boxes to be takeo withTickets to secure them at the Theatre,Catribray Colon nadtf, from ten o'clock rmtil four,——Servants mast attend to Jieep Places on opening of the Doors, which c&rjaot be retained after the 1st. act is i>ver bn&by the Parties occupying them Poors to lie opened at hal&past six o'clock to begin precisely at twenty minutes past sera* Snenton. ketter-pw* Rnrl Copper-plate Printer, Rose and Crown Passage,C&efteo&ara

Illustrations 390 and 391 - Antonio

Diavolo.

Illustration 392 — // Diavolo Antonio.

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

Robert-Houdin lo\ ed to gi\ e his stage automata famous names, like the clown Auriol or the mime Debureau. He therefore chose for his trapeze artist the pseudonym of this famous acrobat of the early nineteenth century.

295

ROBF.RT-HOLDIN

a- 8u«oo. Shu* tc Sfe

m

Jj*it«u»ii)«_/

•

j<^v

fvute~<e/-

Illustrations 393 and 39^ - Moreau-Sainti's "Philomagique" show. Decree of the police chief authorizing the opening of theater in the Passage de l'Opera dedicated to conjuring and sleight-ofhand performances by Robert-Houdin's friend Moreau-Sainti. (Archives Rationales)

ACT

III

Moreau-Sainti and Andre Voisin Following the opening of Soirees Fantastiques, there were few new shows dedicated to conjuring and trickery in Paris. We must nonetheless note those of Lacaze, "who had just set up a location in Marigny, and of Moreau-Sainti, [31] who obtained authoriza-

tion to perform in the Galerie du Barometre. Passage de l'Opera, Boulevard des Italiens, in the former Polyorama theater, and to create an establishment called Spectacle Philomagique, with a capacity of approximately 250 spectators. If we focus specifically

7/

29"

ROBERT-HOUDIN

atrt/. t'l Me //rt'/ •rtyfi-. tmd i/enwit/f*/ »// ii tiilfU'til

Illustration 395 — 1853 poster for Aubert, manufacturer of conjuring apparatus. (Georges Proust collection)

ACT

on this artist, who was a member of the Opera-Comique for twenty years and at that time was a professor at the Conservatory, it is because he wras a close acquaintance of Robert-Houdin. Moreau-Sainti had formed a club for enthusiasts of conjuring and Physique amusante in 1840 called the Cercle Philomagique, of -which Robert-Houdin was most likely a member. [32] it -would seem that the conjurer helped Moreau-Sainti compose a show with a few similarities to his own. Of particular note are the feats of Second Sight and The Aerial Slumber performed in "new ways." Furthermore, Moreau-Sainti's Spectacle Philomagique opened only after Robert-Houdin's departure for England. Here is what Robert-Houdin wrote about him on page 81 of The Secrets of Conjuring and Magic:

PRIX D ABONNEMENT !

CHARLES HAUMCE, t i m t n n ,

13 Ft PAR TRIMESTRE.

FAUBOURG-M0NTMARTRE, 13.

LITTERATURB.

BEAUX-ARTS.

III

COUREUR DES SPECTACLES. — Soirees-Orientates, boulevart Montmartre, 10. Depuis la reouverture, la foule se presse dans los salons de cet 6lablissement, Les pieces mecaniques de M. Voisin sont tres ingenieuseset captivent l'attention du public. Le Yolligeur aerien de M. Lambert est d'une rare perfection. Les demonstrations du Telegraphe electrique et les experiences du Chloroforine, parM. Lonnier, sont tres suivies. Prixd'entrfie : 1 fr,

Moreau-Sainti, the well-known actor of the Opera Gomique, was a very skillful amateur conjuror. He possessed, in particular, the faculty of making even trifling matters effective by means of his patter. No one knew better than he how to conciliate popular favo[u]r by witty and appropriate speeches.

Illustrations 396 and 39~ - The conjurer Andre Voisin in Soirees Orientales in 1848. (Archives nationalesj

Electric Telegraph and the Chloroform experiments by M. Lormier have a large attendance. Entrance price: 1 Fr.

Another small show, which was short-lived, also deserves to be mentioned because its program contains the first press reference I have been able to locate of the name Voisin, who would become the most talented French manufacturer of magic apparatus in the second half of the nineteenth century. In the column "Nouvelles" from the Coureur des spectacles of January 6, 1848, which also mentions the appearance of the ventriloquist Valentin, ''The Man with the Doll," at the Spectacles-Concerts, we find the following text:

Voisin and Lambert's mechanical pieces were apparently not exhibited for long because their names are absent from the advertisement published in Le Charivari of February 16, 1848: Soirees Orientales, Boulevard Montmartre, 10. The fashion is definitely set at this establishment. M. Langlois's conjuring deserves the public's attention; the Polyorama is of a rare perfection; and finally the demonstration of Chloroform and the Electric Telegraph of M. Lormier has everyone running. Entrance price, 1 Fr.

Soirees Orientales, Boulevard Montmartre, 10. Since its reopening, the crowd has been rushing to the salons of this establishment. M. Voisin's mechanical pieces are quite ingenious and captivate the audience. M. Lambert's acrobat is of a rare perfection. The demonstrations of the

Andre Voisin, contrary to legend, did not open a store in 1834, but performed as a magician prior to 1850. In the main business directories published between 1830 and 1850, the name Voisin is absent from the listings 299

ROBERT -HOUDIN

Illustration 398 - Portrait of Andre Voisin. (Georges Proust collection)

Illustrations 399 and 400 - Photographs of Andre Voisin.

of March-April 1956 of his journal L'Escamoteur to the magic dealer Andre Voisin. In the first issue, Robelly, relying on information provided by M. Voisin's widow, estimated the date of the opening of his store on Rue Vieille du Temple as about I860. He nonetheless added that documents in his possession definitely dated the opening around 1855. In no. 57 of his journal, Robelly, using a prospectus of Emile Voisin, grandson and successor of Andre Voisin, erroneously returned to his speculations and set the year 1834 as the date of the store's foundation. This date has no historical basis and was apparently only published by Emile Voisin to make his grandfather's factory seem older than it actually was. This was perhaps not free of ulterior mo-

of mechanicians, tinsmiths, toy manufacturers, opticians, etc. He only became a maker of magic apparatus in the years 18531854 and published his first advertisement a few years later in the newspapers, notably in Le Journal Amusant and later on in L'lllustration. We will see later in this book that Robert-Houdin and Voisin had a good personal relationship. The important place held by Andre Voisin among manufacturers of conjuring apparatus during the second half of the nineteenth century deserves certain historical clarifications on points only superficially examined in magic literature. Robelly dedicated the front page of issue no. 50 of January-February 1955 and of no. 57 300

ACT

tives. The two volumes of Nouvelle Magie Blanche devoilee by Ponsin, published in 1853 and 1854, give us a list of manufacturers of conjuring apparatus of this time, and Voisin is not mentioned, just as his name is absent from business almanacs of the time: Paul Fournay, Rue Ognard, for brass and tin apparatus; Devaux, mechanician, 8, Rue Neuve-Coquart; Veuve Gallet, 9, Rue de la Tabletterie for all conjuring implements; Armand Diettenberger, 28, Rue Phelipaux, for mechanical automata and custom orders; and Aubert, 3, Rue Greneta, tinsmith for conjuring apparatus. We may also add to the list of craftsmen mentioned by Ponsin: Alphonse Giroux, 7, Rue CoqSaint-Honore, who proposed very beautiful boxes for conjuring; Delion, 7-9, Passage Verdeau, conjuring apparatus and magic sets; and Couthier, tinsmith, 24, Rue Fontaine-auRoi, fabrication of "Instruments for Physique amusante, Precision workmanship." Andre Voisin, who went into business as a "brass worker" at 81, Rue Vieille du Temple only as of 1852, therefore most likely opened his conjuring boutique around 1854, as he was among the Exposition exhibitors in Paris in 1855 in the twelfth section, number 8929. Andre Voisin won a second-place medal; here

24. RUE FONTAINE- AU ROI. 24*.

FERBLANTIER Fabrique d'Instruments Ae Physicpeamusantc.OuvTaoesde precision Illustration 401 — The conjuring-apparatus manufacturer Couthier.

301

III

ROBFRT-HOUDIN

HIST01RE VERITABLE MYSZGISN H U M , 7 I f 9 PASSlil fllDUU.

Venle d1 Instruments,

lol.T haluk-m r«vlre iosfllomet

i.sicwn DSUOM) la feu MIRIIU , y |t(*s«lr ei liii fail (ton ,1'esca-ie EAbrftincr t«rra,Urinent. cute

\1 DKUON. nommc j-rcniH-r |ibjsicien |mr l«ns |«» mafiiciciis des cmtj porlius du rnondc reams en Itrniidi- ii-iRuiiiUIco lait l.i gnerrB aits soruers fit e .iv diublca il luir nrt'iKH! dc ue ^ s c m r d c km scieiif- i|iic pour 1 a muse men t du puLHt

Lecons d'escamotage, Soirees en ville

Mts an iVnsion die/. ParafaiOKaramws. it change In son maitrc en si sitcr. tl'ofge. et allotig.iii ferule de aim tes nreillea de son profogseur

Lc PhysicUm DKUON «J nourncc ohm Mad.im IWlomago. <\m en I'nlailatu, iui
Mis in oi»i>r«ntKS3Kr Uu/ Nostradamus, il y ftilltlr '''"I"'* *l«i*"*»«i*> 'Ie ' • nmtveaux iiiilrumenta •- d<; iiiApir. (Hi's k i!i^.iii_;i i:..s s;i'. >ns i.'i lo Dianle rose. .(nil citJir ,i -:i iiinn mtc |r,;r; < h:iti;;i". iou8 les e h t t s

>lu iwrllr

M DHL1ON. pris |>ar des milieus necromermens joloux des eserciccB plus fort que les leurs. \tukni le mi -Lire a !a broehe, il ee sanve en les griwiit. &c s c n a i i t
M DKi ION fust mi *o>age dans les astrcs dine ciici Ie »olctt a qui it dfi'mtintrc ijuelqucs tours di; carles. sotipe dies la lune. J d i w u \ « urn. qiutntlM de irons cm'il Fcbousiie parson i»ou>j>r i!i,t:i.|iu! n ivviem .> lerre u clicval sin la qncu« d nne • -mmH

ta(>n,3 t|n4l frscotle a%oc sea a

11 DLLION cbangc lous ces BauvaRCsen mBtrumenls dt (ihjsiqiie iiouveyux les embaile soigaeiiiaa fnwM f •"• 1>allon J'r-Beable et relourne en l;-uropB ou d cst attendii par 20 miiliardsde petita el (ie p r a n i s 0!if[l[lls

Lft DtllO/,

i

,

ri i! S i

M OEUON, tie rctourcn Prance* ft Iniiuilos Ma«»8iii> a I'uns. |iassaKu Vtrdtau. 7 ct 9, ou il vend iK-s bun tuarehc 'kb HistrmnLtits dc plijsiqiu: jwnt-

M. DKLION iietrn.nlrc »us JHIIIBII SWX nramls ks seereiailosa stietii;*, iliunge mi dcs sjMMlaleurs tn canard ut Iui redoinie sa Tonne niiliirellL. plrtsl «|«tmo l|UBIit1te df jo»el& el Iwnlwna

H. DKLION niontrani in fattliiiitna des hisfotnsi tte manu re g ftlrfl nrt ijoiiiicniiUs SHIIS [KJin

M. DEL1ON» Ph^sieiea expert au Tribunal, rtuteur du Ma^cien des salons, du Diable rose, des Ecrans magiques, du Loto historique et geoKraphrque, etc.,etc., etc.

Illustration 402 - The conjurer Delion.

ACT

is the commentary from the list of medal winners: M. Voisin makes mainly trick tables, small chests, and other outstanding conjuring pieces. These objects, shown for the first time, reveal to the public the secrets of conjurers; all these pieces require a rigorous precision and the use of many processes in a single factory. The products shown are of very high quality. From this date on, although Andre Voisin became the supplier of a few well-known professionals, his main clients would be principally conjuring amateurs, whom he attracted with extensive press advertising.

This explains the exceptional luxuriousness of certain apparatus offered by Andre Voisin, who regularly used precious wood, mother-of-pearl inlays, and gilded bronze, etc. in his creations. The aesthetics and quality of his work seduced this clientele of wealthy amateurs, whereas the professionals preferred solid, practical apparatus decorated according to the criteria of theater props, and which was affordable. Andre Voisin did not publish catalogues during his lifetime and only a few lists, today very scarce, testify to the repertoire of the tricks he sold. None of the lists are prior to the

COMMISSION

EXPORTATION

&LECTR1CIT& —AUTOMATES. — PIECES MtiCANIQUES. — AUTOMATES Bobktes d'induction de toutes les forces. itlectro-magnetiquc. La Torpille de poche. Piles de toos systemea, notamment la Pile de salon sans odeur. La tcte du Diable suspends La Pendule mysterieuso. Le Timbre de cristal. Le Coffre de cristal. La Carafe merveilleusc. Le Coffee lourd et leger. La Guirlattde de fleurs. Le Tambour fantaBtique. La Corbeille et le plateau LeTrepied suapendu. Le Chapeeu electrique. L'Etoile aux cartes et au\ pieces. La Couronne eleotvique-. Le Tambour de la garde, automate extraordinaire fonctionnant par Veleetricite. Le Store on Tableau merveilleux

Le Paon, piece unique dans son genre. AurioletDcburau. Le Chinois. L'Arlequin sortant de ea bolte . foisatit tous les exerciees, finnant et sifflant. Le Trapezien. Le Zouave prenant In position au commandement, tirant un coup de fusil pour la colonne au guot. LeVoHigeursurlaeorde. Leocard ou le double Trapeze,piece extr&mement remarquable. Le Danaeur de cordc.. Automates divers disimt out et non, frappant sur un timbre, fumant et sifftaat. Le Singe musiciert La tete du Diable au\ cbevenx herisses, et lancant des Dnmmes par In booche.

MEGANICIEN Impasse Diihois, N* 10, DANS U. RUE DU PBBSSOIR (M^ILMONTAHT)

PIECES DIVERSES Le Gueridon a la pluie dor, sans frange, tres elegant, no parais sent pas da tout machine (nouveaute). Le Gufiridonaas cartesK(nouveaute). Le Gueridon aux 4 ou 6 pieces de 5 fr. | Biles tombent une h. une dnns uHverro(nouvcaut6.l Uueridon sur lequel on pose 8 pieces de 5 fr.; elks disparQissent uno & une, ot revionnont a volonte (nouveaul^J. Le Gueridon au^ bijou\, pifice nouvellc Le Gu6ndon aux 3 bottcs

Le G«6ndon uu toulard. Le Gu6ridon aux ehangements servant pour toutes les passes de magie. La Chaiee enchantee. permettant de faite une suite a'experiences les plus surprenantes. f etit Ecrin servant k mettre 4 ou 6 pieces do i> ir.; elies -lisparaissent une a une. (He construis ces icrins pour les mo-wes tiesdifferentespuissaMes). Bagnier magique pour faire dispjraltrc et appara!tre it volontA quolquo objet quo ce soit. Le Gliapeau et 1 Oiscnu mGcnn

III

quo. (Ce t ur est tr$$ surprerumt.) Le Bouquet aux cartes. Les4 volietes sortant d u n eha- La Cibie pour les monltes ei les pcau avec oiseau dedans. (Eacartes. ti^rement nouveau.) La Voliere des Fees, avec tourLa Maison hollandaise. niquet Le Mouhn merveilleux. Lo Filet au\ papillons L'Oranger etles Papillons. LeCarton ou JeMobiher invisible. Le Rosier et 1'Amour rapportant La Carafe mysterieusek la main une baguc. La Coupe et le Verre ou les pieLe Bouquet au*. cartes chnngennt ces anivent I'une aprfis 1'autre atoute distance. deux 1'ois a vo)ont6. La Montre changeaut d'heure. Le Chevalet photomagique. La Hour et le Vnso de cnsUl L'ojuf dc RocLa Bonle mysterieuse L Epee a la carlo LFpeea 1 oiseau. La Colonne au g.mt Lt PaBse-passt japonatt>. La Houiette m«can!
Illustration 403 - Catalogue of the mechanician Chevallier (circa 1870).

ROBFRT-IiOUDIN

PHYSIQUE AMUSANTE. SOIREES EN VILLE. —LEMONS D'ESCAMOTAGE. EXPOSITION

EXPOSITION

UxMVEUSELLE

UNIVERSELLE

185S

FABRICANT D'lNSTRUMENTS DE PHYSIQUE, SI, rue Ticillc-du-Teinple, S i .

Illustration 4O4 - Advertisement of Voisin in Le Journal atnusant, 1857. The leader will find on page 365 the document that "inspired" advertisements for Andre Voisin Chevallier, Marchal and Buffard. Antonio Blitz, etc (Collection DidlerMorea-u "MomxV

Ac i III

decade 1870-80, because they include several famous feats created during this period. Robert-Houdin knew Andre Voisin and must have liked him since he regularly sent him clients; many magic amateurs worldwide who wrote to Robert-Houdin asked him for the address of a manufacturer of conjuring apparatus. After Robert-Houdin's death, Andre Voisin commercialized simplified ver-

sions of some of the most famous of the master's creations. The incorrect date of the beginning of Andre Voisin's business activities and the fanciful interpretation of the article published on him in Llllustration in 1863 - which says exactly the contrary of what one wishes it had stated - are responsible for some of the falsehoods often published about the famous magic dealer. [33]

MAF\CHAL8t BUFFARD Fabricants

etc eJILerilc a 'Vi^ccpo&itUnt- dt^ vi X. tcow.6

3

?

CL^ccc^GkoisCte/^QJovzceS

c*v ^V

C icdvicil'-L. (ZLutoirLaLe6S-£iece6nwcanique6.(ZbeiiMerie,

CX u-towuxte^.

Illustration 405 - Catalogue of Marchal and Buffard (circa 1875).

ROBERT-HOUDIN

Le tour du chapeau, & linstar de Robert Houdin. (II sura bien malin s'il contenlc tout Ic momlc.)

Illustration 4O6 - Satirical engraving from Journal pour rire, December 30, 1848. The hat trick, according to Robert-Houdin. (He will be quite clever if he can please ever)one )"

ACT III

Revolution in France and Triumphs in England The insurrections that took place in Paris on February 22, 23, and 24 forced King LouisPhilippe to abdicate. The temporary government took two essential measures for the future: the proclamation of the Republic and the establishment of universal and direct suffrage. These important events were summarized in Le Charivari of February 25: "Paris, which woke up today a monarchy, will go to sleep a republic...'' Theater income crumbled; there was no longer interest in frivolous distractions, and civil strife did not seem to be subsiding. In spite of the reassuring announcements published by the press, Soirees Fantastiques progressively hosted more and more spectators with free tickets, generously granted by the temporary government, than a paying audience: The theater of our conjurer Robert-IIoudin continues to have its vogue and its spectators. This is because the visitors, too large in number before the revolution and who could not get a seat, have come to fill the spaces created by the current events. Skillful tricks, and the most interesting experiments will always make this theater a choice place for entertainment. [34]

Illustration 4O"7 — Robert-Houdin's seal at Palais-Royal, renamed Palais-National.

/

How does Robert-Houdin manage to fill his delightful theater every night? This problem is less difficult to solve than all the marvels he has imagined and presents in his performances. Indeed, who could resist the attraction of the curiosity caused by the tales of all those who have attended his marvelous performances? Therefore, the charming little room of Palais-National is full every evening. [35]

/

/

r;,

•«^% 6/,'.

CtJt

<

TrVV

o 'h

* --

?>l«'

A,, /«' af;

J 7

9

. * •

We can also note in passing that the PalaisRoyal, having become part of a republic, was renamed Palais-National. It was during these

/

Illustration 4O8 - Draft of an outline for a chapter of RobertHoudin's memoirs.

30"

ROBHRT-HOUDIN

troubled times that Robert-Houdin received from John Mitchell, manager of the SaintJames's Theater in London, a proposal to perform before the English public. There is no indication that in other circumstances RobertHoudin would have accepted leaving France for months at a time, but because of the political events that had drastically reduced his income, the conjurer gratefully accepted the offer from Mitchell - a man with whom he maintained a good relationship.

-

Illustration 409 - Robert-Houdin's calling card. The artist wrote on this card the following humoristic quatrain:

Amelie Charlotte Braconnier, RobertHoudin's sister-in-law, had married Charles Dominique Devillers. a binder, in October 1846. A son named Paul Michel Louis was born from this marriage on November 7, 1847. Robert-Houdin's new brother-in-law had joined the rest of the family in the running of the theater, occupying the job of stage manager in the evening. Robert-Houdin entrusted him with looking after the theater when, in mid-April, he left Paris for England, accompanied by his wife, his two sons, and the equipment necessary for his performances. [36] Robert-Houdin moved into an apartment in London rented by Mitchell at 30, Blury Street, Saint-James. [37] He could thereby easily survey the construction of his stage setting, made and decorated on site by the theater's workers, identical to the one at Palais-Royal. Robert-Houdin performed at the Saint-James's Theater alternating with troupes of French actors three nights per week, every Tuesday, Wednesday, and Saturday. His great success quickly forced him to add matinees to the evening performances, which were already overflowing.

/ must here confess Often I have cursed the charm Which forces me to cause myself harm If I try to getridof my adresse [Skill]

The terms in which the English journalists announced the conjurer's arrival in London clearly prove that they were in no way unaware of Robert-Houdin's plagiarists, who had begun to flourish in London. We will return to the origin of this "mystery" later:

Illustration 410 - The Saint James's Theater.

308

ACT III

t

ROBEBT-UOUOIN'S SOI KICKS FANTASTIQUES.

Illustration 411 - Robert-Houdin at the Saint James's Theater in London. Engraving from Illustrated London News. Ma> 6. 1848.

309

ROBLRI-HOLDIN

Robert-Houdin - St. James's Theater — This celebrated professor of blanc magic, whose extraordinary and marvellous performances have, for the last four years, attracted all Paris to the Galerie de[s] Valois [sic] in the Palais-Royal, is announced to appear at the St. James's Theater, on Tuesday evening next. The great success and renown which this gentleman's performances have attained have given rise to hosts of imitators, who base their pretensions to success on being able to copy more or less closely the inventions of his genius. M. Houdin is as eminent as a mechanician as he is adroit and skilful as an escamoteur. We predict for him a great success.

M B . MITCBKL£ seas t o ANSQOHCE THAT

THE CELEBRATED

ROBERT-HOUDIN (MBMBBB DE FLUSIBUBS SOCXfiTfiS 8AVANTES.) A w » bU GaMr* A Fa&w, Palm Segal, Paru, IS EHGA3KD TO PRESENT A ZJHITED NUMBEE OF HIS OSICHNAL AND EXTRAORDINARY

SOIREES FANTASTIQUES, AUTOMATES, PRESTIDIGITATION, MAGIE, AT THE ST. JAMES'S THEAIBB,

On Tuesday Evening, Jf£ay 2nd, Commencing at Half-post Eight o'clock, and he continued

It was on May 2, and not on the 7lh as indicated in his memoirs, that Robert-Houdin made his first appearance on the stage of the Saint James's Theater before a specially selected audience consisting of the elite of arts and literature. The Times heralded this event in the following manner:

EVIBY

Tuesday, Thursday, Saturday Evenings. The Programmeforeach Representation will be varied, and selected from the following original Experiments, INVENTED

BY M. ROBERT-HOUDIN,

And exhibited by him in Paris with the most unprecedented Success s Autiol and The Ban of Wontod, The Ladles' tdofelug-QJasj, Thw SympathUlag Turtledoves. Th« Silk KaudkolclUef with Bonbons • The CabaliiUo Clock. Sift Pcndule OAtMllvti^ue •«•••••••••! The Marvellous Fishing. L» Pcohe Merreillenie • Tht Wonderfiil Oraage-Tre«, L'Orancer M«r*eiaenx The FatclQfttiQg Owl. lie Xllbau Fftiolnatenf The Spcirloman, The Bowl Of Poach. Lo B o ! d e Pirncb < Bxerctees of the Trapesitmi, The Savoyard. L* Savoyard The Safety Casket. The Prison. t e Ooffl* de Sturete I * Prison The OKaglo Shepherd s Crook. X,a Hoolette Mftgique The Tjiltie Clown. Lo Petit Pierrot The Bottle with Ribbon* 2A BoutelUft * « Pawntt The Enchanted Basket La CoibsUl* awfcaotee The Trinketj. Lei Bljotix aober* Hondin'i Portfolio, L9 Carton 3o Robert-Hondln ink Bottle; OF, the Oalant Fi«h L« Vase a I'Encro; oo, I*« Poi«ion Qalaul, The The Pastrycook of the Pa!»i« Hoyal t e PaUMer da PdMrRoyat The Pans and Cannon Balla &e« SvwatMU ot let Scmlet* The OIa» of Wine ; or, (he SmugI,e Verre 4« Via j oa, tt Secret de gling Secret. Contrelwnde L'OlHaa Mort ei Vivanij on, Le Pa The Bird, Mead or Living; or, th« Ladies' 9eeroti%&. vort de» Dammi lift Bfrotelll© raepuisabl*! o", 1« Liqno- The toexhatutlble BotUe ; • the rl»te improixtpht litctaomtooger SxtemporeAortol c4 Dttrares*

La Pelotte de Lalne L« Mirobr des Dames TootisrellM Sympathiser Ii» poniard aoi Drageca

The famous Robert-Houdin, about whom we have heard so much through the press of the continent, is in London. Yesterday in the charming Saint-James's Theater was the first performance of his Soirees Fantastiques. The room was full; all the nobility was there. Never had the theater had such a lively aspect, never had admiration been brought to such a level in this theater. It is also because Robert-Houdin has reached such a level of perfection in his art as a conjurer that one would almost believe in sorcerers and magic. With him, nothing is impossible; he does everything he wants, he changes everything he touches, and not only are his hands the most skillful in the world, but everything seems to flow with grace and ease, that it seems as though he simply has to speak to be obeyed. So many marvels took place before our eyes that we will provide the detail at another time; for the moment we can only say that, as did Shakespeare: Mine eyes are the fools of the other senses.

. See.

SECONDS VOE SECOND SIGHT. SSOAXOTAOH S B BOBBKT-ECOCSIK SUSPENSION ETHEREENNE.

Faithful to the promise made to its readers, The Times of July 3, 1848 again reviewed the artist's performance:

Illustration 412 - Bill for Robert-Houdin's first performance

M. Robert-Houdin, the celebrated French professor of legerdemain, made his first appearance

at the Saint James's Theater on May 2, 1848. (Harry Ransom Humanities Research Center, University of Texas. Austin)

310

ACT

last night. He is chiefly distinguished from the rest of his fraternity by the ease of his address, his ready manner of speaking, and the absence of all apparent effort when he performs the most astounding feats. The miraculous production of pigeons and goldfish, tricks by sleight-of-hand and by intricate pieces of mechanism form the substance of his exhibition, and the presents offered to his spectators from an empty hat or a flat portfolio have the usual effect of exciting acquisitiveness while they produce surprise. M. Houdin's tricks are all quite original; one of the most surprising consists in putting a hollow cylinder over the head of his son, a lad in his teens, and instantly making him reappear on another part of the stage. The Illustrated London News of May 6 pub-

lished a review of his first performance in the following terms: ...The old saw that teaches us "one story is good until another is told" may be paralleled by saying "one conjurer is good until another is seen"; for, much as we have thought of M. Dobler, Philippe, Herrmann, etc., we must confess that M. RobertHoudin is superior to all of them. He has for a long time enjoyed a high Parisian reputation, and is the originator of most of the clever tricks with which we have been made acquainted by other "wizards," none of whom, however, performs them with the same admirable dexterity. From a very good program, the best experiments were called "The Fans & Cannonballs," "Robert-Houdin's Portfolio," and "Auriol and Debureau." The last, which was entirely mechanical,

ROBERT-HOUDIN,

MORNING PERFORMANCE.

ST.

JAKES'S

THEATBE.

The surprising and interesting performances of In Answer to mijnortmi Enquiries, It 1* reapectfnl.y

announced

thnt

ROBERT-HOUDIN, Soirees Fantastiques

THE CELEBRATED

Continuing to be received with the greatest Wonder and Astonishment, hia original and extraordinary

ROBERT-HOUDIN,

Will be repeated ™ At the ST. J A M E S ' S T H E A T R E ,

HIS FIRST

MORNING PERFORMANCE On

Wednesday

Z

o

I

m

V)

30

z

Next, •May 2 4 ,

m m

z z

ui

a. (/>

AND WILL CONTINUE HIS EXTRAORDINARY

SOIREES

m

FANTASTIOUES, AT T H I S

THEATRE.

EVERY

TUESDAY,

T U E S D A Y,JTH URSD A Y, SATURDAY"°EVENINGS.

THURSDAY, AMD

SATURDAY

Door* open at Eight o'clock.

EVENINGS.

DAT PERFORMANCE

FOR PARTICULARS. SEE SMALL BILLS-

WEDNESDATMORNING.

BOXES & STALLS mar b& secured at MR. MITCHELL'S ROYAL LIBBARV, 3D, OLD BOND STREET.

Daart open at Two o'clock.

y r.ni bj W J (IULBOBUB 6, Pnneii Sltnt, le!c<

BOXES, FOUH SHILLINGS ftlr

Illustration 413 - Bill for the first matinee performance given by Robert-Houdin at the Saint James' Theater on

PIT, TWO SHILLINGS PRIVATE BOXES & STALLS msy be secured at BHTCHEXtL'S Boyai Library, 3 3 , Old Bond Street; Printed by W- J. GoHxmra. 6. Prin.e«.ttr«tt, L

M a y 2 4 , 1 8 4 8 . (Harry Ransom Humanities Research Center. I niversify

Illustration 414 - English bill for Robert-Houdin.

of Texas, Austin)

311

III

ROBI'RI-HotDlN

228

The reference to the trick The Ethereal Suspension in the Haymarket refers to a performance given in London by Carl (Compars) Herrmann, who was then starting his professional career with a repertoire made up of copies of tricks invented by Robert-Houdin. Herrmann previously resided in France, where his family had lived for several years; knew Robert-Houdin well; and was a frequent attendee of Soirees Fantastiques. We must recognize that Herrmann, contrary to many others, knew how to quickly turn around and devise a new program with more ''personal tricks." This intelligent, artistic attitude combined with real talent made him one of the greatest magicians of the latter half of the nineteenth century.

PUNCH, OR THE LONDON FANTASTIC EXHIBITIONS.

THE evenings at the House of Commons lately have been every bit as fantastic as thoseof EGBERT HOT/DIN'S. There have been tricks, wonderful passes, and sleightaof-hand which have struck every one with amazement, making us wonder how ever they could he done so perfeotly as to deceive (tus with our eyes open. The trioks have been very clever, particularly that of the "Washerwoman's Cauldron," in which numberless Corporations were takes, tied into a bundle, thrown into the cauldron, and brought out again perfectly clean, though the artful way in which the City of Ijondott was left out elicited one tremendous " O h ! " and many could not make out the evident sleight with which it was done, nor have forgotten it to the present day. I t is in. these sleights particularly that the exhibitions excel. But trie moat astonishing part is the Wonderful Boy, who supports himself on a slender stick, so thin that you. fancy it must break under him, and remains in an elevated position in the easiest manner, just as if he were going to sleep. Tou are afraid that every minute he mast fall: but no: there he remains, caring apparently for nothing about him, with his eyes shut, and all his limbs and senses evidently paralysed. I t is the moat wonderful act of suspension we have ever witnessed. All the support he has

The Illustrated London News emphasized Robert-Houdin's superiority in regards to his colleagues on several occasions. Here is an excerpt from one of these articles published on December 23, 1848: ...But in some of M. Houdin's great effects, we feel our breath taken away; bringing every possible application of mechanical ingenuity and scientific influence to our assistance — he entirely beats us. He is the sole monarch of the world of wonders; all other conjurers and wizards, from whatever point of the compass they arrive, sink into insignificant imitators before him...

for keeping him up ia the little stick above mentioued, which is called ""Whig QovP->*Timfiat • " utiA how he msmairAs t.n lifild on in if. an trine* ia a hit r»f w^niHvmp Rn

marvello before us us. The name of this wonderful little boy is JOHNNY RTJSSELL," and we advise all our readers not to fail on any account to witness bis incredible tricks, for his evenings of performance performan are drawing to a rapid close. There never will, or can be, anything like it again.

Illustration 415 — The Ethereal •Suspension as portrayed by the satirical newspaper Punch, man) Ransom HumantHes Research Center. Lniversity of Texas. Austin)

We find such flattering assertions in every article about Robert-Houdin in the English press: We hope that everybody will go and see RobertHoudin. The emotion of astonishment is pronounced by all physicians to be of healthy consequences, and Robert-Houdin and surprises are synonymous. He is the veritable Robert le Diable and "Toi que j'aime" [You whom I love] is a chanson in which everyone will indulge who has once enjoyed his society. He is a gentleman from a country much farther "down east" than the Wizard of the North, and he as far excels M. Philippe as that celebrated Frenchman surpassed all true British wizards. Robert-Houdin is as superior to contemporary magicians in the character and variety of his leg-

was a clever performance of two dolls closely representing the Clown at the Circus and the late Pierrot and the Funambulists, whose life-like antics, when apparently left to themselves, cause the greatest diversion. The "Second Sight" was also exhibited, and the performance concluded with the "Ethereal Suspension" of which we gave a detailed account some weeks ago. The child appeared supported in the air at right angles to a walking stick, as at the Haymarket. The performance gave the greatest satisfaction to a very elegant audience, and we expect M. Robert-Houdin will create some sensation. 312

ACT III

MAGIC. Illustration 4I6 - Robert-Houdin's

incredible

magic. English version of Pruche s lithograph (Barry Ransom Humanities Research Center

University of Texas. AustinJ

erdemain as in the grace, ease, and elegance with which he conducts his operation, and parries the wonder of the spectators. There is nothing of the mountebank about him, and he discards all the old traditional tricks, not because they are not perfectly familiar to him, but because he seems resolved to be thoroughly original and to attempt nothing that is not a novelty. He has himself wasted the midnight oil in subjecting all material things to his weird control; and those who visit him will have the satisfaction of being assured that what he does nobody else can do. It took Sir Isaac Newton to assert the laws of gravitation; but it is only a M. Houdin who can "repudiate" them.

tive and on the contrary omits the most enthusiastic accounts published in the English press regarding the artist's performances and which are innumerable. The reader, who may find these mostly unpublished texts highly interesting, can find many of them in note 38 of this act.) In a letter written on July 14 to his friend Dantan, Robert-Houdin describes his shows and the economic recession in London. We can see to what extent the artist always judged every aspect of a given situation with clear-sightedness and frankness, and never lost his practical sense.

(The choice of reviews published here was dictated solely by the demands of the narra313

ROBERl-HOUDIN

ST. JAMESS THEATRE,

ST. JAMES'S THEATRE, KIMi

KING STREKT, ST. JAMES'S.

STREET, ST MMKS'.S.

THE

ROBERT-HOUDIN v\ !1 i t . i v i

DAY PERFORMANCE

in-- n S a T f

WEDNESDAY MORJYINO

DAY PERFORMANCE WEDNESDAY

NEXT, JUNE 14, Commencing at Half-past Ttci o'clock precisely: AND ALSO COIsTINUE HIS KXTRAORDI^ARY

MOHMLW

SOIREES FANTASTIQUES,

MAY 24, > \ l l n i l . I . U . s o (ONTINLK Hi!- KXTItAOKDINAlO

SOIREES FANTASTIQUES,

TUESDAY, THURSDAY, SATURDAY EVENINGS,

TUESDAY, THURSDAY, SATURDAY EVENINGS, f •mmtartnjf} .it Half yi,t Right

THE

THE

PROGRAMME

D*bui-c«.t3 I.* Pvotw Maglque L'Of"ut.ig*r MorTallieiui l.« liouteilie Isaputikble | on, te Liquo rbU' Itsprompiu

Am lei ftod 1U. Tta. &l(u-*«liou» rUMng. 1 h<- Wondatfttl O n u | ( T»«*. Ttn- inezhAOtUbl* Hot lit , oi LI

BY M, ROBERT-HOUDIN. Dart £.

he* Totrrterenei Sympathiqne> VOtmxgisv Uterveilleoz

lie Ooffre de Surete • La Pec&e REaglqae AarloJ et Defcureau

i'.ltt t The r«Mi tutd Qi*onoij U»li< Th« Biu U«ndk«rchl«( with, Th« C*h»lUUc dock. The Triakot*. Robert Ho«dio« p«rtfoU«.

-in nohtit* Mondtn

PROGRAMME

Will comprise the following original Exjuriments,

INVENTED

L. \

BY M. ROBERT-HOUDIN

L*» CveaUtU «* le Le Fotf.lwtt «u> Df

f

Commencing at irulfjjasi fight o'Cl eft,

Will nxnpnK tii*- folin*tfig nriguutl Kxfwnmmiif,

INVENTED

t'l.Ll.URATED

ROBERT-HOUDIN

ii lutiiiltlei, It U re»p»ol THE iKl.r.UHATKD

The Bsmipathlsing Turtledove*. .. The Wonderful Orange-Tree.

The Safety Casket. The Marvellous Fishing, Auriol aad JDebureau. &.c. Ac. &.c.

13avt IE. Las he Id Lea Le

EvealsiMi et les Botiletf-. Foolard a u i Dragee* -•• Feodole CabalUtlque Bijoux.-~ CJartoa de Robert Houdifl .

The Silk Handkerchief with Bonbon The Cab&listlo Clock. The Trlnkett. Robert-Houdin's Portfolio,

I>a Bnutellle Inepulsable; The Inexhaustible Bottte ; Uqnorlste Impromptu, Liquormonger Extempore

Ut*

Vn't EES.

pan ii-t SECONDS! VUE. itacAMO'fAoi; c i SOBIBT-HOCBIN rxx.» SUSPENSION ETHEREENNE.

SECONDS VtTE, E80&MOTAOB

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DE

BO BBRT-H O ODIK

PILE,

H

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a 0 w P1T

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2t

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\ Son Suspended in Equilibrium by Atttiomherio Aa, ttuotajh the 3 of Concentrated Etlioi, ' on orcty occaaion, esoitee tho most cntliusiastio AdminUioa. 4s. GAIi. 6TALL8,

- ''• J ^ -

iPBITiM BOXES, ORCIIEHTEA STiLIS. AND TICKETS

PEITAJE BOXES, OltOHESTEA STALLS, AND TICKETS* BTTrataszz's BOYAX. ZIBBAJBT^SS, OLD BOND B Aad »t the BOI Offioo of tho Thantro, whicli 13 opfln Daily from 11 to 5,

Illustrations 41 and 418 - English bills for Robert-Houdin at the Saint James's Theater in May and June 1848.

314

ACT

HI

(7

C^itc - JL*-C4Oct<X

ViAS

Illustrations t!9 to 422 - Robert-Houdin's letter addressed to Dantan from London, July 14, 1845. London, July 14* 1848 Dear Dantan, I received your letter in answer to mine with pleasure. I could not reply earlier because I wanted to also send you the press reviews that Mitchell grouped together on a single sheet. In spite of the general uneasiness in England, we were very successful and will have nothing to complain about. We would have been even more successful if we had been in London during a good period. The cheap seats are always empty; only the aristocracy pays for entertainment at this time; business is very bad and scarce. Until now, it had been impossible for us to perform before the Queen. Since the February revolution she had not come to the French Theater [The Saint James's Theater], which was nonethe-

315

less her favorite entertainment. We were told that her ministers would not allow it. I had therefore resigned myself to making a profit without such an honor, but Mitchell nonetheless found a way that could not be refused, that is, performing at a party of which the Queen is the primary patroness. Roger and the Italian artists will sing; the party will be magnificent. I am sending you the program; I believe you know enough English to understand it. The nobility has now started to leave for the country. Our income will drop but I want to squeeze the last bit of shillings out of London. I will not leave until there is nothing left to accomplish. I have not yet made a decision about the English provinces; it will depend on the stability of the situation in France. I have learned to get by in English, but not enough to perform in it.

ROBERT-HOI'DIN

I am satisfied with translating a few sentences, which always makes the audience laugh a bit because of the accent that I cannot perfect. We learned with the deepest regret of the unfortunate events of the insurrection; my first fear was for our mutual friends. I sent my relative to you who luckily reassured me on this matter. How happy we are to be far from Paris at such a time. Please receive, my dear Dantan, the assurance of my sincere friendship and I beg you to present my friendly greetings to all the gentle-

men of the Club and in particular to our close friends. Robert-Houdin When I return to Paris I will show you some caricatures drawn of my performance. M. Dantan, Rue Saint-Lazare, Cite Orleans.

On July 19, the day set for the festival of Fulham, Robert-Houdin went to Sir Arthur Webster's residence after lunch. His manager and the stagehands of the Saint James's Theater had already been there since the morning, and so he found his open-air theater completely organized upon his arrival. Settings, backstage, borders, curtains: everything was there except the footlights, deemed unnecessary because the sun would advantageously replace them. The list of the guests participating in this charity ball is impressive, among them the Duke of Wellington, the Duke and the Duchess of Cambridge, His Highness Prince Frederic William of Hesse, the Duchess of Kent, Duchess Bernhard of Saxe-Weimar, Princesses Anne and Amelie, Prince Lawenstein, Prince Leopold of Naples, Prince Edward of Saxe-Weimar, and Prince Louis-Napoleon, future Emperor of France, all received with the honors due to their rank and accompanied by accents of the music of the Royal Horse Guards: Imagine a large lawn rising before me in an amphitheatrical shape and arranged like the pit of a theater. It would have been impossible to say whether the ground was covered with grass or gravel, so thronged was it with ladies, who alone were allowed to sit down. In the first row and nearest my theatre, the Queen, with her royal husband on her right, was surrounded by her young and graceful family. [The] ladies-in-waiting and the lady patronesses formed the royal escort [behind her]. At a respectful distance behind, the wives and daughters of the subscribers took their places, while the gentlemen formed symmetrical groups around this vast space. The sight was truly magnificent; all the ladies,

1/

316

ACT

[glowing] with youth and beauty, covered with diamonds and flowers, and rivaling each other in good taste and brilliancy, resembled a vast enameled prairie on which the richest flowers of spring were displayed, while the black coats of the gentlemen who framed this smiling picture, far from dulling it, only heightened the effect. On both sides of the lawn, old oak-trees lent their refreshing shade to this improvised theater. I felt a noble pride at that moment, when I thought I held, as it were, at my fingertips, the pretty eyes of duchesses, at times so haughty but now so gracious, and which seemed at every moment to gain fresh brilliancy at the sight of the surprises I offered them. In this unique performance the time passed so

r t$r rtptrtt JJMratugr •

TEE

QUEEN,

HIS ROYAL, HIOHKESS THE PRIKCS A.L&EKT, HER ROYAL HIGHNESS THE DBCHES3 OF KENT, THEIR RO^AL HIGHNESSES THE DUKE 4 DlfCKESS OF C^MtllUDOli HER ROYAi. HtOHMESS THE DUCHESS OP OLOUCESTEh.

A GRAND

A CONCERT '& DANCING, i» *Ji> or

JSat^s ana SStaij^ousw ioc tf»e EaftourEng attaspea,

OK WEDNESDAY, JULY THE 19TH, TJader the sftcrtre «XMtaA F»tr

ST JAMES'S THEATRE

* AM teen mstr ki
IMSB

JByi Pariicwinr

s ot i

MADAME ORISI, MADAME M^.Dl
A

III

TE-VT WILL BE ERECTED IN THE GROUNDS,

MPesiwe

s

EXTRA

ROBSItT-HOtJDtN,

AND FINAL REPRESENTATIONS.

open from On* «Clock untU £!$%('

SOT. SSITOHELZi bogs to annonaoo that in compliance with aamoroiw applications, and owing to tho disappointment ozt>orionso4 t>y raatty parties In not procuring places at tho last reprosontatlon oi KOXflillT-HOUDlW, arrrangoments navo boon made lor giving

OKETS F Oil 3PHB FE*B, y b* procured «a '•f pr*s(u;ai!on of Youchefi from tV,e foi'owtr.j

FOUR GRAND EXTRA

Cor if *CJJi o r B

Anil Final Performances, IHtWsM Of

Sf-UClUOfB.. Of V . A I B B V D R K

t u o r tdiTiK, Caw Coo til 0» WUTOV. Cots Cw~ :-S\ OT Bn.1.!.,!'-

Uot

WEDNESDAY MORNING

O«ltf

AW1UST ltith,

»1 P«l"VF6«,

OF AlII»cr)lT.

THURSDAY EVENING, Aug. 17 FRIDAY EVENING, AUG. 18. SATURDAY EVENING, Aug 19.

Ml B])¥Tt, LJPT Saruo

V t K o r s T t s s C*!*Jt»i». V*»COTXTT» E6RI«CWI«.

Hov. i, nri N6KJ0J..

% £2 2>. MC*." Additional Tut*u,for •tt-nmOrrkd Sons and Dauglurs oflU same Family, £ i I* tadi.

VNU THE LAST ON

V Votc-hcn wlU 1»KstSangM at Mr. MITCHEJ.H.5Koyil t.ilir»>T,33, OW Hood SU»t CM 7H!s )lv:i, UT», »*O liTS jyj.Vt

WMch WU1 most positively topmiaato tao extraordinary BoaaeeB PANTA8TXQ0B8 ol BOBBET-aoirx>l» ata TS o, pr»wio«aty to M« dapartttce for » t t ° ehe.'itnr, wboro fto will'- >oar oa- tnHday noxt, August 22ad.

Illustration 423 — Program of the July 19> 1848 celebration given under the auspices of the queen.

Illustrations 424 and 428 - Bills for the last performances of August 1848 at the Saint James's Theater.

From The Unmasking of Robert-Houdin by Harry Houdini.

CHany Ransom Humanities Research Center, University of Texas, Austin)

317

ROBERT-HOUDIN

Illustrations 425, 426. and 42" - William Manning, his wife, and their two children Sissy and Betty in December 1878. William Manning was the student, faithful friend, and London correspondent of Robert-Houdin. (Private collection)

318

ACT Til

child.'' Henriette was welcomed with much love in her new family, who raised her almost until she came of age. [4i]

rapidly that I was quite astonished when I found myself performing my final trick. Before leaving her seat, the Queen, although she had several times evinced her satisfaction, sent me her compliments through an aide-decamp, who also expressed her Majesty's desire to have a performance at Buckingham Palace at a later date. [19] The very next day, Mitchell put the Queen's coat of arms on the tops of bills announcing Robert-Houdin's next performances, and below, the following passage, as a sort of baptismal certificate: "Robert-Houdin, who has had the honor of performing before her most gracious Majesty the Queen, Prince Albert, the Royal Family, and the Nobility of the United Kingdom..." The popularity of Robert-Houdin increased at Saint James's. The last performance in London took place on August 19 and was followed as early as the 22nd by the opening, at the Royal Theater of Manchester, of Robert-Houdin's first tour through the English provinces. Manchester, Liverpool, Birmingham, Worcester, Cheltenham, Bristol, and Exeter were among the cities where the French conjurer performed. In December Robert-Houdin was back at the Saint James's Theater for a series of fifteen performances and gave his second Royal Performance at Buckingham Palace before Queen Victoria. [*>]

During Robert-Houdin's second season in London, in 1849, a young boy, whose parents were friends with John Mitchell, became the playmate of Robert-Houdin's two sons, Emile and Eugene. His name was William Manning

ST. JAMES'S THEATRE. Saturday Evening, Aug. 19. POSITIVELY

NIGHT

LAST

OF THE SEASON, BEING FOit Till:

BENEFIT OF

EMILE HOUDIN ROBERT

nOJUDJN WILL POSITIVELY MAKE HIS

Last Appearance in London Saturday Evening, Aug. 19, O»h»j£ t<* hi" riua^ri'iiK-iii (it (hi 1 '! UoiltCO R a \ a l , Mam'lit'sfvr, w h i c h comitu'itct'* on Tti
THE

Olympe Robert-Houdin, never entirely recovered from the death of Louise Marie, had become fond of Henriette Knight, the daughter of a humble employee of the Saint James's Theater, Henry Knight. The latter, a widower having difficulty raising his family, entrusted his daughter, aged seven or eight, to the Robert-Houdin couple for them to raise and educate. An act lasting ten years was written on February 27, 1849 "confiding [the child] to the care of Monsieur Robert-Houdin," who promised to "house, feed, and clothe the

THE

I > H ( ) ( , IIA MM K

EXPERIMENTS & ORIGINAL INVENTIONS OF M. HOUDIN. til KIM! THE hAKNt.Nff.

E M I L I M I O U D l N irtff M A J W kit rxhut>,
SECOND SIGHT, " INVISIBILETE," ESCAMOTACE EXTRAORDINAIRE, 11V KMILK-IIOUOIN.

Suspension Ethereenne, BY BUO EN KHOU DIM BOXES, 4 s .

PIT, 2 s .

GAL. STAI.LS, Is. 6 d .

PIUVATK IIOXCS ^ 1 . .STALLS «*t »E tttoKKu AT Mr. MITCHELL'S ftOYAb LIBRARY, 0 3 , OLD BOND 4kl<> (MM 11 I t 1

319

ROBLRT-HOUDIN

ROBERT IIOIIMV

RECOLLECTIONS

ST. JAMES'S THEATRE.

ROBERT-HOUDIN

PRESTIGES.

ILLUSIONS.

WILLIAM MANNING, TO THE SETTE OF ODD VOLUMES.

!

2

Delivered at a Meeting of the Sette field at Limmer's Hotel,

M

on Friday, December 7, 1890.

1 M A 6 I E.

IMPRINTED AT

MO>\S»

THE

CHISWICK

PRESS,

TOOKS

COURT,

CHANCERY LANE, LONDON. .MDCCCXCI.

Illustration 430 - Title page of William Manning's work.

FRENCH CONJURER, and throughout the years he remained the privileged correspondent and friend of RobertHoudin, whom he kept abreast of all the news of the magic scene in London with great insight. In 1891, Manning published the text of a lecture on Robert-Houdin that he presented on Friday, December 7, 1890 before the members of the scholarly society The Sette of Odd Volumes, of which he was a member. This small volume, which bears the title Recollections of Robert-Houdin, is the enthralling, moving, and precise testimony of one of the master's few pupils. The author, through charming anecdotes of which he was the witness or the involuntary hero, sheds light on several intimate aspects of Robert-Houdin's charming personality. Here is a brief extract from the conclusion of his work:

EXPERIMENTS \1VD HO.\Ul:US Ol

NATURAL MAGIC -< Km I. I'trc untlurflx tul. i,r

SEANCES FANTASTIQUES, TOE

A

L I M I T E D

N U M B E R

O r

R E P R E S E N T A T I O N * ,

E V E R Y

EVENING, At Hall p
D.Ir

i'isiePoKJ».i.^-cE

n i l B U T * SATURDAY JIOBIIPS Commniriii; nl Ilalfpatt TKO 6Clock

«T

FOR FULL ritOfilUME, SEE SMALL BILLS.

THE NEW ' OASTANET WALTZ MB bj KMILT A. WAI.KE! THh LOUISA POLKA composed by Mr T BROWNE

Slalls,7> Boxes A' Pit2s Gallery,\* BITORELL'B

EOTAL LIBEARV

33, OLD

Ths BOX OFFICE of th« Theatre wMch U opfln dally, from KLg7BH till FiTB o ol«k

Illustrations 429 and 431 - Robert-Houdin at the Saint James's Theater in December 1848. uiany Ransom Humanities Research Center. University of Texas, Austin)

320

I have endeavored, very rapidly, to give a sketch of my good friend, who was one of the most interesting of men. He had an individuality pecu-

ACT

liarly his own. He had a geniality of manner positively magnetic, and exerting its influence upon all who knew him. His figure upon the stage was never to be forgotten. His animation, his gesture, his ready wit, his quick transitions from fun to serious earnest would have fitted himforthe highest forms of acting - COMEDY and TRAGEDY would both have claimed him as their own! He never played twice alike, and never flagged for a moment; but an interruption from a member of his audience invariably drew forth some brilliant but good-natured repartee, which was crushing, for he was a fellow of infinite jest! He was no common entertainer surrounded with showy stage properties, for, as Garlyle said of Dickens's readings, "his face was the scenery!"

III

Robert-Houdin ST. JAMES'S THEATRE, KING STREET, ST. JAMES'S. Leoee, Mr JPHM MITCHELL. 38, OU Bor.d Street.

CHJRISTMAS^ HOELDAYS. U. ROBEvRT-HOUDIN will have the honour of repeating his Original and Extraordinary

^ - ^ ^ .

^^^^^J

SOIREES *sssz' FANTASTIQUES TUESDAY, THURSDAY, SATURDAY EVENING, Until the End of tlie Christmas Vacations, PROGRAMME Le Verre de VIn fOranger . 1'Eacre

••••>

FOR THIS

EVENING.

The Glas« of Wine, The Wonderful Orange Tree, The Va»e of lull) or, the Magic Filtration T h e Miraculous Balance. The Automaton Rope Dancer. ••• The Sportsman.

$art £5.

Lea Eoulets de Canon Les Plumeta La CorbelUe de Fleurs La CORNS d'Abondance fouraiasant Eventatl», Sonlioiii, Atbtutts, Jomnau • L© Carton Le Colibrl; ou, U Favorl d>s Baroea Le Piiiisdev de> PaltUa Royal

Manning, who was a manufacturer of optics material, confided the following in a letter dated July 22, 1898, addressed to H.J. Burlingame in Chicago, an author of many works on magic: "It may interest you to know that at one period of my life the great master - Robert-Houdin - finding me an apt imitator and inventor, proposed to my guardian to take me as a pupil, and adopt me as his successor!" The quality of Manning's accounts of conjuring performances in England, of which we find many examples in his uninterrupted correspondence with Robert-Houdin, makes one vividly regret that the guardian of the young man did not accept the master's offer to enthrone William Manning as his successor. The entente cordiale and magic could only have benefited from this initiative.

The Cannon Balls, The Plume of Feathers. The Basket of Flower*. The C O S K U O O P I A , »appljlng Fans, Bonbons, Albums, Jonrnals, Ac The Portfolio. The Ladles' Favonrite. The Pastry Cook of ttto Palais Boyal.

Iia Bouteille Inepuisable THS INEXHAUSTIBLE BOTTLE. &ECOSrX>B VCTB, iu winch EMILS-HODKIK will Kcliihit his extraordinary powcis of

SSCOND SIGHT; 3 T A O B OF BfflCII.B-ECOTjrDIfif. The Eveniua"s Entertainment will conclude with

SUSPENSION ETHEREENNE, BY EUGENE HOUDIN.

ROBERT-HOUDIK"S Son Suspended in Equilibrium by Atmoaplierio A!r, thiough the action of Concentrated E t W , Ai Pietair-1 before Her Most. Grjcmi;, Mtjtily

T H E QtTUEN, H . R . H . PIUKfOE A I . B E R T , *. ROYAL FADULT. The Sntevtalnmeat will be divided Into Three Paris; Commencing at Sightj &n& Terminating before Eleven o'GIodx, g^

PUIKBOLTOVS SfiBENADERS will repeat their Popular

ETHIOPIAN

EWTBRTAINMBNT

at this Theatre, on WEDNESDAY & FRIDAY EVENIKG, December 27 and 29.

BOXES, 4S.

PIT, 28.

AMPHITHEATRE. |8. «B

and a journalist from the Morning wrote:

Robert-Houdin started out on a new tour of the English provinces, apparently beginning at Hereford and ending in Colchester. During this tour, he returned to the stage of the Saint James's Theater in alternance in March and April 1849. The French conjurer gave his third Royal Performance on the 25Ih of April at Buckingham Palace. In a few months the artist had truly become the darling of Londoners,

Chronicle

Robert-Houdin is leaving London without having worn out the curiosity of the English people. He gave 180 performances at the Saint James's Theater and the room was still full yesterday for his farewell performance! We believe that this skillful artist will keep a good memory of England and that we will often be able to say, like today: Bon voyage! Au revoir! 521

ROBERT-HOUDIN

ROBERT-HOUDIN, ST. JAMESS

THEATRE.

ROBERT-HOUDIN, ST.

JAMES'S THEATRE.

LAST WEEK BUT ONE!!

The celebrated T&- ROBERT-HOUDIN will continue his Incredible Delaslons and Extraordinary

The celebrated HI. ROBERT-BOUDIN will repeat bis Incredible Delusions and Extraordinary

FAIVTASTIQUES

FA *T ANTIQUES TUESDAY EVENING,

DAT PERFORMANCE THURSDAY

SATURDAY

ctcdb

MORNING,

EVENING, II.Blil .*«>' UH'

Houdin's Original Delusions. Houdin's Modern Miracles. THE MIRACULOUS BALANCE, THE INEXHAUSTIBLE BOTTLE, SECOND SIGHT, I:XYISIBIM;TE, ROBERT-HOUDIN'S ORAND DISTRIBUTION. HB

H I T C 3 I B L L & It D X A I. L 1 B K & K T . 33 OLD 1 D K T „ :• ,•„ .-. - Li••;? I. '• .

Illustrations 432 433 i34 and 436

Ik- I'l-yiiniHmi icill comprise it Schetio»fi.i.n Hubert Ttimdias Original l.ipcr.t*cnl$ u-d }••,:>

rittitr-it l\o;l'Li*

i ^ j i i ' . r t i i ^ i / u i : ••/'llA> .r and .Slu'li-.'tf ^ ' l ' -^-'-' * >"-•' *'i:!/

THE MIRACULOUS BALANCE, THE IHBSHAUSTIBI.E BOTTLE, SECOND SIGHT, SUSPENSION ETHERfiENNE.

BrHEHT

English bills for Robert-Houdin at the Saint James's Theater in February and March

1849« IHany Ransom Humanities Research Center. University of Texas. Austin)

ROBERT-HOUDIN,

* ,"••

' >*\ ' J

M

ST. JAMES'S THEATRE.

LAST THREE PERFORMANCES DUCKIKQHAM PALACE,

SEiNOE ft

R0 BERT-HOUOIN. FROORAKHX. ciirtuli- CibMliMiqno . pathl>iucM

The I nbtliitlf Clorfi. n»c S>iiip«ih!»inaTurtleDow».

1* V*«j A VBnew..

Thr WmidetAil Orange T

TUESDAY EVENING, MARCH 6, Last Day Performance WEDNESDAY MORNING, March 7 COJUSirXCr.YG AT HJLF-PAS-I-

TWO O'CLOCK.

The Mnpn Hullrt».

L o EvmuU. l*» Uoui«i> >u Down

The riume of F*«(h«*.

!,• Fkm L M Ityuu* fli lc OlIMl

FAREAYELL REPRESENTATION,

Ilw I'tiuion UsiU. LiuBukct orFlo»M>. The Trinket* and I'wKolio.

l-V •BROMUB V I E . 8KCOND SIOUT. I iK DK FMIJ.B.HOVIJIN.

THURSDAY EVENING, MARCH 8

,

CLOCK "

"

•

.

'

•

I

' • • .

•

1

"

"

i

noons opn\ AI i K.HT OCL

Illustration 435 - Program for the Command Performance of Robert-Houdin at Buckingham Palace on April 25, 1849.

Ac i III

On May 6th, Robert-Houdin rediscovered his public in Brussels at the Theatre Saint-Hubert, [42] where he performed until the 10Ih. Here is how L'Independance beige of Saturday, May 5, 1849 announced the conjurer's return to Brussels in its column "Nouvettes des sciences, des arts et de la litterature": Next Sunday Robert-Houdin will give his first performance at the theater of the galleries. Robert-Houdin is to ordinary conjurers what Galzolari is to provincial amateurs. In his tricks, he shows the same agility and assurance that the much-missed primo tenore showed in his cavatina; and the England that took Galzolari away could not do any less than returning RobertHoudin to us. The skillful magician will find in Brussels the same audience and the same applause that heralded his first appearance in our city. A tireless inventor, he has taken advantage of his time away to enrich his repertoire with new surprises, but for the greater pleasure of the spectators we have resolved to be discreet. Let it suffice to say that the second-sight experiments are more incredible than ever, and surpass all that Robert-Houdin has presented before. We do not believe we are wrong in predicting that on Sunday, despite the pleasant weather, thanks to its new host's magic wand, the theater of the galleries will conjure strollers away from their ordinary promenades.

After Belgium, Robert-Houdin would travel for four months for a long series of performances in Ireland and Scotland. It was also in this year of 1849, on January 17, that Robert-Houdin bought in Saint-Gervais, near Blois, a property known as The Priory, the former country home of the monks of SaintSolenne de Blois (during the time of SaintLouis) for the attractive sum of thirteen thousand francs.

After his tour of the British Isles, Robert Houdin was summoned as ''expert in cheating" by the Tribunal of the Seine in a trial where a defendant, with a "heavy" past, was accused of using and selling decks of cards that were thought to be marked, although the police had no proof of this. In the first volume of Memoirs of Robert-Houdin, on page 213, the author describes his research and

ST. JAMES'S THEATRE L«!H,Mr JOB* MIT

ROBERT-HOUDIN'S

LAST Representation, SATURDAY EVENING, March 1O, MONSIEUR HOUDINTS

Last Appearance OWING

IN LONDON, TO HIS PROVINCIAL ENGAGEMENTS.

mumm.Hi. #nrt £•

T h e Cabaliittc Clock,

Pendule Cabalirtlque L'O Le Val er a IT.nci-fj Eqnilfbre Rtimarquabie hK.

LB

OHAS sEtra

Thel

Wonderful Oraage Tree.

of Ink; or, the Magic Ftitrattoo T h e /ase IQiracnloUB Balance.

....-..^.T T h e Sportsman.

; %z.

L e 5 Bool eta de Canon T h e Cannon Bolls, Lea T h e Plume of Feathers. La Gorfaellle T h e Btuket of Plovers, L.. OORHB d'AboHdsiiice fonruiasant Th,- CORNUCOPIA, supplying

as, Bonbons, albums. Journals, &c Ev entails, Qi tuboii3h Albums, Journam, Fa ...._; T h e Portfolio. Coltbi-i: on, le Favorl des Dames T h e Ladles' Favourite. T h e Pastry Cook of the PaUii Boya!

Le Carton f •

Le Pallssier des Palais Royal

La Bouteille THE S33CONDB

Ine puisable;

INEXHAUSTIBLE

BOTTLE,

KB

V U E ,ra«!iich EsaL&-Hi)DBW 1ull exhibit bis eilraorduiiiry powe[= U

SECOND E S CAMOTAOB OF

SIGHT; IILB-HOUDIN,

Tl.e EvemGg'a Entertami utnt >vil] conclude with

SUSPENSION \ETHEREENNE,

H R . H. PRINCE ALBERT Doors open at itight •,<•foci, and the gntcrtammentco ™ < •es at half-pi M Eight.

In October, after more than eighteen months of absence, Robert-Houdin reopened his theater at Palais-Royal and happily returned to his faithful Parisian public. 323

BOXES, 4S.

PIT, 2S.

AMPHITHEATRE, |8. 60-

PMVATE )3OXC^ OKC1IES1rRA STAI.IA AND TtCKLTS

ar^.

MXTCMUZZS XOTAZ J.ZSI,'JWTt 33, Amto

t Office of Ihc Thcaf;v, wbich is occti

•SS1

sown s

ROBERT-HOUDIN

the prosecuting attorney who was quite in love with the Queen of Spades. To clarify things, the president made a unique proposal to RobertHoudin: "Please play a game of ecarte with the prosecuting attorney, who will be so kind as to lend himself for this test." Everyone laughed and agreed; Robert-Houdin before the very attentive audience, and without its knowing, performed his sleight-of-hand at the moment when they are at four to four. "I won," he proclaimed in turning over the king. - "Again!" cried the prosecuting attorney, carried away in his excitement. There was again general laughter. Monsieur d'Arcosse, a witty magistrate, a refined man of letters, and charming conversationalist, told me this story. He was advisor to the Court of Appeals in Paris.

the skillful way in which this "Greek" had marked his cards, 150 packs of which the police had seized from his home. In Histoire anecdotique et psychologique des feux de cartes, des, e'checs by Victor Du Bled (Delagrave, Paris, 1919) we find the following anecdote on page 228. which gives evidence of Robert-Houdin's participation in this trial or a similar one: Robert-Houdin, summoned as an expert in a trial of card cheating, revealed to the court the little tricks of criminals of this kind. In the middle of his demonstration, the defense attorney interrupted him; there was then a short argument between the defense attorney, Robert-Houdin, and

Le Chasseur et la Colonne au gant. LE CHASSEUR ET !•& COLONNE AU GANT.

ou les Pieces voyageuscs.

Ce tour avec un autre a quelque analogic. Dans tous les temps Combien n'a-t-on pas vu de gens, En cette vie, Faire sauter For et l'argent Tres lestement Sans le secours de la niagie!

Je suis adroit chasseur; mon fusil c'est la foudre Aussi, sans vanite, je pretends vous prouver Que celui qui si bien sait employer la poudre Aurait fort bien pu 1'inventer.

Robert-Houdin.

Illustrations 437 and 438

Illustrations 439 and 440 - The Transparent

The Hunter and The Glove Column.

Cashbox.

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal -

Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

324-

ACT

III

II est sorcier dans son palais magique; 11 est sorcier, nuand jjar un art unique Grfice dit-il au soufle de 1'ether, 11 tient son tils horizontal, en Pair. 0 est sorcier, lorsque sa double vue, lies speotateurs 6bahit la cohue. II est sorcier, nul ne peut le nier . iit cependant queue chose bizarre Ce grand sorcier, oui oe sorcier si rarb, Au domino, certes, n'est pas sorcier

Illustrations 441 and 442 - Robert-Houdin by Dantan. This portrait of Robert-Houdin by his friend Dantan was published along with this poem in the Album des dominotiers, a publication exclusively reserved for the few dozen members of this very private club.

ROHfcRT-tfol DIN

Illustration 443 - Hamilton by Disderi.

Aci III

Return to Paris and Pierre Etienne Auguste Chocat, known as Hamilton

Robert-Houdin had returned to a France whose president, elected on December 10. 1848 was named Louis Napoleon Bonaparte, who reestablished the Empire following the coup d'etat of December 2. 1851. In the conjurer's repertoire was a new version of The Ethereal Suspension which left all the plagiarists' presentations far behind, as well a revised version of Second Sight...silent, in response to its exposure by a certain F. A. Gandon, [43] in La Seconde Vue Devoilee (Second Sight Revealed) (Paris, 1849). The Garland of

Flowers debuted in January 1850, followed by The Instantaneous Impression in September. Like many dates in the Memoirs of Robert-Houdin. those of the creation of his routines must be taken with caution. In general, he prefered to cite the years of favorable press reviews praising a new effect rather than the actual time of its introduction into his program. Therefore, quite often, the most famous of the masters tricks are post-dated by a few months or more in his Memoirs.

SKMD1 fill DlVOILi, DERNIER CODP PORTJS

AUX SORGIERS ET AUX SORTILEGES, Outrage entitlement nouveau, dormant a tout le monde la facility de faife des experiences dites de Scemide-Vue ou de Double-Vue

Par N. 9. A. fiilNBON

DOUBLE VUE. AYAMT PROPOS. Depuis longtetnps !a soeiele a besoin de sinstruiro et d'airoir| ,;i mil sin ce fjiu, pour in plupart est un sortilege, un tnystere,| |en un mot ce qui jelte bicn souvent l'inqiiie(nde et doiit la I «creJu!it6 publique est souvent la dupe,

PARIS CHEZ TOUS I.ES HAUCHANDS DE NOIJVBAlltlfe ET CHEZ InKITgUR, PASSAGE 8AIHTE-HAIUE, 1 3 , RUB DC BAC.

Illustrations 144 a n d i45 - La Seconde Vue Devoilee by Gandon in 1849 and the Dictionnaire de la Double Vue (Dictionary of Second Sight) (circa 1855).

1849.

32"

ROBHU-IIOUDIN

a Suspension fcthereen

LA SUSPENSION ETBEREENNE,

Cette chere enfant suspendue Presente tant de grace et de Wgerete Que le speclaleur enchants, Pour Papplaudir, lorsqu'il I'a vue, En mspem n'est jamais reste.

Robert-Houdin

Illustrations 446 and 44^ - The new Ethereal Suspension by Robert-Houdin. The accompanying poem is from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal.

ACT

While continuing his research [a] and including more novelties in his repertoire, RobertHoudin began the preparation of the third part of his career, which he planned with the same care as the preceding. He had not lost his passion for mechanism and science and wanted to spend more time on them. Moreover, the steady rhythm of his shows and tours took a toll on his health, as he candidly explained in his memoirs:

Need I describe the delight with which I presented myself once more before a Parisian audience, whose kind patronage I had not forgotten? Those professional men who, like myself, have been long absent from Paris, will understand it, for they know nothing is so sweet to the heart as the applause given by a man's fellow citizens. Unfortunately, when I resumed my performances, I noticed with sorrow the change that had taken place in my health; the performances, which I formerly went through with no fatigue, now caused me a painful state of exhaustion.

r

L'Impression instantanee.

La Guirlande de Roses.

X.'IMPRESSION INSTANTANEE.

LA GUIRLANJDE DE ROSES, on le Miroir des Dames.

A ma seance fantaslique, L/impression cabalistique, Passant par un cordon magique, Touche la corde sympathique De plus d'un spectateur sceptique, Et cet effet typographique Imprime un cachet diaboliquc A ma seance fantastique.

Le titre de ce tour doit paraitre etonnanl: De miroir vous n'en voyez guere, Et puis pour refleter un tableau si brillant Un miroir aurait fort a faire. J'enconviensdonc, Messieurs(je suis franc quelquefois), Ce mhoir, ce n'est qu'un mirage, Qui montre quels moyens je puis metlre en usage Pour faire remarquer quelques tours de mes doigts.

Illustrations 448 to 451

III

The Garland of Roses and The Instantaneous

Impression.

Engravings and poems from the Album des Soirees Fantasliques de Robert-Houdin au Palais-Royal

329

ROBKRT-HOUDIN

It was easy to find a reason for this disagreeable change - lack of sleep, fatigue, the incessant thought connected with my performances, and still more the foggy atmosphere of England, had exhausted my strength. My life had been in some degree used up during my emigration. I should require a lengthened rest to restore it, and I could not think of it at this period, the best part of the season. I could only take precautions for the future, in case I should find myself suddenly compelled by my health to stop; so I decided on educating a pupil to take my place in case of need and whose labor might assist me in the meanwhile. A young man of pleasing exterior, and whose talent I was acquainted with, seemed to offer the conditions I required. My proposals suited him, and he immediately joined me. The future sleight-of-hand professor evinced great aptitude and zeal in learning my lessons. I employed him in a short time to prepare my experiments, then he aided me in the management of my theater, and when the summer of 1850 arrived, [in fact in 1851], instead of closing my theater as usual, I continued to send out my bills in Paris; the only change was that Hamilton's name was substituted for mine.

source is authenticated, though not necessarily its content, is in his obituary in Paris-Journal of March 1, 1877: We have just learned of the death of Hamilton, the conjurer predecessor of M. Robert-Houdin [The son] and M. Brunnet. M. Hamilton (real name Ghocat) was a true child of the theater; a mediocre actor, he quickly gave up theater to perform magic, in which he excelled, and by which he earned a very handsome fortune. Hamilton-Chocat was 65 years old. Robert-Houdin implies that he was looking for a substitute capable of managing his theater during the rest periods he so needed. We can imagine that there were talented young magicians in Paris who, once trained by the artist, could have easily waved the magic wand on the stage of Soirees Fantastiques. There is in fact one for whom Robert Houdin had particular affection:

Considering his short period of study, my provisional substitute could not be yet very expert; still he pleased and the public [was] satisfied. During this period, I enjoyed in the country a repose that had been long desired. [45] We know nothing about the professional life of Hamilton (born Pierre Etienne Auguste Chocat) before meeting Robert-Houdin. He was born on March 25, 1812, at Neuvy-surLoire and was thirty-eight years old when he began assisting Robert-Houdin in his performances. Had he been a painter, actor, or musician? Did he already know the basics of conjuring? History seems almost completely silent about him, which is all the more frustrating because he is the successor that Robert-Houdin chose himself; but did he really have a choice?

iH A M

The only information on Hamilton's artistic beginnings I have been able to find whose

Illustration 452 - Portrait of Hamilton.

330

ACT

Pierre Edouard Brunnet - born May 20, 1824 and perhaps considered too young or too capricious - whom we will later have the opportunity to discuss in depth - so why Hamilton? This choice was essentially for family reasons, which perhaps prevailed over other considerations. In fact, Robert-Houdin's sister-inlaw, who was a widow and the mother of a little boy, had fallen in love with his pupil. For the greatest happiness of Amelie Devillers, born Braconnier, Robert-Houdin, probably encouraged by his wife Olympe, was going to turn this handsome young man, with neither wealth nor recognized skill, into a very presentable successor in just a few months. However, although Robert-Houdin had a more amused than critical view of Hamilton's ego and talent, he truly recognized and appreciated his managerial and business skills. The future would confirm that

III

this decision, dictated by reason, although also with emotion, was a good one. Toward the end of the year 1850, Olympe was pregnant again, and Robert-Houdin wanted his wife's delivery to take place in the most peaceful environment possible to provide the best conditions for the future birth. Accompanied by her mother and young Henriette, Olympe moved into the calm and comfort of The Priory while Hamilton replaced her as administrator of the theater. Upon the birth of their first son, Georges, |>6] on May 29, 1851 at Saint-Gervais, Robert-Houdin wrote a letter to his wife that is a unique and unpublished document because, to amuse her, he related the details of the little magical events of the capital, the state of the theater's income, and the account of Hamilton's first performances: Paris May 30, 1851 My dear love, You must realize with what impatience we awaited news from you and with what pleasure we received it; so it was at three o'clock, and we wanted to celebrate the good news; we went to get a bottle of champagne for dinner and we heartily drank to your health and that of our little Georges. The wine was good and your sister and Emile had a lot; you know them, it is their weakness. Eugene and my uncle were also present. Now, you must have patience; take care of yourself, no imprudence. Remember what you have already suffered and I count on you to be reasonable. I hope to have news of you this morning. I am writing immediately upon awakening. I also wrote to you yesterday as soon as I received the letter; I only wrote a few words as I did not have time to write more. Now, to entertain you I will tell you that Lassaigne, [47] as I have mentioned, gave his famous performance; the bills were everywhere the days before wherein he challenged, in insolent terms, certain mesmerists, but the day prior there was a huge bill that was placed just underneath his opening statement with the following words:

Illustration 453 - Olympe and Georges Robert-Houdin.

331

ROBFRT-HOUDIH

end. Only a third of the room was filled. He created a difficult situation for himself. Lacaze opens Saturday; I will be unable to attend; Ghocat will not be ready to perform alone; as soon I as can I will attend a performance wearing a beard. On Tuesday we earned 181 Fr., Wednesday 223 Fr., and yesterday 235 Fr. In this good weather, it is extraordinary. Ghocat is not doing too badly in his performance. He cannot change his voice; this will always be his weakness. He has begun to joke with the audience; yesterday he shone. M. Horace Vernet from Versailles came and upon entering greeted Ghocat, who was onstage; Ghocat was overwhelmed with joy for M. H. Vernet to see him perform. Let me make you laugh a bit by describing Ghocat's presumptuousness. The day before yesterday one of Auriol's cords broke; yesterday morning he came and said to me, very seriously.

"Seriotis response to the challenge launched by M. Lassaigne"; it said his challenge was willingly accepted but on the condition that it would not be in a mechanized theater like his, that the chosen committee would not be a troupe of anonymous confederates. Finally, that his challenge was nothing but an advertising stunt, etc. The next day at the bottom of Lassaigne's poster giving the program of this famous performance was written in large print the following strange response: "We will not answer the Orduriere [Resembling garbage] bill that was placed below ours, etc." What do you think of this word orduriere? Never has anyone dared to put that on a bill; that really says what kind of man he is. I sent my uncle to give me an account of what went on at the performance, but he could not tell me anything; I do not know whether or not he fell asleep; he only told me that he was so bored that he left before the

332

ACT

III

•

Illustrations 45-t to -i56 - Letter from Robert-Houdin to his wife.

Illustration i5~ - Antonio Diavolo Engraving from Z« Nature. September 5. 1891

"Do not bother, I will fix it myself." I burst out laughing but could not convince him he would be incapable of doing so as it was hard enough for me to do myself. I think that later Ghocat's biggest fault will be his lack of modesty; once he has mastered my performance and takes over the show, he will think no one can surpass him. I will do my best to try and come see you next week; I prefer to wait so I can spend a few days with you. I will let Ghoeat perform three or four days before leaving him. Today I am going to write to a few friends in Paris to tell them of your delivery. I warmly kiss you Your devoted Robert-Houdin. [«]

We cannot refrain from smiling w h e n we imagine Robert-Houdin wearing a fake beard to secretly attend his colleagues' perfomances! In his public or private sketches, the author precisely and clearly describes the qualities, defects, or little faults of the "subjects" he portrays. This frank writing, through which humor and affection always shine, allows us today to see a vivid image of the great figures of the past. It is a much less conventional view, but it complements the most talented journalistic reviews and the most scholarly historical studies.

333

ROBl RT-HOL DIN

STRAND THEATRE. PROFESSOR ARE ACKAOWl.im.EO Tt> HF Tll>.

Legitimate Wonders of the Nineteenth Century!

_ yjyjQWEM DF DEMWoLTeffi This Evening;, Monday, Jan. 8th, & during the Week, UK "ILL MAKE His APPEARtfi('h

|M> (y[\r W-i

Illustrative of the Fallacy of Magic, Secremaief, Witchcraft, a*d Demonelogy, $ u d SDVAL FAHJLT otStnin. kttlmlirfiS.ho.il M «#<*r Uk'rt \i* KlhO d fftlMSSIA i-.dfc;.aM Ctp.nl. Jamymii* Ixat - ( * i 6 t a M r a TliE EHPEHUX? IMPIBUt FAUiLV. THE COU&T, » i rtt «iT".'f iXe COBFa DlPlilMitlffiJt i W nnlfM it 8L Pfii* E I ; H t i t » Hrhrw^ M m i k o , u i U«iC«iiit H* h ^ a ithitlt PiMiiUind ?<*«•*. M b . iLLTUI! CROWHKft HEABs Or NQSTHRH.H tUROPE, H . H « > » t t s . a C=.a t t . Bisil) »f tit Thuu* W tt» K m in ill CmlnMkktnMHtoWtaHfMdkMi t>4 h* kw k m w t i i M ' ^ ^ t> t* (kf;6RUT MiSTEK i< tkt CiBALiSTIC ART!

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SCIENTIFIC

« ti N D 1. K S I

SEOOHD 8 1 0 H T ; lls Fallacy ffluttiUd. 'fte HYSTIO

Srud HTDRAniJC KXPEWHEHT.

VOUJME.

SSA8D RECHAHI041

Tll> KASIC DANK, I Fishing cxlrMrdllmty.

AMAtOA.

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The

KT8TIC B S E A X F A 8 I .

The learned Saves, the Broken Ring, Dissolving Orsuge, sad Knchantftd Walnut.

Grand FOT?OGBRI of HAKBEERGHIEFS. SUSPENSION" CHLOROFOREENE,

OHtU) sf tie AST«^"J«k j>n

^IABI^

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AS 4 CK1IISTYAS PatSJST.IUT FKOfEMWS ANDSftSOf.8 MAti.C PICTUag OAl-I»«" 1*1" ii ikr WetM • r*i'J eta wrf«iB ill • f'Ji. utiaukiftz tmf B»fcai
Illustration 458 - Anderson, "The Great Wizard of the North." Anderson was undoubtedly the most famous English magician of the time but also one of the biggest plagiarists of Robert-Houdin's repertoire. On this bill from January 8. 1849. taken from Magic. August 1901, one can clearly see the thefts committed b) this artist from Robert-Houdin's repertoire: The Fantastic Portfolio. Second Sight. The Suspension Chloroforeene. etc

334

ACT

III

The English Connection or the Legrand Trial Robert-Houdin's success, the modernity of his presentation, and the originality of his inventions, far from stimulating the creativity of his colleagues, instead whetted their appetite, to the detriment of his repertoire. Several of them unscrupulously plagiarized his routines and some did not even hesitate to undertake criminal procedures to appropriate the secrets of his tricks. Indeed, the artist's stage equipment, apparatus, and automata were often equipped with complex mechanisms and this in and of itself should have sufficed to protect them for a certain time from the predatory instincts of his less-scrupulous colleagues. Every magician knows that there is a great difference between understanding the secret of a trick and being able to construct it: "It is a long way from the cup to the lips." In the case of Robert-Houdin's works, the fruit of nearly fifteen years of research and trial and error, imitators would have had to have seasoned mechanicians build several models, thereby incurring heavy costs and spending much time before even hoping to find a working model. Although Robert-Houdin was copied by the majority of magicians of his time, or, to be a bit more indulgent, although his art "inspired" several of his colleagues, their "borrowings" from his magic rarely exceeded the acceptable limits except for certain magicians performing in England who behaved like true plagiarists. It seems important to me to again mention that the British press, whose articles on Robert-Houdin's performances in London have been included here, strongly emphasize the actions of his col335

leagues, whom they repeatedly depict as ''insignificant imitators" or "pale copies." It is also revealing that none of the magicians named, from Herrmann to Anderson, and including Jacobs and many others, ever re-

NOTICE. ThU splendid pUce of public amusement is now complete ; the Reserved Seats, lately erected, afford an accommodation which was much needed ; the whole now forms four separate departments, viz., Upper Hall, Lower Hall, Reserved Seats, and the Picture Gallery, containing Dr. FELIX THIBERTs unrivalled Tableaux or pictures in relief, valued at 2,000 guineas. This e»tablishment now ranks first in the lino of entertainment for which it is devoted, viz. song, music, characteristic dancing, or any available novelty fleeting on the wing of time. The vocalists comprise the celebrated M r s .

STEPHENS.

Messrs. WARDE, and FOX, in the comic

department, every evening; also the talented LAURIE FAMILY,

CHARLES SLOMAN, the English Improvisators, &c.

Admission, 6d.; Reserved Seats, Is.

Mr. DE BRENNER, Tbe Olebratwi Paganiiii Violin and Bwijuist, will appear every Evening.

On F r i d a y E v e n i n g Next—Experiments A Soirees Fantastique ala Prugr.imire will include the following Betntiful Illusions: — K O'DieU E R V II O I 1> I 1

I

PSPENSION

ETHEREINCEi

The only English Improvisatorc, every Tuesday, Thursday, and Saturday.

Mr. W. FEARGE, The Celebrated Tenor Singer, every Monday and .Saturday.

MR. W. WARDE'S NEW COMIC SONG BOOK, PRICE SIXPENCE, MAY BE H»D IN i'HE HALL, ADD o r ALL

BOOKSELLERS.

Voors open at Seven, commence at Half-past, and vtotet at Half-pan Eleven. VOCAL DIRECTOR MR. W . W A R D E . Le*d»rof the B«nd. Mr. STtmiiKS, Prufmor «nd T«chirr of tlif Violin * Cornopein Pumi-Fi.rtf,

-

Mr. W A « I K G .

Illustration 459 - Experiments & Soirees Fantastique [sic] a la Robert-Houdin [!]. Bill for a plagiarist of the artist, w ho printed the engraving backward depicting the Suspension, which had now become "Ethereince (sic)'' (jiany Ransom Humanities Research Center, University of Texas, Austin)

ROBERT-HOUDIN

sponded to this very critical press, nor did they ever claim to have originated RobertHoudin's inventions. It was only sixty years later that a •'well-meaning" historian generously attributed to them 'creations" they never spoke of during their lifetime, and for good reason.

ASSEMBLY ROOMS, PHINCK SiltH-T HKIMOL

The SEVENTH WEEK of the

BOTTLE II! LCKXOn LEDfcED HI i l l TO BE THE

Wonder of the WorldS Monday, Tuesday, Wednesday, fhursday, and .<: Prfdaj

Should we thus conclude that conjurers on the continent had more professional ethics than their British counterparts? The answer is obviously negative, but the latter benefited at the time from an organized criminal network that would have probably ended up spreading throughout Europe had not French authorities put a stop to it, as we will see in several examples of their lapses in later chapters.

J. M. BUCK LEARNED

This criminal network consisted of three people: an English future consulate chief, magic enthusiast, and mineralogist named William Garrow Lettsom (1804-1887) who, under the cover of his diplomatic post as an embassy attache, carried out intelligence activities from 1831 to 1852 in legations of England in the major European capitals, as well as in Washington, Mexico, and Uruguay: a clockmaking worker named Omer Augustin Legrand, an employee of Robert-Houdin; and a French conjurer, Robin. [49] The latter introduced the other two figures in this sad affair, of which he ended up being one of the main beneficiaries. Robert-Houdin never forgave the betrayal of Robin, whom he had helped start out and who knew how his workshops functioned as well as the personnel did. For

HYDROHANCER'S

MAGNIFICENT MlRACULOUS^ECEPTIONS

SISriiSIOr "BY ETHER!!! Or A IICJIAN HOin i> MllhAlRU

PIANIST MR, C BUCK

Illustration 46O - The conjurer J.M. Buck. This artist presented plagiarisms of experiments by RobertHoudin such as The Inexhaustible Bottle and "The Suspension by Ether."

Illustration 461 - Signature of Omer Augustin Legrand.

336

ACT III

more than a decade, Robin had to flee Robert-Houdin, who. with the unlimited patience he had shown since childhood, waited for the right moment to settle the conflict with this dishonest colleague on his own territory and in his own way. For the time being, the plagiarism of his works and the theft of his creations were causing severe damage, thereby forcing him to sue. Here is the account of a trial before the Cour d'assises de la Seine on June 25, 1850 presided by M. Barbou:

SOIREES FANTASTIQUES DE ROBERT-HOUDIN Ton 1 iei Soirs a 8 Hemes precises Palais Soyai . G a i e n e de Va:ois.!64 eS r u e de Valois 13.

:*>

An affair of a very special nature attracted an uncommon group of inquisitive people today. This time, one must admit, curiosity was totally justified. The defendant Legrand was brought before the court for having sold to an Englishman some of the secrets of Robert-Houdin, the famous conjurer of Palais-Royal. The public therefore hoped to learn during these debates some of the secrets that arouse its astonishment and admiration every day. Alas, the public had forgotten about article 81 of the constitution and article 87 of the civil penal code. M. RobertHoudin, and he was within his rights, carried out an apparently very difficult trick: he conjured away all public hearing of the arguments. Illustrations 462. 463. and 16 \ - Original bill for Robert Houdin in 1845 and plagiarisms of it by Robin and S a v r e n . (t(>2 - L 'Almanach de Cagliostro dc Robin; t64 - Magic, March 1905)

Fig. 89. — LI S PQISSONS D OR KT LA Mt-NAGSniK IMPROVlbfcK, public par IHluslrUts /eihch ift Stutlgard, le 33 octobrs

THEATRE wOK

JR 0 YAL,

MIX: :**«:•• Trsi

m ®

o

(A

ID bis Splendid Temple of Enchantment Bexcs

Is.

337

Gallery

-

•

e*.

ROBI RT-HOUDIN

BAV.MARKGT Mr, B. WMCTBft »*• L m tat Mutt", 01

WONDER OF THE WORLD! I l l MMMt Two KifjhU!

Thursday,&Saturday, ApHt MH, aid SSd, WM8.

ML HERRMANN.

r»«lUMljr tie ««ly occasions he c»m l « i w this Beanos.

HERKMANN SFtiytfiittt tit union*! . . . - T ir,-,I,,- P mil, | | H , M 1 I L

MADE. HERRMANN

vni»B, ^ftur«dt»y, April *©tfc« EGCTELUS iHSPo*i«Bi.sTnui n n u o n n i u JMOTJWU £>belfcmit| MHMCnr

LE DOUBLE VUE! Or, Second Sight,

HERRMANN.

II tllMIOlI Oi YABIBBS BIRDS,

VOL. H E R R M A N N .

He sued for damages; Maltre Thureau represented him. The defendant was represented by Maitre Nogent St. Laurens, attorney. The seat of the public minister was occupied by prosecuting attorney Suin. Here are the facts of the accusation: M. Robert-IIoudin runs a theater at Palais-Royal known under the name Soirees Fantastiques. He uses mechanical instruments whose secrets belong to him. To manufacture these objects, for seven years he employed Legrand, watchmaking artisan, in whose integrity he had complete faith. This worker earned approximately 50 francs per week.

HAY-MARKET. FAREWEIA

MORNING PERFORMANCE* at Two o'clock.

WONDER Of THE WORLD! THIS MORNING, SATURUAY, Hay 6th,

Nl. HERRMANN. FIHST P&OFESSGB OJ» rtAGlO IN THJJ WOBLO,

isi s t *m ar L Morning Performance, %h New Extraordinary Tricks,

MH4I,

MADE. HERRMANN

But in the month of November 1849, chance allowed M. RobertHoudin to discover that Legrand had perfectly forged a mechanical piece called "The Transparent Gashbox" and that he had sold it to an Englishman, M. Lettsom, an attache to the English embassy in Torino. M. Robert-Houdin did not immediately turn him in to the authorities, but simply dismissed him. But Legrand had scarcely left before it became apparent that this worker had betrayed him in an extreme manner. He had copied and sold the majorillustrations 465 and 466 - English bill for Carl (Compars) Herrmann. Herrmann, then debuting, performed in London in 18 18 with a program exclusively made up of plagiarisms of Robert-Houdin's repertoire. Illustrations from The Unmasking of Robert-Houdin bv Harrv Houdmi.

338

LA DOUBLE VUEi Or, Sccourf « * r

MADAME HERRMANN. vmraw TAIUIHM WBW

ILLUSIONS WITH CARDS

mAOMB BLANCHE! 11IB1T1TI0I 0 ! WB10DS BIBBS,

BE. HEKRMAWlf.

ACT

ity of his mechanical pieces. Robert-Houdin decided to file a complaint. A search of Legrand's home revealed a large number of objects belonging to M. Robert-Houdin or reproduced from examples invented by him. A correspondence from M. Lettson /SJC7 was also confiscated and showed that Legrand had sold to this individual a large quantity of mechanical pieces whose invention was the work of M. RobertHoudin. Legrand claimed that if objects belonging to M. RobertHoudin were found in his possession, it is because they were at his home when RobertHoudin dismissed him and that he did not dare to give them back. But M. Robert-Houdin refuted this argument by asserting that he had never authorized Legrand to bring to his home objects that belonged to him. The defendant could not deny that he had handed over to M. Lettson [sic], a foreigner, the secrets of constructing the mechanical pieces of M. Robert Houdin and he admitted that he had received from M. Lettson [sic], a sum no less than 4,000 to 5,000 francs.

III

the Institute, showed that the pieces confiscated and claimed by M. Robert-Houdin were, for the most part, completely invented by him or represented such improvements on existing mechanisms that they should be considered as his own private property. In consequence, AugusteOmer Legrand is accused of: = 1. Having in 1849 illegally removed various mechanical pieces from the business and to the detriment of RobertHoudin, for whom he worked. = 2. In 1848 and 1849 as a factory worker informing foreigners, notably M. Lettson [sic], of secrets of RobertHoudin's factory, where he was employed.

EXCITEMENT EXTRAORDINARY I

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.

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Grimes provided for in the articles 386 and 418 of the penal Code. After the brief interrogation of the defendant, Maitre Thureaud, for the plaintiff, asked for the proceedings to be held in camera because of the risk of revealing to the public M. RobertIloudin's secrets, on which his business is based. This demand was opposed by Maitre Nogent St. Laurents and supported by prosecuting attorney Suin, who remarked that if M. Robert-Houdin had taken the civil route, the Court could have, in virtue of article 87 of the code of civil procedure, ordered the session to be

As a last resort, Legrand alleged that the mechanical pieces manufactured by M. Robert-Houdin were public property and did not have the characteristics of an invention Illustration 46"" - Anderson's English nor even of an improvement. bill. But it so happened that an This bill taken from Magic, April 1906. is expertise carried out by but a series of plagiarisms of RobertM. Armand Seguier, member of Houdin's repertoire.

",59

^ , .

O«at

\"i THATJOTTIE II >f S i '

E 3TEIB (CraDfe, or Jltcsmcric SCeep, mTmrii, sr ren

!'.,'.

itMiTM,

Tb.HUuj>Ml n— inn la • m C l l V a U T I U B . i ' a l i a n l

^ MechaniGdlatomatoi (pint Rapping Bell and Table:

1

THE G_REAT WATCH WONDER,

:

Evaporation,

j^* , Magic

' SranJ J'asfjiomitifr Bai) performances 111 l i ^ ' Pt«tBe«U ai.,8ecandls>ts, li., Qanti?, «d

RoBIRT-HOliDIN

THE FIRST APPEARANCE

ANDERSON

Tuesday, Thursday Saturday Evenings, PERFORMANCE

Wednesday Morning-,

Illustrations 468 469 and 4^0 - Robert-Houdin's original English bill of 1849 and the plagiarisms of his advertisements and experiments by Anderson in 1851 and by Robin in 1862. The Fantastic Portfolio. The Ladies Favorite. The Shower of Gold, and The Inexhaustible Bottle for the first; The French Guardsman. The Instantaneous Impression, The Horn of Plenty. A Tableau of Fantasy, Disappearance Under a Goblet, The Fabulous Rosebush or The Love Xest. and The Child Raised by a Hair for the second. (468 - Many Ransom Humanities Research Center, University of Texas. Austin. 469 Author s collection, 470 - Magic. Decembet 190 1 )

Considering that there is between the two charges a connection such that it is impossible to divide the arguments;

held in camera, given the possibility of severe disadvantages that publicity would incur. The court rendered the following judgment on this new request:

Orders that the debates be held in camera. After this decree, the curious left the court and cast disappointed glances at the many crates placed nearby, which undoubtedly contain marvels that the public will not have the opportunity to enjoy.

Given article 81 of the constitution, considering that the property of Robert-Houdin that was harmed, has for cause and principal elements secrets whose publication would cause a repeat of the crime, which would be a true disruption of order; and if the arguments were published, the intervention of justice, instead of bringing a compensation would aggravate the loss that motivates the action;

After the debates, the closing speech and the defense plea, the summary was made publicly. The jury rendered, after a deliberation of a few minutes, a negative verdict on the question of the

340

ACT III

MAURICE SARDINA

Les « erreurs » de

Harry-Houdini A V E C

EGYPTIAN HALL

U

N

E

P R E F A C E

DE

M°

MAURICE

GARCON

ae t Jtcaaemie JFranfaise

P A R I S

194

7

Illustration Cl - Title page of the French edition of Maurice Sardina's work Les "erreurs" de Harry Houdini (Where Houdini was Wrong)

sale of factory secrets to foreigners and an affirmative verdict on the question of theft of merchandise by an employee. It granted extenuating circumstances. Legrand was condemned to two years of prison and the court ordered the restitution to M. Robert-Houdin of the pieces that were confiscated. Legrand was ordered to reimburse all costs as damages, [so]

vealed a large number of objects belonging to M. Robert-Houdin, or reproduced from models invented by him: mechanical birds, two mechanical cages, a trick cage, The Trapeze Artist, Le Petit Savoyard, pieces for The Clock, The Prison, The Fish trick. He had counterfeited a great number of [mechanical] pieces of M. Houdin. The objects he is accused of having delivered to Lettson [sic] are: Three mechanical tables, Diavolo, a hunter, a crystal chest...

Le Moniteur universe! of June 26, 1850 specifies a certain number of points omitted from the account in the Gazette des tribunaux, which give an idea of the extent of the theft of which Robert-Houdin was victim:

In the opinion of his colleagues, RobertHoudin's effects must have had enough mysterious elements for Lettsom to feel obliged to bribe a worker to obtain the mechanician's secrets. Lettsom and the "artists" who unfairly benefited from Robert-Houdin's work truly

A search carried out at Legrand's home re341

ROBERI -HOUDIN

Illustrations 472. 473 and 474 — Anderson, Herrmann, and Jacobs.

showed their lack of scruples in pushing a formerly honest employee into a betrayal that would send him to rot in jail for two years and ruin him forever. It is also instructive to note that today, just as in the past, plagiarists use the same arguments before the law, as shown by the great lawyer, academician, and court expert Maitre Maurice Garcon in the preface to Maurice Sardina's work Les "Erreurs" de Harry Houdini (Where Houdini was Wrong) (Paris, 1947):

called revelations in 1908. We can also notice that the verdict of this trial is symbolic of the mentality of the times, which more heavily condemned domestic theft than infringements on intellectual and moral property. This account also shows how Robert-Houdin's inventions arrived in the hands of plagiarists working in England - Anderson, Herrmann, Jacobs, and Robin, among others. [51] We will return to the protagonists of this trial in the chapters on Robin.

Before the courts the usual technique of counterfeiters is to deny the value of the inventions and come up with prior examples that allow them to shamelessly appropriate these inventions for themselves. Houdini followed this path when he published his so-

At the end of volumes I and II of Album Souvenir des Soirees Fantastiques de RobertHoudin au Palais-Royal, the text that con342

ACT

A M D

C A B A L I S T I C

L A U N D R Y

III

!

MR. JACO Soirees Fantastiques is a school which other magicians constantly attend to find successful elements for their own shows.

eludes the Programme general cles experiences inventees par Robert-Houdin (General Catalogue of Experiments invented by RobertHoudin) shows a certain humor, or perhaps resignation, on this subject:

During this period, around the end of the month of May 1850, the conjurer Olivier (the son) was authorized to run "a small curiosity show" at 16, Rue de Bievre "consisting only of Physique amusante, mechanical exhibitions, Chinese shadows, and phantasmagoria'' (see page 113).

All these experiments were invented by RobertHoudin; the automata and mechanical pieces were hand-made by him and earned him several awards from the Societe d'Encouragement and the juries of the 1839 and 1844 Expositions. Although other artists have demonstrated a few of these experiments, they were only more-or-less slavishly accurate reproductions of his manner of performing. It is a recognized fact that the Theatre des

In Le Charivari of November 9, 1850, Louis Huard praised Robert-Houdin's new season in the following terms: Robert-IIoudin, the prodigious mechanician, the incomparable conjurer, the wizard of wizards, 343

ROBLRT-HOLDIN

Illustration -i75 - The Genie of the Roses. The final, sophisticated version of The Ladies' Favorite- (Private collection

ACT HI

has just returned to the stage in his charming little theater in Palais-National.

But a simple thought prevents me from worrying about him in advance: Once placed on the stake, Robert-Houdin would be capable of conjuring himself away, and the entire crowd would be taken by surprise.

This skillful artist has brought us new, even more incomprehensible marvels beyond all that he had performed until now.

On November 25, 1850, Robert-Houdin presented his most recent creation for the program of Soirees Fantastiques: The Enchanted Vase or The Genie of the Roses.

I fear that Robert-Houdin does too much, and that we will find ourselves obliged to burn him on the Estrapade square, a place historically reserved for people who asked the devil for conjuring skills.

Theatre Robert-Houdin jrt.

Repertoire du G6nie des Roses Le Roi d'Yvetot. Depuis longteihps, Oadet-Roussel. Bon Voyage. (Test 1'Amour ! j'Amour! infant cheri des names. J'ai du bon tabac. Marie trempe ton pain En avant Fanfan la Tulipe. A la Monaco.

Le Genie des Roses (Automate).

LE GENIE »ES ROSES (automate).

Ce vase aux brillantes couieurs, Qui, selon vos desirs, de roses se couronne, Du chant du colibri joyeusement resonne, Doit avoir ses admirateurs, Et peut-etre ses d6tracteuvs: Quelque gate qu'il soit, l'auteur connait l'envie. On peut plus ou moins 1'applaudir; Mais il faudra bien convenir Qu'il eut au moins l'esprit de se faire un genie.

Robert-Hondin.

Illustration 476 - The repertoire of The Genie of the Roses.

Illustrations 477 and 4~8 - The Genie of the Roses. Engraving and poem from the Album des Soirees Fantastiques de Robert-Houdin au Palais-Royal

345

ROBERT-HOUDIN

aParis NoelSuccfNadaud Editeur de Musi
346

ACT III

Letter on Education; Shows and Children know, my dear friend, that he performs plays there as bad as the worst variety shows; this is everyone's opinion. What can be worse than seeing these dwarfs of acting telling obscene stories in the most incredibly self-assured manner? Many women would be embarrassed at this theater. I will let you decide whether it is a good idea to bring children, and I hasten to inform you I have never set foot there; I am giving you the opinion of a few parents whom I trust greatly... As for the Hippodrome, I went once. If they limited themselves to racing horses, monkeys, or os-

The reader will recall the extent to which I have emphasized the exemplary style and context that Robert-Houdin wished to convey in his memoirs, a civic mission crucial to the author. The excerpts from the newspaper article we will cite below confirm the strict morals of the times and the severe manner in which show-people were viewed, and allow a greater appreciation of Robert-Houdin's conduct in his writings and onstage. This text was published in the form of a long letter [52] in the Revue catholique de la Jeunesse (Catholic Youth Journal), (second year, 1851) and deals with entertainment and shows approved or prohibited for children. Although Robert-Houdin emerges with the honors of this merciless requisitory, it is not the case for all his colleagues cited in the article: ...What is Seraphin? A little theater with talking puppets, puppets that are pleasant in themselves and that could give children useful and wise advice if the director had a sufficient dose of tact and common sense; but is this always the case? As a Christian, I do not hesitate to answer: No! His show can often be detrimental to the child who is just starting to understand what he hears. Fairy tales abound and we see some prince commit suicide because he was not lucky enough to please some princess. A fairy filled with admiration for his great courage resuscitates him and grants him all his wishes: power, honor, wealth. What a lovely praise of suicide! For a reasonable person this is simply stupid and nothing more, but it stimulates the imagination of a child, who, six months after seeing Seraphin, will remember what he heard, will explain to himself first what he did not understand, then will ask embarrassing questions and make unfortunate remarks...

RBVUE CATHOLIQUB BE

LA JEUNESSE

PARIS. RUE DE RICHELIEU, N° 60.

Illustration 48O — Revue catholique de la Jeunesse, 1851.

You miss Gomte's Theater! Then vou do not 347

(Jacques Yoignier collection)

ROBKRT-HOUDIN

triches. bringing out balloons, making Middle Age knights parade around, and even performing feats of skill, it would be just fine. But the program promises something else and it keeps its promise. Even when the costume is acceptable, the position is not. These leaps onto horses running at full speed, these poses, looks, and floating costumes do not seem appropriate for everyone. Why make children notice things that are inappropriate in and of themselves? Why make them admire all these wandering entertainers whom we disdain? ...I will not even mention the circus, which quite resembles the Hippodrome... Of these amusements, the only one that seems above reproach in every respect is that of RobertHoudin; but only children old enough to distinguish the ordinary from the extraordinary, the possible from the impossible, can appreciate it; only they can understand the great skill of this master conjurer, whom his son assists so well. Younger children would soon become tired and ask permission to go and run around. Although nothing but that which is appropriate occurs in this show, I believe that one should go only rarely, because it is a show, and shows, even when they are not bad in themselves, can still bring negativity if they become a habit, a need. Warm regards from Marguerite*"

Illustrations t81 and 482 - Seraphin's Theater and The Inexhaustible Bottle by Robert-Houdin. Engravings from Georges Filth's work. Le Pans dcs en/ants. Paris. I.. Ilachette. 1869.

ACT

Illustration 483 - The arrival of the vaccine at M. Robert-Houdin's

III

home on September 12. 1851 at Saint-Gervais near Blois.

In this portrait b\ Dantan. Robert-Houdin is shown holding a pack of cards in his hands, in the center a nursemaid is holding the young Georges Robert-Houdin in her arms, and Dr. Baschet a friend of Dantan and Robert-Houdin. seems about to vaccinate the artists son. accompanied by the newborn he holds somewhat carelessly beneath his arm.

ROBERT-HOUDIN

For publication, E. Veuillot

Illustration 484 — Roberti de Brescia around 1855. This artist did not hesitate to copy the title of the Soirees of Robert-Houdin or to plagiarize his repertoire and the engravings of his effects

350

ACT

III

Roberti de Brescia, De Linsky, Deveaux, Berneuil, and the Electric Light

In 1851, two new short-lived shows followed each other in Philippe's former hall in the Bazar Bonne-Nouvelle. The first artist was named Roberti de Brescia, lived at 39, Rue de la Folie-Mericourt, and had already performed some time before in Paris in the Salle de la Redoute at 45, Rue de GrenelleSaint-Honore. His performance consisted of Physique amusante, sleight-of-hand, feats of skill, and "everything of this sort," exhibitions of "melting tableaux" and experiments in mesmerism. Concerning the latter, it is interesting to note the precise orders imposed by the chief of police: The mesmerism performances are only permitted under the following conditions: 1. That the operator limit himself to experiments known under the name of Double Sight; 2. That he not generalize the effects of mesmerism and perform no scientific demonstrations. 3. That he not apply mesmerism to the knowledge of hidden facts or to divination. 4. That he in no way relate the result of mesemerism to the treatment of illnesses or for medical consultations. And 5. That, in a word, his experiments have no unfortunate influence on the mind, and be always in harmony with morals and propriety... [53] We know very little about Roberti de Brescia, but the prints of his lovely lithographs, illustrating several of RobertHoudin's experiments, from whom he had already "borrowed" the title of Soirees and half of its patronym, prove that he was — like others already named in this work — a very fervent "admirer" of the master! 351

"Louis de Linski, physicien prestidigitateur, " an associate of "Simeon Alexandre Devaux, mecanicien, " with whom he resided at 8, Rue Neuve-Coquenard, succeeded Roberti de Brescia in the running of Philippe's hall during the last quarter of 1851. [54] Here is the tone of his advertisements published in the newspapers: The theater of Philippe at the Bazar BonneNouvelle has just reopened with more splendor than ever. M. De Linski gives performances of magic and prestidigitation, which attract the highest Parisian society every evening. The most difficult tricks demand nothing of his prodigious skill; he thwarts difficulty and the impossible does not exist for him. His show is one of the most amusing that Paris has to offer. The comparison of the posters of Roberti de Brescia and Louis de Linski posters with those of Robert-Houdin show that these two "continental" artists had no fewer scruples and no more imagination than their English colleagues. In September 1851, a certain Berneuil, residing at 62, Rue de Dunkerque, was authorized to

La Bouteille mepuisable,

ROBLRT-HOUDIN

Illustration 186 - De Linsky around 1855. Like his colleague De Brescia. De Linksy slavishly copied the title of Robert-Houdin's performances and plagiarized the feats of the artist's engravings. (Jacques Voignlercollection)

552

Aci III

open, in a garden situated at no. 60 of the same street, a curiosity show made up of ''Physique Amusante, Conjuring, Polyorama, Optical Effects, and Juggling." During the summer of 1851, RobertHoudin was finally able to enjoy a well-deserved rest at The Priory with his entire family and his newborn, little Georges. The "word ''rest'' is, however, quite inappropriate for a man who could not imagine spending a single day idle! Robert-Houdin passed his time at Saint-Gervais working on new experiments with electric light. On Sunday, September 14, to entertain his friends, he performed during the course of the evening a demonstration of the result of his research. The account of this event was published in Le Journal du Loir-etCher on September 16: We owe it to the friendship of our famous compatriot Robert-Houdin to have seen Sunday evening in his charming retreat in Saint-Gervais, a curious experiment in electric light. Nothing is more simple in appearance than the process by which one obtains this marvelous result, but to get there, what studies were not undertaken to penetrate the deepest secrets of nature and understand the chemical properties of certain substances when separate, and their effects when combined with others. Not to be hindered in his experiment by the unexpected changes of the weather, M. RobertHoudin had brought, using two iron wires, the center of his operation into the living room [Illus. 60], where only twenty people were gathered. When the skillful operator created the first sparks by bringing the two electrical wires close together, at that instant a bright white light like that of the sun illuminated the room and a general cry of admiration rang out. The day had returned in a certain fashion, the spectators' shadows were clearly seen on the walls, the candles had, so to speak, disappeared under the power of electricity, and only appeared as meager glim-

mers, barely comparable to those of yellow wax candles placed in death chambers. Then, concentrating his bright rays with the help of a powerful lens, and directing them outside, M. Robert-Houdin suddenly threw into his garden such a flash of light that one could walk on the pathways as if in daylight, and at more than forty paces away we were able to easily read a letter placed before us... ...Back in his living room, M. Robert-Houdin wanted to reveal his secret to us by explaining the theory of the phenomenal light that he had just obtained and that of electric telegraphy, which only differ because of the apparent effects, one being produced by a ray of light, the other by a movement transmitted to its furthest point with a magnetized seesaw-like device. These explanations - free of the technical terms that make science so abstract, and given with clarity by a man who is master of his subject were followed with great interest, even by the ladies, who were the majority, [ss]

Soon, Robert-Houdin would be able to fully devote himself to his research, but for the time being, he had to set up a carefully planned program that would periodically distance him from The Priory for the next two years.

LES SOIREES FANTAST1QLES DE ROBERT HOUDIN OiudnlU bnllint

Att. LE CAIPENTIEfl

ROBI RT-HOUDIN

S-jircw fanlasliauss do ROUEHI-IIOCDIX. stances II'IIAMII-TON. — l.c Vcslm.

Illustration 488 - Hamilton in the Destiny experiment.

354

ACT

:

I

III

•

"Farewell, My Dear Parisians" In order to explain to his readers the reasons for his upcoming retirement from the stage and to justify his overwhelming desire for freedom, Robert-Houdin wrote a beautiful passage on the condition of the artist who must always give his public the best of himself during his performances in spite of fatigue, worries, or sufferings: A man who has made a long journey never feels the fatigue so acutely as when he proposes to continue his journey after a few moments of rest. This was what I experienced when, my holiday being ended, I was obliged to leave the country to begin again the feverish existence of a theatre. I never felt such lassitude; never had I a greater desire to enjoy perfect liberty, to renounce those fatigues of an appointed hour, which may be justly called the collar of misery. At this word, I see many of my readers start. "Why," they will say, "thus call a labor whose object is to astonish an audience, and the result to gain honor and profit?" I find myself compelled to prove the justice of the expression. The reader will easily understand that the fatigue, preoccupation, and responsibility attached to a magical performance do not prevent the conjurer from being subjected to the ordinary sufferings of humanity. Now, whatever may be the nature of his sufferings or his grief, he must, at an appointed hour each night, hide them in his bosom, and assume the mask of happiness and health.

This is, in itself, a painful task, but, believe me, reader, it is not all; he must - and this is applicable to all artists in general - under penalty of ruin, enliven, animate, and excite the public, or. in other words, give them pleasure for their money. Can this always be equally easy? In truth, the position artists hold would be intolerable, did not they find in the sympathy and applause of the public a gentle recompense that makes them forget the minor miseries of life.

DESTMLS J3T

PREDICTIONS

— II y a toujQurs une affluence considerable aux soirees fantastiques de Robert Houdin, un public distingue appplaudit chaque soir les experiences vraiinent incroyables de ce celcbre prestidigitateur et colics de M. Hamilton. Illustration 489 - Hamilton's press conference.

Illustrations 490 to 492 - Destinees et predictions. Small souvenir album distributed at Hamilton's performances at Palais-National.

{Archives naUonales)

355

ROBLRT-HOUDIN

I may say it with pride: to the last moment of my artistic life I only met with sympathy and kindness; but the more I strove to render myself ever worthy of them, the more I felt my strength failing me, and the more, too, increased my desire to live in retirement and freedom. At last, in January, 1852, judging Hamilton fit to succeed me, I decided on giving up my establishment to him, and in order that my theatre, the fruit of my labors, might remain in the family, two contracts were signed; and on the same dav rav pupil became my brother-in-law and my .successor.

M The following unpublished documents show the precision with which Robert-Houdin always knew how to plan his career, a rare gift that we have already evoked, and his will to master current events and those to come. He left little to chance and mastered his destiny, as much as is humanly possible.

his artistic activities would be carried out in the future were specified in advance. It also safeguarded his children's possible aspirations in this area. The document is in every way similar to a modern contract for brand licensing, but also includes the ''sectors of activity" in which the seller would have exclusive rights; Between the undersigned: M. Jean Eugene Robert-Houdin, mechanician conjurer residing in Paris, 164, Galerie de Valois at the Palais-National D'une part. and M. Pierre Etienne Auguste Ghocat, known as Hamilton, conjurer, student of M. Robert-Houdin, residing in Paris, 9, Rue de Laval. D'autre part. Was carried out and agreed the following:

Here is the act by which Robert-Houdin sold his theater and the partial use of his name to Hamilton, an act in which the irrevocable date of the end of the conjurer's theater performances and the context in which

Sale by M. Robert-Houdin to M, Ghocat.

M. Robert-Houdin hereby sells to M. Ghocat who accepts: =156

ACT

-\

^

4***4yvts fa

Illustration 493 - First page of the sale contract of Soirees Fantastiques between Robert-Houdin and Hamilton on January 3, 1852.

35"

III

ROBI R I - H O L D I N

PIBLK HE ROBERT MOWIS (UJOIRBHU HAMILTON).

Illustration 494 — Hamilton's show by Gustave Dore.

The business, known under the name Soirees fantastiques de Robert-Houdin, which M. RobertHoudin runs in Paris, 164, Galerie de Valois at the Palais-National.

lishment, either to remain personally owner of or use gratuitously, or at a price for his children, who in this case will have the right to do with it what they wish.

Along with all objects serving for the decoration and furnishing of the room currently destined for performances, all the mechanical pieces, automata or other, and in general all the various objects making up the repertoire and the operating material of the said establishment.

An inventory of the said objects is attached after having being accepted as accurate and truthful by the undersigned. In addition, M. Robert Houdin sells to M. Ghocat The right to keep the name of his establishment, for as long as deemed appropriate, as Soirees Fantastiques de Robert-Houdin. And to announce and publish under the same title all performances that he can give in France as well as abroad with the right to take the title of M. Robert-Houdin's student.

With the exception of the mechanical piece called The Vase, whose ownership will remain M. Robert-Houdin's. And under the condition by M. RobertHoudin of conserving or having made the duplicate of all mechanical pieces, automata, and others making up the repertoire of this estab-

But it will be M. Chocat's responsibility: 358

ACT

III

Th^tred'Hamilton. Illustration 495 — Hamilton's Theater. Engraving from L'lllustration, no. 637.

But he will not take possession of or enter into ownership until the fifteenth January of the present month.

To indicate in all bills and publications by whom the performances will be executed. And not to in any other way or manner use

Price. The present sale is made for twenty thousand francs, of which M. Ghocat has presently paid to M. Robert-Houdin, who recognizes this, in bills from the Bank of France accepted in cash, the sum of thirteen thousand six hundred francs. Concerning the six thousand four hundred francs owed, M. Ghocat has engaged to pay them to M. Robert-Houdin by next February first, without interest until this time.

the name of M. Robert-Houdin. M. Robert-Houdin making on this subject no concession to M. Ghocat other than that resulting from

the aforementioned

stipula-

tions and even conserving the right to use the title of Soirees fantastiques

de Robert-Houdin

for all performances that he could possibly give in virtue of the conditions

expressed

below.

Conditions. The said sale is also carried out at M. Ghocat's cost who is obliged to: Honor from next January fifteenth all contracts entered into bv M. Robert-Houdin for in-

Ownership. M. Ghocat will be the owner of the said establishment and of the objects included in the present sale from this dav on.

359

ROBERT-HOUDIN

Illustrations 496 to i99 - Bank notes of Courtois, Loramus, Voisin, and Adrien. All these bills are plagiarisms of the souvenir bank note used by Robert-Houdm, Hamilton, and their successors during the Shower of Gold effect (Above and opposite top.) (Georges Proust, Jacques Voignier, and the author's collections)

Jean Baptiste Bertin, owner, residing in Paris, 13, Rue de Valois concerning the room and annexes situated at Palais-National, in 164, Galerie de Valois following the private agreement dating from January 15, 1845 in Paris.

surance against fire and for the gaslights and in general all the operating and other costs of the said establishment. Specific Conditions. It is expressly agreed:

This sale is carried out at the charge of M. Ghocat who promises to:

That M. Robert-Houdin will have the possibility for a period of two years from January fifteenth of the present month to exercise his profession as he sees fit, and to give any performances that he deems appropriate, either in France (except in Paris and towns included in a radius of 120 kilometers around this city) or abroad wherever he wishes.

Honor from the said day of January fifteenth all the conditions of the said lease, conditions of which he declared the knowledge by the reading of the lease. Then to pay M. Bertin the said rent of the premises from the said day of January of the present month.

But that beyond this period, M. RobertHoudin will no longer be able to give a single performance for his profit, either in the interest of anyone else in France or abroad.

All of this such that M. Robert is not disturbed or sought out concerning this. Reimbursement of rent in advance.

Letting it be agreed upon that he will always keep the right to work and teach his art and to entertain himself gratuitously; to create or sell any new creation.

M. Chocat has just reimbursed M. Houdin, who recognizes this, an amount of two thousand four hundred francs that the latter paid to M. Bertin for six months of rent in advance, chargeable to the last six months of the said lease.

Lease transfer. By this present act. M. Robert-Houdin transfers to M. Ghocat, who accepts,

Agreement relative to the reestablishment of the rented space and security deposit.

All his rights as of next January fifteenth, to the lease expiring on April first eighteen hundred fifty-four [57] that was concluded with M. Marie

The cession of the lease is also subject to M. Ghocat's restoration of the premises to its

360

ACT

III

V "

Illustration 500 - Fake bank note used by Robert-Houdln and Hamilton during the Shower of Gold effect.

M. Ghoeat in the operating profits of the theater be withheld until the amount of five thousand francs is reached, this sum also to be allocated as collateral in favor of M. Robert-Houdin.

original state at the expiration of the said lease. To this effect and to guarantee to M. RobertHoudin the execution of this engagement, M. Ghoeat is obliged either to consecrate in the next fifteen days until the appropriate time, and as a deposit, the sum of approximately five thousand francs for M. Houdin, or to agree to his first demand that two thirds of the income due to

The party who is responsible for them will support the registration fees and other fees and payments to which the present conventions may give rise. Executed in two copies in Paris, January third

361

ROBLRT-HOUDIN

eighteen hundred and fifty-two. Approved by Robert Houdin Approved by Ghocat: Hamilton

Par atte sous s^ins* priv&» d» frois Janvier mfJ huit dent cinquan-

t

U

i

We see with what care and with what economy of words Robert-Houdin wrote the agreement of this sale, down to the smallest detail, including the future careers of his children, and he allowed no one to choose the date of his retirement for him, especially the public. The financial clauses need explanation. Given its ticket sales, the price of the theater's business - even if there were only twenty-seven months of lease remaining - seems fairly low if we add the value of the name Soirees Fantastiques de Robert-Houdin and the mechanical pieces in the list to follow. This price was justified above all by the fact that RobertHoudin wanted, as he wrote, his work to remain in the family, even if this caused him a slight financial disadvantage. We may nonetheless wonder how Hamilton paid RobertHoudin the 22,400 francs without having a substantial personal fortune. In this case, decisive for his future, Hamilton acted as a smart businessman, and this must have pleased his future brother-in-law.

J

GAT, till HAMILTON , yre*lkit«iUil«or, dr« .<»'* s^ance^, lu nocield *«ra j)rori>«/w peiulant uu temps ^jjai ifa*)fieie a pour objel l'e\ploitation «lu cabttwt roiinu sous W hoin «te *oir«V» fantanUffuttsrtt*KOpur M. f)litwe l

Kile

cat tetfl

Vah»i.<, id4, c( »*Me c y U ' r a s«ms hi ntison H«Hi.il«t4lur,AT *•! t>, M. ChoCftl «p|nn!»' a tit noriele * d i l UriuHiit«ur rt

Hamilton had found a silent partner named M. Belluot, who first advanced him the sum of 10,000 francs and later added a complementary sum of 6,000 francs. In exchange for these 16,000 francs, M. Belluot became the owner of fifty percent of a limited partnership in which Hamilton included his conjuring business, his industrial equipment, his lease, etc., evaluated at 20,000 francs. Once the costs and salaries of Hamilton were deducted, the income from the theater was allocated to the reimbursement of M. Belluot's funds, and the remaining profits were then equally distributed between the two associates. The duration of this society was limited to four years, beginning on January 15,

inillc fraiiri.

l.t* commanditair^ appnrte ;V'la iAt^ (lit captUf «le p»•«*«:* a

M, Pour «**Ji*aH j cent {*i»itjuaivt«'-ttt'u\. .

mil htttl

OHO«:AT H

Illustration 501 Legal publication of the statutes of the company created by Hamilton and his shareholder M. Belluot. (Archives nationales)

362

ACT

Illustration 502 — First page of Hamilton and Amelie Charlotte Braconnier's wedding contract. (Archives national®

363

III

ROBFRT-HOUDIN

1852, date of the official ownership of the theater by Hamilton, and ending January 15, 1856. At the end of the period, if M. Belluot had been reimbursed, which was the case, Hamilton would assume full ownership of Soirees Fantastiques. Hamilton paid the remaining amount to Robert-Houdin by a document of private agreement signed when he married Amelie Braconnier. We may remember that for the wedding contract of Olympe Braconnier and Robert-Houdin, he had agreed to manage his wife's jointly held assets. Recognizing her son-in-law's managerial abilities. Olympe's mother, and also her sister Amelie, asked him to invest their assets. Robert-Houdin therefore had the responsibil-

ity, at this time, of the majority of the assets of Amelie Braconnier's dowry. With his wife's agreement, Hamilton could in this way free himself from his debt to Robert-Houdin without having to outlay cash at the time of the wedding contract or during the sale of the theater. [58] This is how Hamilton, therefore, thanks to a generous silent partner, a happy marriage, and the friendly complicity and wise advice of his brother-in-law, became manager, operator, and soon sole owner of the famous Soirees Fantastiques de Robert-Houdin. With the signing of the sale, a list was compiled of the mechanical elements and other items that were to become Hamilton's property:

Illustrations 503 and 504 - Original engraved brass printing plates of the souvenir fan and bill for Soirees Fantastiques reprinted in Le CagHostro.

ACT III

State of the objects making up the repertoire of the establishment of M. Robert-Houdin and included in his sale of this establishment to M. Ghocat, known as Hamilton: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

The Chinese House. The Transparent Gashbox. The Horn of Plenty. Cabalistic Drying. Instantaneous Impression. The Crystal Balls. The Glove Column. The Hunter. The Birth of Flowers. The Punch. Diavolo Antonio. Suspension. Invisibility. The Surprising Handkerchief. The Miraculous Fishing. The Turtledoves. The Clock. The Ball of Wool. The Portfolio. The Inexhaustible Bottle. The Light and Heavy Chest. The Magnetic Ecstasy. The Jewels. The Complete Polyorama. The Second Sight. The Ethereal Suspension. The Garland. The Orange Tree. Auriol.

SOIREES FANTASTIQIES

Tous les soirs ahuit hexires seance deM- HAMILTON

Illustration 505 - Advertisement for Hamilton in 1852. (Private collection)

Rue det Gres, 10 (place
The last three pieces will be delivered in a time limit that cannot exceed six months for the first two and one year for the last. Executed in two copies in Paris Approved by Robert Houdin Approved by Chocat Hamilton

/

, (tsneitnt,

GRANDE StANGE FANTASTIQIIE B S ROBJESBW PAR HAMILTON,

ttvee intci'iiiidcs de masiqae; i
In perusing this list, we realize that RobertHoudin did not sell the totality of his mechanical pieces to Hamilton. Besides The Enchanted Vase or The Genie of the Roses, a few other automata such as The Pastrycook of Palais-Royal, Pierrot in the Egg, The Ladies' 365

Ge Billet esl vaUble pour u a e personne, ou deus jeuneR Eievcs on Enfiti l.ts persoonee qui condiment lei ^Ifevea aont aiimusi

Illustration 506 - Performance given by Hamilton in 1853 for a charity benefit. (BfbHotbSque de r.lrseiuil)

ROBFRT-HOUDIN

arrivals and departures between France and abroad, and depending on the programs established for his tours, Robert-Houdin borrowed for a time some of the mechanical pieces that were now a part of the repertoire sold to Hamilton. The theater had become a family business and the two men could always count on each other.

Favorite, The Fascinating Owl, etc. are not included in the list. For his future tours, RobertHoudin made copies of all the apparatus, small and large, as well as duplicates of stage elements: tables, side tables, consoles, and certain automata whose working, for traveling shows, was not based on the exact principles used at Palais-Royal. It is likely that, upon each of his

Lanteme magique! pitce curieuse!

Illustration 50" - Portrait of Hamilton.

366

ROBERT-HOUDIN

The Final Flames In November 1851, after an eighteen-year absence, Bosco returned to Paris, where he performed at the Casino des Arts, 12, Boulevard Montmartre, at the end of the month. In January 1852 Le Charivari published the following account of his performance: It is under the impression of surprise caused by the marvelous skill of this artist that we write these few lines. When he came to Paris for the first time eighteen years ago, Bosco already seemed to be the most skillful of conjurers known and his

tricks dazzled everyone. We were therefore curious to compare the Bosco of 1852 to the Bosco of 1832. Let us flatter ourselves by saying that, far from having lost, Bosco has considerably gained talent. The multitude of experiments carried out during the soiree that we have just attended truly astounded the entire audience, and to speak of only one, which Bosco considers a prelude, we will say that the disappearance of the invisible balls [sic] shows something so diabolical that if we lived in another century, we would willingly believe in wizards. [59]

This performer, whom journalists deemed with a certain tenderness "the veteran of conjuring," had changed neither his repertoire nor his decor. Bosco performed before Napoleon III and his court on March 16 before returning to his tour. Alexandrine Bosco, his daughter, was probably referring to this prestigious performance when she wrote the following lines to her famous father:

\

Through lucky chance the Warsaw gazette fell into my hands and I learned with great pleasure that you have been invited by Her Majesty Empress Eugenia. I do not doubt the success that you had at the French court and I congratulate you, dear father. I hope that your business is going well and that you will soon be able to leave this wandering life... [«>]

Le Charivari informs us, in no. 18 of the month of January, that: "The chameleon-like soirees of M. Linski and M. Deveaux continue to be the meeting place of today's high society," which of course we do not doubt for an instant. In a letter by Robert-Houdin addressed to an unknown person, dated January 4, 1852, he concluded in the following manner: "...I will tell you that having sold my establishment I

Illustration 508 - Bosco the conjurer. A portrait of Bosco published in the Nice newspaper Passepartout. December 4. 1859 and reprinted in Auguste Driouxs Passez Muscade, March 1935

368

ACT

Illustration 509 - Robert-Houdin's profile by Dantan. (Chateau de la Vllle de Blots)

369

III

ROBFRI-HOUDI\T

GALERIE DE VALOIS. 164. ittttnmtx

PALAIS-NATIONAL.

tmvrirtmt a 7 hrltrtt |i*jt.

RUE DE VALOIS. 13

U $****(**, l*A*y*»s-'"—<

i MewriMii Ok Janvier 185*2.

I'Wtrii, .1 ft". •—• A i m

SOIREES FAKTASTIQUES

ROBERT HOUDIW ILLUSIONS, SUBTILITES, IWAGIE

AUTOMATES.

PRESTIDIGITATION.

DIMANCHE PROCHAIN

DEUX SEANCES In prtwim a % hearts, In trwndt a H hmre*
\, ROBERT HODDIN SE CHARGE DES SOIREES PARTICDLIERES.

Illustrations 510 and 511 - Sole example of the third and final bill for Robert-Houdin at the Palais-National. On this bill, as unique as the two preceding ones. Robert-Houdin wrote these words : 'Next to lastperformane, I departed on January

7 5, lb'52 ' (Chateau de la Vllle de Slots)

3^0

ACT

III

am leaving for England in three weeks..." Although Robert-Houdin confided his theater to Hamilton after the January 15th performance, it was not his last performance on the stage of Soirees Fantastiques. [f>A Although he had already stopped performing in his theater for three weeks, Robert-Houdin, pressed by the demand of the Parisian public, was obliged to give a final goodbye performance on Thursday, February 5, 1852: Before definitively leaving his theater, which he has sold to M. Hamilton, M. Robert-Houdin will perform tomorrow, Thursday, a final show of his most interesting experiments, among them the famous inexhaustible bottle trick.

— Avant dc quitter definitivement son [tluVitro, qu'i! acedia M. Hamilton, M. Robert Houdin donnera domain Jemh tine derniere representation des experiences les plus iiiteressantes de son repertoire, parmi Jesquelles sera le fameux true dc la lxmtei'.le inepuisalile.

ff

Illustration 512 - Letter by Robert-Houdin. Letter b\ the artist to an unknown correspondent, informing him of the sale of the theater and his departure for England.

The historian Sam H. Sharpe writes in Salu-

tations to Robert-Houdin that he found no documents testifying to performances of RobertHoudin in 1852. but he does not exclude the possibility that he performed in the English provinces. This supposition seems to be confirmed by a short article published in June 1852 in issue no. 166 of Le Charivari: Robert-Houdin, the famous conjurer, is currently traveling in England. The newspapers are filled with details of the success obtained by this artist, who, it is said, is going to retire after this trip. Paris will never again see his marvelous performances, but will remember them for a long time. — Robert Houdin , le ceUbre prestidigiuteur, Toj*ge en c« moment en Angleterrc. Le* journtux »nt reraplu de details oblenus par cet artiste qui doit, dit-ou, k 1* suite de ce voyage se rctirer. Paris ne verm plus set inervcillcuscs trances, niais en conserve™ lougtemps le souvenir.

4972

Setour da pbyBicien Boseo. Le^oas anx amatenis.

— Sites done, monsieur Boaco, votis quI^tesEt raalin ,

cst-ce qua VQBSDC pouirios pascharpr ir.onligbit COU-

Illustrations 514 and 515 - Bosco by Nadar. Portraits by Nadar entitled Return of Bosco the Conjurer. published in Petits Albums pour rire, no. 9.

371

ROBERT-HOUDIN

After these performances in England, we find Robert-Houdin in Scotland, where he gave a series of performances in the Waterloo Rooms in Edinburgh, starting on Monday, June 14, 1852.

WATERLOO ROOWS, EDIMTR. Tor

sm

i r 3K"l.gg:ia<.;ai

UNDER THE imiTIEDIATE PATRONAGE OF

HER MAJESTY THE QUEEN H. K. H. PKIXCB ALBERT, * THE ROYAL % FAMILY, AHtf as represented &J eoBlmanS at the PnUee of S4 James', sad

This was perhaps the beginning of a new tour in the British Isles, where Robert-Houdin had already performed for a few months in 1849. In Paris on the 17th, the annual closing of Soirees Fantastiques was announced - for renovation work - and the departure of Hamilton on tour, "whom directors of theaters in the provinces have already monopolized." His series of performances in the provinces lasted the entire summer of 1852. He debuted at the Theatre de Versailles on Thursday June 24, before performing in Orleans, Tours, Lyon, [62] and Bordeaux.

AT A M J THE COURTS OF ECROPE. - Aujounliuii jeiuli, 17 juiii, .Mure ilf fanUsliqiiM de Robert •lowliit, |H>nr CIUM; tloivparation. Les Uirccteurs ,|,-$ tlu'iUros uV prounte out tlej.i acca\v»n> If c.-Ubrf |.rv9>tuti«i»atftir JHHItUnl qu'on cmUMira sa oliannanto \H-HU- salU'. M. Hamilton conunoncrra aujounl'liut jcutli par lc tMAlre de Versailles, jmis Orleans Tours, Ljon,

HOUDIN! TS1 CSLBBIUTKD

French Conjuror

Bordeaux.

Proprietor & Manigw of the Paiais-Rojal WILL OITITheatre, AflUUKtOF fclatoofStJinuis'"

MAGIC SOIREES

Illustration 518 - Hamilton press release. =,

Monday, June 14, 1852. r«OH WHICH A SELECTION WILL UK GIVEN E4CII EVEHIKB

To« HtlhvA of Flower* Ttt Coarealsun of raUU-EojM The lajlc Hopper ThetaMUneoui «etti«orp»»Il «ImpoMiWUiy reallied Tke Iron CfBini Tut airrelliu! Or«se Tree IlistelontEom

m

T nftM j (tcrl o si w mtlMietUetau* n B A O I l l l l Th CinJtiU j g . : I t e SporBmiB «na Cnpld - lbe (niUnUoejM lmprelil«a •3 * The CrnMl Halls The Column MMUI

t

Dluals Inttnlo (leohule Fleet) The Transparent CjiiUt IntliiollUT, or DUipp taranee of the The IaeikuuUble Bottle Thefilassor U'tue, or the Secret of Tie Sjmpiihclle Torlle Dora • cmrnbaiullM The IneliantHl Crsfftt. proiuelHR The atrscaini TSherj Me eraote, UmoB, Bjld Walnut Fulhen, «e,, te The UntlHlteil Jlulllpliultei or The S i i a r k i f SoTerebjin Tie »e«i4 Ssm, irillisit inj metDie Eill-rtnscr (Mwtanlt Fleet) IheHomrbiket Toe hxltullnt t)»l The !Ee«pollun HurietslB Tke a « l e PotKollo The luatl n i l Cmmn Mil Tbc Ball of lambs' VTool The treat beaaotagt Aarlol (KeebMltJl Plt«) The eitaaauie UcxfUe of m Aulo- The Kmprror SleSolt) The Two LfiMon! The Plianli FockM HMdkerehlef The Ariel Ctaek The«>8leTaWe«u ThcS TfeeTonngSaTOjanlcaeehanlerieee) The aagBette Sssrt

THE! WONDROUS PUNCH BOWL, D w «
A GRAND MORNING PERFORMANCE ON S A T U K B A V , J U N E 1 9 , 1802, A T T W O O'CLOCK. Boon open at Half past One.

Jl lUKOVJOt KWtCT

Illustration 51" - Robert-Houdin at the Waterloo Rooms in E d i n b u r g h . (Harry Ran&nn Humanities Research Center University of Texas. Austnu

Robert-Houdin returned to Saint-Gervais to be with his wife, who gave birth to Rosalie Eglantine on October 5, 1852. [63] The presence at The Priory of the sculptor Jean-Pierre Dantan, friend of Robert-Houdin, prolonged the festivities of the happy event. The skillful caricaturist drew a humorous portrait in which he depicted himself in a scene with Eglantine and Robert-Houdin, for whom he designed a false nose, allowing him to add the following caption to his drawing: What a singular adventure!!! / I am so surprised / searching your face / for what makes you a caricature / Ah! I see! It is a nouveaune [Newborn/new nose]. [<>*} The conjurer would not savor the calm of The Priory for long because in February 1853, he returned to England. In Robert-Houdin's archives, I have found the preparatory draft of a summary of the chapter concerning this tour, which was supposed

ACT

III

>

Illustration 519 - Dantan, Robert-Houdin, and Eglantine by Dantan.

come great success, the Queen has asked for me, obliged to leave. London, customs. Letter from the Queen, formalities - Preparation of the performance - 24 hours without eating, the groping for dinner episode, the servant's fear. The servant with epaulettes (Colonel). Performance at St. James's, success, Linsky - His misadventure, his bills, etc... fair, etc... the Zulu Kafirs, the German troupe. Rachel. Goodbye to

to be part of the original structure of his memoirs. This text, without being devoid of interest, also raises a few questions: Travels February 1853 Abbeville testing of the setting - Two very successful performances. Amiens, Robert Orville, cold hands, great success. Lille, the Scrives - Playbills in carriages, small in373

ROBERT-HOUDIN

SALLE OE L'ASSOCIATION MUSICALE HUE ESQUEBMOISE,

79.

ROBERT MOUDIN Prestidigitateur du Palais-Royal, a Paris

LE MERVEILLEUX BOL OE PUNCH, Experience entierement nouvelle invented par lui.

LA FAMEUSE BOUTEILLE INEPUISABLE. M. ROBERT-HOUDIN s'engage a fairs sortir d'une bouteille vide toutes les liqueurs possibles connue* jusqu'a ce jour etdans des quantity illiwite'es. — Cette EXPERIENCE est de son invention.

LE CARTON DIABOLIQUE. ImpossibilitydeTenuepossible.—D'un carton a desisin extrtmement mince, aortent, en profusion : des chapeaux de dame s, des casseroles rempliea d'eau, de feu , de haricots, des tourterelles vivantes et une e"DOrme cage remplie d'oiseaux.

LA CORNE D'ABONDANCE, Produisant une avalanche de bonbons, fleurs, albums, joumaux comlques, ^ventatls, destinies, surprises, etc.

LOR ANGER MYSTER1EUX, Naissance instantane*e de fleurs odorantes et de fruits ddlicieux.

Illustration 520 - Bill for Robert-Houdin in Lille, March 1853.

374

ACT

Melchel, souvenirs. Travels in the provinces. Herfort [sic], the three spectators. Cambridge, my name usurped, great success.


0

J

"/

/

tion with my performance. You see, dear Dantan, that I speak with you as to a good friend, telling you details that would bore anyone but you. I will begin my performances at St. James's on Easter Monday; Mitchell's French troupe will perform in Liverpool that week. Lafont is part of it. Ravel is leaving the theater today to go to Paris. He gave a series of very successful performances. I hope that you will write to me in order to amuse this poor traveler who misses his little St. Gervais, but let us have patience, this is the last journey; a bit of courage and we will come ashore. Adieu, dear Dantan, I warmly shake your hand and express my family's remembrance of friendship. Yours, Robert-Houdin

? "*;/ '/***** -^,.«/^

*. ^'~/^<. p

, y.

... Ay ; :

III

::

The preparatory draft of the chapter summary quoted earlier shows that the "groping for dinner'' episode and the sen-ant in epaulettes, which Robert-Houdin situated in December 1848 on pages 223 to 225 of the second volume of his memoirs, actually took place in 1853- This seems

Illustration 521 Draft of a chapter heading of RobertHoudin's memoirs. This is how we learn that the conjurer performed in Abbeville and Amiens [65] prior to Lille, [65] where he gave two shows on Saturday the 12th and Sunday the 13* of March in the Salle de l'Association Musicale. On March 18, the artist gave his fourth Royal Performance before Queen Victoria for the fifth birthday of Her Royal Highness Princess Louise, the sovereign's youngest daughter. [66] in a letter to his friend Dantan, Robert-Houdin describes the performance and repeats the quatrain that he wrote for the princess:

r:"""

/

' /

;:^

The month that gave you birth Will return joyously to salute you one hundred times And one hundred times in gratitude Will you welcome the most beautiful of your months.

1 <&-

/

f (V

7T

Robert-Houdin continues:

^ :

I

The queen enjoyed reading this quatrain to Prince Albert and thanked me with a gracious smile. At the end of the performance she sent her personal secretary to me to express her satisfac-

/i a.

Illustrations 522 and 523 - Letter from Robert-Houdin addressed to Dantan from London in 1853.

3-5

ROBIRI-HOI'DIN

DURING

THE EASTER

THE CELEBRATED

more likely, given that the trip from Lille to London in less than three or four days, and the preparation of the performance for the Queen would require a twenty-four hour fast! The author therefore probably described the Royal Performance in his memoirs based on events that took place during two separate performances, We must also note that, in this draft, Robert-Houdin situated the Hereford episode and the three spectators in 1853, although in his memoirs they supposedly took place during the 1849 season. The author makes our mouths water with the English misadventures of De Linsky, the details of which we would have liked to know. He wrote that his name was usurped in Cambridge but added: "great success." This type of usurpation of names was one of the scourges of the era, and many magicians of that time suffered from the misadventure of being preceded in cities of the provinces by unscrupulous "imitators" who changed names as quickly as they abandoned the audience once the cashbox was filled! A former clown named Henry Graham made it his specialty to usurp the names of famous artists. As soon as a renowned conjurer performed in London, Graham "took" his name and sometimes even his "accent" during his tours in England. Thus, he passed for Anderson, Frikell, Philippe, and apparently Robert-Houdin. [67]

WEEK,

PRESTIDIGITATEUR,

The "real" Robert-Houdin started his London season at the Saint James's Theater at Easter. It began on Monday March 28 and was to end on Saturday April 2. The conjurer performed every evening and gave a matinee show three times a week. E.L. Blanchard, drama critic and longtime magic enthusiast, attended one of RobertHoudin's performances on April 19- He wrote the following sentence in his diary: "I was enchanted by him; he is, by the way, truly the best magician that I have ever seen." M He announced his farewell to the stage, but the English public forced the artist to prolong his performances until Saturday April 28, when he gave his last show on the stage of the Saint

WILL EXHIBIT HIS

EXTRAOBD1NABY

EVERY EVENING, AND ON

WEDNESDAY

& SATURDAY

MORNINGS.

Illustrations 524. 525 and 526 - Bills for Robert-Houdin at the Saint James's Theater, March and April 1853. (Harry Ransom Humanities Research Center, University of Texas, Austin)

376

ACT

James's Theater, which he was forced to leave in spite of public demand. The manager, John Mitchell, had previously signed a contract with the great actress Rachel, who was to succeed him onstage. Keeping his friend's best interests in mind, so that he could continue to benefit from his successful run, John Mitchell arranged an agreement for him at the Sadler's Wells Theatre, where the French conjurer performed until May 14. [69]

ST. JAMES'S THEATRE. TERMINATION OF

SEANCES FANTASTIQUES, HOrfSIEUR

ROBERT-HOUDIN. THIS MARVELLOUS ENTERTAINMENT

After having apparently completed a short farewell tour in the English provinces, RobertHoudin returned to France, where he gave, among others, three performances in Strasbourg. Here is one of his announcements:

Will Urmmatt i» Ikt fillming mitr .—

TUESDAY EVENING

- APRIL 2 6 t h ;

LAST

Day Performance^ on

WEDNESDAY MORNING, APRIL 2 7 t h ; in A

REPRESENTATION EXTRAORDINAIRE, On Thurtdag Evening, April 28«i, lUMa tarn i n

ST. JAMES'S THEATRE. DURING

EASTER

BENEFIT OF MONSR HOUDIN,

WEEK

AND ms

FABEV£LL

rosrrmsLY

APPEAEAHOK AT THI8 TEEATEE.

Door* »p*». EVENING

*i EIGHT ;

MORNING, ml TWO.

PREMI&RE P ARTIE. t» SOLDAT amutram. MTtTBWBPX. DM

BT EXPBKB8 C0MM4SB OF

LBS TQgKTBiatJ.»a. Ltt aarrm* am OMUTAJL. L3B YASm OU LB QEHU D H XOtU.

HUE HOST GRACIOUS MAJESTY THE QUEEN, AT B0CK1XGHAJI PALACE,

DEUXI^ME PARTIE. U N BODLBS DS OBZ8TAL. (1KAHDX I I R t l DB TOVSg S'AIUUWU. LA If AltSAKOB DBS FLKOUL LA TBAMIPOnTlOK IKSTAMTAXmm. LA PLUIB D'OBLA OUIKLAKDB BKOHAimAl fCKFBUBI POOR U ! DAHBS, THOI61AHE PARTtE. LB MEUVMtLBtTX BOWL DB LX 0OKBAT DBS BIJUSBHTS, LB FBTIT TOK BHSOXOBLLH.

On the occuj-iiiit of the BIBTHBAT of H.R.H. THE PBIXCWS LOUISA,

F E I D A Y , I H A S C H 18th, 1853, WIU exhibit hia •'Wonderful IN-prcscntAtion* at the above Theatre, daring Bt Wk E V E R Y E V E N I N G , At hatf-jvut Li i/it u'cloek,

A DAY PERFORMANCE, WEDNESDAY ASD SATrT!DA.Y MOBNINGS Cominttii i'i'1 at hnJt*txnt TKU o'eloe'i

TBS OBOHE8TR.4 WILL PERFORM "THIS KKtPBSORI POLKA," evrnpowd by THOMAS SOLT, Ihq. THE HXW "OAITAKMT WALTZ,'' ( H I ) by BMXLT A. WALKEX

"fBl

LOUIti VOLtA,," compMoJ hr Mr.T. DROWHB.

LJUOKK

-

Ur. CHARLES HAIX, £Of Her M.jwtj 1 . Th»tK.)

STALLS, 7 s . BOXBS, At, PIT, g i . OALLKXT, I t . PRIVATE BOX£S, £1 t*. / J U« d i , a £3 ki. Mr. M t T O a x L L I ItOYAL^ LIBBJUt?, 0 3 3 , OU B N < Strwi: H..HI. KHITK * PKQWiE'Ji MUB1O W&RHUOUSE, 41, onEAPSIOK, uJ « Th* 8 U Offlct of tht Tb#a(r», which t . epsa <«Uj, froc. 11 till 5 o'oluck

377

III

ROBERT-HOUDIN

ROBERT HOUDIN'S

LAST NIGHT IN ENGLAND. ST. JAMES'S THEATRE.

POSITIVELY xan LAM* i n NIGHTS or

ML ROBERT mS

ttOBfcRT-IIOUDIN beg« to MmauBeni hii

Farewell Seance AT THE ABOVE THEATRE. 0"

SATURDAY EVENING.

THIS

OBOSWEra MORE atjOtafBESEWT PRICES

SERIES of MAGICAL

APRIL 28,

, mHY »ft» 1053. and Even Ettnisg Daring the Week.

BEI-NG MOST POSITIVELY HIS

LAST REPRESENTATION IN THIS COUNTRY, O»ing in I»K cwnmrocmem <* I'U Ei>gag
flnu.llw.

Tbe Programme on this occasion will comprise, the same Experiments as Performed before HER 1HAJE3TY. H.K.II. PRINCE ALBERT, THE! ROYAL FAMILY, and the COURT, at BUCKINGHAM PALACE. i'j qwn a< £?#!< u'efock: the ErtttTtammtKl

I Malf-patl Elgkt

TbeFredaetlenef Fiewera. The Knatantaneona Vrsupealtiam The dolden Sheerer. Tbe Knehafited alarland of riowerat » •JTemaerftU inrDrlae In •>• laalee.

Vtae Intrepid Soldt«r, Vhe Animated CardM. Vhe naxrellou* Oranc* Vre*. Vbe"aflpUBtopbelea"Tele«oop«. *he Travelling «nztl« Dovo*. «&e Transparent Oiyatol MeK. *he floafcetlener.

Tbe amasnanatlbte So wl or «ECtl\D l'.4«T. EbobertnoHdln's rertroUo Vne Crystal Balls, or ajreat Merles mstoalsblns Invisibility. ef Slight ef Hand Vrloks. Dress Cirtle, • 3*. Boxes, - 3s. **lt, # Is. tSallery - 6d.

f,rtnt''y.

L'B BOYAL I.IStAKT, t«. OLD BO

FRIVATfl BOXES,

Illustration 527 - Bill for Robert-Houdin's last performance at the Saint James's Theater, Saturday, April 28, 1 8 5 3 * (Harry Ransom Humanities Research Center, University of Texas.

-

«l. Is. «»J «<• Hi. 6d

Illustration 528 — Bill for Robert-Houdin's performances at Sadler's Wells, May 1853. From The Unmasking of RobertHoudin by Harry Houdini.

AustinJ

Saturday, August 6, 1853: THEATRE DE STRASBOURG Directed by M. HALANZIER Tomorrow Sunday, August 7, 1853, the third and absolutely last performance of: SOIREES FANTASTIQ.UES de R O B E R T - H O U D I X

In this last performance, M. Robert-Houdin will perform feats never seen before, such as: THE MARVELOUS PUNCH BOWL! A completely new trick, shown for the first time on March 18th before Her Majesty Queen Victoria. And, at the request of a great number of people: THE INEXHAUSTIBLE BOTTLE! M. Robert-Houdin, in the presence of the public, after having emptied and rinsed a simple bottle of Bordeaux, promises to pour out, with the greatest profusion, all liquors known to this day. The performance begins at 8 o'clock and ends at 10 o'clock. Usual rates.

ACT

Jacques Voignier, who discovered the text of this announcement, later published in L'Escamoteur, reminded Robelly's readers that RobertHoudin evoked his passage through Alsace on page 192 of The Secrets of Conjuring and Magic: "I remember that on one occasion, when performing in the theater at Strasbourg, I threw one of the little sketch-books from my Horn of Plenty right across the chandelier to the spectators in the upper gallery and gained tremendous applause for the boldness of the feat." The artist went through Belgium and Germany and performed in Liege on September 7. and in Baden, Wiesbaden, Hamburg, Ems, Aix-LaChapelle, and Spa in front of brilliant assemblies honored by the presence of the reigning princes of the German Confederation. The conjurer then went to fill a six-week engagement in Berlin, contracted with M. Engel, the popular manager of the Kroll Theater. These performances were so successful that they were extended for three months and ran from November 1853 to February 1854. Here is an example of what the German press wrote about Robert-Houdin:

III

fttoll'ft (ftabliffetnent. ©onntag ben 6. gm WnijJf.: (g>ed)flC S o l r C C

fantastique be$ #crrn SRobtxt £oubin, Prestidigitateurjjp Palais-Royal a l a i s y au«$tt «,tn29lbt&, ifliffe © b i g»<MHr: 3um eiRen Walt: ^ ^umOtifliftfee

CulWel In 2 Sften »•» SrttAn. Gjnauf: Sluf gtaale be« 3i« ««« bet Duet iJuCtO 01 j J a m m e t m Q , 3Ru|» t>on SXmijettl SORarfd^OtpOUttl oon SDJaffat, 3u «nfam): © t . (SonC«t uut. wtf. ««it b«S Untett Sntne in ben ©Sin. 10 fflt., Scan, u. nntere Sti6 15fet.,Bumnlrti ©IWiSSc 15 f«t.. Odew St». 20 for. Knf. b. &>««' 4 Uljt,

anontofl b. 7.3m »msir.: <§ltbtntt

Soiree

fantastique be0 ^crrn 9i.^ouMnift SeCtbe, aiptufteae mlt ®tl in 1 «ft, ». Sfltimann. ©ietauf:

3 e toiler le bcffcr! ®«i« *otpouni». a. ©onwbi 3u anfana- © r . ©OHCCtt unt. petf, «ttt. b. Unterj. Dwife wie finb SiOetJ au refer©. SiWiHttn * 15 fflt. febiefe b« Wen gflberiS u.3

6 uw, b«t oort. 6 | tnt. ICtaffag b«n 8. 3m

j

«

fant. bcS J^rn. 05. $oubm in SBorterpm 1. Oak: ^ i ^ t e Ultb 2 ! a n i aft o. ®0tiur. 3u «nf. fflt. ©OUCCtt. Dem

(ftobliffetnent. bd

etenn an, ta§

Illustrations 530 and 531 - Advertisements for Soirees Fantastiques de Robert-Houdin at the Theatre Kroll in Berlin.

FIG. 100.

nutip, flntanfl b a l l ) 7

etobKjfement. S o n n t a g ben 13. 3 mJKnfflSfaal:

3

5

^

^

ftcn ®c6urt3fcicr^rcr SKajcjidt bet ».8tnbpaintner. liictauf: o.gtau 8ub»lo. iOajn: ^

».3^. ©agntann, J

unb breije^nte Soiree fantastigjtie beS ^ r ii. K. ^ o u b i n, Prestidigi fateuroom Palais-Royal au8$PatiS in 2 aMii. ssoriiet: ©ni.aft b«op«r: S5ct2iebe8tronf,

5Kufif son©onijettl (Selcow — fit. Wolben,fietjoBf.jfam» metfanger sent ftoft!)eatcr m (Soburfl. n!8 ©aft.) ^ierauf:

Ouoettiitc jutopet SBil^clm Sell». Kofdni. 3u an. fang @f.€£oncett unt. pctf. «clt. btj Unterj. (Stitrw ju best • Sfien 10 f«., Sofltn u. uittm ISriWhte tS fgt^ nummetlrte ©ISP«J!« 15 \V- ObefSittiflne 20 fat, BST &if. bc8 CPIIC. j 4 Uljt, bet Sort. 5 i Ubt.

3 ae^nteSoiree fantast

Illustration 529 - The Marvelous Punch Bowl by RobertHoudin. Engra\ ing from Later Magic by Professor Hoffmann

3"9

ROBFRT-HOUDIN

ager Engel/angel], he is at any rate a kind spirit and as he is particularly gallant with the ladies, he is definitely a gallant spirit...in a word, HOUDIN is the man who enlightens us on everything, on religion, morality, politics. Indeed, is it not absolutely natural that the magician from Palais-Royal be associated with the man of the Tuileries, that the sorcerer who performs with his cards incredible tricks of passe-passe also imagined the charter trick, that the conjurer who makes everything disappear has also conjured away democrats, and finally, is it not reasonable to think that HOUDIN, who transforms everything he touches, has also transformed the Republic into an Empire?

The first announcements of the arrival of the famous conjurer HOUDIN from PARIS aroused extreme curiosity in Berlin of 1853. The question "Who is HOUDIN?" temporarily erased the Oriental question that had up until then been preoccupying. The crowd headed towards KROLL [The Kroll theater] on foot, or in long rows of carriages and coaches, and all were afraid there would be no more tickets. N. BAHN, describing the grand event, says that the "royal hall" was full. Finally, the moment arrived and the curtain rose. The public saw a charming and elegant "Boudoir fantastique" [70] brightly lit, which only showed to the avid crowd three tables upon which there was nothing to see. Then, an elegant gentleman in a black suit appeared, addressed the tense, curious crowd, in French, "Commenga sa seance" [70] [Begin the performance] and the puzzle was unscrambled; M. HOUDIN revealed he is a player of tricks, a conjurer, "Voila tout" [That is all], [71]

Who is this HOUDIN? Is he a conjurer? You theater owners, come to Berlin and ask your colleague ENGEL and you will exclaim: "This devil, we need him!" [72]

The author, probably very moved by the welcome he received from the German public, wrote in his memoirs: ''...I could not have taken a more brilliant leave of the public: for, probably, I had never seen greater crowds run to my performances. Thus the reception I obtained from the Berliners will ever remain one of my pleasantest reminiscenses."' A sad event darkened this farewell tour: the premature death, ten days after his birth, of his son Henri Louis, [73] born in Saint-Gervais on November 2, whose brief godmother and godfather were Louise Martin and Hamilton.

However, when the first feat ended to a thunder of applause, everyone realized this conjurer was not a mountebank but an artist in the highest sense of the word, full of elegance and a perfection that has never been reached and who does not take advantage of a foreign name to arouse curiosity, but who fully deserves the title of conjurer. Trick after trick, the applause increased. All over, people whispered, "This is not a man, this is a magician, a spirit." We believe this, too, but as he only consorts with angels [Pun: theatre man-

380

ACTF. Ill

Illustration 532 - Extract o f baptismal certificate o f Henri Louis Robert-Houdin. (Parish archives of the Egitse Saint RochJ

38]

NOTES TO ACT III

1. One may note that in 1845 on the ground floor floor of 164. Galerie de Valois, there was a watchmaking namesake of the conjurer. His name was Henri Robert - 1795-1874 - and he is recorded as having a five-year patent "for new watches with second hands, for practical and scientific observations, and new dials applicable to these watches and to clocks sold in stores." Later, his son. also named Henri, made a name for himself by manufacturing Mysterious Clocks whose principle was completely different

from that of Robert-Houdin. but which closely resembled the Aerial Clock used on the master's stage, a feat the brilliant clockmaker had surely applauded in his youth. 164, Galerie de Valois was truly a fateful address!

2. Memoirs of Robert-Houdin, op. dt., p. 237.

3.

illustration 533 - Henri Robert's Mysterious Clock.

383

The chief of the 2nd office of the Prefecture de Police, the bureau handling theaters, was at this time a certain M. Simonnet. He probably

ROBERT-HOUDIN

never played the role attributed to him by Robert-Houdin in his memoirs.

4. Feuilleton du Cagliostro. Revue critique, historique. chronologique. et artistique des Prestidigitateurs. Escamoteurs, et Continuateurs depuis lew origine jusqud nos jours. Manuscript of Robert-Houdin. 30 pages, circa 1845-1850. As noted by Robert-Houdin. Comte's moral qualities did not prevent The king's Conjurer from competing unfairly through an intermediary, with his newly established colleague. As early as December 18^5 M. Comte announced at the Theatre des Jeunes Ele\ es "One hour of magic" presented by the conjurer Casimir Belmas - Lassaigne's magic professor - who proposed a Magic Orange Tree (!). The Aerial Flight. The Magic Chest. The Three Fates. Gribouille s Umbrella, and The Fish (!). In May 1846. the King's Conjurer engaged the Second Sight

performances of M. Alexandre. who lasted only ten days! Finally, in 1847. Comte organized joint performances of his troupe from the Jeunes Eleves and those of the conjurer Philippe, whose daughter Henriette Marie Yictoire. not yet 17. was among the intermittent •boarders" at his theater. The failure of these three attempts at "magic" competition convinced the old director to lea\ e Soirees Fantastiques in peace and to continue with the type of show that had created his success and the theater's reputation: children's theater.

5. Marie Joseph Charles. Count de l'Escalopier. born in Liancourt on April. 1812. died in Liancourt on October 11. 1861. He bequeathed his magnificent collection of books to the library of the city of Amiens, which also holds his family archives. His mother was Caroline Jeanne de Bailly. who died in Paris on April 18. 1848.

i MU « • op.. *«-4

l l 01. Itntviuu omnronl a « hl'IIWH * f 4

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ilnifss,a«a«i«ul, (I" re(ncscii(atiou) CHEIMIIV B E FEK D E P A R I S '•'" Lime, Pitee a grand Hpecuclg en » wlw ti M lalilcim.

».ril.- i |lo.lil,,lH>iiIlU«M"i rue at |» ! • , ( , , , Bjii, ,,ilii, «" .1. •

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Illustration 534 - Bill for M. Comte's Theatre des Jeunes-Eleves, Wednesday, December 3, 1845. This bill advertises an hour of magic, illusions, spells, necromancy, etc. by M. Belmas. (Archives nationalesj

384

6. Benjamin Delessert. representath e of the French people, born in Pans on November 15. 181 7 . died in Passy on January 25. 1868. He was the son of Francois Marie Delessert. member of the Institute. born in Lyon on April 2. 1780. died on October 15. 1868.

7. I knew nothing about the pro\ enance of this book when I made its "costly" acquisition during an auction at the Hotel Drouot. Jacques Voignier traced its origin and communicated his findings to me. In fact, the book was previously part of the sale of Benjamin Delessert's library. The description of this work in the catalogue specifically lists the inherent characteristics of this copy such as the coat of arms, binding, etc.

8. Abraham Gabriel Marguerite Delessert. French politician. Police Chief. Born in Paris on March 17. 1786. died in Passy on January 29. 1858. He was the uncle, not the brother, of Benjamin Delessert. as Robert-Houdin wrote in his mem-

Paris, March 8. 1845 To His Excellency the Minister of the Interior. Your Excellency Your Excellency honored me by writing on March 4" to inform me that he approved the decree that authorizes M. Robert-IIoudin to run a small curiosity show at the Palais-Royal. However, he expresses the desire that from now on I inform him of this type of decree in advance, in order to allow him to ratify or modify it before notification to the relevant parties. I have the honor of informing Your Excellency with respect that

NoresTO Ac i III this measure would result in placing in his hands a responsibility that, until now. has been that of the Police Chief. In a letter of principle dated September 28. 1837, your predecessor had in fact decided that the authorizations for establishments called Curiosities would continue, as in the past, to be delivered by me. If. on the other hand, I look over the project of law relative to the regulation of theaters presented by the Government and already adopted by the Chamber of Paris, I note that article 12 is as follows: The Police Chief of Paris and in the Communes under his jurisdiction, and the Mayor in other communes, will provide the necessary authorizations for the opening and running of Curiosity Shows. However, sir, this formula, positively attributed to the municipal authorities, will become illusory if it cannot be freely performed, except for reporting to you. as I do. all authorizations that deserve your attention. There are small shows that open every day. most of which are unimportant and of precarious existence, to such an extent that it is not always easy to distinguish between the Curiosity Show and the traveling gypsy's booth. From this point of view, sir, it would be difficult to judge where your intervention should cease and I believe that, in all cases, these establishments arc too small to be the subject of specific attention before being given an authorization by the higher administration. Given these considerations. I think it likely that Your Excellency will confirm the decision of his predecessor as described above, concerning the authorizations to be delivered to managers of Curiosity Shows. Please accept, sir, my respectful tribute. Peer of France, Police Chief G. Delessert

10. We wrote earlier that Paul Royer. know n as Seraphin. was used to epistolary denunciation and he did e\ erything in his power to obtain the exclusivity for his Ombres Chinoises and prevent any show that may have been a possible competitor. One of the means he used was to systematically bombard the offices of the theater commission, the prefect, or the Minister of the Interior with letters. Here are a few examples: On May 14. 1852. in a letter from Seraphin to the Minister of the Interior, the artist denounced M. Godillot. who supposedly slandered him in writing and verbally and was also said to work with four members of the Madouf family previously placed at his theater specifically to spy on him. This •bad example" had. according to him. encouraged one Lessyen. helped b\ one Loyal, to perform with "puppets known as Guignol" on the Champs-El) sees. Seraphin asked the minister to revoke the privileges of these two establishments. In another letter to the minister, undated. Seraphin asked that one of his competitors be prevented from performing at individual homes. Finally, on January 26. I860. Seraphin denounced M. Lamazou who. so he said, wanted to "compete with him such that he will be ruined." To a\oid this, he wrote: "It will surely suffice to inform Your Excellency of this for him to render justice."

11. Memoirs of Robert-Houdin. op. cit.. pp. 234-236.

12. The Secrets of Conjuring Magic, p. 303-

and

13. "In the year eighteen hundred and forty-fi\e. the thirty-first of July. 385

Louise Marie, born the seventh of July of the same year, was baptized, daughter of Eugene Robert, mechanician, and Marguerite Francoise Olympe. his v\ ife. Galerie de Valois, 156 Palais Royal. "The godfather Michel Louis Martin, the godmother Marguerite Louise Martin who have signed..." The parish church of Saint-Roch in Paris. Extract from the Register of Baptismal Acts.

14. Paris. June 23.1845 We Peer of France. Chief of Police. In view of the decree of the Council of Messidor 12. year VIII (12 January. 1824). In view of our decree of January 11. 1845. which authorizes M. Robert-Houdin, mechanician, to run in Paris, 164, Galerie de Valois at Palais-Royal, a small curiosity show made up of an exhibition of automata and mechanical pieces and performances of Physique amusante and phantasmagoria. In view of the report of the theater commission who, according to our instructions, visited this site on June 11": Consider that is necessary to establish several precautions in this room for public security. As follows: Article 1 M. Robert-Houdin is authorized to immediately open to the public the small room of 164. Galerie de Valois at Palais-Royal. Article 2 This authorization is subject to the following conditions: 1. Moving the candles that are placed at the back of the theater more than 20 cm. away from the canvas. 2. Placing in the room destined for the preparations of M. RobertIloudin a reservoir of at least 250 liters of water with buckets and sponges. 3. Covering the floors and the visible pipes near the audience by setting up acceptable ventilation tor the evacuation of gas.

ROBFRT-HOUDIN

Article 3 A certified copy of the decree will be established for the Police Chief of the Palais-Royal district, who will notify M. Robert Iloudin, with the injunction to conform to its stipulations and to supervise them himself. Paris, June 23, 1845 Peer of France, Chief of Police Signed G. Delessert

of the conjurer Lacaze's booth, rapidly expanded in the Theatre des Jeunes Eleves de M. Comte. The seven years in which Offenbach managed the theater were incontestably the best and most profitable. In 1862, M. Varney succeeded Offenbach as manager. The room was demolished and rebuilt on the site. Until 1868 the theater was only moderately successful and on September 30, 1869 Charles Comte and Jules Noriac jointly managed the theater, returning it to success. Jules Noriac having retired in 1873, Charles Comte managed the family establishment alone until his retirement in 1879.

The Year eighteen hundred and forty-five June twenty-eighth. We, Alexandre Vassal, Police Chief of the city of Paris, assigned to the Palais-Royal district, notify to M. Robert-Houdin, in speaking to him directly, the aforementioned decree and order him to respect it in all points. We also inform him that he must submit the bills for his show to the prefect beforehand and engage two municipal guards to maintain order and carry out the required orders. We undersigned, Police Chief Vassal

15. We find a poetic evocation of the figures of Robert-Houdin and Comte in the work of Dr. Prosper Viro, Charges et Busies de Dantan Jeune, Paris, Librairie Nomelle. 1863.

16. See Comte's biographical article in Appendix II, in the episode entitled "'The Mystifiers Mystified," which depicts a scene between Comte and Robert-Houdin.

CHARGES ET BUSTES

DANTAN JEUNE ESQUISSE BIOGBAPHIQUE A MliRY

LE DOCTEUR PROSPER VIRO.

17. Comte's son Charles became administrator of the theater of the King's Conjurer. In 1855 he made an agreement with the brilliant composer Offenbach and the theater was renamed Les BouffesParisiens. Charles Comte, a cle\er businessman, anci reportedh very handsome, became Offenbach's son-in-law and the operetta, which was created in Marigny on the site

PARIS, LIBRAIRIE NOUVELLE,

Illustrations 535 and 536 - Frontispiece engraving depicting Dantan and title page of the work of Dr. Prosper Viro, Charges et bustes de Dantan jeune.

386

The following is a fact rare enough to deserve attention. Since 1826, when M. Comte. the King's Conjurer, had his theater built, it has been handed down from generation to generation to his successive heirs, who own it to this day. Les Bouffes-Parisiens still belongs to the Comte-Offenbach family.

18. Although we do not know how much Robert-Houdin was paid for his performances in town, we know that M. Comte earned five hundred francs for his shows billed as Seance Extraordinaire de M. Comte, which were performed at the homes of wealthy individuals. We can reasonably imagine that Robert-Houdin's prices were not less than those of Comte and therefore equivalent to the minimum income of a performance of Soirees Fantastiques.

19. Weak, unstable, or superstitious minds could not help but see a real sorcerer in Robert-Houdin! In the second volume of his memoirs, from pages 15 to 21. the author tells an anecdote in which a female visitor threatened him with a

NOTES TO ACT III

dagger to force him to cast a spell on the lover who had left her! During Robert-Houdin's retreat at The Priory, men and women, desperate about turns of fate and hoping that the artist's "powers" could provide a remedy, often came for a "consultation" with the conjurer. Although he had to refuse to receive them, his wife Olympe. who was very pious, always listened to them and commiserated with their sufferings and never let them leave without a reassuring word and moral, spiritual, and often financial help. Those who could not come to Saint-Gervais wrote to RobertHoudin for consultations by correspondence, which he obviously did not answer. In his Tablettes journalieres. the author makes note of these surprising letters; here is an example from the year 1861: Juno 11 — I received a letter from a crazy person, Morin from Cherbourg, asking me for a consultation and sending me one hundred francs. June 12 — I am going to Blois to take M. Morin's letter to the imperial prosecutor, who will take care of the rendering of the one hundred francs to their rightful owner. Around 1920, Eglantine RobertHoudin, the master's daughter, gave a lecture about her illustrious father in Blois before an exclusi\ ely male public made up of officers from the American military base in Blois. Eglantine was then married to Henri Lemaitre. tax collector in Blois. This lecture, whose text has been presen ed in the family archives, is full of unknown anecdotes about Robert-Houdin's life, told by a privileged witness. Here is what Eglantine Lemaitre Robert-Houdin said:

went from his house and landed on various parts of the village or fields. - Moreover, mine workers had twice tried to blow up the mine to dig a path in the rocky part of the property, and the next day, upon their arrival, Robert-IIoudin blew up the rock at a distance, on command, when they had not managed to do so the day before in spite of all their efforts. The use of electricity was totally unknown to the rural people and they did not know the role of the electric spark that had blown up the mine, which had been carefully and secretly reloaded with explosives in their absence.

Illustration 53"" - Eglantine Robert-Houdin.

Stories and legends Sirs, please excuse this dry and scientific enumeration, which shows you a Robert-IIoudin very different from the one imagined by a great number of his fellow citizens. For most of the farmers from the region where he lived, he was purely and simply a sorcerer. Therefore, many excessively naive legends, to say the least, circulated the countryside. They irritated my father when he heard them, first because they were hardly truthful, secondly because he knew from experience that all denial would have been useless. We must, however, grant the farmers extenuating circumstances because their imagination was sorely tried when RobertIIoudin moved to Saint-Gervais. Preceded by his reputation of being a sorcerer, what they witnessed was unlikely to change this view. At the baptism of his son [Paul] in 1851, he threw a large party and lit up the house and grounds with a brilliant light, the likes of which had never been seen before. Rays of light even

38-

The reputation of being a sorcerer had its disadvantages. - As soon as my father arrived in Saint-Gervais in 1849, the cholera epidemic threatened the population. - Later, there were no more events like this, but those who came from near or far to have a spell lifted were many. My father never received them, but these poor people seemed so lost that my mother felt sorry for them. A very good Christian, she thought it was her duty not to send them away without hope, and she never let them leave without patiently listening to the story of their troubles, which was always very long, and giving them some advice and, if possible, consolation. These unfortunate people only wanted some hope, and they always left uplifted and more courageous. - Several times she had unexpected success. Men and women, whom she did not even remember, came to thank her years later. Their unsuccessful plans were working well now following their visit to her, and they professed their gratitude with fanatical gestures of adoration. - There was a negative side to this success. She became well known due to the individuals who thought she had lifted a spell, and therefore was

ROBFRl-HOUDIN

sought after by members of their circle. In 1870 the number of these persons had quite increased and The Priory was at risk of becoming a place of pilgrimage for all those whom destiny had disappointed.

20. The Tyrolean Hunter, having later changed its costume in order to become more modern, was renamed The French Guardsman. We

have reason to believe that this same automaton, or its duplicate, which was part of the Charliat collection partially dispersed on December 19. 1966 at the Hotel Drouot. was sold to an unidentified person. This lovely piece was accompanied by other creations of Robert-Houdin. See Jacques Voignier and Robert Albo's Magic of France on page 16 of the French text.

21.

A Drouot, te so/r;

US AUTOMATES ei a en cSaims myiMrteux M dtfacunt 6ei Tom HgtuU 9Q'll v« ' e TMHI* tux enehere*, tout an lot a* eeux-el, e« Mir qui *jmiile ion fusil et lire au tommande-.un (voir photo) ; Una illation d'ou «>rt — touJoun au com ma a dement un A rfpoque ot Sobert Uoutliu pattuier purteur de bonbone rcpafAlt bon iiornbra tl 3Mto ou de tntcrerlet. qua vou* lul matas du liecie precedent Pt avex demand** d'sutrea en an fabiiqualt egeiement heau man. Tout tint non aeulemant coup — on lui dolt ] invention trea •musanto, mala pleini d una de I automate • qul fume » ~~ cert sine forme de ittva. !a XIX* *lec)K v t lea automatei — Lent* prfx, m a dlt le quitter le domsfne dee coDeceonuniaealn-priMur. Paul Paatlona particullferee et dei ehetesu. devralent oicluei as champ* tic foire pour entrer. t o n da lf!( it IJSH r pltee I dnm lea vitrines dee boutiqtiea Mult pevt-on Mvvlr avee dei et dei mageilm Ce sont beaucoup d* eeux-'A que Ion vend ca aolr A Drouot, icaitt tsut d'ailleuo dea p!id'sllleun. on

Dernier refuge

its sertitn

... 'wane'de bafa'ver^He*

Jacques Dam ot lantiqatre .jnnu du Tout FsrlK poneda une dea plus betlei collection. Ivies deutomatei II e» a ithetii. pour lee re-

— Mate, expllque t II Jf sun ttaqae fols pri* i mon proprp en dei que Jen athete DM Jan, Je l'ftppwtc che» mot et 11 y test* u m jamals prendre le chemln de uu bontlqne Lfi automate! ancleni. re sont ' " "--iniate whifM do» wr«

Illustration 538 - Press article describing the Charliat sale at the Hotel Drouot. (Jacques Yoignier collectionJ

In the second edition of his memoirs. Robert-Houdin described the effects of some of his experiments. The Sympathetic Turtledoves: Two of these charming little animals were placed on each side of the stage: one was wrapped into a sheet of paper until it vanished completely, the other disappeared before the audiences eyes, and then both were found together in a box that had been seen empty a few instants before. " The Contraband Secret or The Journey of a Glass of Wine' is a trick in which a glass of wine invisibly passes from one side of the stage to the other." The Safety Casket or The Light and Hea\ > Chest was a little box that a child could easily pick up. but at the conjurer's command the strongest man in the audience could not lift it. The Ladies' Looking-Glass was a trick that M. Comte. the King s Conjurer, had named, and whose effect Robert-Houdin described and explained in The Secrets of Conjuring and Magic. The Vanishing of a Child under a Cup (or The Disappearance of RobertHoudin's son) was the vanish of Robert-Houdin's son on a table (through a procedure quite similar to that of the sofa used a few decades later by Sen ais Le Roy for Asrah) followed by his reappearance in the theater. The Ball of Wool was the disappearance of a

388

borrowed and marked coin that T\ as found in the middle of a ball of wool isolated in a glass jar held by a member of the audience.

22. Echo de Bruxelles, no. 146. Tuesday, May 26. 1846. page 2: Theatre Royal. We will very soon have M. Robert-Houdin's performances. He is a skillful conjurer who has no equal. M. RobertHoudin is a true enchanter, who performs miracles that are visible to the naked eye. The execution of his main tricks is entrusted to automata, as if he disdained work he considered too easy. On his command, little men, birds, etc. perform feats that no living and thinking being can do. M. Houdin is far ahead of Bosco. Comte, and Philippe; it is the finest combination of mechanism and conjuring together. When we think of the enthusiasm produced by Philippe in Brussels, we cannot even imagine what will happen when M. Robert-IIoudin performs. Echo de Bruxelles. no. 154. Wednesday, June 3. 1846, page 3. Xouielles des arts, des sciences, et de la Htterature column: On Monday the first fantastic performance of M. Robert-Houdin took place at the Theatre du Pare. The skillful conjurer obtained a complete, well-deserved success. Page 4. Theatre du Pare. Wednesday June 3, Robert-Houdin's third soiree fantastique. Echo de Bruxelles. no. 155. Thursday June 4. 1846. page 2: Theatre du Pare. M. RobertHoudin's Soirees Fantastiques (entire review of. page 4.) Page 4. Thursday the 41': Fourth soiree fantastique of Robert-Houdin. Sleight-of-hand tricks and conjuring previously unseen: interlude of second-sight by M. Robert-Houdin and his son: chromatropic polyorama. comicorama.

NOTES 10 Aci III

Echo de Bruxelles. no. 156. Friday. June 5. 1846. page 4: Theatre du Pare. Friday. June 5lh 1846. fifth soiree fantastique of Robert-IIoudin. Tricks and conjuring previously unseen: interlude of second sight by M. Robert-Houdin and his son; chromatropic polyorama, comicorama. M. Robert-Houdin's performances are good fortune for the Theatre du Pare; we could not find a more brilliant way to remedy the season's misfortune. Echo de Bruxelles. no. 157. Saturday. June 6. 1846, page 4: Theatre du Pare. Saturday June 6, 1846. 6"' Soiree Fantastique of M. Robert-Houdin. Sleight-of-hand tricks, supernatural conjuring; second sight interlude by M. RobertHoudin and his son, entirely new phantasmagoria. Echo de Bruxelles. no. 158. Sunday. June 7. 1846. page 4: Theatre du Pare. Sunday June 7, 1846. seventh Soiree fantastique of M. Robert-Houdin. Tricks; supernatural conjuring: secondsight interlude by M. RobertHoudin and his son; entirely new phantasmagoria. Echo de Bruxelles. no. 159. Monday, June 8. 1846. page 4: Theatre du Pare. Monday June 8, 1846. eighth Soiree fantastique of M. Robert-Houdin. Tricks, supernatural conjuring; second-sight interlude by M. Robert-Houdin and his son: entirely new phantasmagoria. After having seen M. RobertIIoudin several times, we recognize the impossibility of adequately praising his skill, dexterity, and the working of his admirable automata. We can only repeat ourselves: go and see it. but the rush of the public to see the show renders this invitation superfluous.

Echo de Bruxelles. no. 160. Tuesday. June 9. I846. page 4: Theatre du Pare. Tuesday June 9. 1846. Ninth Soiree fantastique of M. Robert-Houdin. Sleight-of-hand tricks, supernatural conjuring; second-sight interlude by M. RobertHoudin and his son; entirely new phantasmagoria. Echo de Bruxelles. no. 161. Wednesday. June 10. 1846. page 4: Theatre du Pare. Wednesday June 10. 1846. Tenth Soiree fantastique of M. Robert-IIoudin. Tricks, supernatural conjuring, second-sight interlude by M. Robert-Houdin and his son; entirely new phantasmagoria. Echo de Bruxelles. no. 162. Thursday. June 11. 1846. page 4: Soiree fantastique of M. RobertHoudin Everyone does not appreciate the beauties of a tragedy, everyone is not sensitive to the charms of music; but everyone understands perfectly realized sleight-of-hand tricks and everyone has fun. Both young and old children eagerly follow the magic operations of a skillful conjurer. As for dexterity, M. Houdin surpasses all past and present conjurers. Incredulous spectators who have no faith in magic, pay close attention to try to understand the experimenter's secrets — there is no hope. Look closely and you will only see what he wants you to see. The secondsight experiment with M. RobertHoudin's son is the subject of vain curiosity. Some people believe in second sight, others pretend that no matter what he says, M. RobertIIoudin is resorting to mesmerism and could not possibly succeed without this mysterious help. Some believe in a sort of telegraphy by way of wires they cannot see. M. Robert-Houdin's ingenious mechanisms perfectly complete the Soirees fantastiques, which is overflowing with crowds that continue to attend despite the heat.

389

One of these days we will return to crown Auriol and Debureau. Page 4 : Theatre du Pare, Thursday June 11, 1846: - Closing of Soirees Fantastiques de M. Robert-Houdin. Tricks, supernatural conjuring, by second-sight interlude M. Robert-Houdin and his son: entirely new phantasmagoria. The announcement of the closing of M. Robert-Houdin's performances, though causing great sorrow for admirers of this genre, will nonetheless be sure to have a positive influence on the show's ticket sales. The perfect and entirely deserved reputation of M. RobertHoudin is an irresistible incentive for all those who have not yet applauded the conjurer. Echo de Bruxelles. no. 163. Friday. June 12. 1846. page 4: Theatre du Pare. Friday. June 12, 1846. Soiree Fantastique of M. Robert-Houdin. Echo de Bruxelles. no. 164. Saturday. June 13. 1846, page 4: Theatre du Pare. Saturday June 13, 1846. Soiree Fantastique of M. Robert-Houdin. Giving in to numerous demands, the administration has just asked M. RobertHoudin for additional performances. Echo de Bruxelles. no. 165. Sunday. June 14. 1846: no. 166. Monday. June 15: no. 167. Tuesday, June 16. the same announcement. Page 4: Theatre du Pare. Soiree Fantastique of M. RobertHoudin. Giving in to numerous demands, the administration has just asked M. Robert-Houdin for additional performances. Echo de Bruxelles. no. 169. Thursday. June 18. 1846. page 4: Theatre du Pare. Thursday June 18, 1846, definitive closing, with no possible exceptions, of Soirees

ROBERT-HOUDIN

Fantastiques de M. Robert-Houdin. Sleight-of-hand tricks; supernatural conjuring, interlude of second sight with M. Robert-Houdin and his son, entirely new phantasmagoria.

23. See Memoirs of Robert-Houdin, chapter XV.

24.

Magic, Sleight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. HOUDIN father and son. USUAL PRICES. La Tribune de Liege, no. 164, Monday July 13, 1846, page 3: THEATRE DU GYMNASE. M. Robert-Houdin's first soiree fantastique. Experiments in White Magic, Sleight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. IIOUDIN father and son. USUAL PRICES.

Le Liberal liegeois. no. 164. Saturday and Sunday, July 11 and 12, 1846; La Tribune de Liege, no. 165, Theatre du Gymnase — The first Tuesday July 14, 1846, bottom Soiree Fantastique of M. Robertof page 3: Houdin. Experiments in White Magic, THEATRE DU GYMNASE. Sleight-of-hand, Tricks, Complex Thursday, July 16, 1846, first Conjuring, SECOND SIGHT by father performance by M. Robert-Houdin. and son. Experiments in White Magic, USUAL PRICES. Sleight-of-IIand, Tricks, Complex Conjuring, Second Sight by Messrs. Le Liberal liegeois, no. 166, HOUDIN father and son. USUAL Monday, July 14, 1846. page 3: PRICES. Theatre du Gymnase — Thursday, July 16, 1846, first perLa Tribune de Liege, no. 166, formance of M. Robert-Houdin. Wednesday, July 15, 1846, page 3: Experiments in White Magic, THEATRE DU GYMNASE. Sleight-of-hand, Tricks, Complex Thursday, July 16, 1846, first Conjuring, Second Sight by father performance by M. Robert-Houdin. and son. 8 o'clock sharp. USUAL Experiments in White Magic, PRICES. Sleight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. Le Liberal liegeois, no. 168, HOUDIN father and son' USUAL Thursday. July 16. 1846: PRICES. Theatre du Gymnase — Sunday La Tribune de Liege, no. 167, and Monday 191" and 20"' July Thursday. July 16, 1846: 1846, second and third SOIREE FANTASTIQUE of M. Robert THEATRE DU GYMNASE. HOUDIN. Experiments in White Thursday July 16, 1846, first Magic, Sleight-of-hand, Tricks, performance by M. Robert-IIoudin. Complex Conjuring, Second Sight Experiments in White Magic, by father and son. 8 o'clock sharp. Sleight-of-IIand, Tricks, Complex Conjuring, Second Sight by Messrs. USUAL PRICES. HOUDIN father and son. The perThe ticket office at the Grand formance will begin at 8 o'clock. Theatre will be open on Sunday USUAL PRICES. from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening. La Tribune de Liege, no. 168, Friday, July 17, 1846. bottom of page La Tribune de Liege, no. 163. 3: Saturday and Sunday II'1' and 12* THEATRE DU GYMNASE. July. 1846, page 2: Theatre du Gymnase — Sunday THEATRE DU GYMNASE and Monday the 19'" and 20"' of M. Robert-Houdin's first soiree July 1846, M. Robert-Houdin's second and third soiree fantastique. fantastique. Experiments in White 390

Experiments in White Magic, Sleight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. HOUDIN father and son. The performance will begin at 8 o'clock. Usual prices. The ticket window at the grand theater will be open on Sunday from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening. La Tribune de Liege, no. 169. Saturday and Sunday 18"' and 19"' July, page 3: Theatre du Gymnase — Sunday and Monday the 19"1 and 20th of July 1846, M. Robert-IIoudin's second and third soiree fantastique. Experiments in White Magic, Sleight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. IIOUDIN father and son. The performance will begin at 8 o'clock. Usual prices. The ticket window at the grand theater will be open on Sunday from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening. La Tribune de Liege, no. 170, Monday, July 20, page 3: Theatre du Gymnase - Today, Monday, July 20, 1846, M. RobertHoudin's third soiree fantastique. New experiments in White Magic, Slcight-of-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. IIOUDIN, father and son. The performance will begin at 8 o'clock. Usual prices. The ticket window at the grand theater will be open on Sunday from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening. La Tribune de Liege, no. 171, Tuesday, July 21. page 3: Theatre du Gymnase-Thursday July 23, 1846, M. Robert-Houdin's fourth soiree fantastique. New experiments in White Magic, Sleightof-Hand, Tricks, Complex Conjuring, Second Sight by Messrs. HOUDIN father and son. The performance will begin at 8 o'clock. Usual prices.

NOTES TO ACT III

The ticket window at the grand theater will be open on Sunday from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening. La Tribune de Liege, no. 173, Thursday. July 23, page 3: Theatre du Gymnase - Thursday, July 23, 1846, M. Robert-Houdin's fourth soiree fantascique. New experiments in White Magic, Sleight-ofHand, Tricks, Complex Conjuring, Second Sight by Messrs. HOUDIN father and son. USUAL PRICES. The performance will begin at 8 o'clock. Usual prices. The ticket window at the grand theater will be open on Sunday from 9 o'clock to 1 o'clock in the afternoon and from 3 to 6 o'clock in the evening.

mand of the public for the definitive closing with no possible exceptions of his Soirees Fantastiques, M. Robert Houdin will perform his most extraordinary experiments. The performance will begin at 8 o'clock sharp. Usual prices.

MfiMOIRES

MAGNETISEUR

25. Louis Courtois, Belgian conjurer known as Courtois or Papa Courtois. born in Wacomunster on October 28, 1785. died in Paris in 1866.

CH. LfiFONTSINE da MM de Ha&Utiitr, du Kclairciisimentt mr le tf des Cures magndllqati A Geneve, Uirecltur et r&Ueleur do Journal It Xngndttieur.

DE L'EXMEii PllliffiOLOCIQO BE L'AfflR

26.

This letter was reproduced in the work by Michel Seldow, op. cit. This form of advertising, consisting of exhibiting in the windows of fashionable shops small plaster statues depicting artists, was relaLa Tribune de Liege, no. 175, tively inexpensive and widely used Ih Saturday and Sunday. July 25 and in the nineteenth century. Only a 26th, page 3: few of these small statues of variTheatre du Gymnase - Sunday ous artists, composers, actors, and and Monday 27"' and 28th July, singers have survived. 1846, for the closing of M. RobertIloudin's soirees fantastiques. New 27. experiments in White Magic, More information on the Didier Sleight-of-Hand, Tricks, Complex brothers can be found in Henri Conjuring, Second Sight by Messrs, Delage's work Le Sommeil MagneHOUDIN father and son. tique explique par le Somnambule The performance will begin at Alexis en etat de lucidite. Paris, 8 o'clock. Usual prices. E. Dentu. 1856, and in that of The ticket window at the grand Ch. Lafontaine. Memoires d'un Matheater will be open on Sunday from 9 o'clock to 1 o'clock in the gnetiseur. two volumes, Paris, Germer-Baillere. 1866. afternoon and from 3 to 6 o'clock in the evening.

28.

M. Andre Keime Robert-Houdin confided to me that as a young man he met a certain M. Marcillet who was from the same generation as his father. General Keime. He asked him if he was a relative of the mesmerist. The answer was yes — he was his grandfather or great-grandfather - and in response to his question about the true powers of his ancestor he answered that he had never had any sort of powers as a La Tribune de Liege, no. 179, mesmerist - which is hardly surprisThursday, July 30, 1846. page 3: ing - and that he only succeeded thanks to his "skill"...which was Theatre du Gymnase — never doubted by Robert-Houdin! Thursday, July 30, 1846, at the deLa Tribune de Liege, no. 178, Wednesday, July 29. 1846, page 3: Theatre du Gymnase - Thursday 31" [Error in the date] at the demand of the public for the definitive closing with no possible exceptions of his Soirees Fantastiques, M. Robert Houdin will perform his most extraordinary experiments. The performance will begin at 8 o'clock sharp. Usual prices.

391

PARIS QEBMER-IJAJLLI^RE, I.IBUAIRK-1&DITSUR 17. RttS DC r/EMLE-PE-HlfUECr.Se GENEVE CHKZ 1,'AUTRUH, RUB DU HONT-nf-ANU. 0

1866

MtiMOIRES

MAGNETISEUR CH. LflFONTAINE A»lwr delMrt de HagMtiier, dss Kclairciasemtnfs sur le Xagn/ttit des Cunt magntltqttei A Geneve, direcleur et rfcheteor du jcariul le SCignilUtvr,

DE VtUMH PIIIIESOLOGIOCB IIE L'AlfflillH r-.ii' Ic Doclenr c.*fc«i,f.-

PARIS EE,

JJIBUAIRK-&I>ITEUR

GENtVE CHBZ 1,'AUTKUH, HUB DU HONT-BI.ANC. 0

•1866

Illustrations 539 and 540 - Title pages of Volumes I and II of Memoires d'un magnetiseur by Charles Lafontaine.

ROBFR r-HOUDIN

The chapter of this work consecrated to Andre Voism confirms that, as a wise historian, Jean Chavigny was right to urge his friend Robelly to be cautious because the ambiguity of the articles he published caused some compilers looking for sensation to fall into this trap and to assert, as a fait accompli, without the slightest proof, what the director of L'Escamoteur had only "inferred." The dates of the opening of Andre Voisins store and the erroneous assumptions as to his socalled business relationship with Robert-Houdin, published in Magic of France, op. cit. by Jacques Yoignier and Robert Albo and in Hjalmar's article on page 29 of no. 105 of the magazine Magicus. are completely false.

29. The reader will better understand the reaction, or more precisely, the absence of reaction of Robert-Houdin with respect to these publications once he comprehends that M. de Mirville was one of the conjurer's long-standing acquaintances. The conjurer's daily journals confirm their ties because Robert-Houdin sent him each of his books and invited him se\ eral times to The Prior) in SaintGervais. Here are two quotes as examples: September 8, 1860 — At 2 o'clock, visit of M. de Mirville and the Buisseray family. January 18, 1861 — I wrote to De Mirville and sent him the 2"'1 edition of my work.

30. See Robert-Houdin's Tablettes journalieres of June 28. 1868.

Illustration 541 - Alfred de Caston.

31. Theodore Francois Sainti, born in Paris on February 25. 1799, died in Paris on March 31. I860.

32. Alfred de Caston, who tells of the existence of this circle in his work Les Yendeurs de bonne aventure, also discusses the Philomagique show that v\e refer to here, but clearly implies that it never opened. Alfred de Caston narrates an anecdote that, according to him, is supposedly the source of Robert-Houdin's Second Sight. An eminent member of the Cercle Philomagique allegedly attended an experiment in "telepathy" in a barber shop in Tolede. The barber's spouse was on the second floor, which was completely isolated from the ground floor of the shop and her husband, thanks to an agreed-upon verbal code, communicated information on the clients and admirers who came to watch this surprising feat. The conjuring enthusiast, after se\ eral visits to the barber, finally under-

stood the modus operandi used by the couple. Alfred de Caston concludes: But upon his return to Paris, our traveler hurried to relate what he had seen to his friends of the Philomagique society and this is how, two months later [!], M. Robert-Houdin announced to Parisians his first performance of his anti-mesmeric second sight.

33. In a letter dated December 2, 1968. addressed to Robelly by Jean Chavigny, Robert-Houdin's biographer from Blois, he amiably reproached his friend for having doubts concerning the illustrious artist's relationship with Andre Voisin, and he concluded the paragraph in these terms: "For Andre Voisin, do you not think that one should be cautious? Did he not manufacture pieces based on those of Robert-Houdin and not for Robert-Houdin?" 392

On Andre Voisin, see also Act IV, chapters "Robert-Houdin and Magic Amateurs'' and ''1863-1864: C\e\ erman." Much of the new information in the chapter on Andre Voisin of this biography has just been mistakenly published in Robert Albo's work History and Mystery of Magic with credit to Jacques Voignier. It seems that a "computer error" deprived me - temporarily - of the credit for discoveries on which I spent months of painstaking research in order to finally extinguish legends and falsehoods that have lasted for more than a century.

34. Le Charivari, no. 77, March 17, 1848.

35. Le Charivari, no. 82, March 22, 1848.

36. Charles Dominique Devillers ne\ er saw Robert-Houdin again. He died in Paris on June 12. 1849.

NOTES TO ACT III

ROBERT HOXJDIN.—ST. JAMES'S THEATRE.—This celebrated pro-

fessor of blanc magic, whose extraordinary and marvellous represents. Irons have, for the last four years attracted all Paris to the Galerie des Valois in the Palais Royal, is annouaced to appear at the St. James's Theatre, on Tuesday evening next. The great success and renown which this gentleman's performances have attained to, have given riBeto hort-s of imitators, who base their pretensions to success on being a . to copy more or less closely the inventions of his genius. Mr. Houdin. is as eminent as a mechanician as he is adroit and skilful as an mateur. We predict for him a great success. /*# Illustration 5*i2 — {Harry Ransom Humanities Research Center. University of Texas. Austin)

37. The first London address of Robert-Houdin in 1848 was 30, Blury Street, Saint-James. His second address in 1849 after his return from his tour of the English provinces was at no. 35 on the same street.

38. I have reprinted here all the English reviews (that I have found) of Robert-Houdin's first performances at the Saint James"s Theater. Between Harry Houdini - who had them in his archives, but who deliberately obscured them in his writings - and magic literature in which they have strangely remained unpublished, the reader wishing to understand Robert-Houdin's true impact on his contemporaries v\ ould otherwise have difficulty developing an opinion consistent with the historical, professional, and artistic reality of the time. I hope the following accounts will make this possible: The reign of Philippe among French magicians has ceased almost simultaneously with that of Louis Philippe among French politicians and what Lamartinc is to political France, Robert-IIoudin is to magical France. He is the very chief of sorcerers, in comparison with whom Dobler is a bungler, and even Philippe must hide his diminished head. He commenced a short series of Soirees Fantastiques at this theatre last evening, and for upwards of three hours kept a delighted and astonished audience on the qui vive. The entertainment consists of three parts

- the first part being tricks of sleightof-hand, the second part mechanical tricks, and the third part exhibiting the marvels of second sight and of aerial suspension. The eldest son of Robert-Houdin exhibits the wonders of second sight. He is placed by his father in a state of mesmeric trance, and then by second sight describes the various objects, which different persons put into a closely locked box. The ethereal suspension is still more wonderful. The younger son of Robert-Houdin is the exhibitor of this wonderful phenomenon. The child is supported in a resting position, his head resting on his hand, and his elbow supported on the end of a prop somewhat resembling a walking stick and placed upright on the ground. The father causes the child to inhale a few sniffs of ether; the child becomes apparently insensible; all supports are removed from his legs and body, and the child remains resting only by his elbows on a walking stick, suspended in mid-air in a reclining position, literally lying on nothing, and remains thus until the curtain falls. This is certainly the most extraordinary illusion - if it be an illusion; if not an illusion, then it is the most extraordinary tour deforce ever performed. Verily, Robert-Houdin is the chief of all the magicians. The house was well attended, and the applause was enthusiastic.

the walls of the St. James's Theatre. Robert-IIoudin has long been an object of awe and wonder even to the sceptical gamins of Paris, for his proficiency in prestidigitation, transmutation, escamotage, second sight, mesmerism, and every other species of diablerie in and out of the black art, and now promises fair to transport us sober Londoners back to the Middle Ages, when a firm belief in the connection between magic and the arts and practices of

ST. JAMES'S THEATRE, KING STREET. ST JAMDSS

The surprising »nd Interesting Performances ot

ROBERT-HOUDIN Continuing to excite the most enthtis.utie Admiration and Astonlihinent. HIS EXTRAORDINARY

SOIHEES FANTASTIQUES, AUTOMATES, PRESIIDIGITA.TION. «• MAGIE, AS VBM BT. JMIES'B THMTBB,

T U E S D A Y , " T I I U B S I D AY SATURDAY EVENINGS, r i>

111u_ i£ Ktltput Eigbi odoci.

I N V E N T E D BY M R O B E R T - H O U D I N , And exhibited by tiini in Para with the roo« unpiecedentcd Suwcs

DliTACHEi) SC£N£S

SECONDE VUE; ESCAMOTAGE EXTRAORDINAIRE, DE ROBtRT HOUDIN F.li

SUSPENSION ETHEREENNE.

Sun, May 3. Robert-Houdin, the famed magician of the Palais-Royal, has for a while moved the sphere of necromantic influences from the banks of the Seine to the shores of the Thames, and last night drew his magic circle for the first time within

393

YtSVAtS BOXES, ^ f f i E f f f t i ^ f S . i N D T1C1 ' eW XtB MJrCEXCIB KOVA1, ZIBXAal, 93, DID BOUD OTSJ7»T ^ *•

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Illustration 543 - Bill for Robert-Houdin at the Saint James's Theater. From Magic. Ma\ 1901.

ROBERT -HOLTHN

FRENCH P14YS,

LAST NIGHT BUT ONE

THE ATTRACTIVE ENTERTAINMENTS

ST. JAMES'S THEATRE. KING STREET. FOSrTIVELY

THE LAST WEEK OF THE SEASON. AND LAST AIM'EARA.SCES OF

Moms' LEVASSOR, M. A L C I D E TOTJSEZ, M, LtTGWET, M. TiHKRmER, Wad>i« SCRIV4KE0K, Mad"' DDRAND, & Mad° LEMENII.. ON MOHDAV EVBNINO, J u « 81ST, 1848,

Henxiette et Chariot « h, ( • « "
•

MOKS* AfeoiDB TOWSBH

FINAL ARRANGEMENTS

OF THE SEASON.

KONS* Ktgt*tevr du ThtatT

HIS BENEFIT Oil UEDjrESDAY

NEXT. AUGUST 2BI7,

ROBERT-HOUDIN. THE EXTRAORDINARY

SEANCES FANTASTIQUES M0NSB HOUDIN XCSI ^KAVOIDiBLY T£Sltl.tATB AT THE EHI> OP HKXT W Q ]

TWO ENTIRELY NEW PIECES KB ROMAN DE LA PENSION,

THCttSDAT EVZNXNO, EVENINO,

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3, 6,

WKDJOC8DAY MOUWINO, „

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LB UON ET I.E BAT, MOKS« AI.O1DE 90VBXZ n t , , ^ fofl "re «ftsr r/yp rsi! eiiso.v. i s THE FAVOBTTE VAL'BE«LLE 0 ?

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LA SOEBR DE JOCRISSE; M. VIVIEB

l* D « d. ow««". oeuwi wifHUlm

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TOES DAY,

THURSDAY,

8AT1THSAY UVEMIWOB, Auautti* 7, 8, i o , * z a ,

* *( b« FAVOBrrE 90LO3« lit £nMb « « * i i * b i kmSJ BUOJ^C NEW FFFLCTS OP HABMO>fV.

M0N8" LEVASSOIl

SIX REPRESENTATIONS, MONDAY,

TWO KEOSNINO

WITH OTHER ENT EfiT A! N M E N T S .

WEDKEHDAV

POSITIVELY

miDAY

I'JCIU'ORHANOKS,

UORSIHO,

MOEMINQ,

A U O U B T O,

AXJ»IT(iT

2 2,

THE LAST NIGHT

BY A ORAN0

OF THE SEASON,

Farewell Horning Performance,

HtlDAV JfBXT, AUGUST i.

On Monday, August

I4tk.

IW. ALCIDE TOUSBZ THE CONCLUDING STANCES

LE LAIT D'ANESSE

THE tAST NIQHT OF THE SEASON,

FRIDAY

Smmtoll

NEXT, AUGUST 4,

* 0 * TBM UkfX TTWa,

THBSB

jJj.pW.lio.

ADMISSION BY THR NK.HT C *. ABt;M&Mt» i or CtaOur *»»•>. **• MB* si I A . t V«i. ma lit f r f n ™ c——« * B<#**tS'

FOFULAfi

CIIARACTE11S

ALL TUB MOST SUCCESSFUL EXPERIMENTS, THE SAFETY CASKET, THE CABALISTIC CLOCK, THE INEXHAUSTIBLE DOTTLE, SECONDE VUE, **» " INVtStSILET^" ESOAMOTAGE EXTflAORDINAIBE,

tUTi<WAl. ANTHE O flV TUB ESTIBE OOHTAXY. Aid UtinBtt O&s er

ii i j o UJj f m

DBS.

IUVATB » O » S , t T A U * * T 1 0 M « , » r b . i*«f»J >l MITCHELL'S B0VA1. LIBftARY. f« plJ> BO.ND 8TBEBt

Illustrations 544 and 5 i5 - Bills for Robert-Houdin at the Saint James's Theater, August 1848. {Harry Ransom Humanities Research Center Cniuersity of Texas, Austin)

the people "down below" was considered an indispensable article of an Englishman's creed. His first feat was extremely neat, drawing from a hat casually handed to him some dozen of elegant fans, which he gallantly distributed among the ladies around him, and immediately after converting it into an arsenal, by rolling out of it as many good-sized cannon balls as would do good suit and service to the Danes against their invaders. From a flattened and seemingly empty portfolio. M. Houdin next presented an elegant bonnet of the most fashionable cut, a perfect garden of bouquets, a

dovecote of eooing turtles, which he passed from one place to another with as much ease as if they had been passed through the electric telegraph. The self-motive powers of two very cleverly constructed automats excited general wonder; although scarce six inches in length they performed feats which we should almost have thought would have required a ton weight of machinery — such as dancing, smoking, whistling, and breaking out of prison. The wonderful orange-tree, which blossoms and bears fruit in about half a minute, is also an extraordinary object. The feats of

394

causing rings, watches, poultry, and cards to fly to all parts of the house, without any apparent mortal agency are, however, the least wonderful parts of M. Houdin's performances, for after the company were treated to seance de clairvoyance, the magician causing his son to read and declare objects at any distance, with his eyes securely blindfolded, finished by clapping him into a large box, placed on a table, and "passing" him to the other side of the stage. The performance concluded with the display of what may be termed a suspension of the laws of gravitation, by the aid, according to

NOTES TO ACT III

FINAL ARRANGEMENTS THE ATTRACTIVE ENTERTAINMENTS
ROBERT-HOUDIX. Mr. BOTOKILL iwititfuny uueaoo** Uul, gn(ar (a PioriBMaJ THE EXTRAORDINARY

SEANCES FANTASTIQUES MONSH HOUDIN MUST CfJATOfDABLY TEBHItfATE AT THE END OF SEST WEES

IK ram wtxownta omiurai TUKSDAT EVENING, AVOWS? 1, THUHSDAY EfVENTNCr, ,, 3, SATmtDAY EVENING „ S, WXDKXfiDAY MORNING, „

3,

£)urtng the ensuing Week I

SIX REPRESENTATIONS, MONDAY,

IUIBOAT,

THDR8DAY,

SATURDAY E V E N I N Q S , AUOT7BT 7, 8, 1O, * 12 j TWO MOKNINOt PEBFORHANOES, WEDNESDAY B O K H I K O , AT7OSST 0, FRIDAY mORNINO, AUOtfRT

II,

BY A GRAND

Farewell Morning Performance, On Monday, August 141*. THE C0KCLUD1NQ STANCES 4LI. T i l l MOST SUCCESSFUL EXFEIUMENTS. THE SAFETY CASKET, ™ E CABALISTIC CLOCK, THE INEXHAUSTIBLE BOTTLE, SECONDS VUE, »«• " IMVISIBILETE," ESCAMOTAQE EXTRAORDINAIRE. 6 . aOBEBTHOODIN, P n *

The celebrated Robert-IIoudin (of the Palais-Royal) commenced his extraordinary illustrations on Tuesday, the 2"'1 instant, and the whole of his performance were completely successful. As may be imagined, the theatre was densely crowded on this occasion — a tribute well earned by the proprietor's anterior popularity. The miraculous production of pigeons and gold fish, tricks by sleight-of-hand, and intricate pieces of machinery, form the substance of exhibition. The inexhaustible bottle, which contained anything and everything in the way of spirits and liqueurs, which was handed in glasses to the spectators, and the gifts presented from an empty hat and flat portfolio, had the effect of exciting intense surprise. The feats of "second sight' were astonishing; but the greatest novelties were those of suspending his child in the air, poised on an upright stick; and placing a large hollow cylinder over his son (a youth) and making him appear instantly on the opposite side of the stage. This was the crowning endeavour of this true magician, whose easiness of address, ready manner of speaking, and absence of all apparent effort, are not among the least admirable of his gifts.

PRIVATE KOXES, ORCHESTRA STALLS, AH» TICKETS,

Lady's Newspaper.

M. Houdin's explanation, of the administration of ether to his youngest son. the speeific gravity of the latter is rendered so nearly equal to that of air that he floats suspended without any terrestrial support save that of a thin staff, on which, however, he merely rests his elbow. M. Houdin performs all his tricks with wonderful dexterity and precision, and. if we may judge from his first performance, well deserves the renown he possesses. He was warmly applauded throughout, and at the fall of the curtain was compelled to re-appear by a crowded house. Morning Adviser, May 3. 1848.

X T OIBItTa FAREWELL.—This Day.—St. • T L James's Theatre —ROBERT HOtjnIN wUl giro life L18T SBiNOH PANTASTIQUi, THIS S10RNJNG (Monday) Augu'tM. commondne (it lialf ]xwt 2, beln^ positively his last appeitanoo In London. Tne programme will Include several noveltl&s in addition t> Rselection from Robert XJoudin'a mo«t poiHilar experiments. Toxes and stalls for this attractive entertainment mzy be secured at Mitchells JUtyal library. 33. 011 Bond-street: and at the box office. /&&£>

Illustration 546 - (Harry Ransom Humanities Research Center. University of Texas. Austin)

Mr. Robert-Houdin, the celebrated "prestidigitateur," has been engaged. To this gentleman most of the professors of legerdemain are indebted for the several seeming wonders they exhibit. lie is the recognized inventor of some of the most inexplicable tricks ever yet attempted. The fish trick, the inexhaustible bottle, the multiplication of flowers, toys, etc. are amongst the results of his ingenuity. His style of manipulations is peculiarly neat and finished, and his mode of cheating the senses are especially felicitous. The marvels of the "second sight" are also gone through by his son. whose "guesses" would astound the veriest Yankee, and the suspension in the air is also admirably effected. The most surprising tour of the performance is the placing of an extinguisher over his son's head, and commanding him to appear at different parts of the stage. This was perfectly astounding, and very naturally set all the brains in the theatre industriously

ST. JAMES'S THEATRE. Robert-Houdin. rTIHE'extraordinary SOIREES FANTASTIQUES Riven by ROBERT HOUDIN, I continuing to be witnessed with Increased astonishment and gratification; they wiU be REPEATED every TUESDAY, THURSDAY, and SATURDAY EVENING. Doors open at Eight o'clock.—In consequence of the demand for places, a DA.Y PERFORMANCE will be given on WEDNESDAY MORNING NEXT, July 5. —Doors Open at Two o'clock. Boxes, 4«.; Pit, 2s—A few reserved Stalls and Pri
/ / • /ty o ST. JAMES'S THEATRE. 6>./S*% Last Week but One of Robert-Houdin. IE remaining SEANCES FANTASTIUUES, on MONDAY, TUESDAY, THURSDAY, and SATURDAY EVENINGS, commencing at half-past eht o'Clock. And a DAY PERFORMANCB on WEDNESDAY and FRIDAY MORNING NEXT, August 9th ard 11th, commencing at half-past Two o'clock. The Programme will include THE SAFETY C.\SKBT, LA BOUTKILLE INBPtTtSABLE; or, THE INEXHAUSTIBLE BOTTLE, and SUSPENSIONETHEREENE, presented before the Queen and Royal Family. Private Boxes, Stalls, and tickets, may be secured at Mitchell's Royal Library, 33, Old Bond-street; and at the box-office. Illustrations 5^t" and 548 — (Harry Ransom Humanities Research Center. University of Texas, Austin)

395

ROBERT-HODDIN

to work to discover the means by which it is managed. RobertHoudin succeeds perfectly in making the eyes the fools of the other senses.. Morning Post, May 4, 1848. T> OBERI^IOUPIN.—ST. JAMES'S

Robert-Houdin. the celebrated professor of the magic art. commenced here his series of Soirees Fantastiques on Tuesday, and from the success which attended his first night, we should say he is likely to continue his entertainment every Tuesday. Thursday, and Saturday for many weeks to come. Although Herr Dobler and M. Philippe have gone before Robert-Houdin, still this takes nothing from the merit of RobertHoudin. as he. nearly in every exploit, goes beyond them. He claims applause, too. from being the inventor of all his experiments, all of which are performed with an ease and audacity which are truly surprising. Perhaps his most marvellous essays are the Portfolio, from w hich he produces everything from a lady's bonnet to a cage of canaries; and the act of placing his son on an uncovered table, there extinguishing him, and the next moment causing him to appear at a side door. This last feat does away altogether with the old-fashioned notion of seeing is believing. The Cabalistic Clock, which strikes any given hour, and the Little Automaton who plays the flageolet, smokes his pipe, opens his prison door, suffers decapitation, and then regains his head, are the most perfect pieces of mechanism we ever witnessed. The evening concludes with the suspension of RobertHoudin's son on a single stick, through the action of concentrated ether. Satirist. May 6, 1848. Robert-Houdin is, beyond all doubt, the very prince of necromancers. It is fortunate for him that he did not live a century or two ago. He would assuredly have been put to death, had he failed upon

*N EASTKU MONDAY, at the T U M r O M t . U i . Mr MIOM\s* MILIEU, Author, will .IPtlw U t i a l of u S t r k w i f M \ I t-.UTUCKami «i« lil^Eii td PIIO i S of f M ! iPU i >* I K. fro >. HH- w r J M period to UM torn v) lit of (he I rise t «v lu v (! I itct of i t * >irit l^etwra •—

Illustration 549 - (Harry Ransom Humanities Research Center. University of Texas. Austin)

those times. He gave the first or his Soirees Fantastiques at the St. James's Theatre on Tuesday evening, and it was the very perfection of illusion. His programme comprised a great number of experiments, from which he selected some ten or a dozen, he exhibited a scientific skill, a grace, and an easy charm far transcending even that which we had previously regarded as perfection in Dobler. It is impossible to give an idea of the extraordinary complications of his performances, which, to be beyond those afforded by Herr Dobler, is the ''escamotage" of his son, who exhibits a proficiency in second sight which will certainly bring a large assemblage of Highlander to his Clairvoyance Society. There is, besides, what is called a "suspension e'there'ene'' - young Robert-Houdin suspended in equilibrium, by. as the bill tells us. "'atmospheric air. through the action of concentrated ether." We know not how this may be, but the exhibition is a most remarkable one. You see the boy absolutely lying on thin air, supported by nothing but a walking stick, on which his right arm rests. Amongst the most striking and puzzling things of the evening's performances were the ''wonderful orange-tree," "the cabalistic clock," ''Robert-IIoudin's portfolio.'1 ''the fans and cannon-balls" produced from a hat, and the "inexhaustible

396

bottle" from which, after having emptied it. M. Houdin produced every description of liqueur asked for by a large number of the company present. Altogether the performance may be pronounced to be perfect. The theatre was well filled by a fashionable audience, and we cannot doubt that Robert-Houdin's Soirees Fantastiques will be extremely popular.

Court Journal. The most wonderful of all the conjurors now occupies the offnights of the French Plays. M. Robert-Houdin is the great original, whereof, for the most part, we have hitherto seen but feeble copies; and his sleight-of-hand, his vivacity of address, and his untiring accompaniments of easy talk pleasantly occupying the attention of the audience while he fools them most egregiously. are marvellous indeed. We have seen no "prestidigitation" to compare with this. There is a careless elegance about it which completes its charm. M. Houdin has also two sons whom he has, no doubt by the same supernatural compact in which he is himself bound, enslaved to the art diabolic. Examiner. May 7 . 1848. M. Robert-Houdin is now the attraction here. It would be a poor compliment to call so clever a Frenchman a king of conjurors sure we are that many a king, our own James the Peaceful among the number, would have burnt him for a

inBntuUM Arbuii, Ctoffl, WitUoct'ittoiii,

Crwaiur, fa Godfrey. n..«ri,Ji. Prlacb. Humon J . m , Yin lkdln^tiam. Trim, liftug. iiciiim>r.lt, Healey. w«t*on, An! Jiiil In, M,.iii|>!,rl.ii. I'ctura. lUrm, ltcretl. Hooiar. Uuinfen, Mllkr, Wlik.lt, Comellk ...., , Mliiuskl; Mr Godfrey, Bum! nnitor of tlu Cold.treonl (JtutnU. ond tlui wholu of the Uanil Hr CiiUint, Btutd-nuutar of 111* Koyei Artillery, uLd the whole of the Uand._H JABBBTT, PeereuiT, SOL Hogeul-alrwt

•ROBERT-IIOUDIN.—ST. JAltKS'S

X l < THSATliE -MONDAY NEXT, - nd iluiim, l l i X u s ' l E K W*.EK, tliu colebrMod rreelidldWteur, ItOBERTllOllDieW K».traordluiiry SEANLES PANTA.V1 itjUKS. Every Evening, at HfOf.rat.it Eight. »u.l . DAY 1 Mtrim>IA\CE on Wndiieadiy inil SatuiUy Honiiiigft, Half past Two. Iituwe may be eecund fit UITCIIBLL 8 Ubtui; UJ Uoud-itneti aud atths lloi-offlM

Illustration 550 - (Hairy Ransom Humanities Research Center. L'niuersity of Texas. AustinJ

NOTES TO ACT III

wizard - but he certainly is unsurpassed. He will fold you a turtledove in paper, crush the creature in the palms of his hand to the dimension of a wren — to nothing — and, lo! It re-appears in a box previously empty! M. Houdin's son is extinguished in a huge cylinder, as he stands on a four-legged table, with no perceptible outlet; the necromancer knocks the extinguisher off the table, and the boy quietly walks in at an opposite door. The same youth, blindfolded, and, if required, with his back to the pit, tells any letter pointed to in any bill, or indicates any hour by any watch which he could not perceive from the distance, if not blindfolded, or tells what coin may be exposed, and even those in the immediate vicinity cannot possibly distinguish a franc from a shilling! Another son. a boy of eight or ten, sleeps from the application of ether, or seems to sleep, leaning, in recumbent posture, a single elbow on a single pole, his body being two or three feet from the ground. M. Houdin. during all his performances, keeps up an amusing and often witty commentary. The conjurer of conjurors. Douglas Jerrod, Weekly Newspaper. Mr. Mitchell has engaged M. Robert-Houdin. whose illusions gain an additional charm from the knowledge of the fact that he is the real inventor of the marvels he exhibits. His manner is very agreeable; and he has a certain ease about him, which distinguishes him from his imitators in magical science. Spectator. Conjurors delight so much in abstruse and far-fetched names, in describing themselves and their manifold deception, that we are almost afraid they will in time be quite lost amidst a chaos of confused sounds, and M. Robert-IIoudin. who appeared here for the first time on Tuesday evening, is not unlike his brethren of the craft in this respect. A most skillful professor of the black

AFIW. 2,1353.] AMUSEMENTS, £e*

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Illustration 551 - (Many Ransom Humanities Research Center. University of Texas. Austin)

art, however, he certainly is; as there is a neatness and dexterity about his tricks that have never been surpassed; and he has, at the same time, the reputation of being the inventor and manufacturer of all the ingenious mechanical tricks that are used by the previous conjurors who have appeared: so that, in that respect, we come to the fountain-head of legerdemain. M, Houdin is easy and fluent in his address, and there is a finish about his performances that reminds us much of Dobler; and we have in his performances all the mechanical feats of pigeons, gold and silver fish produced from seemingly impossible places, a flat portfolio that produces all sorts of extraordinary and bulky articles, together with the feat of second-sight, and suspending his son in the air on a stick, and causing him to disappear through a hollow tube and a variety of other marvels too numerous to mention. The audience were throughout most lavish in their applause, and M. Houdin will be fully as popular as any that have yet appeared at this theatre. News of the World, May 7. 1848. Robert-Houdin, the mighty necromancer of the Palais-Royal, whose proficiency in every species

39"

Illustration 552 — fHany Ransom Humanities Research Center. Vniversity of Texas Austin)

of diableries has long made him an object of awe and wonder to the Parisians, and in whose presence Dobler, Philippe. Anderson, and the rest of the wizards, are mere infants, gave his first Soiree on Tuesday evening to a crowded audience. We are inclined to think this mysterious gentleman has entered into a compact with "somebody downstairs", for the feats he performs are too extraordinary for belief in the ordinary way, and we are now satisfied of the existence of the "black art," and that M. Houdin practices it. All the most difficult tricks to which we have been accustomed are treated as mere child's play, and performed with a dexterity and finish truly astonishing. Hats are made to contain the most impossible collection of monstrosities - a thin and empty portfolio becomes in turn a miller's, florist's, and bird-fancier's shop, for bonnets, bouquets, and birds are brought from it in reckless profusions whilst watches, rings, cards, etc. are made to fly in all directions without any apparent agency beyond the will of the professor. There are two little figures, about six inches high, which do the most extraordinary things. M. Houdin calls them automatons; zee believe thev are two

ROBERT-HOUDIN

of t h e small people whom h e h a s caught, and holds in d u r a n c e by his spells. He h a s a n orange tree that would b e a fortune to any horticulturist, for it blossoms a n d bears fruit in half a m i n u t e . But t h e Wizard m u s t b e seen to b e appreciated, for we c a n n o t a t t e m p t to describe half of what h e accomplishes. He h a s a son (a little devil, we suppose), who possesses t h e faculty of clairvoyance to perfection, w h o , after t h e exhibition of it, is placed in a box on a table, and is t h e n passed from o n e side of t h e stage to t h e other as easily as a n ordinary conj u r o r passes small articles from h a n d to h a n d . T h e p e r f o r m a n c e concluded w ith a display of ethereal suspension that sets the law of gravitation a t defiance. M. Houdin was loudly applauded, a n d called before t h e curtain on t h e termination of the performance. Era. May 7. 1848. Robert-IIoudin's Soirees Fantastiques commenced with eclat at the St. James's Theatre on Tuesday, and won great applause throughout from a well-filled house. It is not easy to make our readers understand what, even when witnessed, seems to be impossible; and the more so from the ease and neatness with which the delusion of the senses are executed. Of the performances we were most astonished and entertained by tricks from a flat portfolio, producing a dozen of cumbrous articles; the marvellous fishing: the inexhaustible bottle, the vanishing of a big lad from under an extinguisher; second sight of a marvellous kind; and the balance of a boy in air, with only one outstretched arm resting on a stick. These things must be seen to be believed. Literary Gazette. Should any of our readers be still unacquainted with the "conjurations" and "the mighty magic" of Robert-Houdin - "membre de plusieurs Societes savantes" — we would advise them at once to

amend the omission. Certainly, his tricks and transformations are wonderful; and, at the same time, appeal to something higher than the mere sentiment of wonder. To be chief in any department of human effort is a point of ambition - and amongst conjurers Robert-Houdin unquestionably bears away the palm. As a professor of the dark art - or the light one. according to the humour of the perplexed spectator - we have seen no one to rival him. He beats the mesmerists, clairvoyants, aerialists. and all other scientific innovators hollow, and in his particular art, after him, anything may be believed - or doubted. He defies the gravity of the earth equally with the gravity of his audience. To us, many of his performances are far more mysterious than anything that we have seen at scientific soirees. How that wonderful bottle, out of which flow as many kinds of wines and liqueurs as the fertility of the audience can suggest, should continue to pour out dozens upon dozens of glass-fulls, each individual's tastes being instantly gratified out of the self-same flask, science must fail to explain. It is clear that M. Iloudin can "call spirits from a vast deep" within the apparently narrow limits of

this narrow bottle. The drinkers begin to grow unsteady, under the conviction that ''there's magic in it." George Gruikshank had better look to it - his "Bottle" has found a rival. V\'hat is the secret of that clock and pendulum worn upon the sleeve! We have seen most of the mechanical wonders of the day — machines which could make machines, for example; but we never before saw instruments endowed with so much of seeming volition, intelligence, and obedience as M. Iloudin's appear to be. His powers would have made him a mighty priest in Egypt, a god in Greece, a wizard in the Middle Ages. Alas, if the age of chivalry be gone - so is the age of easy faith. Men seek the subterfuge now where our fathers would have seen truth. The mind now resists where the sense is certain - and is amused rather than awed at results to which it cannot take the process. Athenaeum. May 13, 1848. The celebrated Robert-Houdin. whose fame as a magician preceded his arrival in this country, made his first appearance before an English audience at the St. James's Theatre last night. From the high praises which his admirers had lavished upon him. we were prepared to expect some-

APRIL 16, 1853.]

AMUSEMENTS, &c.

M

USICAL

UNION.—H.

'

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ALBEUT. P«tron. TUE8»A», APRIL 19th. WILLIS'S HOOHB —(juarlett D fl*t. So 3. Moiart Trio. C minor. Pianoforte,

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Illustration ~>53 - (Harry Ransom Humanities Research Center. I niversity of Texas, Austin)

398

Illustration 55^ — (Harry Ransom Humanities Research Center. University of Texas. Austinj

NOTES TO ACT III

thing wonderful, but the performances of last night surpassed all that we anticipated or could have conceived. The whole race of English, Scotch, Irish, and American wizards sink into utter insignificance when compared with Houdin - their tricks are clumsy, gross, and palpable when compared with the neatness, rapidity, and invisibility with which the French artist performs his truly magical feats. With him there is no cloaking, screening, or dodging: all is open and aboveboard: he challenges the closest inspection; he invites the minutest scrutiny; and yet, when the spectator has made up his mind that if the feat is performed he must detect the means by which it is accomplished, or that its performance is a physical impossibility, all his calculation and conceptions are overturned. The orange tree blossoms and yields its fruit in the twinkling of an eye, the empty hat manufactures and drops cannon balls, the empty bottle is made to yield wine, rum. gin. whisky, and brandy and then air is mysteriously converted into winged fowls and swimming fishes; and inanimate matter obeys the potent magician's spell and moves at his command. But his most astonishing feat was that of suspending his son in air without any visible support except a slight cane, on which he rested his elbow. To another of his sons he gives the seer's faculty of foreseeing and foretelling the future. Upon the whole, the performances were surpassingly wonderful, and the audience, a highly respectable and numerous one, gave frequent tokens of their wonder and delight at the surprising feats of Robert-Houdin. who will, we have no doubt whatever, be as successful here as he has been in his own country.

ing the present century, exercised his birch to some purpose. Comparatively, a very short period has elapsed when such a man as M. Houdin would have been consigned to the faggots and the flames, and offered up as a peace offering to the powers of darkness. At an early period of the world's history he would have been either a high priest of the Eleusinian mysteries, or a prophet. For, compared with the doings of this gentleman, which painfully puzzle all inquiry into the relation of cause to effect, those of the Delphinian Pythoness, or the wonders achieved by the celebrated Mademoiselle Julie, sink

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PLAYS,

.ST. JAMES'S THSAT&U, KING STHEKT. ST. JAMGifS-

into insignificance. So long as mankind are not all philosophers, the art of working wonders will continue to astonish and delight. The feats done by Monsieur Houdin eclipse a thousand-fold those related by Dion Gassius. The neverdrained bottle, the inexhaustible orange-tree, the first trick, the etherised self-supported child, the cylinder-covered boy. and the second sight, though they have been imitated by others, lost a moiety of their charm from the manner in which they were effected. With M. Houdin, everything is done with the hand of a true professor of his art. Grace and aplomb, and witty con-

.AST MORNING ENTKK1AIN MENT, wmwswn BOESVa, amtt svth

Illustration 555 - Bill for Robert-Houdin at the Saint James's Theater, 1853-

399

ROBKRr-HOUDIN

verse, are handmaids of his operations. He is no common conjuror, but the poet of prestidigitation, the monarch of mystery, the Genghis Khan of jugglery, the lawgiver of legerdemain. A very erudite authority. Eusebe Salvate [sic: Salverte], in his amusing book on the philosophy of Magic, observes "...that man is credulous from the cradle to the grave, that speech is more frequently deceptive than gesticulation, that everything is a prodigy in the eyes of an ignorant man, and that the philosopher behold no prodigies." This may be all very true, but we doubt whether the wisest man would not fail to discover the "why and wherefore" of half of the miracles produced by M. Houdin; he literally realizes the Shakespearian line — "The eyes are made the fools of the other senses" Sunday Times. Robert-Houdin, who is astonishing the lieges just now at Mr. Mitchell's theatre on Tuesday, Thursday and Saturday evening, is certainly a very wonderful man. A century or two ago he would most assuredly have been burnt in Smithfield as a wizard. Those who have seen Herr Dobler he out-Doblers quite, and puts the sprightly M. Philippe altogether in the shade. Such good citizens as have seen none of these mighty magicians should take an early opportunity of paying a visit to Mr. Houdin. We do not hesitate to assure them that they will be highly amused, perplexed, and amazed. Like the witch in Macbeth, Robert-Houdin "does and he does, and he does." He does a number of the most extraordinary tricks in the most extraordinary manner; and certainly completely does his audience too. And he is such a quiet, good-humoured, unassuming little person that he manages to ingratiate himself in your favour all the while he is cheating you. His feats of legerdemain defy detection. You may wateh him with the acutest attention, observe him

with the most searching gaze - all to no purpose. He deceives you so completely, as absolutely to make you doubt the evidence of your sense. The ease with which he makes cannon balls and ladies' fans, bonbons, and flowers come out of empty hats is quite surprising. As for handkerchiefs, they appear to contain anything and everything he leases; how the things get into the handkerchiefs is quite impossible to perceive, but there they are, sure enough, whenever he wishes them to be there. His "cabalistic clock" which, ''in mid-air suspended," strikes any hours anybody pleases, and goes fast or slow, just as it is desired, is not the least astonishing of his ''original experiments." as the playbills designate his performance. How ladies' trinkets, snugly placed in a little box. find their way thence into the middle of oranges, lemons, eggs, and so forth, it is rather difficult to conceive, but a wave of RobertHoudin's wand is potent, and the trinkets go just where he pleases, at his bidding. If any sane person were asked if he deemed it possible that from out of a flat portfolio, a number of French prints, a lady's bonnet of the most fashionable make, a large-sized basket of oranges, four turtle doves, and a bulky cage full of canaries could be produced, he would most assuredly answer in the negative. Robert-Houdin, however, finds no difficulty whatever in effecting the apparent impossibility. In the course of the evening, M. Iloudin entertains his audience with one of the most ingenious pieces of mechanism we have ever seen. Supported on a chair by a most grave-looking automaton, whom M. Houdin has christened "Debureau," a sprightly little figure called "Auriol,' dressed in similar attire to that worn by his amusing namesake at Drury-lane, performs all sorts of vagaries, much to the astonishment and delight of the audience. Amongst other things, he keeps time with the band upon the flageolet, prac-

400

tices a number of gymnastic feats. and finally sets himself down to smoke a cigar, with all the gust of a South American gaucho or a Spanish matador. We have not space to enumerate one-tenth part of M. Houdin's surprising tricks. We cannot, however, pass by the ''Inexhaustible Bottle" without saying a few words about it. An ordinary-sized claret bottle is washed inside and outside, and it is held with the mouth downwards, to all intents and purposes, one would say, empty; yet out of this apparently empty bottle. M. Houdin serves out innumerable glasses of every known liquor.

ST.

JAMES'S THJEATBE, KIKG STREET. ST. JAMES S,

__

ROBERT-HOUDIN MORNING PERFORMANCE BY PARTICULAR DESIRE,

MONDAY NEXT, MORNING

JUNE 19, /&JtS_ RBaTf-pasl E P Tim R Eo'C.odt S Eprerficfj, NTATION

WEDNESDAY, J I N E 21. EVENING

PERFORMANCES,

TUESDAY,* THURSDAY, SATURDAY EVENINGS, THE PROGRAMME INVENTED BY M. ROBERT-HOUDiN. Lea Toarfureliei SympatMquej

The Sympathl.log Tnrlledoves. The Wond'.rfu* Orange-Tree.

IiG Ooffro de Surete

The Saftety Casket.

La Fec&e H a g i q a e — — — — &c.

&c. &<s.

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— . — . . - - The SI

Le CUltoa de Robert Houdia

Robert-Honain'H Portfolio,

La Bouteille Xnepuisable -. The isezhaustible Bottle | JTjIqaariste Impromptu, Iiiquormonger Extempore __J<^_&c:_&*-

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Illustration 556 - Bill for Robert-Houdin at the Saint James's Theater, June 1848. (Harry Ransom Humanities Research Center. University of Texas. Austin)

NOTFS TO ACT III

Dantzic water, maraschino, Curacao, whiskey, gin. nova, et it genus omne, is most generously handed round to the audience. We suppose we must ascribe to our national taste the circumstance that petits verres of gin were in great demand in the pit. The "Soiree Fantastique" of Saturday concluded with the suspension of Robert-Houdin's son "in equilibrium by atmospheric air. through the action of concentrated ether," to adopt the phraseology of the bills. And a most astounding/inale most decidedly it was. Not at all astonishing, under the circumstances, was the exclamation of a R O B E R T HOtXDIN, ST. JAMES'S THEATRE.

ROBERT-HOUDIN, FRENCH CONJURER, K X P EHIMBKTS

NATURAL™ MAGIC, Ok>. K«i.S, P M * u^Jtr DM B

"SSANCES FANTASTIQUIS," AT THt: ABOVf: TWATR*:.

TUESDAY AND THURSDAY EVENIN6,

DAY PERFORMANCE WEDNESDAY & SATURDAY MORNINGS ntOOBAKK [• 4

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lady sitting immediately behind us. who, as the curtain fell, remarked with emphasis, "Well, I never!" We shall certainly advise all our friends to pay Moris. Houdin a visit. Telegraph, May 15, 1848. Yesterday, M. Robert-Houdin gave his first Matinee Fantastique to a numerous audience. M. Houdin is certainly the prince of conjurers, and well deserves the success he has met with. His tricks are performed with a quietness and ease that are really astonishing, while the good humour and intelligence, which he manifests during the performance, tend to keep up the spirits of his audience, and to render the entertainment one of the most agreeable we have witnessed. One chief characteristic of M. Houdin is want of that display which is the general prelude to a trick in other performers. With him all is done as if it were a matter of course, and in consequence the deception is the more complete. We have already noticed several of the tricks of M. Houdin. whom as the inventor of most of those which have so often been exhibited, has all the merit of originality, besides his superior dexterity. Yesterday, his audience testified their delight by repeated plaudits, the real children vying with those of ''a larger growth' in manifesting their joy. The success which attended the performance yesterday will, no doubt, call for a repetition of this Matinee Fantastique. Morning Post, May 25. 1848

DADBXUS

T B O I h l t ME

PART r

L* PVTIT TOM IKIOaOIUii

Illustration 5 y - Bill for Robert-Houdin at the Saint James's Theater, June 1853.

We at evening paid a visit to M. Robert-IIoudin. the new miracle worker at the St. James's Theatre. We have seen many conjurors in our time, but we certainly never saw one who can hold up to this one. One of his most remarkable scenes was called ''Le carton de Robert-Houdin" - a plain, flat portfolio, out of which he brought four doves, a lady's bonnet, and several other things, ending with a goodsized bird-cage containing canaries. Another, which afforded the

401

most complete delight to the audience, particularly those in the pit, was the "Bottle inepuisable," a common green bottle from which he poured out for the company endless glasses of any liquor they like to call for. Cognac, Maraschino, Curacao, Kirsch-water. eau de vie vanilla, gin, and innumerable other liquors were called for by the audience — supplied as quick as the light, and evidently relished by the recipients. But the most surprising parts of the performance were the feats of second sight of M. Houdin's son. With his eyes bandaged, seated on the stage, he described, without an instant's hesitation, any article which was put into his father's hand by anyone in the body of the house. However this may have been managed, the rapidity and neatness with which it was accomplished were such as deservedly to elicit the applause of the audience. The concluding ''effect" was the suspension in the air, on the end of a stick, of the younger son of M. Houdin. The house was fully attended, and the audience appeared delighted not least with the tricks themselves, than the agreeable manner of Mr. Houdin during the performance. Chronicle. June 2, 1848. Robert-Houdin, who. we are told not unwarrantably, advertises himself as membre de plusieurs socie'tes savantcs, and is. we believe, the discoverer of some of the illusions which Herr Dobler and others have exhibited, gave the first of his soirees at the St. James's Theatre last evening. He developed these and many new deceptions with a scientific skill, a grace, and easy charm far transcending even that which we had previously regarded as perfection in Herr Dobler. It is impossible to detail on paper complications which, to be appreciated, we will not say understood, must be seen. A feature in the performance beyond those afforded by Herr Dobler, is the es-

ROBERT-HOUDIN

camotage of Robert-Houdin's son. who exhibits a proficiency in sec-

ond sight, which will certainly bring a very large assemblage of Highlanders to all future representations, and affords an infinity of new papers for the Clairvoyance Society. There is. besides, what is called a suspension cthereenne: young Robert-Houdin suspended in equilibrium by. as the bill tells us. "atmospheric air, through the action of concentrated ether." We do not know how this may be, but the fact before us is a most remarkable one. You see the boy absolutely lying on thin air. supported by nothing whatever but a walking stick, on which his right arm rests. There was a full house, and we venture to predict a still fuller on each of the twelve representations announced. Daily Neiz-s and Bell's Life. We do not know what Mr. George Gruikshank would be likely to say to \1. Houdin's "Bottle." The former inculcates temperance in a pictorial poem that is the best sermon we ever read: the latter makes drinking so pleasant that we wonder no tee-totaller has yet risen and protested against the danger of putting such a "Bottle" into the hands of the Public. Why, it is inexhaustible! The more liquids he pours from it. the more there are concealed at the bottom. It is a bottled ocean of champagne, port, brandy, and Curacao. It is the whole London Docks, apparently, corked down into a quart bottle nay. more than that; for we really believe if Horace happened to drop in at the St. James's and called for a poculum of his old Falernian. that M. Iloudin would pour it out for him. and then ask him if he would have a little magnum of Cyprus! There are many good things in Mr. Cruikshank's "Bottle." but we doubt if its greatest admirer could squeeze a bumper of Burgundy, or the smallest glass of Maraschino out of it. In fact, our moral Callot would not be very well pleased if anyone could, considering he

wishes to expose the horrors of drinking, and not to prove the pleasures of it; and that his "Bottle" was drawn, not to go to men's lips, but to their hearts. We implore Monsieur Houdin. however, to be careful, or else some night, if he does not put a timely "'stopper" on his liberality, his audience may be carried off to the station-house and locked up on the dreadful charge of inebriety. The scenes, too. that might occur at this theatre would be rather unpleasant for the liberal conjuror, if he had a number of young men rushing up to him for "just one glass more." We advise him to limit every lady to two glasses, and every gentleman to four, unless they have been dining, when the best thing to give them - we mean the gentlemen - will be a bottle of soda-water. The drink should be varied, also, in this warm weather, and be made to consist of some of Soyer's "Nectar, or Sainsbury's summer beverages. Punch, July 13. 1848.

39Memoirs of Robert-Houdin. op. cit.. pp. 34-1-345.

40. ROBERT-HOUDIN'S PERFORMANCE BEFORE THE QUEEN. At the occasion of the party for the Prince of Wales. RobertHoudin. the famous conjurer, performed one of his fantastic shows in Buckingham Palace before H.M. the Queen. II.R.II. Prince Albert, their royal family and all of the court. A charming theater had been built for him in the grand portrait gallery. The gathering was noble and large. For two hours the august spectators were amazed. The queen was extremely pleased by these experiments but those that seemed to impress her the most were The Aerial Clock, The Safety Casket. The Portfolio, and mainly The Queen's Surprise, a well-planned trick that reunited what is most gracious and appropriate. You can judge by the fol402

lowing narrative: the Queen having lent her glove to RobertHoudin. he immediately made a bouquet of flowers come out of it, which soon became too large to be held in two hands: finally, this bouquet, placed in a vase and watered with magic water, changed into a garland whose flowers formed the name of VICTORIA. But what even more impressed Her Majesty was the marvelous lucidity of the son of Robert-Houdin in the experiment of Second Sight. The most complicated objects had been prepared in advance, in order to embarrass the father and the son and lead their sagacity into error. However, both came out victorious from this intellectual combat and thwarted all of the plots. After many objects, named immediately as soon as they were presented, a ring on which a small medallion the size of a lentil was given to Robert-IIoudin: his son immediately identified it. But what was the audience's surprise when continuing the designation, he said: "On the medal is the portrait of H.M. the Queen, around which are engraved two Latin words: VICTORIA REGINA!" (This engraving was so microscopic that a good magnifying glass would have been needed to decipher it.) Medallions of Trajan, of Septimus Severius. of George II were identified with extraordinary precision. Finally, the Duchess of Kent, wanting to convince herself of this marvelous power of description of the Second Sight addressed RobertHoudin and said to him: "Your son. could he also name this object, and describe it, if I interrogated him myself?" - Certainly, said the conjurer immediately. "The object that you are hiding in your hands is a gold watch with blue enamel with the portrait of George IV, surrounded by 96 diamonds." This time, and against etiquette, applause, to which Her Majesty participated, rang out from all over, and did not stop

NOTES TO ACT III

until the curtain had completely dropped. After the performance, the queen sent her compliments to Robert-Houdin. and had him sent a souvenir of her royal munificence. The Court Journal.

41. At the beginning of 1859, Olympe Robert-Houdin went to London to return Henriette Knight to her family.

42. Independance beige, no. 126. Sunday. May 6. 1849 (bottom of page 2): Theatre Royal Saint Hubert. Sunday 6"', Soiree fantastique of M. Robert-IIoudin. Independance beige, no. 128. Tuesday, May 8. 1849. page 3: Theatre Royal Saint Hubert (S o'clock) Tuesday 8, Soiree fantastique of M. Robert-Houdin. Part 1 - The Aerial Clock - The Mysterious Orange Tree - The Sympathetic Turtledoves - The Ink Vase or Instant Clarification Impossible Equilibrium - The Traveling Bird - The Hunter (mechanical piece) — The Trapeze. Part 2 - The Crystal Balls - The Fans - The Cannonballs - The Flower Basket - The Traveling Jewelry - Robert-IIoudin's Portfolio - The Inexhaustible Bottle - The Second Sight Experiment by M. Robert-Houdin and his son — Invisibility - Disappearance of M. Robert-IIoudin's son. Independance beige, no. 129. Wednesday. May 9. 1849. page 3: Theatre Royal Saint Hubert (8 o'clock). Wednesday May 9. Soiree fantastique of M. RobertHoudin. Part 1 -The Aerial Clock - The Mysterious Orange Tree - The Sympathetic Turtledoves - The Ink Vase or Instant Clarification Impossible Equilibrium - The Traveling Bird — The Hunter (mechanical piece) - The Trapeze. Part 2 - The Crystal Balls - The Fans - The Cannonballs — The

Flower Basket — The Traveling Jewelry - Robert-IIoudin's Portfolio - The Inexhaustible Bottle - The Second Sight Experiment by M. Robert-Houdin and his son Invisibility - Disappearance of M. Robert-IIoudin's son. Independance beige, no. 130. Thursday. May 10. 1849. page 4: Theatre Royal Saint Hubert (8 o'clock). Thursday May 10. last Soiree fantastique of M. RobertHoudin. Part 1 - The Aerial Clock - The Mysterious Orange Tree - The Sympathetic Turtledoves - The Ink Vase or Instant Clarification — Impossible Equilibrium - The Traveling Bird - The Hunter (mechanical piece) — The Trapeze. Part 2 - The Crystal Balls - The Fans - The Cannonballs - The Flower Basket - The Traveling Jewelry - Robert-IIoudin's Portfolio - The Inexhaustible Bottle - The Second Sight Experiment by M. Robert-Houdin and his son — Invisibility - Disappearance of M. Robert-Houdin's son.

number of experiments and the choice of people arc sufficient guarantees as to this effect. M. Gandon is to give a few performances next week. Alexandre Francois Antoine Gandon was born in Paris (12' arrondissement) on July 26. 1812, where he died on November 11. 1864. In his Souvenirs dun Montreur de Marion nettes, (Paris. Maurice Blanche. Publisher. 1911) Lemercier de Neuville dedicates a long portrait (pages 125 to 131) to his friend Antoine Gandon, \\ hose activities were apparently more linked to journalism and literature in general rather than the

43. F.A. Gandon notably performed in Second Sight experiments in Februan 1848 at the Theatre de Lille and during the month of May at the Theatre Royal of Brussels. He was apparently helped by his nephew. the young Goumenaud (or Gondenaut depending on the ad\ ertisement). Here is the account of his performances published in I'Abeille lilloise This week we had two performances of M. Gandon's second sight, which are far better than other previous, similar performances. Despite all our efforts, we could not manage to understand how. placed thirty steps away and blindfolded, this young Gondenaut guesses the age, first name, and profession of those who honor him with their trust. Readers, do not believe that confederates are involved, as used before by M. Laurent and his famous Prudence. The 403

ANTOINE GANDON

Illustration 558 - Portrait of Antoine Gandon by Leinercier de Neuville.

ROBERT-HOUDIN

S01RE I S PAHTAS

ES

HOKMT-HOLDn

•flOtr,

stage. The famous puppeteer concludes Gandon's biography with this anecdote tinged with black humor: Gandon died in 1864. Did he foresee his death? Was it real double sight? I do not know, but one day he said to Dinochau, — ''Send me your bill. I want all my business to be taken care of before November 10"." And on November 10, Gandon died of sudden brain paralysis.

44. •71-*-

. 4 cyOefZ

.^J&CJTZ?

>

Illustrations 559. 560. and 561 - Letter from Robert-Houdin to Aristide Le Carpentier.

While continuing his work. Robert-Houdin also had to defend his position as theater manager. In fact. Robert-Houdin defended his position in the capital in every sense, as shown by this letter dated January 19. 1850, addressed to a M, Mantoux, who was influential in the tax administration of the time: Sir: You have recently taxed me at 11%. I would certainly not go against this decision if business was good, but this huge tax comes at a moment when theater income is so poor that all in this domain, except for me. are taxed at 6°o. I thought that I deserved the same consideration as all others, given my work and my constant efforts for the prosperity of my theater. You arc aware, sir, that when income decreases, costs increase, because advertisement then becomes necessary and this type of expenditure is also very costly. This year I spent four times more than all other years put together, through my bills, extras, and advertisements, and in addition, the theater commission, whose decision I respect, forced me to spend 500 francs for my theater and pay the daily wages of a city sergeant obviously useless to my theater. The rigors of the law do not affect a theater businessman; they affect an artist whose life has been 40 1

used, and I might say used up. to create a modest situation that too much tax or too many costs could easily make him lose. I hope I can count on you, sir, to render justice to my claim, and please believe that I am your humble and obedient servant. Robert-Houdin That this letter softened the heart of the honorable civil servant, we do not doubt; however. the correspondence of RobertHoudin at this time is often lighter, as show n by the letter written on the stationary of Soirees Fantastiques and addressed to Aristide Le Carpentier: Paris. April 27. 1850 My dear sir, I laughed a lot and am still laughing about the great argument engaged between your nephew and yourself about our unfortunate third verse destined, if may say so, to be a stillbirth, though meant to be the hope of his family. I admit candidly that even though the four verses already performed are fine in themselves, they are not entirely appropriate for my public. Your nephew's couplet seems to lean towards politics "and when I see that one unleashes disharmony in my country" that can only pass for the pretension "Democ — Soc — "; perhaps we could merge all these nuances of opinion and style (because it is now or never) and therefore create a perfect verse. I have just placed myself in the saddle. I do not need to preface with a profession of faith - I only have one thing to say, that is that the end of the couplet be the one I wished. Poetry is not my strong point and this idea could be turned in another way. Look and judge, I leave it to you!!!

45. Memoirs of Robert-Houdin. op. cit.. pp. 366-367.

NOTES TO ACT III

46. Georges Emile Robert-Houdin, born at Saint-Gervais on May 29. 1851, died at Saint-Gervais-la-Foret on October 31. 1925.

47. Auguste Lassaigne. born in Toulouse (Haute-Garonne) on November 30, 1819. died in Montpellier (Herault) on November 4, 1885.

48. This letter includes little notes, wishes, and advice written by Emile and Eugene to their stepmother as well as by her sister Amelie.

49. Henri Joseph Donckele. known as Robin, born in Hazebrouck (Nord) on July 12. 1811. died in Paris on February 24, 1874.

the same De Linski who accidentally killed his wife in Arnstadt in November 1820 during "The Bullet Catch" feat. We also know of another magician with the same name: Chretien Jean-Baptiste de Linski. born in Muller, USA in 1827. died in Charenton, Seine. February 16. 1882. If it is the same artist, we briefly find him on the stage of Robert-Houdin's theater in the 1880s.

55. Jean Chavigny. op. cit . pp. 9193 Based on the excerpt from Eglantine Lemaitre Robert-Houdin's lecture, which we have reprinted in note 19. the conjurer had already carried out a similar experiment several months earlier for his son George's baptism.

50.

56.

Gazette des Tribunaux, June 26. 1850.

Memoirs of Robert-Houdin. op cit.. pp. 367-368.

51.

57.

See also Robert-Houdin's footnote at the end of the appendix of the second volume of his memoirs regarding the Legrand trial.

Cha\ igny mentions an erroneous date for the end of the lease and does not give the name Bertin but the family Rohan-Chabot as the seller. This attribution is inaccurate and the result of a confusion between the Palais-Royal lease and that of Georges Melies at the Boulevard des Italiens. whose building belonged at this time to the Rohan-Chabot family and was passed between the parties thirtyfour years later. I also perpetuated these same mistakes in a footnote for the reprint with Stock of Robert-Houdin's Memoirs in 1994, mistakes that others recopied. as well as other incorrect deductions I had made.

52. Jacques Voignier kindly gave me this newspaper article, unknown to Robert-Houdin's biographers.

53. Police department decree of March 1, 1851.

54. The name Louis, the name De Linski, without the y. like that of Devaux without the e, are spelled this way in the decree of the police department granting the authorization. For Devaux, we believe that his name was really spelled "Deveaux" because this is how he signed the mechanical pieces from his workshop. Concerning De Linski, we cannot confirm that it is

58. The wedding contract between Hamilton and Amelie Braconnier. widow of Devillers, was signed on January 13, 1852. 405

59. Le Charivari, no. 24. January 1852.

60. This letter by Alexandrine Bosco is taken from Francois Voignier's lecture before the Club des Magiciens Collectionneurs on January 29. 1996. Commentaire. analyse, et datation de quelques documents raves ou inconnus (Commentary, Analysis and Dating of a Few rare or Unknown Documents).

61. In a letter sent to an unknown addressee and dated January 13, 1852, Robert-Houdin announced to his correspondent the date of his departure from Soirees Fantastiques: "...tomorrow Wednesday, this will be my last performance; it will be over forever; farewell, my dear Parisians..." On a poster dated Wednesday. January 14. 1852, the conjurer noted: "Next to last performance; I am leaving on January 15. 1852."

62. On the subject of Hamilton's passage through Lyon in August 1852. see the list of press releases heralding his performances and commented upon by Hjalmar in issue 156 of Le Magicien.

63. Rosalie Eglantine Robert-Houdin, born in Saint-Gervais on October 5. 1852. Died in Blois on December 26. 1926. See genealogical chart.

64. Dantan drew two nearly identical watercolors on this occasion. He gave the first one to RobertHoudin and kept the second for himself. One of the drawings is found today at the Chateau de Blois, the second in Dantan's Le Litre d Or. which I acquired at a public sale, and which contained in addition to the drawing of other humorous portraits of RobertHoudin. autographed rhymed pas-

ROBERT-HOUDIN

sages that the master wrote, and the caricatures of his son Emile in the Second Sight routine.

65. Here are the texts of a few announcements and accounts published in the newspapers of the Nord-Somme region during RobertHoudin's travels to Abbeville, Amiens and Lille in 1853: L'Ami

de

I'ordre,

no.

1527,

new spaper of the Somme region, published in Amiens, Wednesday, February 23, 1853: Somme column: Abbeville. Les Soirees fantastiques de M. Robert-Houdin will begin next Friday the 25th of this month. L'Ami

de I'ordre,

no.

1528,

Thursday, February 24, 1853: The "Pilote de la Somme" of Abbeville will publish this morning a detailed account of M. RobertIloudin's Soirees Fantastiques of Sunday and Monday for the inhabitants of this town. [Sunday 20th, Monday 21SI \ Our colleague, who is still marveling over the feats he witnessed, warmly praised the skillful conjurer, whose talent created amazement and astonishment and whom we foresee will be just as successful among yourselves. M. Robert-Houdin will perform twice in Amiens on Friday and Saturday because he has performances scheduled in Lille, Calais, and England. L'Ami de I'ordre, no. Friday, February 25, 1853:

1130,

Theatre d'AMIENS Today Friday the 25th and tomorrow Saturday the 26th of February 1853 Soirees Fantastiques de Robert-Houdin M. Robert-Houdin will perform the most interesting experiments in his repertoire such as the inexhaustible bottle, the portfolio, the

marvelous orange tree, the Hunter, the crystal chest, the invisible hand, the unexpected metamorphosis, the philosophical stone, the two contrasts [?], the crystal ball, cabalistic drying, the mysterious clock, Auriol (mechanical piece), the enchanted mirror, here and there, great subtlety, the sympathetic turtle doves, the birth of flowers, the horn of plenty, the cannon ball, the infernal punch, the flower garland, infinite multiplication, the genie of roses, the ball of wool, the plumes, fishing, diabolical conjuring, the mysterious dahlia, wishes granted. THE PRICE OF TICKETS REMAINS THE SAME First stalls 2.5 francs, second and pit with seats 1.5 francs, pit 1 franc, third level, 75 centimes. Ticket windows will open at 7:30 and the show will begin at 8 o'clock. M. Robert-Houdin will give only two performances because he is expected in England. L'Ami de I'ordre, no. 1331. Sundav. Februarv 27. 1853: M. Robert-Houdin's performance last night attracted a large and brilliant audience. The skillful conjurer amply justified this enthusiasm through the prodigious skill with which he performed a great number of truly marvelous tricks and which the astonished and charmed audience heartily applauded. What gives particular merit to M. Robert-Houdin's tricks is first and foremost their superiority to the likes of anything of this kind seen before, and then the rapidity and grace of their execution. Very well placed with respect to high society, M. Robert-Houdin knows how to please them, not only with his dexterity but also by the distinction and courtesy of his speech and manners. We will not try to analyze the tricks that charmed us last night and that M. Robert-Houdin performs much better than we can relate. The tricks must be seen to be ap406

SxS:,

"OLTICE DU TBAP E Z t

Illustrations 562, 563. and 564-Advertisements for Robett-Houdin in L'Abeille UUoise.

NOTES TO ACT III

preciated and known, but one must give up all possibility of comprehending them. So, we tell our readers to go and see M. Robert-Houdin. Take advantage of this last soiree that this enchanter dedicates to us, and under whose fingers fans, oranges, bouquets for the ladies, and punch for the gentlemen materialize. Cakes, candy, and toys for children. These are charms which M. Robert-Houdin does not need to conjure up because they are due to his generosity and talent. E.Y. [Eugene Yvert] LL'Abeille lilloise, no. 20 Thursday, March 10. 1853: ROBERT HOUDIN AGAIN In our last issue we published an extract from M. Robert-IIoudin's biography; we will therefore add nothing to this realistic portrait in which M. Hatin depicts the skill. wit, and vivacity and immense genius of the skillful mechanician and surprising conjurer who has possessed our town for a few days.

But we must not keep silent about our pleasure in attending his soirees. Robert-Houdin is not an ordinary conjurer; he is witty, gay, lively, and especially sophisticated. We would enjoy listening to him even if he was not performing. His glance expresses gentleness and liveliness; his voice is pleasant, he jokes only in perfect taste. His stage is not cluttered with magic horns, trapdoor tables, strangely shaped vases, and all the paraphernalia of ordinary magicians. This is another sign of his good taste. lie does not need to dazzle with a display of his tools; he does not need to wear a magician's cape to do magic of the most incredible kind! He knows that if the devil himself came to earth, he would wear the black cape and round hat. But let us speak no more of the devil, as it has not been proven that he had nothing to do with the education of the prince of magic, M. Robert-Houdin. If the latter's science does not come from Satan, then Satan must be jealous; but the

prince of darkness will not come complaining to Robert-Houdin about stepping on his toes, because he usually does not like to deal with those of equal strength. Moreover, he could end up being conjured away...and all humanity would laugh! What can we say about the surprises he reserves for the audience? Nothing!.. .because we would have to describe the skill of each of his tricks, the marvel of each mechanical piece, and this would take us far from the limits of our article. Suffice it to say to our readers: go see Robert-Houdin and you will proclaim him to be the prince of magic, as we do, and especially when right before one's eyes he pulls out of a three- or four-centimeter-thick portfolio, two new, perfectly shaped women's hats, two copper pots - one full of water, the other full of fire - a fifty-centimeter cage, four turtledoves, several objects, and...but let us stop here; we promised to remain silent, and we are about to break our promise. F. BRACKE L'Abeille lilloise. no. Sunday, March 13, 1853:

21

of

Musical association hall. Rue Esqucrmoise 79 Theatre dc Robert-Houdin Conjurer at Palais-Royal in Paris Program THE MARVELOUS PUNCH BOWL An entirely new experiment invented by him. THE FAMOUS INEXHAUSTIBLE BOTTLE M. Robert-Houdin promises to make all possible liquors known today come out of any empty bottle in unlimited quantities. This experiment is of his own invention. THE DIABOLICAL PORTFOLIO The impossible becomes possible. From a thin portfolio the following come out in profusion: ladies' hats, pots filled with water and fire, beans, living turtledoves, and

407

ROBESO -HOUDIN

very strange album. We will say a few words about it, reader, in our next issue. In the meantime we advise you to go see, at the Association Musicale, this modern wizard who proves through his surprising experiments that all impossibility can become reality. F. BRACKE

a huge cage filled with birds. THE HORN OF PLENTY Producing an avalanche of candy, flowers, albums, comical newspapers, fans, horoscopes, surprises, etc. THE MYSTERIOUS ORANGE TREE

Instantaneous blossoming of fragrant flowers and delicious fruits.

66. Sam H. Sharpe, Salutations to Robert-Houdin. Micky Hades, 1983. p. 30.

One of the reprinted posters has engravings at the top and bottom; in the other the bottom engraving is replaced by this text:

67. Sidney W. Clarke. The Annals of Conjuring, chapter "The Wizard of the North and The Mechanical Conjurers," fop cit).

All of Robert-Houdin's performed experiments were invented by him. Although a few have been performed by other artists, they are nothing more than an imperfect imitation of his way of presenting them.

68. Sidney W. Clarke (op. cit).

69.

Concluding an article reprinting extracts from Robert-Houdin's biography by Eugene Hatin, one can read the following lines by F. Bracke: Robert-Houdin has yet another talent that is less generally known, and which I must tell you about in order to complete the portrait of this artist. In leaving these soirees fantastiques, one wonders how a man can resist such repeated fatigue day after day, non-stop. Well, do you know how Robert-Houdin rests? Working in his home, he alternatively picks up the file and pen, preparing new inventions or rhyming the description of old ones. The little books that he produces among other objects from his horn of plenty, and which he so generously distributes to his audience, can give an idea of the manner in which he writes. But he excels in sharpening a point, creating a pun, placing the most bizarre names in a few verses. His relatives, friends, and acquaintances, the furniture of his home, the paths of his garden, all that he touches or approaches with his epigram, his quatrain. In this way he has made up a

SALUTATIONS TO ROBERT-HOUDIN by Sam H. Sharpe His life magic and automata. Illustrated with sketches, photographs, and collected artworks from the author's collection and the collections of other famous historians.

19 8 3

MICKY HADES INTERNATIONAL

Ricky Jay kindly sent me copies of the English bills of RobertHoudin that are today kept at the Harry Ransom Humanities Research Center at the University of Texas, Austin. These bills have allowed me to determine the specific dates of the beginning and end of RobertHoudin's engagement at the SaintJames's Theater in 1853. All these posters were part of the collection of Harry Houdini, who did not reveal their existence to his readers, to whom he asserted, on the contrary, in The Unmasking of Robert-Houdin. that in that particular year, RobertHoudin had been "'squeezed out" of the Saint James's Theater by the magician Anderson and that consequently, the French conjurer had no other choice than to perform in a second-rate hall!

70. In French in the text.

71. Illustrations 565, 566 and 56 - Portrait and

signature of Sam H. Sharpe framing the title page of his remarkable study of Robert-Houdin.

408

In French in the text.

72. Translation of Escamoteurs etPhy-

NOTES TO ACT III

siciens (Conjurers and professors), 1853-1855, Robert-Houdin, 1853.

73. Name already given to one of his sons, who also died at a very young age, from his first marriage to Cecile Eglantine Houdin.

74. The descriptions of RobertHoudin's feats which follow are taken from the appendix of the first Blois and Paris editions of Confidences d'un prestidigitateur: THE INEXHAUSTIBLE BOTTLE [or The Impromptu Liquor Merchant]

This trick is one of the most brilliant that I have ever performed. It is always very warmly applauded. I enter the stage with a little bottle filled with bordeaux wine. I empty it completely by pouring its content into glasses and I then rinse it with a bit of water, taking care to drain it. This preamble finished, I advance amongst the audience and, still holding the bottle upside down, I propose to make any liquor they wish come out. My proposition is generally greeted with great interest. Demands ring out from all sides by people wanting to make sure of the reality of the trick and the quality of the liquors. These liquors are supplied immediately upon demand. There is not one, spirit or aromatic, and from any country whatsoever, that is not poured out with the greatest generosity. The distribution ends only when the audience decides to stop ordering, in the fear that they could not drink everything that comes out of the bottle, and, finding that it will not do to prolong the experiment, lest their reason fail them, decide to cease making requests.

To end this trick in a dazzling fashion, and to prove the inexhaustible liberality of my bottle, I take a large drinking glass that can hold at least half of the bottle, and I fill it to the brim with any liquor asked for by a member of the audience. The Inexhaustible Bottle was performed for the first time in my theater on December 1, 1847. THE FANTASTIC ORANGE TREE

[or The Marvelous Orange Tree] This mechanical piece was preceded by several conjuring tricks which motivated its introduction onto the stage. I borrowed a lady's handkerchief; I rolled it into a ball and placed it next to an egg, a lemon, and an orange placed on my table. I then magically placed these objects inside each other and when they were all finally in the orange, I used this fruit to make a fantastic liquor. To do so, I squeezed the orange and reduced its size, showing it in different shapes from time to time, and I ended up making a powder that I put into a bottle with essence of wine in it. I was then brought an orange tree with no fruit or flowers. I poured the bit of liquor that I had just prepared into a vase; I set it on fire; I placed it above the tree, and no sooner had the vapor reached the foliage, than it was seen to be covered with flowers. With a wave of the magic wand, these flowers were transformed into oranges, which I gave out to the audience. One single orange remained on the tree; I commanded it to open into four sections, and one could see the borrowed handkerchief inside. Two butterflies flapping their wings picked it up by the corners and unfolded it while flying in the air. 409

THE MIRACULOUS FISHING

One will recall the Chinese trick called The Basin of Neptune by Philippe. I have mentioned that the conjurer of the Bazar Bonne-Nouvelle, following the example of inhabitants of the Celestial Empire, had worn a robe necessary for the performance of the trick. I have also stated my repulsion for any clothing not normally worn. It should then have seemed impossible for me to have performed this marvelous experiment. One day, however, my bills announced a trick entitled The Miraculous Fishing. It was none other than the Chinese trick that I planned to perform, but in much more difficult conditions. I arrived on stage with a pointed table leg in my hand. I set it in front of me, near the audience. "Gentlemen," I said, "if you please, I am going to give you a lesson in fishing with a net. Since the real principles have not been given in various treatises on fishing, I wish to correct this omission." I took a shawl, which I spread out and shook forcefully to prove that there was nothing inside. "First, here is how one must take and cast one's net." I gathered up the shawl and threw it over my shoulder. "Now, gentlemen, imagine that the point of this table leg is a pond; I know that one must stretch one's imagination for that, but let us admit that it is so for a moment. In this case, one approaches the pond silently, one casts his net like this over the spot where the fish are thought to be, one picks it up and obtains, as I have just done, a great catch." At this moment, a much bigger bowl than Philippe's, containing huge goldfish, appeared balanced on the point of the table leg and it was impossible to

ROBERI HOUDIN

remove it without spilling water everywhere

attached the bell to it and it struck upon his command

THE AERIAL CLOCK [or The Cabalistic Clock]

SECOND SIGHT or the Mysterious Hand Bell

Among the experiments that I presented to the public in 1847, my clock was one of those which produced the greatest effect, and even now, when one correctly or incorrectly assumes that electricity played a part, one cannot help admiring the trick There are some spectators who go to conjuring performances less to enjoy the illusions than to show that they have great perspicacity, which is often not the case For those, The Aerial Clock experiment is quickly explained it is electricity That is a bit too brief But for the conscientious observer, for the savant, for the connoisseur, it is very difficult to decide, because they know that for an electromagnetic effect to take place, electricity is not enough, large apparatus is also needed Therefore, in even the most simple telegraph, there are also grooved wheels, magnets, a pallet, levers, supports, etc In my Aerial Clock, nothing of the sort could be seen, there was only a transparent crystal dial, with a hand in the middle This dial was suspended from thin cords and completely isolated, with the hand still free to turn right and left, and stop or start again according to the requests of the audience A crystal bell suspended underneath also chimed the hour on the clock, or even any hour one wished These two objects, before and after the experiment, were presented to the public for examination In conclusion, I gave a member of the audience a cord to which was fastened a hook, he

The experiment performed in the engraving opposite is an improvement to Second Sight, which I described at the beginning of this volume The results are exactly the same, only the principle has changed Instead of asking my son the question "Tell me what I am holding in my hand?" concerning every object I was given, I rang a little bell and in spite of this uniform signal, my son described the object as if he were looking right at it But what intrigued the intrepid investigators of my secrets even more is that a few moments later, I put the bell aside, and although I remained completely silent, the child identified every single object I also imitated certain phenomena produced by mesmerized subjects I covered his eyes with a thick blindfold and, without saying a word, I gave him a glass full of water, the taste of the liquid became that of any liquid thought of by a member of the audience, no matter how strange Still without speaking, I had him carry a bouquet to a lady that a member of the audience had secretly designated, or he carried out an order that had been whispered to me, such as this Go remove a snuffbox from someone's pocket, open it, take out a pinch of snuff, and put it in someone else's wallet

THE SURPRISING SILK HANDKERCHIEF A fundamental principle of conjuring is producing great effects with small things, put other-

410

wise, one produces large objects out of small ones Indeed, what is surprising about making objects that can fit into a double-bottomed box come out of one? The difficulty lies only in the ingenuity of the apparatus, and all the credit goes to the cabinet-maker or tinsmith who made the box But the Surprising Silk Handkerchief is an effect that seems innocent of mechanical trickery, because the apparatus which yields such large objects has been reduced to such small proportions This handkerchief was given to me by a member of the audience As soon as it was in my hands, I squeezed it, stretched it, and turned it over to prove that it held nothing, then, holding it by the center, I shook it and made a plume emerge from it I turned it over and produced a second, third, and fourth plume and even a drum major's plume Finally, a veritable avalanche of plumes covered the stage These subtleties were the preamble to a much more surprising trick, one could call it the bouquet of the experiment in more than one respect I approached the audience and after having shaken and turned over the scarf one last time, I produced a huge basket of flowers, which I distributed to the ladies This trick was among the experiments advertised on my first bill

THE ETHEREAL SUSPENSION We recall that in 1847 ether and its marvelous applications were the talk of the day I then had the idea of turning the public's enthusiasm to my advantage to create a topical trick, which was hugely successful "Gentlemen," I said, with the seriousness of a professor at La Sorbonne, "I have just discovered

NOIES 10 Aci III

ether in a new, truly marvelous form "If one makes a living being breathe this substance when it is at maximum concentration, the body of the person becomes as light as a balloon in a few moments " This explanation finished, I proceeded to carry out the experiment I put three stools on a wooden bench My son stood on the one in the middle, I had him hold out his arms, which I supported in the air with two canes, each placed on a stool I then carefully opened an empty bottle and placed it under the child's nose, while backstage the assistant poured ether onto a hot iron shovel so that the steam spread throughout the theater My son immediately fell asleep and his feet, having become light, began to rise from the stool Then, judging the experiment to be a success, I took away the stool in such a manner that the child was supported only by the two canes This strange equilibrium already created great surprise among the audience They became even more astonished when I took away one of the two canes and the stool it was resting upon, and finally they were utterly amazed when, after having raised my son to a horizontal position with my little finger, I left him asleep in space and, in order to defy the laws of gravity, took away the feet from the bench which was under this impossible edifice, as illustrated in the engraving opposite The first performance took place on October 10, 1847

land of flowers was brought out and hung by ribbons in the middle of the stage I announced that these flowers would serve as a target and when fired in this direction, the watches, the handkerchiefs, and the cards would gather together around them So when the shot rang out the cards appeared on the garland, the watches below, and the handkerchiefs hung off at the side (There is a mistake on the drawing opposite, the engraver forgot to add the handkerchiefs ) At the beginning of the trick, although I needed only two handkerchiefs, I borrowed three because I kept one to perform another effect as an interlude in order to prolong this little scene, which would have otherwise been too short I poured essence of wine onto this handkerchief, lit it, and showed the ravages of the fire by passing my arm through a huge hole Then, using the principle of homeopathy — similia similibus curantur — I poured even more essence of wine on the burnt cloth, lit it again, and merely by crushing the burning handkerchief in my hand, I restored it to its original form The garland trick was performed for the first time on January 18, 1850

[or The Magic Portfolio]

THE INSTANTANEOUS IMPRESSION or The Communication of Colors by will

THE GARLAND OF FLOWERS [or The Garland of Roses]

The most simple of nature's laws states that the container must be larger than the contents, here it is the opposite One can therefore call this trick an impossibility becoming possible I brought out a flat portfolio no more than one centimeter thick and set it on light trestles placed in complete isolation in the middle of the stage, I then took out the following, in succession

I showed the audience several bottles filled with various colors and I announced that, through a new procedure, I could make colored liquids travel through a simple silk ribbon of any length I then placed a little desk amongst the spectators on which I spread out a cloth "Gentlemen," I said, "here is a stamp that is linked to this bottle

This trick was very complicated and its denouement formed a very pleasant tableau I borrowed two handkerchiefs and three watches, I made them into a bundle that I put into a sort of blunderbuss, and I added three cards chosen from a pack by the audience During this time, a gar-

ROBERT-HOUDIN'S

411

PORTFOLIO

1 A collection of engravings, 2 Two charming ladies' hats garnished with flowers and ribbons, as new as if they had just come out of my dressmaker's boutique, 3 Three live turtledoves, 4 Three huge brass pots filled respectively with beans, fire, and boiling water 5 A large cage filled with birds hopping from perch to perch (1) 6 Finally, after the portfolio was closed one last time, my youngest son, the hero of the Ethereal Suspension, raised the cover, showed his smiling head to the audience, and emerged from his narrow prison

(1) One of my good friends, M Bouly, of Gambrai, a distinguished lawyer, author of several renowned archeological works, impassioned art amateur, and especially interested in conjuring, is the creator of this ingenious trick He invented the cage which came out of the portfolio The other tricks that I added to this experiment take nothing away from the merit of the original idea

ROBERI HOLJDIN

full of red liquor by way of a thin cord, please try to make an impression by pressing on the cloth " One of the spectators tried, but in vain, the cloth remained white "In order to make the liquid travel to the stamp," I added with great seriousness, "there is something else to do, I must give the order I am doing it now Please try again " Indeed, the name engraved on the stamp printed itself in nice red letters, but as soon as I gave an order to the contrary, no matter how hard one applied the stamp, nothing happened I then took another bottle with blue in it, I tied the ribbon to one end, and in order to show that there was absolutely no preparation in the stamp, I asked a spectator to tie a key to the end of the ribbon These conditions fulfilled and the command given, one could write on the cloth with the key as easily as with a paintbrush I ended this trick by making a bouquet of white roses suddenly change into very bright red ones Performed in September 1850

THE TRANSPARENT CASHBOX or The Traveling Coins This trick was meant to show how easily I could make coins travel invisibly from one place to another I borrowed eight five-franc coins, which I asked the audience to carefully mark, then I put them into a crystal vase I was holding I placed another vase on a table at the end of the stage and announced that, in tapping the one with the coins in it with my wand, one of them would go into the empty vase with each tap With each strike of the wand on the crystal, a coin traveled

into the other vase, and one could hear the silvery sound Instead of making the eighth pass like the others, I took it out of the vase and gave it to a lady, asking her to hold it tightly in order to prevent it from escaping But as soon as I struck the vase, I said, "Go1" The imprisoned coin left the hand and joined its companions In order to conclusively end the experiment, I hung a transparent crystal cashbox from the ceiling by thin silk cords I made it sway to and fro and when it was at its furthest point from the stage, I threw the coins, which were clearly seen to arrive inside During each of these effects, the identity of the coins was confirmed Performed for the first time on September 4, 1849

now in shooting these objects at the target " I showed him a crystal column on another table The automaton aimed, with his finger on the trigger, and, at my signal, fired The objects contained in the rifle were projected onto the column, and the glove, blown up as if it were worn by an invisible hand, appeared on top of the crystal, wearing on each finger the rings that had been given to me Sometimes I varied the experiment I put into the rifle a ring and two cards chosen secretly by members of the audience The automaton pointed his weapon toward a vase of flowers that I indicated and when he fired, a cherub came out of the middle of the roses flapping its wings and carrying a lit torch from which the ring hung As for the two cards, they had gone astray and attached themselves to my chest

THE FRENCH-GUARDSMAN or The Glove Column [or The Tyrolean Hunter]

THE PASTRYCOOK OF PALAIS-ROYAL

[or The Inexhaustible Pastrycook] A little automaton clothed in the French Guard's costume was set on a table, he had a musket and was ready to receive an order As a well-trained automaton, he started by respectfully saluting the assembly and, after having set down his weapon, he blew a few kisses to the children in the room with his right hand, then he let his arm fall, keeping his little finger on the trigger, and remained straight and still awaiting new orders I borrowed several rings and a white glove irom ladies in the audience, I made a package of them and placed it in the little rifle that I had previously loaded "Here," I said to my French Guardsman, "I am returning your weapon to you with one glove and four rings, please show your skill

412

See this charming little automaton, at its master's call it comes to the doorstep, and, as polite as it is skilled, it greets the audience and waits for orders Hot buns from the oven, all sorts of cookies, syrups, liquors, ice cream, etc are immediately brought out as soon as they are ordered, and when he has fulfilled all requests, he helps his master with his conjuring tricks A lady, for example, secretly places a ring in a little locked box held in her hand, at that very instant the pastrycook brings out a brioche in which he finds the ring that has just disappeared from the box Here is more proof of his intelligence A gold coin is given to him in a little basket by a member of the

Noits TO ACT III

audience, who tells him that he must make change in francs and centimes He goes into his shop, and no matter how complicated the calculation, brings back the sum in change Finally a comical lottery is drawn, and the pastrycook distributes the prizes This piece was the best-loved of my experiments because it was as interesting as it was delightful, and always brilliantly ended my performances The Pastrycook of Palais-Royal was performed for the first time at the opening of my theater

DIAVOLO ANTONIO THE TRAPEZE ACROBAT [Trapeze Acrobatics] I had named this automaton Diavolo Antonio after the famous acrobat whose dangerous exercises I tried to reproduce However, the original was a man, and the copy was the size of and had the features of a child I carried on my young wooden artist, as if he were a living being, I set him on the trapeze and I asked him a few questions to which he responded in nodding "Are you afraid of falling9" No "Are you willing to do your exercises 9 " Yes Thus, as soon as the music began, he graciously bowed to the audience on all sides, then, hanging by one arm and following the rhythm of the music, he swung energetically He then rested for a moment, during which he smoked his pipe, then performed tricks on the trapeze such as raising himself with his arms and doing headstands, while his legs moved in all directions In order to prove that his mechanical life was self-contained, my little Diavolo let go of the rope

with his hands, hung by his feet and soon completely left the trapeze This automaton appeared for the first time in my theater on October 1, 1849

kiosk in which an Indian did acrobatic dances on a tightrope with exceptional perfection This piece was performed for the first time in my theater on November 25, 1850

THE ENCHANTED VASE [or The Genie of the Roses, sophisticated version of The Ladies' Favorite]

THE HORN OF PLENTY

At the beginning of this little fairyhke scene, there was, on a table in the middle of the stage, an Etruscan vase decorated with precious stones, of exquisite and tasteful workmanship It was topped with branches and rose leaves I asked a lady to choose a card from a pack and to lock it into a box I gave her Immediately, the card emerged from the box, returned to my hands, and was replaced by a charming canary I locked the little bird into a cage "Ladies," I then said, "this bird is so obedient that when I give the order, he will come out through the bars of his cage to sit on the bouquet on top of the vase In order to make it more attractive, I am going to make the flowers on its foliage blossom " I then waved my magic wand over the leaves and one could see little buds appear that grew in full view, blossomed, and became magnificent roses As soon as this trick was accomplished, the bird disappeared from its cage and reappeared on top of the roses singing as loud as it could Following the audience's wishes, it sung any tune asked When everyone had heard the tune they wished, the musician flew away and, like an actor who has finished performing, went backstage To end this charming scene, the vase opened up into several sections and formed an elegant

413

Among the changes that I had brought to my predecessors' conjuring performances, as I have mentioned during the course of this book, were the type of gifts I offered to the audience as souvenirs of my performances Comte and his followers distributed toys and candy, which always came out of hats I thought it unseemly to offer fans, flowers, and candy by producing them from a place that was not always clean, and in order to overcome this difficulty, I invented the Horn of Plenty I presented a sort of large cone that opened into two parts to allow one to better see inside, then, as soon as it was closed, I took out candy and flowers I also made comic newspapers, albums, and illustrated quadrilles come out of this cone I had practiced throwing these objects on target so they reached people quite far away from the stage every time This distribution, as well as that of the Inexhaustible Bottle, created a most pleasant atmosphere in the theater Everyone wanted a gift and I was telegraphically solicited from all sides, and made it my duty to comply I regret that I cannot continue to give details of my other experiments, I do not have enough space, I am therefore forced to give just the titles, and to include the details and engravings in an upcoming work I also hope to compensate for not mentioning several renowned conjurers for this same reason

ROBtRl HOLDIN

The Birth of Flowers The Ladies' Favorite The Infernal Punch The Bell-ringer Vanishing my Son The Instantaneous Impression The Crystal Balls A Contraband Secret The Magnetized Cards The Safety Casket Drying The Queen's Bouquet A Remarkable Equilibrium Caghostro's Chest The Fascinating Owl The Ball of Destiny The Jail The Shower of Gold The Little Savoyard A Prodigy of Magic Auriol and Debureau Wishes Granted The Sympathetic Turtledoves Steam Photography Under t h e title Suite des experiences que j at imaginees pendant le cours de mes representations (Continuation of the experiments I created during my performances), Robert-Houdm described the effects of a few other tricks at the end of the appendix to the second Parisian edition of his memoirs The Birth of Flowers Seeds, placed in a crystal vase, which was entirely closed, produced a rose, then this rose transformed itself into a magnificent bouquet The Punch Bowl [Inexhaustible] (See volume II, page 264 for the changes to this)

Vanishing my Son [Vanishing a child under a giant cup] (See volume II, page 61) The Crystal Balls After showing my hands completely empty, a crystal ball suddenly appeared Splitting it in two with one hand, I produced a second one of the same size, then I produced a little ball from one of them, only to make it pass into the other, finally, I ended by coloring the balls by making them pass through a bottle filled with wine The Magnetized Cards A little card-box kiosk decorated with 12 columns was set on a table In the middle was a deck of cards One of the four jacks chosen by the spectators came out of the pack straight up, then came off the card, jumped onto a rope and swung there in rhythm while the twelve other figures stood up on each column The Cabalistic Drying A handkerchief borrowed from a lady, after having been soaked in wine and stuffed into a pistol, was sent into several bound and sealed boxes, and was discovered clean, ironed, and scented with a perfume chosen by the audience The Fascinating Owl This bird, perched on a bush, directed the cards to be at a certain height, the cards flew into the air and in its beak caught the one chosen by the audience Auriol and Debureau Mechanical piece The Sympathetic Turtledoves. Two of these charming little animals were placed on each side of the stage one was squeezed into a

414

sheet of paper until it disappeared completely, the other also disappeared under the eyes of the spectators and both of them were found reunited in a box seen empty a few moments earlier The Jail was a mechanical piece that followed Auriol This clown, after having been locked up, put his head through the prison bars, he was decapitated and the head placed on a tray on a side table, which did not stop him from reappearing a moment later on top of the house, completely restored A Contraband Secret [or the Journey of a Glass of Wine] is a trick in which a glass of wine invisibly moves from one end of the stage to the other The Queen's Bouquet (see volume II, page 181) Cagliostro's Chest (see volume II, page 78) Invulnerability (see volume II, pp 221 and 253) The Ball of Destiny is a perfectly isolated ball in the middle of a room, from which answers to questions asked by the audience emerge in rhymed verses The Shower of Gold This is an infinite production of gold coins and bank notes in such profusion that they must be raked up

INDPX

INDEX A

B

ABRANTES Duchess d' p 113 ACROYD Peter (see DICKENS) p 61 ADAM RUELLE Charles Jules Auguste [notary] p 183, 185 ADAM Victor [engraver] p 26, 62, 71 ADENIS Jules p 176 ADRIEN Victor [conjurer] p 90, 92, 281, 283, 360 AFFRE Msgr [archbishop] p 156, 209 ALBERT Prince p 319, 375, 402 ALBO Robert [historian, collector] p 197, 388, 392 ALEXANDRE [mesmerist] p 384 ALEXANDRE [ventriloquist] p 198 ALEXIS (see Didier Alexis) ALLONCLE Silvme [RobertHoudm's aunt] p 17, 60 ALMERAS Henri d' [historian] p 113 AMELIE Princess p 316 ANDERSON John Henry [conjurer] p 75, 312, 334, 336, 339, 340, 341, 342, 376, 397, 408 ANGOULEME Duke d' p 98, 202 ANGOULEME Duchess d' p 98 ANNE Princess p 316 ANTONIO [Tornni's brotherin-law] p 41, 42, 43, 45 ARCOSSE d' [counselor to the Court of Appeals in Pans] p 324 ARNOULD Dr [Robert Houdm 's doctor] p 208 ARTOIS Count d' p 98 AUBERT [trick manufacturer] p 88, 298, 301 AUCLERC [shadow artist] p 160 AUGIER Victor p 103 AUGUSTE p 177 AUMONT Duke of p 98 AUPRE (see OPRE) AUSTRIA Emperor of p 100 AUSTRIA Mane Therese of p 213 AVARAY Duke d' p 28, 65

BAHN N p 380 BAILLY Caroline Jeanne de [mother of M de VEscalopier] p 384 BAILLY Elisabeth Aimee [Robert Houdm's godmother] p 61 BALDWIN David M [collector of magic art] p 10, 145, VIII, IX BALLU [entrepreneur of Theatre des "Soirees Fantastiques de Robert-Houdin 1 BALSAMO (see Cagliostro) BAMBERG David (Fu-Manchu) [conjurer] p 69 BAMBERG Eliaser [conjurer]

BERNARD Rene [commander] p 20, 39 BERNEUIL [conjurer] p 351 BERQUIN [playwright] p 94, 202 BERRI Duke de p 98 BERRY Duchess de p 106, 202 BERT Guy [trick manufacturer] p 88 BERTHOUD [watchmaker] p 30, 31, 61 BERTIN Mane Jean Baptiste [owner of the space of "Soirees Fantastiques de Robert-Houdin'] p 219, 226, 227, 360, 405 BIENVENU [conjurer] p 97, 199, 200, 201 BILLING baroness of [client of M Comte] p 247 BILLON Mane Francoise [Robert-Houdin's relative] p 17, 60 BILLON Nicolas Laurent [Robert-Houdin's relative] p 17 BIROT [Robert-Houdin's Latin professor] p 21 BLANCHARD E L [drama critic] p 376 BLAU [watchmaker from Blois, Robert-Houdin's employer] p 52, 71 BLIND Adolphe "Le professeur Magicus" [inventor, conjurer and magic art collector from Geneva] p 47, 212 BLISMON [author of works on the magic art] p 38 BLITZ Antonio [conjurer] p 75, 304 BLONDEAU Jeanne Adelaide [wife offacques Frangois Houdm] p 71, 138 BONIN Tama p 10 BORDEAUX Duke de p 106 BOREL [ventriloquist] p 97, 198, 199 BOSCH Hieronymus [painter] p 62, 63 BOSCO Bartolomeo [conjurer] p 49, 75, 93, 96, 111, 128, 129, 130, 131, 132, 133, 134, 135, 163, 187, 204, 205, 207, 235, 249, 261, 273, 291, 368, 371, 388 BOSCO Alexandrine [daughter of Bartolomeo Bosco] p 368, 405

p 69 BAMBERG Tobias (Papa Bamberg) [conjurer] p 69 BANCHE Maurice [publisher] p 403 BARBOU [president of the Seme Court] p 337 BARIC [draftsman] p 155 BARNUM Phmeas Taylor [showman] p 179, 186, 187, 192, 193, 215 BASCHET [doctor] p 349 BASCHET [vicar] p 6l BASTARD [tightrope walker, juggler] p 160 BASTOR [watchmakerfrom Blois] p 71 BAULLIER [watchmaker and first Parisian employer of Robert-Houdin] p 77, 79, 120, 144 BEARD Frank [illustrator of one of the American editions of Robert-Houdin's memoirs] p 56 BEAUHARNAIS Eugene de p 213, 214 BEAUMARCHAIS Pierre Auguste Caron de p 134, 263 BEBE the Sisters [phenomena] p 106 BEBE Mrs [phenomenon] p 100 BELLACHINI [conjurer] p 75 BELLUOT [Hamilton's shareholder] p 362, 364 BELMAS Casimir [conjurer] p 384

417

BOTTE [puppeteer] p 160 BOUGEARD GERMONIERE [Mayor of Blois] p 60 BOUGEAT Emile [tightrope walker] p 160 BOULY [lawyer, inventor and friend of Robert-Houdin] p 411 BOURDILLIAT Achille [RobertHoudin's publisher] p 6l BOURGEAT Raymond p 10 BRACKE F [journalist] p 407, 408 BRACONNIER Amelie Charlotte [Robert-Houdin's sister-in-law and Hamilton's wife] p 183, 185, 308, 331, 363, 364, 405 BRACONNIER Charles Albert Samuel [Robert-Houdin's fatherin-law] p 183, 185, 215 BRACONNIER Charles Michel [general, Robert-Houdin's brother-in-law] p 183, 185, 215 BRACONNIER Marguerite Francoise Olympe [RobertHoudin 's second wife] p 182, 183, 184, 207, 215, 319, 331, 364, 385, 386, 387, 403, 405 BRANGER [court officer] p 138 BRASI (see BRASY) BRASY [conjurer] p 49, 89, 90 BRAUNJohn p 11 BREGUET [watchmaker] p 55, 61 BRESCIA Roberti de [conjurer] p 350, 351, 352 BREWSTER [author of scientific and magic works] p 173 BROSSARD [publisher] p 47 BRUNETEAU [cafe owner] p 197 BRUNNET Pierre Edouard [conjurer] p 330, 331 BUCK J M [conjurer] p 336 BUISSERAY [family] p 392 BURLINGAMEHJ [author of works on the magic art] p 321 BUSONI Philippe [journalist] p 207, 249

c CAGLIOSTRO Count de p 264, 265, 291 CAL2OLARI [tenor] p 323 CAMBRIDGE Duke and Duchess de p 316

ROBhRf-HOUDIN

CAMILLE-MICHEL [composer] p 346 CAMORS Claudme p 10 CARJAT Etienne [draftsman, caricaturist] p 289 CARLO SB ACH doctor [conjurer] p 23, 24, 6l, 64 CARLYLE (see DICKENS) CAROLY Jean [conjurer, trick manufacturer, publisher of L Illusionniste] p 11, 88 CARRANDI Mario [antique dealer and collector] p 10 CASTELLI [charlatan] p 45, 47, 69 CASTELLI Guieseppe [conjurer] p 70, 71 CASTELLI d ORINO [exhibitor ofMunito the dog] p 69 CASTON Alfred of [conjurer] p 289, 392 CAVILLIER [Robert-Houdm s relative] p 183 CAZENEUVE Commander Manus [conjurer] p 96, 204 CHAIONS DE MASSEY [conjurer] p 49, 90 CHAM [caricaturist] p 268 CHAMPOLLET L de p 100 CHAPUIS Alfred [historian] p 171, 211, 212, 213 CHARLES X p 13, 119 CHARLIAT [automaton collector] p 388 CHARTIER Albert [wax sculptor] p 71 CHAVIGNY Jean [historian, biographer of Robert-Houdin] p 11, 12, 13, 48, 55, 61, 65, 68, 71, 205, 392, 405 CHAVIGNY Richard p 10 CHESNEAU abbe 1 [biographer ofRobert-Houdin] p 11 CHEVALLIER [mechanician and trick manufacturer] p 88, 303, 304 CHOCAT (see HAMILTON) CLAIRVILLE [playwright] p 193 CLARKE Sidney W [historian] p 66, 408 CLEVERMAN [conjurer] p 91, 392 COMTE Louis Apollmaire [Kings Conjurer] p 13, 36, 49, 66, 61, 75, 87, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 111, 127, 129, 160, 163, 197, 198, 199, 202, 203, 221, 235, 245, 247, 249, 251, 261, 266,

DELAGRAVE [publisher] p 324 DELARUE [author booksellerpublisher] p 38 DELESSERT Benjamin [banker and friend of Robert-Houdin] p 220, 223, 251, 384 DELESSERT Francois Mane p 384 DELESSERT Gabriel [police chief of Pans, friend and protector of Robert-Houdin] p 223, 225, 226, 228, 229, 230, 251, 384, 385, 386 DELION [trick manufacturer] p 47, 88, 268, 278, 293, 301, 302 DENTU J G [publisher] p 97, 198, 391 DEMANCE [artisan from Blois] p 78 DEMMENY p 112 DENIERE [judge commissioner] p 138 DESAGULIER [man of science] p 151 DESAUGIERS [song writer] p 113, 203 DESCHAMPS Julien [publisher] p 198 DESCHESNES maitre [notary] p 117, 203 DESFONTAINES abbe p 169 DESFRAY Dr [doctor from Blois] p 117, 195 DESFRAY Elisabeth Josephine p 117 DESLOGES [publisher] p 198 DESMADRIL Mrs [relative of Robert-Houdin] p 183 DESRONDINGH p 117 DESTOUCHE [watchmaker, mechanician] p 139 DEVALETTE [diverse curiosities] p 160 DEVAUX Alexandre [mechanician, trick manufacture}] p 212, 301, 351, 368, 404 DEVAUX Pierre [historian] p 171, 211 DEVEAUX (see DEVAUX) DEVEILLE E p 60 DE VERE Charles [conjurer and trick manufacturer] p 88, 212 DE VERLI [conjurer] p 212 DEVILLERS Charles Dominique [first husband of Amelie Braconnier, Robert-Houdin s sister-in-law] p 308, 392 DEVILLERS Paul Michel Louis

273, 281, 347, 384, 386, 388, 413 COMTE Charles [son of Louis Comte, director of the theater Les Bouffes Pansiens and Offenbach's son-in-law] p 101, 386 COMTE-OFFENBACH Gerard p 10, 386 COMUS [conjurer] p 37, 45, 49, 69 CONSTANTIN Grand Duke de p 100 CONUS [conjurer] p 90 CORBIERE Count de p 202 COUDRAY Julien [watchmaker from Blois] p 60 COURTOIS Louis [conjurer] p 49, 271, 275, 277, 278, 281, 360, 391 COUTHIER [tinsmith, trick manufacturer] p 301 CROISIC [theater inspector and playwright] p 105 CRONIER Alexandre [mechanician, trick manufacturer] p 175, 176, 214 CRUIKSHANK Georges p 398, 402

D DAGUERRE Jacques [inventor ofphotography] p 273 DALEMBERTp 151 DALLET Charles Claude p 117 DANNAUX Marguerite Francoise [wife of Alexandre Roujol] p 91 DANTAN Jean-Pierre [sculptor] p 94, 95, 98, 183, 218, 219, 258, 283, 284, 285, 313, 315, 316, 325, 349, 369, 372, 373, 375, 386, 405 DAVENPORT Brothers [me diums] p 289 DAVID de Bordeaux [magic enthusiast, collector and friend of Robert-Houdin] p 34, 35, 36, 37, 39, 48, 66, 67, 68, 69, 96, 181, 199, 205 DAVY [watchmaker from Blois] P 71 DECREMPS [author of works on the magic art] p 31, 39, 67, 68, 93, 151, 205 DEHARGUE [baker, RobertHoudin s sponsor] p 60, 6l DELAGE Henri [author] p 287, 391 DELAGRANGE p 6\

418

[son of Amelie Braconnier and of Charles Dominique Devillers] p 308 DHOTEL Doctor Jules [president of A FA P] p 18 DICKENS Charles [writer] p 22, 61, 321 DICKMANN [trick manufacturer] p 88 DIDIER Adolphe [medium] p 287, 391 DIDIER Alexis [medium] p 261, 287, 288, 289, 391 DIETTENNBERGER Armand [trick manufacturer] p 301 DIETZ Georges p 211 DIF Max [historian] p 11, 66, 98, 174 DINOCHAU p 403 DISDERI [photographer] p 289, 326 DOBLER Ludwig [conjurer] p 75, 153, 227, 311, 393, 396, 397, 400, 401 DOBLER Professor p 211 DONCKELE (see Robin) DORE Gustave [painter and engraver] p 222, 267, 358 DOYON Andre [historian] p 212 DRIOT citoyen [conjurer] p 66 DRIOUX Auguste [publisher of Passez Muscade] p 368 DROUAS Jacques de p 10 DROZ Edmond [historian] p 211, 213 DU BLED Victor [historian] p 324 DUBERNES [animal trainer] p 160 DUMANOIR [playwright] p 193 DUMONT DE LONGPONT p 215 DUVAL Georges [playwright] p 105

ECHINARD Jacques [journalist, historian] p 10 EGGIMANN Ch [publisher] p 47 EGRET Miss [relative of RobertHoudin s family] p 78 ENGEL [manager of the Krolltheater of Berlin] p 379, 380 ESCALOPIER Count de 1' [friend and sponsor of Robert-Houdin] p 156, 193, 209, 221, 251, 384 EUGENIE Empress p 368

I\DI X

EVANS Geo G [American pu bhsher of Robert Houdm s memoirs] p 61, 207

FAKIR OF AVA the [conjurer] P 75 FALAISE Jacques de [polyphagist] p 100 FALCONI [conjurer] p 37 FALOCI Roger p 11 FATH Georges [writer] p 348 FECHNER Alexandra p 11 FECHNER Christian p 11, 12, 13, II, IV, VI, VII, XIII, XVI, XVII, XX, XXIX, XXXI, XXXIII, XXXVII, XXXIX, XL FECHNER Jean-Guy p 10 FECHNER Maxime p 11 FECHNER Solange p 11 FELIX Le Sieur [conjurer] p 25 FERAUD [Robert Houdm s Latin professor] p 21 FILLON [watchmakerfrom Blots] p 71 FINDLAY J B [historian and collector] p 132, 174 FIT2-JAMES [ventriloquist p 97, 198, 199 FLANC [mechanician] p 160 FLERS Marquis de [friend and neighbor of Robert-Houdm] p 36, 66 FLUDE Mrs p 10 FONTENEY and PELTIER [authors, booksellers, publishers] p 167 FOREST [engraver] p 250 FOURNAY Paul [trick manufacturer] p 301 FRANCOEUR [member of the Society for the Encouragement] p 147 FRANgOIS P p 60 FRANCONI [circus manager] p 100 FREDERIC p 77 FRIAUT Pascal [magician and collector] p 10 FRIKELL Wiljalba [conjurer] p 75, 376 FROGER-DESCHESNES ame [notary] p 203 FUGERES Henri [decorator] p 249

G GABILLARD Jane-Louise p 10 GALLES Prince of p 402 GALLET widow [trick manu-

facturer] p 301 GALLON [man of letters] p 151 GAMAIN [navalorama] p 160 GANDON Antome [journalist, mesmerist] p 327, 403, 404 GARANCE Jean [magician] p 10 GAR^ON maitre Maurice [lawyer, academician and conjuring enthusiast^ p 342 GARNIER [optics] p 160 GASTINEAU Octave p 176 GAUGHAN John [mechanician, illusion-maker, historian, and collector] p 10, 174, 212, XXXV GAUTIER Theophile [writer] p 261, 263 GAULTIER Camille [author of works on the magic art] p 11, 68 GELIS Edouard [historian] p 208, 211 GERARD-SEGUIN p 23 GERMER-BAILLERE [publisher] p 391 GERVAL [animal trainer] p 160 GHERBRANT Jean Laurent [lawyer] p 117, 138, 207 GIROUX Alphonse [shopkeeper] p 147, 177, 179, 193, 301 GODET Francoise Hennette [mother of Alexandre Roujol] p 91 GODILLOT Sieur [puppeteer] p 385 GOTTLIEB de WINDISCH [author] p 176 GOUAUT [experiments in phy sics] p 160 GOUMENAUD [nephew of Gandon] p 403 GOUPIL Frederic p 23 GRAHAM Henry [clown, conjurer] p 376 GRASSOT p 840 GRISY Antonia de [wife of Tornni/de Gnsy] p 42, 43 GRISY de (see TORRINI) GRISY Giovani de [son of Tornni/de Gnsy] p 43 GRIVOLAS [conjuring enthusiast] p 209 GUILLEMIN [architect ofH Bertm] p 226 GUILLON Francoise Mane [Robert-Houdm s relative] p 17, 52, 60 GUILLON Jacques [grandfather of Robert-Houdm] p 17, 18, 51, 52, 60, 117, 205

GUILLON Jean Francois [RobertHoudm s uncle] p 17,52 GUILLON Mane Catherine [daughter of Jacques Guillon and mother of Robert-Houdm] p 17, 18, 19, 60, 61 GUYOT [author of works on the magic art] p 31, 39, 151

H HACHETTE L [author bookseller] p 348 HADES Micky [publisher] p 408 HALANZIER [manager of the Theatre de Strasbourg] p 378 HAMILTON [conjurer, student, successor, and brother-in-law of Robert-Houdm] p 13, 91, 215, 289, 326, 327, 330, 331, 332, 333, 354, 355, 356, 357, 358, 359, 360, 361, 362, 363, 364, 365, 366, 371, 372, 380, 405 HARRINGTON [conjurer] p 160, HATIN Eugene [journalist and biographer of Robert-Houdm] p 65, 66, 155, 228, 281, 283, 408 HEIMBURGER Alexander [conjurer] p 75 HELLER [conjurer] p 75 HENRI [exercises of the savage] p 160 HENRI IV p 202 HENRY doctor Guy p 11 HERRMANN Carl (Compars) [conjurer] p 75, 311, 312, 336, 338, 341, 342 HESNARD [juggler] p 160 HESSE Prince Frederick William of p 316 HILLIARD John Northern [magician and author of works on the magic art] p 75 HJALMAR [magician, histo nan, collector] p 392, 405 HOF2INSER [conjurer] p 75 HOME Daniel Dunglas [medium] p 289 HOMME INCOMBUSTIBLE 1 [phenomenon] p 107 HOMME-MOUCHE 1 [phenomenon] p 100, 106 HOUDIN Jacques [watchmaker from Blots] p 55, 117 HOUDIN Jacques Francois [watchmaker-mechanician, father-in law of Robert-Houdin]

419

p 54, 55, 56, 71, 117, 118, 120, 136, 137, 138, 139, 145, 147, 195, 208 HOUDIN Josephe Cecile Eglantine [Robert-Houdin s wife] p 13, 50, 53, 55, 56, 71, 79, 116, 117, 118, 120, 126, 137, 138, 139, 147, 150, 178, 181, 183, 205, 408, 409 HOUDIN Josephe Madeleine p 195 HOUDIN Louis Francois [son of Jacques Frangois Houdm] p 117, 120, 138, 207 HOUDINI Harry [escape artist, historian and collector] p 12, 68, 69, 212, 213, 317, 338, 341, 342, 393, 408 HUART Louis [journalist] p 249, 343 HUBER Volker [historian and collector] p 10, 207, III, V, XXVIII, XXXII, XXXVI HUGARD Jean [magician and author of works on the magic art] p 11, 68

I IMBERT A [author, bookseller] p 74 INDIENS Les p 100

J JACOBS [conjurer] p 336, 342, 343 JACQUET-DRO2 [mechanician] p 177, 213 JAPY brothers [watchmakers] p 147 JAY Ricky [magician, historian, and collector] p 10, 207, 408 JEANTET Florence p 10 JERROD, Douglas [journalist] p 397 JORES Se [wax figures] p 160 JOSEPH-RENAUD J [conjuring enthusiast and author of works on the magic art] p 51 JOULIN Frangois [wood worker] p 60 JOZON maitre [RobertHoudin s notary] p 118, 183 JULIE Miss [medium] p 399 JUVIGNY Albertine de [woman of letters] p 167

KALUSH Bill [magician, histo nan and collector] p 11, 207

ROBhRT-HoUDIN

KARR Todd [Editor] p 11 KAUFMAN Richard [Editor] P 11 KEIME General p 391 KEIME ROBERT-HOUDIN Andre [Robert-Houdin 's greatgrandson] p 10, 65 215, 391 KEMPELEN Wolfang, Baron von [creator of the Chess Player] p 75, 124, 169, 171, 172, 173, 174, 175, 176, 179, 213 KENT Duchess de p 316, 402 KIPLING Rudyard [writer] p 260 KLOSTERMAN Ken [historian and collector] p 10, XXXIV KNIGHT Hennette [ward of Olympe andfean Eugene Robert-Houdin] p 319, 331, 403 KNIGHT Henry [employee of The Saint fames's Theater] p 319 KUNIAN Gerard [magician, comedian] p 10

L LABBE p 185 LACAZE [conjurer] p 297, 332, 386 LA CHATRE Duke of p 99, 100 LA FONTAINE [writer] p 52, 202 LAFONTAINE [mesmerist] p 289, 391 LAMARTINE p 393 LAMAZOU [puppeteer] p 385 LAMBERT [mechanician] p 299 LANDAIS Napoleon p 151 LANDON Jean-Claude p 10 LANGLOIS [panorama] p 160 LANGLOIS [conjurer] p 299 LANGLUMEJ p 24 LANGOLF Georges [son-in-law of Alexandre Roujol] p 197 LARESCHE p 55 LAROUSSE Pierre [writer, publisher] p 36, 199, 202 LARY Dam [illusionnist] p 10 LASSAIGNE Auguste [mesmerist] p 289, 331, 332, 384, 405 LAUREAU Marcel [magician and collector] p 10 LAURENT [medium] p 403 LAWENSTEIN Prince of p 316 LE CARPENTIER Adnen [composer of the music for Soirees Fantastiques] p 234, 240, 253, 255, 263, 281 LE CARPENTIER Anstide [an-

tique dealer, writer of fables] p 240, 241, 260, 404 LECESNE p 66 LEFEBVRE [painter] p 175 LEGRAND Omer Augustm [watch-making worker] p 154, 181, 335, 336, 337, 338, 339, 341, 405 LEMAIRE [entrepreneur of renovations on the Theatre Robert-Houdin] p 226 LEMAITRE Henri [husband of Eglantine Robert-Houdin] p 387 LEMERCIER DE NEUVILLE [journalist, puppeteer, writer] p 121, 403 LEPAUTE [watchmaker] p 55 L'ERCULE [conjurer] p 37 LEROUXp 185 LEROY Jean p 17 LEROY Mane p 17 LE ROY Servais p 388 LESSYEN [puppeteer, writer] p 385 LETTSOM William Garrow [diplomat] p 336, 338, 339, 341 LEUCHTENBERG Duke de p 214 LEVIE Francoise [historian] p 202 LEVY Michel [publisher] p 385 LIAIGRE Lucien [historian] p 212 LIBRAIRIE NOUVELLE [publisher] p 386 LINNE [man of science] p 28 LINSKI de [conjurer] p 351, 352, 368, 405 LINSKY de [conjurer] p 49, 373, 376, 404, 405 LIOTE [conjurer] p 160, l6l LIVRAN Mathieu de [collector of'musical instruments] p 125 LORAMUS [conjurer] p 281, 360 LOREDAN-LARCHEY [man of letters] p 83 LORMEAU Juliette [journalist] p 245, 253 LORMIER [scientific populanzer/wnter] p 299 LOUIS Le Sieur [conjurer] p 25 LOUIS XII p 59, 60 LOUIS XIII p 13 LOUIS XV p 235, 245, 251 LOUIS XVIII p 13, 98, 201, 202 LOUISE Princess p 375 LOUIS-PHILIPPE p 13, 119,

143, 187, 188, 189, 190, 191, 263, 265, 307, 393 LOYAL [puppeteer] p 385 LOYER Francoise p 17 LURAT [Robert-Houdin's Greek professor] p 21

M MACALISTER [conjurer] p 163 MADOUF [puppeteer] p 385 MAELZEL Johann Nepomuc [mechanician] p 123, 174, 175, 213, 214, 228, 249 MAGEUX Gilles [magician] p 10 MAGNIERE [conjurer] p 37 MALTHETE-MELIES Madeleine p 10, XXX MAILLARDET [mechanician] p 177, 213 MANNING Sissy and Betty [daughters of William Manning} p 318 MANNING William [student and friend of Robert-Houdin] p 11, 146, 178, 318, 320, 321 MANTOUX [Parisian tax office employee] p 404 MAOUS [juggler, podiatrist and conjurer from Blots] p 33, 48, 65, 66 MARCHAL & BUFFARD [trick manufacturer] p 88, 304, 305 MARCILLET [mesmerist] p 287, 288, 289, 391 MARMONTEL [Robert-Houdin's Greek professor] p 21 MARSHALL Jay [magician and collector] p 10 MARTELIERE Agnes Josephe p 117 MARTERET Antoinette [magician, collector] p 10, XII MARTIN Felix [architect of Soirees Fantastiques de RobertHoudin] p 226, 227, 251 MARTIN Louis Michel [Robert Houdm's uncle by marriage] p 183, 385 MARTIN Marguerite Louise [Robert-Houdin's mother-inlaw] p 183, 215, 380, 385 MARTINET [publisher] p 268 MARTINET Jeanne p 17 59 MASSE or MASSEY [mechanical show] p 160, 197 MASSON Louise Victoire [wife of Philippe] p 209 MAULNY Mane Francoise p 17, 60

420

MAYER Pierre [magician and collector] p 10, 147, 207, XIV, XV MAYETTE Andre [trick manufacturer] p 88 MELCHEL p 375 MELIES Georges [pioneer of cinema, inventor of "the cinematographic show," draftsman, director, magician and last manager of the Theatre Robert-Houdin] p 11, 215, 405 MENGEN Baron de [ventriloquist] p 198 MERCIER [diverse curiosities] p 160 MERCIER [puppets] p 160 MERLIN L'enchanteur p 291 MESMER p 261 METIVIE Jacques Claude [Robert-Houdin's surrogate tutor] p 19, 52, 61 METIVIE Marguerite Rosalie [Robert-Houdin's stepmother] p 19, 55, 61, 183, 205 METIVIE Pierre Rene p 19 MEVILLON p 55 MEZANGE Joseph p 6l MIETTE [conjurer] p 74 MILLET Madeleine Catherine [Robert-Houdin's maternal aunt] p 61 MILLET Mane Anne p 17, 59 MIRVILLE Marquis Eude de [author, occult science enthusiast and friend of RobertHoudin] p 287, 288, 392 MITCHELL John [manager of the Saint fames's Theater in London] p 308, 315, 319, 375, 377, 397, 400 MOINETp 151 MOREAU "MORAX" Christine and Didier [magicians and collectors] p 10, 78, 127, 152, 187, 220, 260, 304 MOREAU-SAINTI [lyric artist, conjurer and friend of RobertHoudin] p 289, 296, 297, 299, 392 MORIN [puppets] p 160 MORIN [mechanician] p 160 MORIN [correspondant of Robert-Houdin] p 387 MOTEL [watchmaker] p 55 MULLER Jean-Luc [cinematograph es] p 10 MUNITO [calculating dog, see also Castelh d'Onno] p 69

INDEX

N NADARp 371 NAPLES Prince Leopold de p 316 NAPOLEON ICI p 215 NAPOLEON III p 289, 316, 327, 368 NARMAU Mane Jeanne de p 117 NEMER Monique p 10 NERVAL Gerard de [wnter] p 251 NEWTON Sir Isaac p 313 NICOLAI Chnstophe Frederic [historian] p 212 NOEL Leon [engraver and lithographer] p 168, 218, 283 NOGENT ST LAURENS [lawyer] p 338, 339 NORIAC Jules [manager of the theater Les Bouffes Pansiens] p 386 NORIET [watchmaker in Tours and employer of Robert-Houdin] p 40, 41, 47, 49

o OFFENBACH [composer] p 386 OKITO [conjurer] p 69 OLIVIER Son [conjurer] p 113, 115, 203, 343 OLIVIER Pierre Joseph [conjurer] p 37, 45, 49, 69, 90, 97, 100, 110, 111, 112, 113, 198, 199 OLIVIO [conjurer] p 37 OPRE [conjurer] p 43, 68, 69, 71 ORLEANS Duchess d' p 188, 265 ORLEANS Gaston d' p 59 ORLOFF D p 174, 175 ORVILLE Robert p 373 OZANAM [author of works on the magic art] p 31, 151

PALATINY [conjurer] p 39, 66, 61

PAPIN Denis [inventor of the steam machine] p 59 PARACELSE p 291 PARDESSUS maitre [notary from Blots who was RobertHoudin's first employer] p 23, 25, 26, 30 PARIS Count de p 188, 190, 191

PELLETIER p 62 PERDRIZET & RICHARD [extraordinary horse] p 160 PERRELET [watchmaker] p 55 PERRIN [mechanician, conjurer] p 39, 66 PHILADELPHIA [conjurer] p 95, 204 PHILIPPE [conjurer] p 75, 93, 95, 153, 162, 163, 164, 165, 166, 167, 209, 210, 227, 235, 249, 251, 253, 261, 266, 273, 281, 311, 312, 351, 376, 384, 388, 393, 396, 397, 400, 410 PHILIPPE Hennette Mane Victoire [the artist's daughter] p 384 PIERRE [mechanician] p 100, 251 PIERRE-LENTIN p 67 PIGEAIRE Miss [medium] p 261 PILFERER [charlatan] p 38 PIN Bernard p 10 PINAULT-METIVIE [departmental architect] p 55 PINETTI chevalier [conjurer] p 36, 37, 42, 43, 45, 46, 67, 68, 69, 71, 88, 93, 95, 97, 197, 199, 204, 205 PIPELET p 177 POLO F [publisher] p 83 PONSIN [author of works on the magic art] p 301 PORCELET [wax figures] p 160 PORCHER Laure Mane [Robert-Houdin's relative] p 183 PRADEL [objets of curiosities] p 160 PREJEAN [conjurer-mechanician] p 88, 90 PREVEL Jules [journalist] p 197 PREVOSTJ [author of the first book published on the magic art] p 223 PROUST Georges [magician, historian, collector, trick manufacturer, and creator of the Museum of Magic and Curiosities] p 5, 10, 88, 171, 187, 207, 222, 286, 298, 300, 346, 360 PRUCHE [engraver and lithographer] p 232, 244, 283, 313 PRUDENCE Miss [medium] p 273, 289, 403 PRUSSIA King of p 100 PUYSEGURp 261

Q QUEVAL [tightrope walker, juggler] p 160 QUINEL [diverse curiosities] p 160

R RABATEL Mane Madeleine [wife of Comte] p 96 RACHEL [comedian] p 375 RANSOM Harry Humanities Research Center [University of Texas, Austin] p 10, XX, XXII, XXIII, XXIV, XXV, XXVI, 290, 310, 311, 312, 313, 317, 320, 322, 335, 340, 372, 376, 393, 394, 395, 396, 397, 398, 400 RATEL [clown] p 106 RAVEL p 375 RAYNALY Edouard [magician, author of works on the magic art] p 11 READ Bob [magician, historian and collector] p 207 RECHSTEINER [mechanician] p 212 REGIL Jean [illusionnist] p 10 RENOU Therese Justine p 65, 77, 79 REILLE Baroness p 10 RENOU DESFRAY p 78 RIFFAULT [notary] p 117 RIDGELY EVANS Henry [historian] p 11, 49 RIGLET [policeman] p 138 ROBBE [conjurer] p 37 ROBELLY [historian] p 11, 67, 300, 379, 392 ROBERT [optics] p 160 ROBERT le sieur [conjurer] p 66 ROBERT Henri [watchmaker] p 383 ROBERT Jean Toussamt [Robert-Houdin's uncle] p 17, 37, 39, 59, 65, 215 ROBERT Louis p 17, 59 ROBERT Louis (son) p 17 ROBERT Mane Celine [RobertHoudin's sister] p 18, 19, 51, 52, 60, 117, 126, 205 ROBERT Prosper [RobertHoudin's father] p 17, 18, 19, 20, 25, 26, 28, 29, 37, 39, 51, 52, 55, 59, 60, 61, 64, 65, 117, 181, 183, 205 ROBERT Prosper (son) [Robert-Houdin's brother] p 18 ROBERT Toussamt p 17, 59

421

ROBERT-HOUDIN Auguste Adolphe [son of Eglantine and fean Eugene Robert-Houdin] p 205 ROBERT-HOUDIN Georges Emile [son of Olympe and fean Eugene Robert-Houdin] p 205, 207, 331, 349, 353, 386, 405 ROBERT-HOUDIN Henri Louis [son of Olympe and fean Eugene Robert-Houdin] p 205, 380, 381 ROBERT-HOUDIN Jean Jacques Emile [son of Eglantine and fean Eugene Robert-Houdin] p 120, 121, 141, 181, 203, 205, 241, 258, 259, 283, 284, 319, 331, 389, 390, 391, 394, 395, 396, 397, 398, 399, 401, 402, 403, 406 ROBERT-HOUDIN Joseph Prosper Eugene [son of Eglantine and fean Eugene Robert-Houdin] p 141, 181, 208, 241, 291, 319, 331, 393, 394, 395, 396, 397, 398, 399, 400, 401, 404 ROBERT-HOUDIN Louis Henri p 205 ROBERT-HOUDIN Louise Mane [daughter of Olympe and fean Eugene Robert-Houdin] p 241, 242, 273, 319, 385 ROBERT-HOUDIN Marie Rosalie [daughter of Eglantine and fean Eugene Robert-Houdin] p 139, 141, 181, 205, 208 ROBERT-HOUDIN Olympe (see BRACONNIER Olympe) ROBERT-HOUDIN Paul p 205 ROBERT-HOUDIN Rosalie Eglantine [daughter of Olympe and fean Eugene RobertHoudin] p 205, 372, 373, 387, 404, 405 ROBERTI DE BRESCIA (see BRESCIA) ROBERT RENOU Jean Martin ["Cousin Robert'] p 17, 28, 29, 30, 31, 33, 40, 60, 65, 71, 76, 77, 78, 117 ROBERTSON Etienne Gaspard [conjurer] p 100, 111, 113, 199, 202, 203 ROBIN Henri [conjurer] p 12, 75, 154, 289, 336, 337, 340, 342, 405 ROGER p 315 ROGER Charles Michel maitre [notary] p 28, 29, 30, 65

ROBERT-HOLDIN

ROHAN-CHABOT p. 405 ROUET "ROGELLO" Eva and Roger [magicians and collectors] p. 10 ROUGEOLE [trick manufacturer] p. 88, 197 ROUJOL Alexandre [trick manufacturer] p. 86, 87, 88, 89, 90, 91, 92, 93, 98, 120, 127, 154, 165, 175, 196, 197, 228, 266 ROUJOL Alexandre Francois Adolphe p. 91, 197 ROUJOL Louis Julien p. 91, 197 ROUJOL Marie Victoire p. 91, 197 ROUJOL Pierre p. 91 ROUSSEAU Jean-Jacques [writer] p. 151 ROVERE Jules de [conjurer] p. 49, 90, 91, 165, 266 ROYER Paul (see SERAPHIN) RUEL Aine [author, bookseller, publisher] p. 167 RUSSIA emperor of p. 100 RUSSIA great Duke Paul of p. 213

SAINT-GILLES [ventriloquist] p. 198 SAINT-LAURENT Philippe [magician, historian] p. 10 SAINT LOUIS p. 323 SALABERI [Savant horse] p. 160 SALTARINO signor p. 192 SALVERTE Eusebe [writer] p. 400 SANTO-DOMINGO [writer] p. 195 SARDINA Maurice [magic enthusiast, author, historian and collector] p. 11, 68, 341, 342 SAUBERT [conjurer for whom Robert-Houdin served as confederate] p. 82, 84, 85 SAVREN [conjurer and collector] p. 337

SAXE-WEIMAR Duchess of Bernhard of p. 316 SAXE-WEIMAR Prince Edouard of p. 316 SAXON A. H. [historian] p. 10, p. 215 SCHLEMIL Pierre p. 263 SCRIBE p. 109 SCRIVE les p. 373 SEEMAN Baron [conjurer] p. 75 SEGUIER Baron Armand [member of the Institute] p. 191, 251, 339 SELDOW Michel [magician, actor, journalist, author, and biographer of Robert-Houdin] p. 11, 214, 215, 391 SERAPHIN [shadow artist] p. 100, 160, 202, 223, 228, 229, 230, 251, 262, 347, 348, 385 SEXE [lightrope walker, juggler] p. 160 SHAKESPEARE William [playwright] p. 310, 400 SHARPE Sam H. [historian, author, and biographer of Robert-Houdin] p. 11, 68, 205, 371, 408 SHELTON MAKENZIE R. [American translator of Confidences of Robert-Houdin] p. 71 SHERER L. p. 24 SIMONNET [Head of the 2nd bureau of the Prefecture of Paris] p. 383 SOUDRY [bookseller] p. 30 STANLEY [journalist and explorer] p. 215 STEUB [tightrope ivalker, juggler] p. 160 STEVENARD [mechanician] p. 249 STOCK editions 215, 405 STRATTON Charles (see TOM THUMB) SUIN [lawyer'general] p. 340 SWEDENBORG p. 291 SYLVESTER [conjurer] p. 75

T TALON (see PHILIPPE) TARLIER [author, bookseller, publisher] p. 195 TERRANOVA Anne-Marie [photographer] p. 10 THAYER p. 103 THIEMET [ventriloquist] p. 95, 198 THIOUT p. 151 THUREAU [lawyer] p. 338. 339 TOM THUMB General p. 192, 193 TORRINI [conjurer] p. 40, 41, 42, 43, 44, 45, 47, 48, 49, 50, 51, 52, 65, 66, 67, 68, 69, 71, 235. TRICARD [notary] p. 197 TROUSSEL [gas microscope] p. 160

V VAILLAT [photographer] p. 180, 182 VAL [conjurer] p. 49 VALENTIN [ventriloquist] p. 299 VANDERBURCH Emile [playwright] p. 105, 106 VAN TIGGELEN Philippe John [historian] p. 10, 122, 123, 124, 125, 203, 205 VARNEY [manager of the theater Les Bouffes Parisiens] p. 386 VASSAL Alexandre [commissioner of the police of the PalaisRoyal area] p. 226, 386 VAUCANSON Jacques de [mechanician] p. 75, 169, 170, 171, 179, 211, 212, 228, 249, 263 VERGNAUD A.D. [author and publisher of works on magic] p. 173 VERNET Horace [painter] p. 332 VEUDREILLE [tinsmith] p. 39

422

VEUILLOT E. [journalist] p. 348 VICTORIA Queen p. 319, 375, 402, 403 VILA1N cure p. 6l VIRGINIE Miss [medium] p. 26l VIRO Prosper [writer] p. 386 VOIGNIER Francois [historian and collector] p. 10, 86, 106, 405 VOIGNIER Jacques [historian and collector] p. 10, 12, 13, 46, 66, 68, 69, 71, 86, 87, 197, 207, XVIII, 232, 294, 347, 352, 360, 379, 384, 388, 392, 405 VOISIN Andre [mechanician and trick manufacturer] p. 12, 87, 88, 283, 297, 299, 300, 301, 303, 304, 305, 360, 392 VOISIN Emile [mechanician and trick manufacturer] p. 208, 300, 392 VOISIN Mrs veuve p. 300 VOLLMER Richard [magician, author of works on the magic art] p. 10 VRESSE Arnaud de [publisher] p.155

w WAGNER [watchmaker] p. 55 WEBSTER Sir Arthur p. 316 WELLINGTON Duke of p. 316 WINKEL Diederich Nicolaus [inventor, manufacturer of automatic instruments] p. 123, 124, 203 WOROUSKY p. 173, 174, 175 WYMAN [conjurer] p. 75

Y YVERT Eugene [journalist] p. 407

ZILBERMAN [cheater] p. 45 ZULU KAFIRS p. 375

Design: Cristal Communication 33, rue Nicole 28000 Chartres Photoengraving: L.P.H. 11, avenue des Marronniers 93400 Saint-Ouen Brochage: S.M.R.F 56190 Muzillac Printed December 2002 by the presses of Imprim.Plus Z.A. de la Plaine Haute 7, allee de Flndustrie 91560 Crosne

N° ISBN 2-907584-05-7

Christian Fechner is a film producer and magic enthusiast. At the worldwide F.I.S.M. convention in 1979 he was granted first prize in Invention and first prize in Stage Illusions. Since then, he has worked on a friendly basis with the greatest illusionists of our time — among them Siegfried and Roy as well as David Copperfield - and created new illusions for them. The author published Soirees Fantastiques in 1988, Bibliography of French Conjuring in 1994 and annotated in 1995 the reprint of Memoirs of Robert-Houdin by Robert-Houdin for the publishing company Stock. In 2002, he contributed to the work Melies, Magic and Cinema published under the supervision of Jacques Malthete and Laurent Mannoni. The two volumes of this biography of RobertHoudin will be followed by a technical volume dedicated to the study of the artist's legendary inventions in the field of magic of which the history, routines and explanations have maintained most of their mystery to this day.

Photograph of the author FAU 2002

N° ISBN : 2-907584-05-7

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