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 pro-
duced, and you will learn that the tree whence
my magic staff was cut was only that of persever-
ing labor, often bedewed by the sweat of my
brow; soon, too, when you come to witness
my labors and my anxious hours of expec-
tation, 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.

 i }•

• 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
and the Aspiring Magician 33
- The Mysterious M. David of Bordeaux 34
. 1828 - 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 - Giovani Bartolomeo Bosco 129
. 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 - The Exposition and Phineas Taylor Barnum 187

Notes to Act rr 195

• Act in
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 259
.1846 - First Foreign Tour and the Conjurer Louis Courtois /
.1845-1852- Promotion and Advertising 281
.1847 - The Fortune-Teller Alexis Didier 287
. 184~-1848 - The Ethereal Suspension 291
. 1848 - Moreau-Sainti - Andre Voisin 297
. 1848-1849 - Revolution in France and Triumphs in England 307
. 1849-1851 - Return to Paris; Pierre Etienne August Chocat,
known as Hamilton 327
.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 351
. 1852 - Farewell, My Dear Parisians" 355
. 18524853 - The Final Flames 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 so-
licited on many occasions, and who allowed me to include in this essay some of the rare, un-
published 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 car-
ried out together;
Anne-Marie Terranova for her superb photographs;
Claudine Camors, my precious assistant, who deciphered and typed the innumerable succes-
sive 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 con-
tributed his time and talent for the 1200 iconographic elements
of this biography, which he scanned and restored with pre-
cision and respect, and which Roger Faloci sump-
tuously "st
dgements
I also wish to thank the following libraries, as-
sociations, 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-du-
Rhone, 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 at-
tention 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.
memory I respectfully pay tribute here. Christian Fechner
December 2002
 f you ask the public who Robert- than fifty years ago, Christian Fechner's

I Houdin was, the answer will proba-

bly be: he was a great magician
from the nineteenth century, famous for his
book is a monument. It is both historical
through the abundance of its original docu-
ments and an iconographic landmark due
automata and magic tricks. Ironically, he is to the quality of its illustrations, of which a
sometimes confused with Houdini! At large part have never appeared in print.
times, he is credited with wild exploits
which he never performed, such as destroy- For several years, Christian Fechner has
ing the watch-chronometer of a cardinal of consulted national archives, notary docu-
the Roman curia with a mortar and pestle, ments and accounts, period newspapers,
and then miraculously finding it intact in advertisements and playbills, and private
the Pope's pocket. For today's initiated pub- archives, especially those of Robert-
lic and especially for magicians, Robert- Houdin's family, not to mention the
Houdin was much more: he was simultane- Tablettes journalises de Robert-Houdin
ously a highly skilled mechanician, a genius (Robert-Houdin's daily notes), which he
creator in the field of illusions, a savant rec- discovered and which we get a first glimpse
ognized by his peers, and a writer whose at here. These are precious notes in which
success has lasted for over 150 years! the artist confided his impressions and
daily activities.
These are quite a few qualities for one
One must therefore not be surprised
individual, you will say. Well, it is true,
that the result is equal to the research. On
and Christian Fechner's book. The Magic
every page, new unpublished documents
of Robert-Houdin, "An Artist's Life," is
are examined: some refute accepted ideas
proof of this, because his plan is to reveal
or groundless affirmations that have devel-
all aspects of the personality and genius of
oped over the years. With solid logic,
this exceptional man. Robert-Houdin.
Christian Fechner "starts over from zero."
The reader cannot realize how much work He returns to the sources and original doc-
and time must be spent to gather historical uments. In this manner, we learn of
elements essential for the narration of a Robin's real role (not very positive) with
lifetime as full as that of Robert-Houdin. respect to Robert-Houdin and his other
— •
Although Jean Ghavigny, an archivist and colleagues. We discover when Andre Voisin
man of letters, made way for this by writ- set up as a trick manufacturer on Rue
ing Robert-Houdin's first biography more Vieille-du-Temple, thereby ending various
speculations published in magic literature Houdin lived in The Priory in St. Gervais
as to his real relationship with Robert- after selling his theater to Hamilton, it was
Houdin. Each one of Robert-Houdin's con- not at all a place of retirement to permit
temporaries is portrayed in his proper him to devote himself entirely to scientific
place, in the context of the time, thus research. The reader will realize to what
highlighting the unique originality of the extent this little-known period of Robert-
artist and conjurer's creations. Houdin's life was, on the contrary, very rich
in all sorts of creations. It was not exempt
The Magic of Robert-Houdin, "An
from "theatrics," literally and figuratively.
Artist's Life" is also a vast panorama of
French magic of the nineteenth century, in The scientific and artistic activity must
which the reader goes from one surprise to not make one forget the man. Who was
the next in an aura of mystery. We learn the Robert-Houdin really? The reader will dis-
importance of Louis Apollinaire Comte, the cover a deeply human and generous man.
Conjurer of the Three Kings (Louis XVIII, who suffered and was put through tribula-
Charles X. and Louis-Philippe), an impor- tions by life. He lost several of his children
tant personality whom Robert-Houdin very at a young age and his first wife, Cecile
quickly made his ally. The reader also dis- Eglantine, died at the age of thirty-two.
covers Robert-Houdin's initiator into She who gave him half of his artist's name
magic, who was perhaps a mysterious per- never saw him on a stage. The Tablettes
son from the Bordeaux region and whose journalieres show a Robert-Houdin com-
role still remains enigmatic. Another sur- pletely devoted to his family in spite of his
prise (and this is a big one) concerns numerous occupations.
Robert-Houdin's return to the stage to re-
place Hamilton, who was on tour (but the Robert-Houdin revisited! Yes, of course,
reader will discover the real reason!). but an entirely new Robert-Houdin. closer
to us. as the reader will discover. Thanks
Finally, Christian Fechner corrects an to his relentless work and driving passion,
important mistake, reprinted by all of Christian Fechner today gives us this biog-
Robert-Houdin's commentators, based on raphy, which, I am certain, is the defini-
Jean Chavigny's book; although Robert- tive work on Robert-Houdin.

Jacques Voignier is a Ph.D. in nuclear physics, historian, and emeritus collector of magic art. He skillfully pre-
sides 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
ROBERT-HOUDIN

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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 spouse, bore him a son, Jean Martin, [9] on
from which Louis Robert and his wife Francoise Frimaire 11, year VII.
Loyer came. In 1700 they settled in the peaceful The marriage of Prosper Robert, age thirty-
city of Blois, where their son was born the fol- three, to Marie-Catherine Guillon [10] on Nivose
lowing year. Like his father and grandfather be- 20, year VIII of the French Republic -January 10.
fore him, the young boy was named Louis, [i] As 1800 - caused much ado as the master watch-
soon as he was old enough to work, Louis maker's father-in-law, Jacques Guillon, [11] was
learned the trade of pastrycook with Maitre Jean one of the twenty-four notables of the city.
Leroy, whom he succeeded and whose daughter This former carpenter, son of a notary serv-
Marie he married on May 20, 1723. Marie Leroy ing the aristocracy, had left his native town of
died a few years later. Peysac, a diocese of Poitiers, with his talent
Louis Robert then married Jeanne Martinet [2] and his tools in hand, among other riches, and
on April 26, 1735- They had a son named owed his tidy fortune to a rare business sense.
Toussaint [3] who wisely followed the paternal In 1769, having become a master carpenter, he
footsteps in the bakery and who married Marie married Marie Francoise Billon, [12] the daugh-
Anne Millet M on June 21, 1763- The two children ter of his former employer, Nicolas Laurent
of this union probably did not show interest in or Billon, "building contractor in carpentry for the
a predisposition for the trade of pastrycook. The king."
eldest, Jean Toussaint, [5] who seemed destined Jacques Guillon knew how to take advantage
for the bakery, became a cloth manufacturer, of the opportunities at the royal site of the
while his younger brother. Prosper. M chose the Chateau de Chambord and, in 1773, shortly after
profession of watchmaker. [7] the death of his wife, settled in Blois with
The Robert brothers set up shop in the Carroir Francoise Marie, [13] his daughter. He then wed
du Malassis, where the most skillful artisans of Marie-Francoise Maulny, N] with whom he had
the little town resided. The younger brother's two children: Jean Francois, who became a mer-
house and boutique were situated at 68, Grande chant in Orleans, and Marie Catherine, who was
Rue, and the business of the elder was just across to give birth to the most famous offspring of the
the street at number 63. Prosper Robert earned Robert lineage.
his certification as a master watchmaker, and Jean Jacques Guillon - contractor, councilman,
Toussaint's business soon extended beyond the deputy to the mayor of Blois, and zealous ser-
canton. Of the two brothers, Toussaint married vant of the King of France - was a clairvoyant
and became a father first. Silvine Alloncle, [»] his 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 so-
cial class and where it was believed that, to form
a harmonious couple, the spouses should have
comparable wealth, this union, which nonethe-
less 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 desir-
able match for his daughter's twentieth year.
The family chronicle is silent on this point, but
a tender letter from 1800. addressed to Prosper
Illustration 7 — Robert-Houdin's childhood home in Blois. by Marie Catherine, clearly shows us the ro-
Picture taken Sunday. April 3. 1949 during the speech of mantic feelings of the young bride, who signed
Dr. Dhotel, president of the Association Francaise des Artistes
Prestidigitateurs. for the ceremony placing a commemora-
with lovely handwriting: "femme Robert" ("Mrs.
the plaque on the house where Robert-Houdin was born Robert"). [15]
The store of the artist's father, the Blois watchmaker
Prosper Robert, v, as situated at the location of the jewelry Their first son was named Prosper, [16] and his.
store on the right-hand side of the photograph. sister was Marie Celine. [17] The master watch-
maker's happiness would have been complete
talents to serve first the Republic, then the
had not each of these pregnancies severely di-
Empire, to benefit both his co-citizens and his
minished his wife's health.
business ventures.
If his daughter's marriage ceremony sparked The birth of the future conjurer Jean Eugene
much public curiosity, it was not only because of Robert on Frimaire 16, year XIV - Saturday,
Marie Catherine's fragile beauty, which some said December 7, 1805 t18] - took place at four o'clock
was a sign of her poor health, nor because of the in the evening in a room on the third floor of the
flattering reputation of the artisan from the family home.

A Confiscated Childhood and Adolescence

In his memoirs, Robert-Houdin dedicates only thanks to or because of numerous humorous,

sixteen pages to the period ranging from his dramatic, or private events. His talent, personal-
birth to the end of his studies. [19] Nonetheless, ity, patience, and charm were already develop-
his childhood and adolescence, so quickly ing. The surprising maturity of the young boy
glossed over by the author of the Memoirs, must foreshadowed the young man who, at barely
have permanently influenced him. Indeed, an ir- eighteen years of age, would plan the path of a
resistible vocation took shape at a very young career he intended to pursue in a brilliant, in-
age, and nothing and no one could hold it back, fluential, and profitable manner.

j8
 ACT I

We know that Prosper Robert was a

skillful artisan [20] and a hard worker
whose main ambition was to provide a de-
cent life for his family, and whose other
goal was to give his children the possibil-
ity of climbing the social ladder. Paying
for studies was a heavy burden which the
watchmaker from Blois was ready to ac-
cept with its inevitable sacrifices, because
he wanted his eldest child to have a seri-
ous profession. After marrying off his
daughter, he wanted to entrust his bou-
tique to Jean Eugene at the end of his ap-
prenticeship.
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 bedrid-
den, 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-sis-
ter's spouse, a court clerk, was named sur-
rogate 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 Illustration 8 - Marguerite Rosalie Metivie (1785-1872).
Rosalie Metivie [22] - twenty-five years old,
Prosper Robert's second wife and Robert-Houdin's
daughter of Prosper Robert's neighbor stepmother, who raised him as her own son
Pierre Rene Meth ie, a silversmith merchant This photograph was taken about 1868 by the Blois
on Grande-Rue, and the niece of his two photographer Mieusement. to whom we are in-
debted for several very beautiful images of Robert-
children's surrogate guardian. Either through Houdin
pure coincidence or a cause-and-effect rela-
tionship, at the moment when destiny of-

19
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 ap-
plying what he was taught.
This is how Robert-Houdin describes the be-
ginning of his calling:
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
Je venais me retpemper a l'atelier patepnel. (P. 18) my father, he laughed at these slight accidents,
Illustration 9 - Robert-Houdin in his father's workshop.
and said, jokingly, that it was a capital way of dri-
Engraving from La vie dun artiste du XIX' siecle. ving my profession into me, and that, as I was a
Souvenirs personnels du celebre prestidigitateur Robert- wonderful lad, I could not but become an extraor-
Houdin, Maison du Bon Livre. Lille - CEuvre Saint-Charles, dinary workman.
Grammond/Belgium.
I do not pretend that I ever realized the pater-
nal predictions, but it is certain that I have ever
fered him a second mother, Jean Eugene fell felt an irresistible inclination for mechanism. [24]
gravely ill. He had just turned five. Jean Eugene's bright outlook on his talents
At a time when infant mortality was fearsome, would not change Prosper Robert's determina-
very little chance of survival was expected for tion to have a well-read son and, having trans-
Jean Eugene, who was confined to bed for more ferred the ambitions he had for his deceased
than a year. Robert-Houdin does not enlighten eldest child onto his youngest, he decided to
us about either the nature or the duration of this remove his son from the theater of his early ex-
illness, which he described as "dangerous" and ploits. Knowing from experience that the pro-
followed by a "long convalescence." At age six, fession of watchmaker rarely led to fortune, he
the child had to remain shut away at home dur- was convinced that the child's gifts would be
ing a convalescence whose length the doctor better applied towards studies, so he enrolled
could not specify. him in boarding school as soon as his son's
He was deprived of outings, games, and health was no longer at risk. The young boy
friends his age, but for several years family thus went directly from a childhood in forced
members came to his home to share some of isolation to the confinement of boarding
their knowledge with him. In order to distract school. Jean Eugene learned his first lesson in
the boy, Prosper Robert's friend Rene Bernard, freedom...trapped within the walls of a school.
 ACT I

When he left, he departed Blois for junior already honored in these subjects, had ob-
high school in Orleans and was registered as tained other prizes and certificates of merit.
"local student in sixth grade." The young man The name Jean Eugene Robert is not in the
was thirteen and a half - and not eleven [25] - subsequent records for achievement in 1824 and
and found himself back in another boarding 1825, which seems to support the hypothesis
school. The late date of his admission to this that, in spite of his good grades, the young man
school in Orleans puts the length of his illness must have left the Orleans school after ninth
and his convalescence at three or four years. grade with the equivalent of a grade-school
Jean Eugene Robert turned out to be a good diploma. Moreover, Robert-Houdin did not spec-
student and his name appeared in the school's ify - and this is probably deliberate - whether or
records of achievement and awards. Admitted not he obtained his baccalaureat. On the other
to junior high in the second half of 1819, he hand, he did state that he was eighteen years old
won "first prize in history" in 1820, and a "sec- at the end of his studies: "At length, the moment
ond certificate of translation" and a "second arrived for my leaving college; my studies were
certificate of Latin translation" in sixth grade completed - I was eighteen years of age." He
with Professor Birot. In August 1821, he won was really seventeen and a half.
the "second prize in Latin translation" in sev- In reading this passage in his memoirs, the
enth grade with Professor Feraud. In August reader, not knowing at what age Jean Eugene
1822, he was awarded the "first prize in Greek started school in Orleans, has the impression
translation" in eighth grade with Professor that, being a serious student, the young man
Lurat, and in August 1823 the "third certificate obtained his diploma at the end of his studies.
of Greek translation" in ninth grade with The author, however, avoided confirming this
Professor Marmontel. subliminal suggestion and played on the unsaid
Among the documents of the junior high of in order to maintain throughout his memoirs
Orleans, part of the Departmental Archives of the exemplary tone that is one of the main
the Loiret, the lists of awards from this period characteristics of his writings.
have been located only for the subjects of Concerning these four or five years of junior
translation, Latin, Greek, and history. It is high school. Robert-Houdin shared some amus-
therefore more than likely that Robert-Houdin, ing anecdotes studded with moral considerations
about bad students, whom he advised not to trust
"because in order to hide their own bad conduct,
QUATIUfiME
they strove to make all weak characters their ac-
M. L U R A T , Professour.
complices." Such thoughts confirm his desire to
appear exemplary, as we have mentioned.
Version grecqua.
The Memoirs' author nonetheless let us be-
1" Prix. Jean-Eugene l\obeiit de Blois, olevc commim, lieve that this scholastic period was less than
2* 1'vix. Louis-Alexamhe Feurhcr, deux f'lis nonime.
j " Accessit. J. Leonarcl-nepaire/>y»Mne, line f. nomnie.
stimulating: "Let who will sing the praises of
2° Jccessit. Casiraii-Etienne Guirin, deux fois nomine, school life; for my own part I can safely state
5 ' Jccessie. Louis-Anloine Fauvckt-Ac C/uaioniuiiv, line
fois nomine.
that, though I was not averse from study, the
4" Jccessit. Florent BeniieT, une fois nomme. happiest day I spent in our monastic seminary
was that on which I left it for good." [26]
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
Robert-Houdin's youth seems to have been
du LoireO characterized by a lack of freedom and the strict

21
ROBERT-HOUDIN

repression of his artistic aspirations. On the other making them laugh. Throughout his life,
hand, his years of struggle against illness, his Robert-Houdin was never the hare of the fable.
forced solitude, and his strict upbringing helped Armed with infinite patience, he moved for-
make him mentally and physically mature. He ward slowly and surely, and, like the reed,
learned to keep his feelings to himself and be knew how to bend but would never break.
the master of his own body, and although he During these early years, which the author re-
had a fragile constitution his entire life, he sub- called through some carefully chosen happy
mitted it to an exhausting work schedule. His in- episodes, he forged his solid determination, part
telligence and thirst for knowledge blossomed of the complex and seductive personality that
during his school years. He discovered the an- only a few intimate friends knew but were never
cient authors and began to develop his insatiable able to unravel.
interest in science and literature, which would A friend of the great English novelist Charles
remain with him throughout his life. Dickens, whose beginnings in life were also dif-
Paradoxically, Robert-Houdin's difficult be- ficult, said: "He had in his character a vein of
ginnings forged an unswaying optimism in hardness that was like an iron bar in his soul."
himself, and if doubt and uncertainty also ac- This observation could perfectly apply to
companied him along the way, he fought their Robert-Houdin, and would not be the only point
effects by dazzling his contemporaries and 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 forming a Cups and Balls

happy the young man felt routine. [29]
upon returning to his Jean Eugene was very
hometown. Curiously, he impressed by this traveling
did not know it as well as conjurer's trick and at the
the surrounding country- end of the little show did
side, where he had spent not hesitate to purchase,
his summer vacation every for ten shillings, a collec-
year, at Grouets, near Blois, tion of secrets that the
in his grandfather's cot- artist offered his specta-
tage, La Guillommiere. [>»] tors. After the young man
He used his newly found had feverishly devoured
freedom to stroll through the few pages of the little
the city streets, which he pamphlet, his disappoint-
was eager to discover, hav- ment was as great as the
ing become, he confided, wonder that the conjurer's
the 'Teal amateur 'penny-a- show had sparked in him.
liner' of [his] native town." Except for the juggler's
According to his memoirs, pompous chatter, fully re-
it was during an afternoon produced in the instruc-
of October 1823 that the tion booklet, the promised
author discovered a new explanations of the mys-
show, which was nonethe- Illustrations 12 and 13 - The Conjurer and his teries of the art of conjur-
less fairly common at the equipment by Gerard Seguin. ing were so deliberately
From the work by Frederic Goupil. Les aventures de scrambled that, no matter
time. On the promenade or
Jean-Paul Choppart. Paris, JJ. Dubochet et Compagnie,
esplanade that borders the how hard he tried, he
1845-
Loire, a group of curious could not comprehend
people had just gathered them. Determined to know
around a traveling per- more, Jean Eugene went
former who had been looking for the conjurer, who
trumpeting to attract cus- had presented himself under
tomers. The man, whose the name of Carlosbach,
accent identified him as a but the innkeeper who
native of the Aquitaine re- had lodged him angrily
gion of France, made a informed Jean Eugene that
nonsensical speech before the illusionist had just van-
showing his skill in per- ished!

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 Until adulthood, there were undoubtedly

picturesque description of Dr. Carlosbach, many battles between father and son over the
whose name has not otherwise been noted by young man's career choice. He did not emerge
magic historians but who represents a perfect victorious from all these fights and often had
example of the wandering conjurers found in to submit to the rules imposed by the paterfa-
public squares in the cities and towns of milias. If we closely follow the memoirs of
Doulce France at the beginning of the nine- Robert-Houdin, it is difficult to understand the
teenth century. Through this evocative tableau, attitude of his father, who was so delighted by
Robert-Houdin brought his readers into the his heir's talents and proudly considered him
universe of magic, the wandering conjurer to be a veritable child prodigy, but who then
being its most humble representative but not brutally decided to send him to high school -
the least skillful. [30] without allowing him to complete it - and for-

24
 ACT I

bade him to enter his sounded, whereupon the

workshop. hare ran away, pursued by
Having been unable to
RECUEIL the dog. and disappeared
DE NOUVEAUX TOURS
convince his father of the into the thicket.
validity of his vocation for PHYSIQUE AMUSANTE This precious object,
mechanisms, Jean Eugene ET DE SECRETS TJT1LES whose owner seemed quite
began work as a clerk at M DEMONTRItS AVEC CLART1S E T PRECISION
attached to it, tantalized the
one of the best notary of- AVIS AUX AMATEURS. \t
curiosity of Jean Eugene,
fices in Blois, that of Maitre Le sieur FELIX, Escamoteur dc Paris , uj who decided in the great-
JJi vend da Savon a di lacker , et Cire pour Its v
Pardessus, Prosper Robert's W Corsauxpieds; demon/re djoucr des Gobi lets *# est of secrecy - since he
v el auties Tours dc societe , a un prix tris- T
notary. [31] With his beauti- V modele.-... II do/me des diva lissemcns cliez JB was persona non grata in
^ US persomies qui le font demander, en U «5
ful handwriting, his task 1\ privenant deux heures d'avauce. his father's workshop - to
from morning till night was create a detailed list of the
to copy the certified papers mechanisms of the automa-
and decisions: monotonous ton snuffbox. Enthralled
and tedious work, far re-
moved from the inventive
s by these ingenious work-
ings, Jean Eugene won-
ideas that "continually oc- A. t y o n , de WmprimenV de } . M. BARRET, f\
dered if he could carry out
pl^-e des Teneaux. jfo
curred [to him]." a thrilling plan whose
technical difficulties he
The little event that would
believed he had solved.
tear him away from the Illustrations 15 and 16 — Booklets of Sieurs
Felix and Louis.
Waking every day well be-
melancholy of his position
fore sunrise for six months,
as unpaid copy clerk ap-
the young man silently
peared in the unexpected
form of a mechanical snuff-
box recently entrusted to
I went down into his father's
workshop to discreetly
work.
Prosper Robert for repair.
L ffi
. DE PHYSIQUE AMOSANTE il
IT
On its elegant cover deco- L

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

D«oilraa?ecclartc, j& li This undertaking was in-

rated with a landscape, one
could enjoy a tiny auto-
mated scene that began to c
N I. — La Tahatiere magique.
i advertently aided by his fa-
ther, who, according to the
author of the Memoirs,
move when a button was Vous failes un trou sous la taboliere et was not an early riser. One
en faisant metlre la piece dedans, vous
pushed. A hare appeared 1'eiileiez de maniere que Ton ne voilrieaj might expect Robert-Houdin
in the foreground and si Ton veut que la piece soil dedans, on to have added deafness
la fait sonner; et si Ton vouE qu'clle n'y soit
headed toward a clump of pas, vous 1 empechea dc .sonner; enMiite, and near-sightedness as
vous la laites sorltr par le trou de la laha-
grass where it had decided tiere, et le lour est lait. other alleged handicaps of
to graze. A few seconds No 11. — La Tour des Olives. his unobtrusive father,
later, a hunter walking with Ayez trois petifes olives en bois, per- who, during the entire se-
ce'es d'un bout a Paulre, et deux pelils ru-
his dog entered into the bans que vons pliez tous deux par le mi- mester needed for the
lieu, puis enfilez-les dans les olives et croi-
miniature scene, stopped sez les deux rubans 1'un dans l'autre , et le manufacturing of the me-
renfermez dans l'olive du njilieu ; ensuite,
when he saw the game, donnez les rubans a tenir a quelqu'un en chanical snuffbox, or, more
and shouldered his rifle. A les priant de vous remetfre un bout de
chaque ruban, apres quoi les ayant, vous precisely, its duplicate, saw
little gunshot-like noise re- nothing and was not star-
ROBERT-HOUDIN

Illustrations 17 and 18 - Outdoor Conjurers by Victor Adam. tied by any suspicious noise coming from the
workshop, where his son worked before punc-
tually leaving to go sit at his clerk's desk at
Maitre Pardessus' office:
The joy I experienced in finding my mecha-
nism 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

In his memoirs, Robert-Houdin always re- Illustrations 19 and 20 -

Outdoor Conjurers.
spects the moral codes of his time, but he also
defends the image, ambitions, and dreams he
had as an impetuous young man. full of imag-
ination, audacity, and a too-long pent-up en-
ergy. To do so, Robert-Houdin often exagger-
ates 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 construc-
tion of a narrative whose author has a deep-
seated 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 to-

rescue 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 al- colleague 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 be-
small salary, this offer may cause the notary transac-
have 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 irre- work 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
This unexpected promotion flattered the know how to spend, and his employer helped
young man's pride, although he quickly no- him by allowing him to use the library. The
ticed that his employer had embellished the new clerk had the good fortune to discover
job description. His role in the bureau was Linnaeus' treatise on botany and acquire the
simply that of office boy, which meant run- rudiments of that science. [35]
ning errands and delivering and picking up Upon arriving in Avaray, Jean Eugene had
packages; the first and only other clerk suf- promised himself - "as much to please his fa-
ficed to take care of the rest of the business. ther" as to "scrupulously fulfill [his] duties in
These menial tasks did allow Jean Eugene [his] new office'' - to no longer indulge in his
to earn a bit of money, the first his work had passion for mechanisms, whose "irresistible
brought him, and this made ''the pill less bit- attraction" he feared. Thus, after having -'reli-
ter to swallow [for his] self-esteem." The au- giously kept his word," Jean Eugene had re-
thor of the Memoirs describes his employer, solved to become a notary and had every rea-
Maitre Roger, [33] as the "best fellow in the son to believe, he confided to his readers, that
world" whose demeanor, "full of kindness and by entering this profession "[he] should pass
sympathy," had attracted him the first day and through all [his] grades creditably and some-
with whom he was quite happy because of his day, in [his] turn, become M. Robert, solicitor

28
 ACT I

in some country town." Chance or divine will they swept away his fatherly ambitions, they
decided otherwise and his "stern resolutions also resolved his doubts. He declared to
were routed by a temptation too powerful for Maitre Roger:
[his] courage." —"Well,"' he said, ''as he absolutely desires it, let
His stern resolutions crumbled before an him follow my trade. And, as I cannot instruct him
aviary decorating the office that was filled myself, my nephew, who is a pupil of mine, will act
with a flock of canaries. As office boy, the towards my son as I did towards him." [37]
new employee was in charge of its upkeep, Jean Martin Robert therefore became Jean
which he maintained with such zeal that it Eugene's teacher in mechanisms and watch-
ended up occupying all his time. In order to making. To Robert-Houdin, this relative, seven
enliven the somewhat monotonous existence years his elder, was much more than a teacher.
of the numerous winged guests in this im- He was one of his dearest friends, certainly his
mense cage, he began building mechanisms only confidant, and, later on, his right-hand
he had invented in school. The birds obtained man. Jean Martin Robert later managed the
their food with the help of little wagons they many real-estate assets acquired by Robert-
pulled with their beaks. They were given au- Houdin and. in collaboration with him, carried
tomatic 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.
Although visitors admired these ingenious
mechanisms, Maitre Roger justifiably repri-
manded his young clerk for spending his time
in such an unorthodox manner and admitted
that he had doubts about the young man's fu-
ture as a notary. Jean Eugene poured out his
heart to his employer and revealed his frus-
trated ambitions and his calling for mechani-
cal work, which his father did not seem to
want to understand or accept. Touched by the
sincerity of the young man, the notary re-
solved 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 watch-
TOURTI
making business to his nephew Jean-Martin
Robert [36] around September 1825 and had re-
tired to his cottage, La Guillommiere, in Illustration 22 - Jean Martin Robert (Year VII-1880).
Grouets. Thanks to the warmth of his plea, Jean Eugene Robert's watchmaking and mechanics mentor.
Maitre Roger's gesture was crowned with suc- Robert-Houdin affectionately nicknamed this relath e and de-
cess, and the artisan, by this time retired, fi- voted friend "Cousin Robert." The workshops of photographer
Emile Tourtin. who signed this image, were situated directly
nally gave in. Prosper Robert understood the above the Theatre Robeit-Houdin. 8 Boulevard des Italiens. in
good notary's wise arguments, and although a space previously occupied by the famous Disderi.

29
ROBERT-HOUDIN

out numerous purchases or sales of land and in the midst of discussing an important deal
houses in the region. with one of his clients, took two volumes off
Their close relationship wrongly convinced the shelves, gave them to Jean Eugene, and off-
certain researchers that Jean Martin Robert man- handedly dismissed him.
aged Robert-Houdin's fortune de facto, which is When the young man returned home to ab-
totally incorrect. He never allowed anyone to sorb the Traite de I'Horlogerie, he discovered
do so. Jean Martin Robert was a most devoted with surprise on the cover page the words
manager, always stimulating desirable business, Amusemens des Sciences (Scientific Amuse-
and he and Robert-Houdin enjoyed more than ments). Perplexed, he glanced over the table of
forty-five years of friendship based on complic- contents and read these strange phrases:
ity, trust, and mutual respect. "Demonstrations of card tricks...Mind-reading...
This explains the affectionate and sincere Cut the head off of a pigeon and resuscitate it."
portrait of his teacher, relative, and friend that In his haste, the bookseller had made an error
the author paints in his memoirs: and given him the two volumes of the Diction-
naire Encyclopedique des Amusemens des Sciences
[My father could not have chosen a better man
for my instruction, whom I found extremely kind mathematiques et physiques (Encyclopedic Dic-
and who combined the benevolence of a friend tionary of Scientific Amusements of Mathematics
and the science of a mentor. ] and Physics) instead of the works of Berthoud.
Yet I would not have it supposed I was a model Robert-Houdin confided to us in his mem-
pupil, for I had still rife in me that spirit of inves- oirs: "Fascinated, however, by the announce-
tigation, which drew down upon me several repri-
mands from my cousin, and I could not endure to
ment of such marvels. I devoured the mysteri-
confine my imagination to [carrying out] the ous pages, and the further my reading
ideas of another person. I was continually invent- advanced, the more I saw laid bare before me
ing or improving. the secrets of an art for which I was uncon-
My whole life through, this passion - or, if you sciously predestined." The author concluded
will, mania - has held sway over me. I never could fix the paragraph with this sentence: "The resem-
my thoughts on any task without trying to introduce
some improvement or strike out a novel idea. [38]
blance between two books, and the hurry of a
bookseller, were the commonplace causes of
In ''Cousin Robert," Jean Eugene had an em- the most important event in my life." [39]
ployer who educated him, watched him, and This is the point in his Memoirs where
worked to channel his creative energy. He also Robert-Houdin revealed to his readers the mo-
gave him one particular piece of advice that ment he said he discovered his true calling.
would change his destiny. This date, to be credible, could not be too re-
In order to further his student's progress, cent, but didn't the author write "...an art
Jean-Martin Robert advised him to consult which was, unbeknownst to me, more than a
some authoritative works about mechanisms vocation"? Was this really the case?
and watchmaking. The young man did not The genius of the construction of the
have to be begged to heed this advice and en- Memoirs of Robert-Houdin, as relentless as it is
thusiastically began to study this subject for exemplary, resides partly in the author's mas-
which he already had such an affinity. Wanting terful use of theatricality while still respecting
to study Berthoud's Traite de I'horlogerie the narrow context of the moral censorship of
(Treatise on Clockmaking). the apprentice his time, which left him so little freedom. It is
went one evening to the bookseller Soudry, futile to wonder whether this anecdote took
who he knew had these works. The merchant, place while he worked in Jean Martin Robert's

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

shop or in that of Prosper Robert, or even in the period of his youth with the birth of his calling:
offices of Maitre Pardessus or Maitre Roger, be- It may be urged that different circumstances
cause the narrative is so believable that in one might have suggested this profession to me at a
sense, it does not matter when the event took later date. It is probable; but then I should have
had no time for it. Would any workman, artisan,
place. If one looks at the works of Berthoud
or tradesman give up a certainty [an estab-
and the Dictionnaire Encyclopedique des lished social standing], however slight it may
Amusemens des Sciences Mathematiques et be, to yield to a passion that would be surely re-
Physiques, it seems logical that confusion garded as a mania? [Certainly not.] Hence my
would have been likely, and as for the contents irresistible penchant for the mysterious could
of the Dictionnaire - a compilation of books by only be followed at this precise period of my life.
Ozanam, Guyot, and Decremps - it truly would How often since have I blessed this providen-
have been the stuff dreams are made of for tial error, without which I should have probably
Robert-Houdin, who was still a neophyte. [H vegetated as a country watchmaker! My life
would have been spent in gentle monotony; I
To avoid blame for setting a bad example for should have been spared many sufferings, emo-
future generations, Robert-Houdin, without ap- tions, and shocks; but, on the other hand, what
pearing to be justifying himself in any way, lively sensations, what profound delight would
thus emphasized the fortunate timing of this have been sacrificed! [41]

31
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 of drawing and painting. In the absence of a
nearly two and a half years. The knowledge ac- professor to instruct me, I was compelled to
quired from his father and now from ''Cousin create the principles of the science I wished to
Robert,'' his father's pupil, constituted the fun- study."
damentals of his practice of the art of mecha- Realizing that sight and touch are basic tools
nism, to which he had been so drawn since of magic, the apprentice trained himself to de-
childhood. And yet Robert-Houdin did not velop these two faculties. He took juggling
dwell on his progress in that science. The au- classes with a podiatrist from Blois named
thor, however, omitted no detail about the fever Maous, M and learned how to juggle with four
that overcame him only a few hours after re- balls while reading a book.
ceiving the Dictionnaire Encyclopedique by After refining his powers of perception and
mistake, and thoroughly relates how he used exercising his fingers, the young man practiced
the book's precious knowledge. the manipulation of cards and sought to master
The narrative begins with a tragi-comic palming: ''This sleight requires a great deal of
episode in which, needing a candle to continue practice, for while the hand is held open, balls,
his reading, Jean Eugene decided to steal the oil corks, lumps of sugar, coins, etc. must be held
lamp of a nearby streetlight and was punished unseen, the fingers remaining perfectly free and
for his theft because he ended up setting fire to limber." This basic exercise required constant
his best hat! The young man perused the pre- training; he therefore continued his other work
cious encyclopedia for hours and in scarcely while practicing his movements in the vast
eight days learned all its secrets. pockets of his frock coat, which sheltered him
Although this purely theoretical knowledge from indiscreet stares. This habit of constantly
opened the doors to the art in which he was to keeping his hands hidden made him appear
excel, the neophyte quickly realized that with- odd, because no one could possibly know that
out a teacher or any practical insight, his new his cardigan had become somewhat of a re-
knowledge would be useless. To know the ex- hearsal space.
planation of a trick is one thing; to know how To avoid giving his readers the impression
to deceptively perform it is a difficult exercise that this new passion made him neglect his job,
of a completely different sort. Paradoxically, the Robert-Houdin specified in this chapter of his
lack of a mentor proved to be fortunate for the memoirs [a] that he made a special effort not to
author, who emphasized in his memoirs: "I was be distracted in his work or displease his em-
in the position of a man who attempts to copy ployer, who thus had "only praise for [his] dual
a picture without possessing the slightest notion qualities of exactitude and diligence."

33
ROBBRT-HOUDIN

The Mysterious M. David of Bordeaux

Although reading and constant practice con- — Collection of Several Effects of Physique
tribute to the study of conjuring, the wise ad- Amusante
vice of a competent professional often allows a Mainly those I often perform
beginner access to knowledge refined through First notebook: Sympathetic Inks, Goblets,
Simple Cards, Various Ideas
time and experience.
Here are a few clarifications on the life of a — 2. Second Notebook of effects I often per-
previously unknown personality, whose pas- form, including Continuation of Cards,
sion for the art of magic seems to have con- Written Cards, Beginning of the Gibeciere
tributed to the calling and/or artistic progress of — 3. Third Notebook of Effects, Sleight-of-
the future conjurer. hand, Subtleties, Small Coins
Robert-Houdin's library con- — 4. Fourth Notebook of Effects:
tained four handwritten note- Continuation of the Gibeciere and
books, thirty to forty pages related tricks.
each, dating from the end of
Although the study of these
the eighteenth century. In the
pages of these books are nu- notebooks reveals information
merous loose pages in a on the travels, encounters,
smaller format, which were and art of David of Bordeaux,
also handwritten. On the cover it is an unpublished footnote
of each of the notebooks, by Robert-Houdin that reveals
Robert-Houdin wrote the fol- the relationship of the two
lowing in black pencil: "Notes men. This text is part of one
taken by M. David of Bor- of the preparatory pages of
deaux.'' These four manuscripts the manuscript of The Secrets
are entitled: of Conjuring and Magic:

1
8

Ar CsJu 2/p ....

0 g21. ^_ /

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 I

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
ROBERT-HOUDIN

One easily becomes a collector of any object dence with his teacher, who kept him abreast of
having to do with the art we love. In addition to developments in the art of magic. An original
all the books specifically or indirectly dealing handwritten letter by Gomte (collection of au-
with conjuring, I have managed to assemble tographs of Monsieur the Marquis of Flers), ad-
playbills and programs of all the conjurers from dressed to M. David, gives an idea of their rela-
Pinetti to the present day. Here is how this col- tionship. This letter begins as follows:
lection was formed: An old friend, M. David of Orleans, May 13, 1809"
Bordeaux, a conjuring enthusiast, bequeathed to
APOLLINAIRE GOMTE, ventriloquist and pro-
me in 1843 a number of playbills of conjurers,
fessor of scientific amusements, who, two years
along with notes on their shows. I then decided
ago, was almost a victim of several Swiss peas-
to complement these interesting documents
ants who, believing him to be a sorcerer, beat
from my friend's bequeath with the programs of
him and wanted to burn him by throwing him
all the magicians of our time, from 1843 to
into an oven, etc.
today.
Monsieur David, Bordeaux,
But who was this character about whom When I had the honor of meeting you in Blois,
magic literature remains silent? This is a I told you that I planned to go to Yalencay to see
strange paradox because it is a man who could the princes of Spain. The prefect of Blois gave
have legitimately been proud to have briefly me a letter for the governor, and I gave two per-
accompanied the first steps of two of the great- formances before the three princes. I taught
them a few tricks; they presented me with a mag-
est names in magic: Comte and Robert-Houdin.
nificent certificate and fifty louis. All the gold I
M. David was actually one of the first amateur
earn, I owe to you, because your tricks are the
magicians, as we define them today, and the most beautiful in my show...
first known collector of late-eighteenth-century
And later:
magic art.
My intention is now to have four trunks of
The first and only reference to M. David is magic effects. I will present only magic at the
found in the Grand Dictionnaire Universel two first shows. For the third, I will present the
du XIX siecle by Pierre Larousse, letter C, larger effects and lure my audience with ven-
volume 4, page 819, in the biographical entry triloquism. The next day, I will perform tricks
on the ventriloquist and magician M. Comte, in the town and boldly announce three perfor-
mances of ventriloquism. In total, that makes
the King's Conjurer. Here is an excerpt:
six performances for towns with 10,000,
Gomte added a few conjuring tricks to his 15,000, and 20,000 individuals. What do you
ventriloquism, but his repertoire in this area think?
was very limited. Having never had a mentor, he
could perform only the magic tricks he had The author of this excerpt from the bio-
found in basic works on the subject. graphical entry on the King's Conjurer is none
Nonetheless, he decided to go to Paris, passing other than Robert-Houdin. The letter reprinted
through the south of France. At that time in above was a gift from the artist to Monsieur
Bordeaux was a certain M. David, a rich cloth
the Marquis of Flers, a great autograph enthu-
merchant and a great enthusiast of conjuring,
siast who was his neighbor and friend in
who owned all the instruments of this art and
Saint-Gervais. [44] Robert-Houdin had the cor-
found genuine pleasure in helping and instruct-
ing the followers of white magic. Upon his ar- respondence between Comte and M. David in
rival, Gomte met David, who taught him many his archives, and the fact that he had chosen
interesting tricks. While traveling, the artist to publish a passage from this letter is a trail
from Geneva maintained an active correspon- we must undoubtedly follow.
 ACT I

M. David was an important merchant in

LA SCIENCE
Bordeaux, selling fine cloth and cashmere.
He had stores in Abbeville. Louviers, Elbeuf,
ESCAMOTEURS, Sedan, and Andelys and associates in several
SECKTS
cities. For his leisure time, M. David had a
BE G1BECIERE. 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 pas-
sion that was uncommon in his day: conjur-
A BORDEAUX, ing, 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,
\ ous prenex un pasfolet j le premier venu le
charge? d'abord a pouttre , eiisuiie vous metres Is
though it may have arisen during the fre-
l^Liile dedans j cr ei3 otecr^nt 11 bourrc ^fluiicu QC IS
n^eccrc dans Is couon » vous piircz som cc is mc-Eirc
quent trips his business obliged him to take.
Born around 1770, M. David was able to
balie VOHS vient dans 1* roam ; vous lui dues de
titer sur vous , ec votisfaites semblaiit d'avoirpaie attend performances of the most famous
14. U , vorphose dt conjurers of his youth — Comus, Olivier, per-
•uut ROBERT, demontre k putr dts
gobdets t/i trisrpeu dt ttmps t d tnseigne itussi
haps Pinetti - whose programs and playbills
queue de lapiu par desms 4 cc vous fiiitos reprendre
Kraoutre; de maiuete que Ion Feptendfa la queue
a. hr
d autres tours de socUU, a un prix tres-rrodtre.
It donntra. dts dtvtnweniem cht^ its personnts he preserved. [45] He wrote the names of the
i h
deux hearts d'ay
less famous in his notebooks and described
REGUEIL their specialties - Robbe was an expert in
t BORDEAUX, dellmpiimenedstAo
vi«-i-vis le Cafe 4 la Comidie, 1
Demontres avec clarte et precisions. the multiplication of coins; Magniere pre-
sented the rising cards in a very special way;
L'Ercule, whose main tricks were the broken-
and-restored watch and the coin in the snuff-
COMBINAISONS box; Falconi and his cups; Olivio, nicknamed
AMUSANThS
TIROES DE L'ESPRIT DE L'HOMME. the ''Polish conjurer" — perhaps the father of
Pour sayoirla nom de routes ks Pemmm, 1 at

" ~: 1 L , ' 1 '" ..-H c i v - ; s~. • -.- •• , 1 cu j ' : ,^ :

des homines que dts Femmts ; Olivier — who had no equal in im isibly
AvECUrte methode enncuse pour apprcndic J
transporting a coin or a watch into the
,,j. •-..<. 1:1- I ; ' , - , t ! - . J ( i - V' ISiTi t . M . j K l . v
f: 1 i t i n, > ElgnCf h p rcc d t cTo^if -.lit en & j - ] i a c : k
devmer dins quel mois Ton est ne , en quel
jour, a qncite betire , et en qnel quantiemc ^
combion d'annees Ton a , et dans quei temps

, Uisit
,._,t de j o u r , SOIEde _, .
touis da CombiTiaiTOn,de Physique,
pocket or shoe of a spectator and who pri-
• • • - , • • - • • : ' • : " i l l .

id . et de Monnoies:

Illustrations 31 to 33 — Pitchbooks printed in Bordeaux

through the generosity of David of Bordeaux.
This great magic enthusiast helped conjurers \\ ho w ere pass-
1 BORDEAUX, ing through his city by printing brochures to be sold at then-
performances. These three opuscules, unknown by biblio-
philes, were part of David of Bordeaux's bequeath to Robert-
Houdm (Private collection)

37
RODERT-HOUDIN

-V-.

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
trickify"). that this event could have taken place during
David of Bordeaux, who enjoyed the cre- the years 1812-1815.
ations of the conjurer-mechanician Perrin [46] Did Toussaint Robert introduce M. David to
and the tinsmith Veudreille, also admired the his young nephew, the prodigy, thinking that
performance of Palatiny, [47] who clearly the child's inventive mind might amuse him?
fooled him, as he noted frankly in his fourth Did David of Bordeaux show him a few tricks
notebook: to entertain him? Could these effects have

Q,

:
"Ji

//
0
I saw old Palatiny cut off the neck of a chicken in then unleashed in Jean Eugene that irre-
a truly marvelous manner but I could not see [the sistible calling that makes men climb moun-
modus operandi] or understand it.
tains? Is it possible that Robert-Houdin, in
In reading the notebooks of M. David of order to maintain the exemplary morality
Bordeaux, one notices that he specified that he necessary to his memoirs, blurred and even-
had invented certain effects and also that he tually replaced the image of his teacher and
described modifications he had made to oth- friend M. David with that of the old soldier
ers. The many tricks included are either ac- M. Bernard, a character who was much more
companied by a reference to specific works, reassuring and especially more conventional?
such as those of Guyot or Decremps, [*»] or the Were these meetings and their consequences
name of the conjurer who gave him the secret. on his son's state of mind perhaps the main
The text of these notebooks gives no clues reasons behind the attitude of Prosper Robert,
as to the dexterity of M. David of Bordeaux, whose only solution was to lock up his son in
although we are aware many amateurs can be boarding school to avoid his ending up as a
skillful. Although these various factors con- traveling performer? There is no absolute
firm the knowledge and passion of this rich proof, and one must refrain from definitively
enthusiast of the art, none helps us deduce combining dates and facts, sometimes unre-
the exact period when he met Robert-Houdin. lated and which could be interpreted in dif-
Corresponding dates, the periods when the ferent ways and a fortiori wrongly inter-
merchant was in Blois - M. David had resi- preted. I will let the reader make his own
dences in both Blois and Paris - and the cen- decision about this subject! [49]

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" de-
clared to the young man that his ap-
prenticeship was over. Having be-
come 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 un-
derstand the specialty or specialties
that had contributed to the reputa-
tion of each successive employer.
For Jean Eugene this initiatory jour-
ney meant freedom and financial in-
dependence.
The young craftsman's journey
around France began with the watch-
maker Noriet, a native of Blois who
had established himself in Tours.
Jean Eugene was employed to repair
watches:
...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 mini-
mum...
Although my time was fully occu-
pied here, I managed to continue my
Illustration 3~ - The watchmaker Noriet in Tours. pocket practice, and I daily noticed
The workshops of Jean Eugene Robert's employer were located on the first with joy the progress I was making
floor of the house, situated on the left in the photograph, at the intersection [thanks to my constant exercises]. I
of the Rue Change and the Place Plumereau. had learned how to make any object

40
 ACT I

I held in my hand disappear with the greatest ease; Alone in the carriage, Jean Eugene, burning
and as for the principles of card tricks, they were up with fever, was in excruciating pain and
only child's play to me, and I could produce some each shake of the coach intensified it. In his
delightful illusions. delirium, he opened the door, jumped off the
I confess to feeling a degree of pride in my moving coach, almost killing himself, and fell to
humble power of amusing my friends, and I ne-
the ground.
glected no occasion of displaying it. On Sunday,
for instance, after the invariable game of lot[t]o, The young man lost all sense of time after
which was played in this patriarchal family, I gave fainting and remembered only "long days of
a small performance of sleight-of-hand, which en- vague and painful existence" punctuated by ter-
livened the melancholy victims of this most mo- rible nightmares. He had the feeling of being
notonous of all games. I was honored with the carried away and shaken around in a coach, al-
name of an "agreeable droll," and this compli- though he was aware of lying in a comfortable
ment delighted me.
bed "in a small, exquisitely clean room." Little
My regular habits, my perseverance [at work],
by little, his senses returned and the first image
and perhaps a certain degree of gaiety I possessed
at the time, had gained me the friendship and he saw was that of a stranger sitting beside his
sympathy of both my master and mistress. I even- bed, begging him to drink a potion, keep quiet,
tually became an indispensable member of the and "remain as calm as possible."
family and shared in all their amusements. Among This stranger, who would later introduce
these were frequent excursions in the country, [so] himself as Torrini, was about forty-five or fifty
It is upon returning from one of these coun- years old and had a tastefully decorated trav-
try parties that one of the most extraordinary eling coach. With the help of his brother-in-
narratives of the Memoirs of'Robert-Houdin be- law and servant Antonio, he came to the res-
gins. It starts on page 55 and ends on page 135, cue of the patient, had him examined by an
representing 80 pages, almost one-fifth of a apothecary, and took care of him until he was
work of 445 pages. This shows the importance fully recovered. Destiny had placed someone
granted by the author to the tale we will now in Jean Eugene's life with a generous heart
try to summarize. who would take care of the young man's
After having come home with the Noriets health with paternal devotion. But such divine
from a party in a neighboring town on July 25, fate, in choosing Torrini, did much more than
1828, [51] Jean Eugene supposedly fell seriously simply place a Good Samaritan on the path of
ill from food poisoning inadvertently caused the reckless young man; it also gave him a
by his employer's cook, who had served him mentor.
stew prepared in a pot in which a large Robert-Houdin's tale states that Torrini was
amount of verdigris had formed. His horrible the pseudonym of Edmond de Grisy, the son of
suffering made him fear for his life and the Count de Grisy, an aristocrat originally from
brought on a sort of delusion in the young Languedoc who was killed while defending the
man, who, believing himself fatally ill, wanted King during the siege of the Tuileries of August
at all costs to die among his family members. 10. The revolution having obliged the young
The doctor refused to allow him to travel, so count to flee France, he departed for Florence,
Jean Eugene took advantage of a moment where he studied medicine and earned his
alone to run away one morning around six, diploma at the age of 27. From Florence, he
using a public coach that went from Tours to went to Naples, where he found widespread
Blois. success as a doctor.

41
ROBERI-HOUDIK

- • • • " • > . -

A M U S E M E N S
P H Y S I Q U E S ,
E T

DIFFERENTES EXPERIENCES
DlfERTlSSANTES,
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 Souve-
raias di [Eunpe, Chnalitr de tOrdre Je iainl-
Pkihppe, 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. Frix, i Uvre 16 fols.

Frontispiece and cover page of the third French

edition of Jean-Joseph Pinetti's work, Amusemens •)( phi.lat'., dwimlitr
1
&< t'ordre •!• i ' - "J

physiques et differentes experiences divertissantes A P A R I S ,

(Physics Amusements and Various Entertaining Chez G A T T E Y , Libraire 1 fous lej arcades du
Palais-Royal, N" I J & I 4 .
Experiments). Paris. Gattey. Bookseller. 1791. This
portrait of the Chevalier Pinetti in a generals out- i 7 9 I.
fit (!) only appears in this edition.

The arrival in Naples of Chevalier Pinetti,

[52] the most famous conjurer of the end of the
eighteenth century, would change Edmond de
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 Grisy's destiny. Fascinated by Pinetti's perfor-
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 ( mance, De Grisy became impassioned with
! 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 •
the art and after several weeks was able to du-
I fotibetu aud) btn JSotjiiil mit |id) lDejjuiteljmen. I plicate the show of the "theatrical Chevalier"
. Siejemqeu ADettcu unb Siltnen; iweldje 3l)n Uei) feiuev etfteit ;
Rcprclcntation mit SJwv ©eijeimjfii't 6eel)tet/ wevBen (Kjeujen, ' for his friends, which soon perturbed Pinetti's
i§ betgleidicn &ucte nod) niemals nefefjen lootben; andi u»ivb
err pmctti fid) t'efoubcrs ciiijclegeii femt ififfvu / bic ^eitidniftcn !
pride. This led Pinetti to set a trap to make his
i fattfom jit contcmitcn. young '"rival" lose all credibility in the eyes of
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 ; the population of Naples. This successful ma-
unenvartrten &»(tm su uoeiftiden; and) i(i befiiiint, ba(i feme •
Rcprelcnrarionen (tKenial ;n)ct) Stiwben bauetn. : neuver initially produced the results Pinetti
Ste JJotiielliiit^ tft mtf bet fnefigeit SReifeil?3l!"f '" ^mx Si'PiTen ' hoped for, but although mortified and humili-
2)cc ?(iifang i(t prxcifc 11111 s l!()r. j
ated, Edmond de Grisy swore to have revenge
(ktj Set) beni SiililclttJ jaljlt cine QJetfpu cut (jiilbcii nctlCH 2()aler. (
on the treacherous conjurer.
SSJami Sietfjdbet SiKetS uorijet wolleii abliollen (afftn, umfid) 6et) -t
IJQ bet Sljuteu mrtt lam) Wfitijalteit/ fo linb tie 511 betounndi bee 3Jot< 1 With a new show of much better quality than
ittttqe um 9 U()t biS Slactnmttitjt um 5 tlhi, 6ct) Slav ^mttti, j
git benm (5ct)ioetbt. No 10 ' Pinetti and more talent than the older man, De
Vx NB. M e 35or|iciltm!?en werben our fraiijoiiub unS bttufcf) i-xplicut; Grisy began presenting shows in all the cities of
man (arm e^ aud) m anbevn (ipracben »evbetitett/ fo man es ,
Italy where Pinetti was scheduled to perform.
This competition wiped out Pinetti. who, ig-
nored by the public, was forced to leave the
Illustration *0 - Small poster of Chevalier Pinetti.
Small German poster of Chevalier Pinetti in 1782, from
country. Edmond de Grisy went from success to
Max Difs work Histoire et evolution technique de la pres- success throughout Europe, accompanied by his
tidigitation, vol. 1, Limoges, 19"1-19T4 spouse Antonia and her twin brother Antonio.

42
 ACT 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 performing under the name of Torrini, Although
Edmond and Antonia was shattered after a hor- joy and enthusiasm were forever banished from
rible accident. De Grisy, in order to enliven his his shows, he remained a great artist whose
show, had advertised a new trick, William Tell's performance was perfect in all respects. This is
Son. in which their son Giovanni played the the portrait, painted in broad strokes, of the ro-
role of Walter, the son of the Swiss hero. One mantic and desperate character who had saved
evening the pivotal moment, the famous scene the life of Jean Eugene, whose characteristics
in which William Tell is forced to shoot at his and personality so reminded De Grisy of his
child, turned to tragedy, and by a fatal string of lost son.
circumstances, De Grisy ordered the shot that During the few weeks of the young man's
would take the life of his son. The father, in de- convalescence, De Grisy took care of him, gave
spair, wanted to kill himself but the law inter- him conjuring lessons, and even allowed him to
vened, condemning him instead to six months fix a famous trick automaton, The Harlequin,
of imprisonment in a mental home. During this manufactured by the mechanician Opre (sic).
time, Antonia, insane with suffering, let herself [53] In addition to his teachings. De Grisy shared
die of grief. the details of his life and his encounters with
After a terrible depression, at the edge of many famous conjurers, and inadvertently gave
ruin, De Grisy had Antonio sell everything he Jean Eugene the opportunity to take his first
owned, paid his debts, and had himself built, steps onstage, in Aubusson.
with the remaining money, the traveling coach Upon arriving in this city, the artist's coach,
with which he journeyed the routes of France 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 Robert-
Iloudin (op. cit.), depicts the accidental death of Torrini's son during this dangerous feat
 ACI I

elegant theater stage, was damaged in an acci-

dent. 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 situa-
tion 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 Illustrations i3 and 44 - The conjurer Comus.
of Robert-Houdin, which I urge you to read or Engraving of Comus and rare 20-page brochure by the
re-read. artist, dated l~6l.

In a previous chapter. I purposely used the

word "relentless" to describe the dramatic con-
struction of Robert-Houdm's memoirs. The
Torrini episode provides a perfect example. As EXPLICATION
he recites the triumphs and tragedies that dot- D ES
ted the existence of this mythical artist, Robert-
Houdin takes his reader through time. He al- AMUSEMENS PHYSIQUES
lows him to attend performances of magicians
ET MATHE MATIQUES,
from the previous century who influenced the
history of magic - Pinetti, Comus, [54] Olivier [55] JShJ E le fieur COMVS a don-
- and the acts of charlatans like Castelli or ties les annees trecedentes , &
swindlers like Zilberman. The author also gives des nouveaux qu'il donnera cet-
a concise look at the magic repertoire of this te annee a la Foire Saint Ger-
era: The Pyramids of Egypt. The Harlequin, The main , avec un petit Traitejur
Blind Man's Card Trick, The Dead and Alive la Palingenefie dont tl doit
Bird, and The Omelette in the Hat. faire voir les effets.
All this information, which the reader men-
tally records, is complemented throughout the
work by accounts of shows of famous contem-
porary conjurers and their favorite effects, as
well as the history of famous automata through-
out the centuries. Although he does not have to De 1'Imptimerie de V ALL EYRE, rue
become an expert on these subjects, the lay Saint Severin, a 1'Annunciation.
reader will nonetheless acquire, through anec-
M. D C C L X I .
dotes told with much wit, a sufficient knowl-
edge of these mysterious disciplines to fully ap-
ROBtRT-HolDIN

0#

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 I

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.

predate the fundamental changes that Robert- stories and lessons of his host; it is in this con-
Houdin brought to these art forms. Indeed, if text that he attended the performances of
one is not a magician, how else could one ap- mountebanks like Castelli in Angers. [56] When
preciate the impact of the formidable renewal about to leave, Torrini asked him to repair The
of magic that Robert-Houdin accomplished? Harlequin, a service the pupil could not deny
This pedagogical aspect is only one of the the man who had so carefully cared for him.
author's goals in his narrative. The others were The decision to go onstage was not Jean
explored in later chapters of his memoirs; here, Eugene's idea; the dramatic conditions of
the main goal was to explore the name and per- Torrini's financial situation forced him to take
sonality of Torrini, the master who supposedly this step in order to help his benefactor.
revealed all the secrets of the art form that was How could we have a more noble professor
still only an outline to the young man. Robert- than Torrini, an aristocrat whose father perished
Houdin depicted Torrini as a glorious artist who in the honor of battle; a learned man; a doctor,
outdid the greatest conjurers of his time, an el- whose only mistake was to have chosen one
egant man of taste with a respected name, day, out of pride, the shamed profession of
whose teaching he proudly learned from and in conjurer, thereby betraying his social class, a
whom he found a source of inspiration. decision which caused him to lose his only son,
Jean Eugene and Torrini's tale of adventure his adored wife, his fortune, and his honor? He
perfectly fit the criteria of respectability that the atoned for his "crimes" by performing from
author established for himself and which he town to town as the magician who, deep down
flawlessly maintained. The young man did not inside, he really was not, hiding his wounds
decide to abandon Noriet's workshop of his under a pseudonym while stoically waiting for
own free will to follow a traveling magician; it the end of his earthly sufferings and the erasure
was only by chance, following his food poison- of his sins...
ing, that Torrini discovered him unconscious on The perfect construction of this episode is so
the side of the road. The recovering patient's convincing that every historian studying it since
forced bed-rest in the coach was eased by the the end of the nineteenth century believed it to

47
ROBERT-HOUDIN

be romanticized but did not the creation of an image and

question its authenticity. [57] personality of a master with dig-
Finally, in 1943, Jean Chavigny, nity worthy of Robert-Houdin.
in his work Le roman d'un Neither Maous, the humble po-
artiste. Robert-Houdin, renova- diatrist, juggler, and - appar-
teur de la magie blanche (The ently - conjurer from Blois,
Story of an Artist. Robert- nor the generous David of
Houdin. Renovator of White Bordeaux and his supportive
Magic) issued a diametrically passion for the art of magic
opposed opinion founded on could have seduced as many
the absence of genealogical and readers as the tragic and roman-
historical traces of the De Grisy tic destiny of the ill-fated Count
family. This affirmation was not de Grisy.
unanimously accepted and nu- In my opinion, the perfection
merous researchers believed of the character of Torrini,
that the absence of tangible ev- which too closely corresponds
idence did not prove that De to the moral and social criteria
Grisy-Torrini never existed. Jean CHAVIGNY
of the time, weakens its credi-
I long shared the opinion of bility. However, this purely the-
these historians and I hoped to oretical approach is far from sat-
one day find proof that would isfactorily solving the mystery,
-E ROMAN D'UN ARTISTE
finally confirm the brilliant ca- so I would therefore like to pro-
reer of this mythical artist. vide you with an additional ele-
Indeed, what collector in the RownA-TToudin ment for reflection which, even
world would not dream of find- if not definitive proof, does sup-
ing a playbill of De Grisy, the Renovofeur de la Magie Blanche port the above viewpoint.
French conjurer, or a prospec- If, for decades, historians of
tus, even a booklet by Torrini? magic could not totally doubt
Over the years, my reading of the existence of De Grisy-
the Memoirs of Robert-Houdin Torrini, in spite of the absence
has become finer, my knowl- of valid documents confirming
edge of the intellectual path of the story in the Memoirs of
Robert-Houdin has greatly pro- Robert-Houdin. it is because of
gressed, and I am now inclined Robert-Houdin's cleverness,
to believe that this narrative was and I would also say his sense
formed to correspond to the of humor. The author pub-
work's various requirements, as lished the French edition of
I have described earlier - firstly, The Secrets of Conjuring and
the education of the reader Magic in 1868, ten years after
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 bi-
shape, although romanticized, longer cajoled his readers as he
ograph\. and signature of the man of
are authentic; M and secondly, letters from Blois in 1943. did so well in the Memoirs.
 ACT I

Robert-Houdin addressed the Conjurers and Continuators

reader as a teacher would a from their Origins to the present
student, earnestly teaching him day) and is a scholarly narrative
the present and past of his art, on the history of magic art that
in addition to the psychological was never published in Le
and practical techniques on Cagliostro because its content
which it is based. was too serious for the readers
Then, in the midst of a very of the humorous little journal.
serious discussion of the history We can date this manuscript
of magic, Robert-Houdin skill- from 1845-1850, more than ten
fully planted a De Grisy "trace" years before the publication of
and we find the name of Torrini Robert-Houdin's memoirs. There
next to those of Bosco, Brazy, is a major difference between
Chalons. Comte, Comus, Courtois, the list of magicians published
Jules de Rovere, De Linsky, in The Secrets of Conjuring and
Olivier, and Val, famous trick- Magic and that written in this
sters, charlatans, and magicians, manuscript. In the latter, Torrini's
and in the context of the Memoirs, A Master of Modern Magic
name is missing...
we can understand why he did Although the adventure story
so. Although historically im- The Life and Adventures of Robert Houdm of Jean Eugene and Torrini is to
proper, this was a brilliant pro- be doubted, we cannot ignore
cedure to definitively authenti- the much more plausible hypoth-
cate his master in the eyes of his esis that Robert-Houdin followed
readers. This "trace" was so care- a traveling magician who per-
Henry Ridgely Evans. Litt. D.,
fully planted that after more than formed in fairground booths for
a century, it is still there! a few weeks or a few months at
I have discovered in Robert- a time. The confinement of his
Houdin's archives an unpub- childhood, the boarding schools,
lished thirty-page manuscript the frustration of his notary ex-
artistically handwritten by the periences, the lack of interest in
master himself, destined for his work with Noriet, and his un-
Le Cagliostro, the amusing ending, forbidden passion for the
newspaper distributed to spec- art of magic could have easily
tators of his theater. This docu- pushed the young man to take a
ment is entitled Feuilleton big leap into the world of travel-
du Cagliostro. Revue critique, ing artists, who have always rep-
historique, chronologique, et Illustrations 51, 52 and 53 - Henry Ridgely resented an image of freedom to
artistique des Prestidigitateurs, Evans. sedentary individuals.
Escamoteurs, et Continuateurs Portrait and signature of the historian The possibility of learning
depuis leur origine jusqu'a nos Henry Ridgely E\ ans. one of the most his trade and practicing his art
fervent supporters of the work and
jours (Cagliostro's Chronicle daily before a real crowd could
memory of Robert-Houdin in the
Critical, Historical, Chrono- United States, and the cover page of his have heavily influenced his
logical and Artistic Review Of 1932 biography of the artist. decision, and one can see it

49
ROBERT-HOUDIN

would have been in the best interests of a fair- knowledge of the customs, habits, and language
ground magician to hire Robert-Houdin, who of these professionals. Although this chapter,
had every quality that could be useful to such deleted later in certain French editions and the
an entrepreneur. Indeed, we can easily imagine majority of foreign ones, is amusing and pic-
how Jean Eugene could have been key for a turesque, it nonetheless paints a very negative
small family business in which the majority of picture of these performers and the level of their
members were uneducated. His quality educa- artistic presentations. It is difficult to imagine that
tion would have been a precious advantage in someone who did not share the intimacy and
the complicated relationship of nomads with the professional life of this "typical" family of moun-
authorities, and his talents as a mechanician and tebanks, even for a short time, could have writ-
artist could only have improved the condition of ten such authoritative pages that ring so true.
the equipment and the show. This chapter therefore seems to be the inverse of
In the first French edition of the Memoirs of that on De Grisy-Torrini, and the author leaves
Robert-Houdin, chapter 4, "Physionomy of the the perceptive or romantic reader the possibility
Mountebank-Conjurer," there is a long chapter of making his choice between two versions, one
dedicated exclusively to this type of fairground idealized and the other realistic, of events that
performer in which the author shows a profound may in fact be one and the same.

Illustration 54 — Feuilleton dn Cagliostro. First page of this impor-

tant unpublished manuscript by Robert-Houdin (circa 1845)

~\

ft

Oiouey VCL UK14 YJ't-i///s> t/&i/—7> 6* itlW Apr- f£t,(^>/3'ul/T.(v^ it

fl C'C ^ ( « / * O *A

(
a i
6 ?JL H' au / M^cJt, 9 <•// u sJ«

50
 ACT I

Return to Blois, Mademoiselle Houdin

Once back home, around the month of which, refined over the years, would become
October 1828, it was not at La Guillommiere one of his main qualities.
but in Blois that Jean Eugene found his parents. The rebellious adolescent had become a
They had left their cottage in Grouets for an svelte young man with an attractive presence
apartment on Rue des Trois-Clefs. Prosper and was more than five feet seven inches tall. [60]
Robert had recently purchased a position in He carried himself in a princely fashion; his hair,
charge of employees of the hospices of Paris, styled towards the back, hung abundantly on the
with two offices in the Loir-et-Cher region, one nape of his neck; and his face was framed by
in Blois and the other in Vendome. His role was fine sideburns in the fashion of the times, soft-
to deliver quarterly payments to the local ening the contours of his prominent jaws.
nurses who looked after the foundlings of the
capital under the supervision of the administra- The thin lips of his large mouth were always
tion of the hospices. Marie Celine Robert, Jean smiling, and their warmth tempered the bright-
Eugene's older sister, had paid the fee required ness of a burning blue gaze. The fascination
to purchase this title. [59] evoked in Robert-Houdin's audience through
His father was "quite comfortable about [his his gaze would be emphasized countless times
son's] situation" because Robert-Houdin had in the media, and J. Joseph-Renaud, who in his
taken the precaution of sending letters suppos- youth interviewed the artist's contemporaries,
edly from Angers by the intermediary of a discussed this subject in Le Journal de la
"friend,'' who also had the responsibility of Prestidigitation: "The professionals in question
sending him the responses. This is a fairly in- had a veritable cult for Robert-Houdin and con-
coherent explanation (Why Angers and not sidered him to be the master of masters...They
Tours?) that the reader, like Prosper Robert, said that his gaze had an astonishing power and
must settle for. Though the oral tradition of the allowed him to fool not only the public, but
family of Robert-Houdin maintains that their even his colleagues and amateurs. The sharpest
ancestor never confirmed the Torrini-De Grisy eye could not avoid following his.'' For Jean
episode to those close to him, they do not re- Eugene, this new period in Blois could be noth-
member any other version the prodigal son ing but temporary; his destiny awaited in Paris
provided to account for his activities during his and nowhere else.
six-month absence.
Whatever the young man's memories of his
His peregrinations and adventures trans- early travels may have been, his return to Blois
formed Jean Eugene. He had acquired the confi- was motivated by a number of serious reasons,
dence of those who have traveled and no longer notably the poor health of his eighty-eight-year-
regard domestic individuals the same way. He old grandfather Guillon. Although Jean Eugene
was reassured by the seductiveness he could may have hidden nothing about his journey
practice on his audience, a quality he already from his close family and made them laugh with
skillfully used in daily life as well as onstage and his colorful narratives, he could not bring him-

51
ROBERT-HODDIN

self to admit that his calling for magic had only was very vague; after that time, it gained a com-
been reinforced by these experiences, and not plete mastery over me.
weakened. Still, I was bound to wrestle against this feel-
ing with all my energy, for it was not presumable
In order to remain active and maintain finan-
that my father, who had unwillingly yielded to my
cial independence, he began work with the
passion for watchmaking, would be so weak as to
watchmaker Blau, [61] who employed him to
let me try a novel and most singular profession. I
carry out the painstaking renovation and brush-
could certainly take advantage of being my age,
ing of pocket watches. Replacing a spring, in- and my own master; but, besides my unwilling-
serting a pin, refastening a chain, and using the ness to grieve my father, I reflected, too, that as
brush to shine it all again became his daily rou- my fortune was very small, I ought not to risk it
tine. To break this monotony. Jean Eugene be- without his consent. These reasons induced me
came a member of a troupe of amateurs from to defer, if not renounce, my plans, [«]
Blois who, during their leisure time, presented This confession, with its almost raw sincer-
comedies de societe in which Jean Eugene ity, profoundly expresses one of Robert-
played the main comic roles. Their perfor- Houdin's fundamental character traits: his
mances were free, thereby guaranteeing their ability to combine contrasting feelings like
success, and the little troupe had a strong fol- passion and reason, a rare capacity that was
lowing in town salons. one of the keys to the success of his personal
Jacques Guillon passed away on June 13, and professional life. Robert-Houdin was, as
1829, leaving as "universal heirs [One quarter for we have already written, the reed of the fable
each] Francoise Guillon [His daughter], widow of and not the oak, the turtle and not the hare,
Claude Metivie; Jean-Francois Guillon, merchant and — to remain a bit longer in the universe of
La Fontaine - he was obviously always the ant
in Orleans [His son]; and Jean Eugene and Marie-
and never the cicada.
Celine Robert [His grandchildren]." [(>A The
amount of this inheritance was 117,418 francs, a
Taking full advantage of his moments of
large sum for the time. The control of the suc-
freedom, Jean Eugene allowed himself to
cession bequeathed to Jean Eugene and Marie enjoy the pleasures of the comedies de societe
Celine, as well as half of its usufruct, was attrib- and refused to consider marrying and settling
uted "for his entire lifetime" to Prosper Robert, down as a watchmaker as his father insisted.
their father. Although he could not immediately In this case again, his "stern resolutions"
utilize this large bequest, Jean Eugene, as one would fail, but this time for his greatest hap-
expression of the times put it, became a young piness.
man of whom one expected much and who was
One evening, we were requested, as usual, to
obliged to consider marrying.
enliven the visitors by one of our proverbs. I do
The author's beliefs were far from this sacra- not remember the word proposed; I only know I
ment, and as for women, he flitted from one to was chosen to fill the part of a bachelor gourmet.
another, determined to give up his freedom to I sat down to table, and while indulging in a meal
none. His mind overflowed with ideas combin- like those usually served up at a theatre, I impro-
ing the art of magic with mechanisms, plans he vised a warm defense of celibacy. This apology
was all the easier to me, as I needed only to repeat
confided to no one:
the fine arguments I had employed to my father
Before that period [That of his meeting with about his double proposition. Now, it happened
De Grisy-Torrini], my inclination for conjuring that, among the persons listening to this descrip-

52
 ACT I

c
/ .

I ii

iT^

Ss*- / V l i U b ' <5% ' *~ -zX. £ ^ ^

r
j4 &*tl't~^~&^ \&J%z4p&t*^-*-££-*

^ ^

CL^WJ

C-^V#»#

,r Ci\

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

55
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

tion of the blessings of celibacy, was a young lady
of seventeen, who inclined a serious ear to my ar-
one in the Jardin des Plantes, placed at the
guments against marriage. It was the first time I
Cabinet de l'Histoire Naturelle, one that is ad-
had met her, so I could not ascribe any other rea-
mired by foreigners and specialists of clock-
son for her fixed attention than her desire to de-
making." A few decades later an electric clock,
tect the word.
invented by his famous son-in-law, would in
A man is always delighted to find an attentive
turn decorate the city hall pediment.
listener, more especially when it is a pretty young
girl; hence, I thought it my bounden duty to make In 1820, Jacques Francois Houdin was called
some polite remarks to her during the course of to Paris by the famous Breguet and "became,
the evening. A conversation ensued, and became with Breguet, Motel, Perrelet, Lepaute, and
so interesting that we had a great deal still to say
Wagner, one of the greatest watchmakers who
to each other when the hour came for separation,gave such a vigorous expansion of perfection
and I believe the regret at parting was not felt by
to chronometric art...'' [67] As early as 1823,
myself alone.
after the death of Breguet, he established him-
This simple event was, however, the cause ofself as '"commissioner in watchmaking" at 7,
my marriage with Mademoiselle Houdin, and this
Rue Harlay-du-Palais and sold his properties in
marriage took me to Paris. [<>-*]
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 en- pieces.
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'en-
brother-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 dur-
Houdin, [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
Jacques Francois Houdin had brilliantly each piece of the watch to be handmade.
begun his career as a watchmaker with his fa- Later artisans assembled mass-produced
ther, Jacques Houdin, who already had a bou- pieces.
tique 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 am-
would 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 deco- in common, notably their taste for science and
rated church towers of the Loir-et-Cher. We complicated mechanisms, and a love of me-
may 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 pas-

55
ROBKRT-HOUDIN

sion won him over. Jean Eugene had fallen in because he had to wait almost a year. [6»]
love with Cecile Eglantine at their first en- It was with the sweetest of challenges in his
counter, and he thought he should go to Paris heart that the young man would finally dis-
immediately to woo the young girl and try to cover the city that had nourished his hopes and
make her share his wishes. This was not to be, 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 Marie-Anne Millet, born in 1736, Watchmakers from Blois in the
on March 25, 1743. See genealogical died in Blois on November 22. sixteenth and seventeenth cen-
chart. 1772. See genealogical chart. turies. Home of Denis Papin - in-
ventor of the steam engine - and
2. 5. Robert-Houdin, the father of mod-
Jean Toussaint Robert, born in Blois ern magic, the city of Blois had the
Jeanne Martinet, born in 1710. on July 20, 1766, died on October privilege of being the world capital
died in Blois on February 4, 1757. 11, 1845. See genealogical chart. of watchmaking for almost two
See genealogical chart. centuries. This period extended
6. from the reign of Louis XII at the
3. Prosper Robert, born in Blois on beginning of the sixteenth century
Toussaint Robert, born in Blois November 29. 1767, died on until 1660, the date of the death of
on May 30. 1741, died on March 22, February 28. 1844. See genealogical the last Count of Blois, Gaston
1814. See genealogical chart. chart. d'Orleans. The presence of the

59
ROBERT-HOI DIN

103 al court at the Chateau de Blois 9. perpetuated in numerous French

and the rich lords living in its Jean Martin Robert, born in Blois and international editions of the
shadow was a guarantee of pros- on Frimaire 11. year VII. died on Memoirs of Robert-Houdin. led cer-
perity for the masters of this art. tain biographers to write that
June 5. 1880. See genealogical chart.
There were no less than two hun- Robert-Houdin did not know the
dred artisans and watchmakers in 10. exact date of his birth. This is an
Blois at the end of the seventeenth Marie Catherine Guillon. born in unfounded interpretation because
century. Blois on November 18. 1780. died all of Robert-Houdin's official pa-
Julien Coudray. who served the on March 27. 1809. See genealogi- pers are dated December 7. a date
court during the reigns of Louis XII cal chart. which he obviously could not have
and Francois I, made the earliest mistaken. However, it is true that
watches. This very talented artisan 11. from a very earlv age. his family al-
was employed by the King to make Jacques Guillon. born in Peyrsac ways celebrated his birthday on
spheres, astronomical clocks that in 1741. died in Blois on June 13. December 6 because of a misinter-
followed the movement of the 1829. See genealogical chart. pretation of the Revolutionary cal-
skies; the chapter of Saint-Gatien endar; thus everything becomes
of Tours entrusted him with the 12. clear!
restoration of its automaton clock: Marie Frangoise Billon, born in
and the councilmen of Blois did 1746. died in Chambord on November 19.
likewise with their town clock. The 17. 1773- See genealogical chart. Two documents issued by the
success that crowned his undertak- civil and religious administrations,
ings obliged Julien Coudray to 13. at the request of Robert-Houdin.
build a large workshop with his Frangoise Marie Guillon mar- are other elements of his personal
most prestigious colleagues. ried Jacques Claude Metivie on archives that have s u n n e d . The
Nrvose 21. year IV. See genealogi- first is a birth certificate, dated
In the Archives Nationales is a cal chart.
document dated December 31. March 11. 1851. and the second a
1518 concerning the payment of an 14. baptismal act. dated August 2.
order by Francois I to Julien Marie Francoise Maulny (or 1844:
Coudray for "two excellent daggers Maun)), died in the year IV See ge- Extract of the birth certificate
decorated on their pommels with nealogical chart. registers of the town of Blois.
two golden clocks." created for the
King's use and costing two hundred On the eighteenth day of the
15. month of Frimaire, year fourteen of
gold crowns. E. Deveille. Archives Robert-Houdin kept this letter his the French Republic, the birth cer-
Nationales. K.K.289. Fol. 444. note, entire lifetime, a relic of a prema- tificate of Jean Eugene Robert, born
page 3. turely deceased mother, and wrote the sixteenth of the month at four
With the revoking of the Edict of on the top the missive: "This letter o'clock in the evening: son of
Nantes and the departure of the is from my mother; it dates from the M. Prosper Robert, watchmaker in
royalty, the majority of the watch- early days of her marriage. R.H." Blois. Grande Rue. and the lady
makers left Blois. Some followed Marie Catherine Guillon. his spouse,
their noble clientele to Paris, and 16. his father and mother: the sex of the
some moved to Franche-Comte. in Prosper Robert, born in Blois on child designated as masculine. First
the regions of Doubs and the Jura. Pluviose 7. year XII. died on April witness. M. Jean Dehargue. baker,
the child s cousin; second witness.
Finally, a large part mo\ed to 17. 1806. See genealogical chart. M. Francois Joulin. carpenter in
Switzerland and everything points Blois. the child's cousin: adults, at
to the possibility that, contrary to 17.
the demand of the father who is pre-
common belief, it was the exodus Marie Celine Robert, born in Blois sent, undersigned.
of artisans from Blois that led to the on Frimaire 1. year XI. died in Paris
long-lasting establishment of the on January 20. 1832. See genealogical Taken note of by I. Nicolas
French and Sw iss watchmaking in- chart. Bougeard Germoniere, deputy to the
mayor of Blois. for the functions of
dustries.
18. public officer of the civil register
In his memoirs, through a strange undersigned.
8. irony. Robert-Houdin initially cites The register signed Dehargue,
Silvine Alloncle. born in Blanc in December 6. 1805 as the day of his Joulin. Robert Guillon. and
1763. died in Blois on June 11. birth, but this is a mistake. This Bougeard Germoniere.
1833. See genealogical chart. probable printing error, which was Authorized copy delivered.

60
 NOTES ro ACT I

The second certificate has an An excellent engraver, a jeweler 27.

amusing surprise and deserves an of the greatest taste, he at the same
time could carve the arm or leg for Peter Ackroy, Dickens. Stock.
attentive reading. 1993. p. 2~2. Charles Dickens was a
some fractured statuette, restore
Extract from the register of the enamel on any time-worn distinguished enthusiast of the
baptismal acts for the year 1805. porcelain, or even repair musical magic art, which he performed at
Diocese of Blois. Saint-Nicolas snuff-boxes, which were very fash- family reunions, parties, and his
de Blois parish. Baptism of Eugene ionable in those days. children's birthdays. During his
Jean. The year eighteen hundred The skill he evinced in these trips to Paris, and perhaps also in
and five, the third of December, we varied arts at length procured him
the undersigned priest have bap- London, Charles Dickens attended
a most numerous body of cus- shows given by Robert-Houdin and
tized Eugene Jean, born yesterday tomers; but unfortunately, he was
from the legitimate marriage of published a long and laudatory
Monsieur Prosper Robert watch- wont to make most repairs not analysis of the Memoirs of Robert-
maker and the lady Marie strictly connected with his own
business for the mere pleasure [of Houdin in his periodical Household
Catherine of this parish. The god- Words. April 9. 1859-
father is Jean Dehargue. the god- obliging and free of charge].
mother Demoiselle Elisabeth Memoirs of Robert-Houdin. Geo.
Aimee Bailly who, with the father G. Evans. Philadelphia. 1859. p. 18. 28.
present, have signed the present This cottage was bought by
act with us...[Signed] Yilain, 21. Prosper Robert on December 16.
priest. Jacques Claude Metivie. born in 1815 from his maternal aunt
Authorized copy of the register. Blois on October 1. 1765. died on Madeleine Catherine Millet, widow
Blois. August 2. 1844. Signed: December 6. 1817. See genealogical of Joseph Mezange. known as
L. Baschet. vicar of Saint-Nicolas chart. "Sansonnet." "on the condition that
de Blois. he lodge the aforementioned dur-
22. ing her entire lifetime and pay an
If we take the handwritten act Marguerite Rosalie Metivie, born annual allowance of 500 francs
by the vicar Baschet to be exact. in Blois on December 28. 1785.
Jean Eugene Robert was the first and 228 liters of red wine."
died on August 4. 1872. See ge- Archives de Loir-et-Cher. 57. Q23
and. most likely, the only newborn nealogical chart.
baptized...four days before his and Delagrange minutes. Jean
birth! 23. Chavigny. op. cit.. p. 29.
The reading of these two docu- In his memoirs, Robert-Houdin
ments also enlightens us on a point "generously" gave the rank of 29.
that is not without interest. colonel to this soldier, whose See the "amphigoric speech" and
Although, for the civil register, the teachings he had greatly appreci- the description of Carlosbach's per-
child's first name is Jean Eugene, ated. Jean Chavigny. Le Roman formance in Appendix II in the arti-
he was on the contrary baptized dun artiste. Robert-Houdin. reno- cle entitled 'Charlatan."
Eugene Jean. However, his family vateur de la Magie blanche. Said to be from India, although
celebrated the Saint-Eugene for him Imprimerie Lhermitte. 68. Rue des the first written references are
and until his marriage. Robert - Ponts-Chartrains. Blois - Vienne, found in Greek and Latin texts, the
Houdin signed correspondence and (1943). p. 28. Cups and Balls — a routine in
official documents as E. Robert." which little balls mysteriously
24. change places under three cups,
20. Memoirs of Robert-Houdin. op. join together, appear, disappear, or
Robert-Houdin painted this lovely cit.. pp. 18-19. multiply - is probably the world's
portrait of Prosper Robert, his father: oldest magic trick. Its traces can be
Though he did not rise to the el- 25. found in Greek manuscripts -
evation of the Berthouds and the Memoirs of Robert Houdin. op. where it is called psephopalxia. the
Breguets. my father was reputed to cit.. p. 20. Archives Departemen- pebble game - and in Latin ones -
be very skillful in his profession. In tales du Loiret. Orleans high school in which the performers are called
fact, I am only displaying modesty and junior high school (1805-1825). calculates and acetabulari. from
when I say that my father's talents the Latin word acetabulum. mean-
were confined to a single art; for, in ref. 45203.
ing "cup."
truth, nature had adapted him for
various branches of mechanics, 26. In antiquity, these street artists
and the activity of his mind led him Memoirs of Robert-Houdin. op. used small pebbles. It was the trick
to try them all with equal ardor. cit.. 1859. p. 20. par excellence shown by the jug-
ROBERT-HOUDIN

istence of a handful of artists priv-

ileged 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, dis-
appearances, transpositions, multi-
plications, 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 conjur-
ers 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
Illustration 58 - Traveling Conjurer by Victor Adam. ancestors.
glers who performed in public who took advantage of the aston-
squares, with a cloth bag around ishment of the spectators to steal
the waist. The trick was most often their money, which considerably
a pretext to attract a crowd and damaged the reputation of this
then sell them an ointment, medi- honorable trade! The most master-
cine, or powder with mysterious ful illustration of this situation re-
virtues. The conjurers, called entre- mains the famous painting by
jeteurs in the Middle Ages, then Hieronymus Bosch, The Conjurer.
faiseurs de tours, were unfortu- The dexterity of these artists
nately followed by purse-cutters made them suspects of heresy by
the Inquisition's courts and the
innocent tricks of the conjurers,
Illustration 60 - The Conjurer's Folding
accused of "owing their skill table and tools. Engraving illustrating
NATURELLE, solely to witchcraft and spells," the title page of the work Amusements
OU MELANGE led quite a few of them to the et recreations de societe by M. Pelletier,
DI V E R T I S S A N T ,
stake. Paris. Corbet aine. Librairie 1835.

Continent dts Secrets mervzilhux, From the middle of the six-

0 Tours pltfijhntf*
teenth century to the beginning of
Nouvelle Edition, revue 5c co."rig('c. the nineteenth century, the artists A Brief Glossary of the Cups
of this period would conclude and Balls
their performances by selling ex- Cups and Balls: A set usually
planatory manuals - four, eight, or consists of three cups.
twelve pages long - on which
their names and titles were some- Balls: Various-sized balls of cork,
times printed, followed by revela- fabric, ivory, or bone.
tions of a few secrets. These Gibeciere: A sort of small, oval-
brochures are today very scarce, shaped canvas bag permitting the
with only a few dozen copies sur- secret procurement and deposit of
Chez P. S E Y E R & BEHOURI
Imj>t,-Libr. rue du Petit-Puits. viving through the centuries, the the balls. The bag was tied around
majority of them being unique ex- the artist's waist.
Illustration 59 - Pitchbook from the eigh-
amples, but they are often the Magic wand: This staff was often
teenth century. only documents that prove the ex- nicknamed "Jacob's wand."

62
 NOTES TO ACT I

? • • • • • • . • • . ' \ •'. / • • • ' . . •

df?)

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. studies. Robert-Houdin. in dating Jean Eugene's vacation, and noth-

Let us emphasize that in the this event after his eighteenth ing leads us to believ e that it was
author's writings, he attended birthday, faithfully respected the the only show that our hero wit-
Carlosbach's show following his rules of morality that strongly ad- nessed. At the beginning of the
\ ised parents not to let their chil- nineteenth century, there v\ ere
dren attend the shows of traveling very few fairs, carnivals, or markets
performers. Although this edict that did not regularly have magic
was destined for all children and shows in tents or out in the open.
all social classes, it concerned There is no reason to doubt
mainly wealthy families whose that Prosper Robert applied the
offspring lived under the watchful same restrictions to his children as
eye of zealous governesses. the upper classes did. However,
We must remember that it was this can also be questioned.
this society, then considered to Carlosbach and his colleagues
be the elite, that carried the name probably fostered his calling for
of Robert-Houdin to the greatest the art of magic, perhaps ev en
heights a few years later. It was earlier than the author implied,
also in these ranks that the author but Robert-Houdin could obvi-
found his earliest readers. Faithful ously not write this in his mem-
to his public. Robert-Houdin. with- oirs. In the eyes of his "noble"
out hiding his interest in the readers, he would have been con-
skill and picturesque aspects of sidered an ungrateful student, dis-
Carlosbach. the "mystifier from respectful of the efforts made by
Bordeaux." did not hide the less his family for his education, and
/ / • / / . .
eria
appealing aspects of his personal- this to indulge a pursuit consid-
ity, from his little deception con- ered to be supernatural. The cen-
Illustrations 62 and 63 - Traveling cerning the content of his booklets sors of the era would have had a
Conjurers. to the details of his contemptible wonderful time emphasizing how
Engravings from an anonymous alpha- cheating. this bad example could have per-
bet book (n.d.) and from the work Las nicious effects on the thoughts of
Grotesques by "In Archeologue. " Paris. In reality, this colorful scene
the dear little children.
1838 could have taken place prior to

64
 NOTES TO ACT I

Robert-Houdin was hardly likely Maisons at 8 o'clock. Arrived at inspirations in the art of conjuring
to want to give pernicious ideas to Avaray at 10:30 - I had lunch with (see my memoirs)." But with both
the new generations because, even the Duke and Duchess, his son, his fire and ice in his heart, his wisdom
though he had lived according to wife, his son-in-law, and his daugh- led him to buy a second copy of this
his own rules, his attitude through- ter; the doctor, the private tutor of imposing dictionary, in which he
out his entire lifetime was that of a the children, and the four grand- wrote practically the same words,
moderate conservative steeped in children and the secretary - After w ith the same sobriety and in the
the social ideas of his time. His lunch we all went for a stroll same location. One example would
real fight in this uptight society, through the woods of the Verdelet - go to one branch of his family, the
buffeted by major political events, It was quite nice weather. other to a second, and thanks to this
was for his profession to be as The Duke showed me my old precaution, he thought, at least one
honorably recognized as others room from when I was a clerk with of the two precious historical \ ol-
were. He spared no effort to Maitre Roger - and the interior and umes would certainly survive the
achieve this formidable task, and exterior of the chateau. We went to destruction and ravages of time.
through his genius he raised his Maitre Roger's son's home. I was Through a strange irony, though so
profession to the level of art. perfectly hosted by the Duke. I left many of Robert-Houdins mementos
Avaray at 4 o'clock - Arrived in have disappeared, both copies have
For Robert-Houdin. the profes- Blois at 7 o'clock p.m.
sional renown of a man who has been preserved in perfect condition,
Tablettes fournalieres of December one in the collection of the Chateau
stepped out of his social class.
19. 1867. The Duke and his family de Blois and the other in the family
whate\er his le\el of wealth, was
visited him at The Priory on archives of his great-grandson,
not gratifying unless accompanied
September 4. 1868. M. Andre Keime Robert-Houdin.
by social recognition and re-
spectability, and this was more eas- The handwritten text on the latter
ily granted to men of science and 35.
Memoirs of Robert-Houdin. op. copy reads as follows: ••Robert-
literature than to artists. In order to Houdin [Signature] I Volume in which
accomplish this impossible exploit, cit.. p. 38.
I drew / my first inspirations for
given the prejudices of his time. 36. the art of conjuring."
Robert-Houdin acted contrary to Jean-Martin Robert, son of Tous-
several of his deepest convictions saint Robert, the younger brother of 41.
and agreed to pay a heavy price to Prosper Robert, was the husband of Memoirs of Robert-Houdin. op.
finally be recognized by the elite as Therese-Justine Renou. whom he cit.. pp. 44-45
one of their peers. married in Meung-sur-Loire, around
1824 (Jean Chavigny. op. cit.. p. 33). 42.
31. In the civil register the name of We know very little about this po-
Jean Chavigny. op. cit.. p. 31. "Cousin Robert' was. after his wed- diatrist from Blois named Maous
ding, Jean Martin Robert Renou. who was also a conjurer, as related
32. by Robert-Houdin in his Memoirs.
Memoirs of Robert-Houdin. op. 37. It is interesting to note that Eugene
cit.. p. 36. Memoirs of Robert-Houdin. op. Hatin. in his mini-biography dedi-
33. cit.. p. id cated to the artist in his series in Le
Charles-Michel Roger, born in Constitutionnel (which was also
38. published as a som enir booklet
Saint-Dye-sur-Lone on January 12. Memoirs of Robert-Houdin. op.
1777. died on December 21. 1843. that Robert-Houdin pulled out of
cit.. pp. 42-43. his Horn of Plent) and generously
He was mayor of Avaray from 1816.
(Jean Chavigny. op. cit.. p. 31) distributed to the audience) also at-
39. tributed the earl) training of the
Memoirs of Robert-Houdin. op magician to Maous. Since Hatin's
34. cit.. p. 44.
In December 1867. fort)-two \ears mini-biography was published
later. Robert-Houdin paid a visit to 40. nearly ten years before Robert-
the Chateau d'Avaray. writing the fol- Many years later, certain that he Houdin's memoirs, we can stress
lowing note in his Tablettes journal- would be remembered by history, the fact that the conjurer later pre-
ieres (daily journals) of December 19. Robert-Houdin wrote the following ferred to insist on naming De
1867: lines on the title page of his copy of Grisy-Torrini over the others as his
the Dictionnaire Encyclope'dique: initiator into the art of magic. This
Awakened at 7 o'clock - I left for
"Volume from which I drew my first seems to me to follow the hypoth-
Blois at 7:30 - I hired a coach at

65
ROBERT-HOUDIN

esis suggested in my chapter "The young lady. Information on Paul, tionship to the hero of this biogra-
Count de Grisy, French Conjurer, gardener. I sent the autograph of phy, who was not even born when
known as Torrini": Comte to Monsieur de Flers. the brochure was published!
Chance, again, this chance that 45.
always appropriately lies on our 46.
These three pitchbooks, all pub- Perrin, conjurer-mechanician,
path, wanted Blois to have a con-
lished in Bordeaux, come from M. "Rue de la Verrerie, at the Hotel de
jurer who cumulated that art with
that of podiatry. This man excelled David's bequeath to Robert-Houdin. Reims across from the petite Rue
in making balls and foot corns dis- They are not cited in the various des Consultes in Paris" (David of
appear, accompanied by the bibliographies of magic - including Bordeaux, First notebook, p. 61).
singing of birds, which he also my own! Sidney W. Clarke, in The Annals of
skillfully imitated. Robert became — LA SCIENCE / DES ESCAMOTEURS Conjuring, highlights the passages
an assiduous student of this merit- / OU / SECRETS / DE GIBECIERE / of the conjurer Perrin in London
worthy juggler. He never thought Avec permission / A BORDEAUX, between 1785 and 1789. Max Dif,
the slightest revelation was too / De l'lmprimerie de Lawalle in volume 1 of his Histoire de la
costly; the best fruits of his garden, Jeune, allees de Tourny, no. 20. Prestidigitation, Limoges (1971-
the oldest bottles of his wine cellar (18 x 10 cm.)
went first, then he even offered 1974), p. 142, notes Perrin's perfor-
— COMBINAISONS / AMUSANTES / mance during this period on the
money. TIREES DE L'ESPRIT DE I/HOMME.
This decent man was not proud; boulevards and at the Palais-Royal,
/ To know the names of all of the where he exhibited a little female
he accepted everything, but in re-
People, men and Women alike; / dog who performed "very strange
turn, he generously lavished the
treasures of his old experience on with a strange method of learning exercises, read French and English,
his generous student, who soon to / guess in what month some- and did conjuring tricks."
knew more than his master, except one is born, what / day, hour and
date / how old someone is and in In 1791, Perrin performed briefly
in the art of removing corns, to
whom he left the monopoly. what season someone was / born, between two plays in the Salle des
either day or night, etc. / several Delassements comiques. His most
Eugene Hatin, Biographie de tricks with Mathematics, Physics, famous tricks were the dove shot
Robert-Houdin, extract from the se- Cards, and Coins / PAR LE through a window from a gun and
ries of the journal Le Constitutionel, CITOYEN DRIOT, Parisien / A which then reappeared with a ring;
Guiraudet and Jouaust, printers, BORDEAUX / Chez Lavignac, the inkwell supplying endless ink
Rue Saint-Honore. 338 (Paris, circa Imprimeur, Rue Porte-Basse, no. 2 / in all colors; and the watch
1848). Year XI. (21 x 12.5 cm.) crushed in a mortar and found in-
tact (Max Dif, op. cit., volume 1,
43. — RECUEIL / DE NOUVEAUX TOURS
p. 152).
Memoirs of Robert-Houdin, op. DE PHYSIQUE AMUSANTE / ET
cit., pp. 48-50. DE SECRETS UTILES / Demontres
avec clarte et precision / A BOR- 47.
44. DEAUX, de l'lmprimerie LAGUIL- Jacques Voignier has in his collec-
LOTIERE / vis-a-vis le Cafe de la tion two playbills of "Old Palatiny"
See the complete text of Robert-
Comedie, no. 21. (18.5 x 11 cm.). dated 2 Floreal, year 7 (Sunday,
Houdin's articles on M, Comte in
Under the engraving depicting an April 21, 1799) and 24 Frimaire,
Appendix II at the end of the vol-
outdoor conjurer in the midst of a year 10 (Tuesday, December 15,
ume. This letter from Comte, the
trick, which decorates the cover of 1801). The bill of 2 Floreal au-
King's Conjurer, was sent to the
this brochure, the following text thenticates, if need be, the written
Marquis of Flers by Robert-Houdin
can be read: manuscripts of David of Bordeaux
on February 24, 1869- Tablettes
because it gives specific details of
journalieres, 1869, Wednesday, M. ROBERT shows how to the ''BRILLIANT SHOW of citizen
February 24, S. Mathias: play / eups in a very short time;
PALATINY," particularly concern-
he also teaches / other parlour
Awakened at 7:30. I received a tricks, for a very reasonable ing the decapitation of an animal,
letter from Lecesne about The rate. / He will perform at your which has top billing:
Secrets. I went to see the con- home. / Ask two hours in ad-
struction at the Pont St. Michel. I vance. UNDER THE SURVEILLANCE OF
am a little less ill now. I worked at THE CONSTITUTED AUTHORITIES -
l'Ermite. It is very nice weather. Although the name of Robert is AT THE REQUEST OF ADMIRERS
Was called on bv M....with his familiar, it obviously has no rela- FROM THIS COMMUNE

66
 NOTES TO ACT I

1. Citizen PALATINY will cut off

the head of a living animal, he will 3, A
throw it to one side and the body to
the other, will take the said head BLANCHE
and put it back on. and revive the
said animal with physical science.
0L1
2. There will be a dozen eggs on
the table; a person from the audi- EXPLICATION
ence will take one. examine it, and DL'J 'liuir.t ..'illprcniinnf.^qui /iV/l clcpili.'pt-'ti
will make sure that it is raw. after I'aJnuraluvi i/c /a uipitale ct t/e la Province,
which he will ask for any sort of avec di'j rc/le.ywnj stir Itt 7iai/a<:l/c ilivctladxn
led Automate*! Joiwuri d'Echecs &'c A c
bird; the egg will be broken and the
bird asked for will come out; it will PAR M. DKClUiill'S .
•«.»/™»i.,,/.,/,;,,,,,,u,
sing a song upon demand, analo-
gous 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
CMVIU .'l/k-aum,/,.,/,,,, ,/,• Plif siqiK amus.mU; ,/nt
in the said vase in four minutes, and ,7/v.v avoir r Mm/ <•« cent/res urn Carl.- </»<./.«'<• au >
they will have the same smell as if lia-aiJjclle le .A;, ,vi I'au poor ifjUaV IvpamfhV
, /,•,«,!.

they had just been freshly cut. .;, la c/ouantau mar d'un coup </<• Pti-tokl

4 A member of the audience

will hold something in his hand: Illustrations 64 and 65 - La Magie blanche devoilee
this will then change into a living Frontispiece and cover page of Decremps's work. The engraving depicts Chevalier
animal. This trick is so surprising Pinetti.
that it flatters itself in winning the
applause of the audience... Jerome Sharp, 1789. These works sent the man on his way with a bit
The box seats will cost 1 Franc, were published in many editions of money discreetly slipped into
20 centimes, or 24 sous; regular seats and some were translated into sev- his hand. This man was a confed-
will cost 75 centimes or 25 sous. erate.
The show will begin at precisely 5
eral languages, according to
Robelly, Le Livre d'Or de Ceux qui
p.m. It is in the Pierre-Lentin theater
ont eu un Nom dans la Magie,
49-
hall [in Orleans]. The purpose of this chapter is not
Tours, 1949.
intended to give David of Bordeaux
48. In The Secrets of Conjuring and a more important role than he ac-
Henri Decremps, born at Beduer- Magic, Robert-Houdin narrates how tually had in the careers of Comte
en-Quercy, Lot, April 15 1746, Pinetti got revenge on Decremps by or Robert-Houdin. but rather to
died in 1826. Lawyer and mathe- publicly discrediting him: emphasize through his example
matician, he was an attache for that professionals throughout con-
the French Embassy in the English ...During one of his perfor- juring history have often found
Court, as a secretary-interpreter. mances, he [Pinetti] complained help and sources of inspiration
Decremps's renown is for his that an ignorant person, an impos- from enthusiasts who, in this man-
exposures to the lay public of tor, in order to ruin his reputation,
said that he could reveal secrets ner, gave one of the finest proofs
the tricks in the repertoire of
above his intelligence. No sooner of their passion for the art of
Chevalier Pinetti. The explana-
had he said that, a man poorly magic.
tions given in his first books are
often subject to caution and rather dressed and who looked unhealthy
got up in the middle of the assem- 50.
imprecise. Memoirs of Robert-Houdin. op.
bly and vulgarly addressed Pinetti
Decremps wras the author of five and offered to prove that the ex- cit., pp. 51-52.
conjuring works: La Magie blanche planations he gave were exact. The
devoilee, 1784; Supplement a la public, unhappy about seeing a 51.
Magie blanche devoilee, 1785; performance that they liked dis- If the reader belie\ es that the
Testament de Jerome Sharp, 1785; turbed, booed the poor devil and Torrini-De Grisy episode is true, this
Codicile de Jerome Sharp, 1788; may have been about to beat him date, provided by Jean Chavigny, is
and Les Petites Aventures de when Pinetti intervened and gently likely and supported by facts.

67
RODERT-HOUDLN

52. LENOUVEAU
Pinetti: Joseph de Pinetti de
Willedal de Merci. Born in P I N E T T I ,
Orbetello, Tuscany, in 1750, died in ou
Bertichev. in Yolhynie, Russia, in
1800. Pinetti was probably the most RECREATIONS
flamboyant conjurer of the eigh- DE SOCIETE;
teenth century, and apparently the C O ^ T E N ^ T douze figures pour
most charlatan-like, if we are to be- Uinlelltgeiice des principes parti-'
culicrs pour les tours de cartes;
lieve the testimonies written about les faux melanges, faire sauter
him by some of his equally famous la coupe etc. el touts sortes de
contemporaries, and also the reports tours agrdables > suivies de dif-
fcrentes manieres de tirer les
of the period, which range from ex- caries.
cellent to much less flattering de-
scriptions. Decremps published al-
leged explanations of Pinetti in his A PARIS,
Chez T i o F. R, Imprim.-f Jbraire f
work La Magie blanche devoilee. On Place Gambraj, au Piiicr litteraire.
explications des tours surprenants
qui font depuis peu Vadmiration de
Le Nouveau PINETTI - p. 1
la capitale et de la province avec des PINETTi Nv. P. de G.
reflexions sur la baguette divinatoire,
les automates, joueurs d'echecs, etc.. Illustrations 67 and 68 - Le Nouveau Pinetti
1784. In response to these expo- Engraving from the frontispiece and cover page of this very rare anonymous little work.
sures, Pinetti in turn published that
same year a book entitled Amu-
semens physiques et differences ex- periences divertissantes composees et and only refer to Harry Houdini's
executees tant a Paris que dans les work when I have the opportunity
diverses Cours de I'Europe. Pinetti to bring some new information to
claimed he was a professor of math- the reader, or to shed light on
ematics and physics and said he was some specific issue.
a Protege of the Royal Court of This inaccuracy is especially the
France and Pensionnaire to the case in the paragraphs devoted to
Court of Prussia. Opre (pp. 138-140) who was, ac-
cording to Houdini, and among
53. other "speculations," Robert-Houdin's
The name of the mechanician Opre mechanician! Houdini is very care-
is mentioned several times in Harry ful not to offer the slightest proof,
Houdini's work The Unmasking of any specific date, or serious, verifi-
Robert-Houdin. The Publisher's able references to the "irrefutable
Printing Company, New York, 1908. documents" upon which he claims
Although Harry Houdini was a to base his "proof" because they
prominent artist and at that time are simply fictional.
the greatest collector of documents
on the magic art, the use he made One of the documents that
of them in attempting to discredit Houdini "discusses" with his read-
Robert-Houdin's memory is at the ers, but which of course he does
very least questionable. Research not reproduce and from which he
v\ orks by Camille Gaultier, Maurice builds a purely fictional story, is a
Sardina. Jean Hugard, Sam H. Sharpe, Dutch book that mentions the
and many others have shed light name of Opre. Although Houdini
on the author's re\ isionist state- provides neither the date nor
Illustration 66 - The Chevalier Pinetti. ments and reestablished the histor- other specifics about this work,
Engraving from the frontispiece of the
work Amusement Physiques by the fa- ical truth. I will therefore refrain the truth about this matter would
mous conjurer. from elaborating on this subject one day be revealed.

68
 NOTES TO ACT I

In his remarkable autobiogra- 339, showed that Opre was most Here is the complete text of
phy Illusion Show: A Life in Magic, likely M. Aupre, a Dutchman who Aupre's playbill of Thursday January
published by David Meyer Magic presented card tricks, stunts, and me- 18, 1^8";
Books, Glemvood. Illinois, 1988. chanical tricks as well as an automa-
BY PERMISSION - NEW UNIQUE
the great illusionist David Bamberg ton. The Grand Sultan. He performed SHOW
(Fu Manchu), son of Okito and in the Chapeau Rouge theater on M. Aupre, a Dutchman, advanta-
brilliant representative of the se\ - Thursday, January 18. 1787. [In geously known throughout almost
enth generation of magicians in French "o" and "an" are pronounced all the courts of Europe for the sub-
the Bamberg family from Holland, the same way, wich explains the con- tlety of his Card tricks and the
reproduces the document to which fusion as to the spelling of the artist's beauty of his experiments based on
last name. Translator's note] Physics and Mechanics invented by
Houdini refers in The Unmasking
himself; the great quantity that he
and which the "Handcuff King" re- Jacques Voignier has also since proposes prevents us from going
frains from including since his en- discovered that during this period, a into detail.
tire "case" would fall to pieces! remote area of Bordeaux was oddly Nonetheless, here are the descrip-
This work is an 1831 almanac named Chapeau Rouge. The date of tions of a few of them.
published in Utrecht (Holland) that the playbill could thus imply that An automaton eight inches high,
reproduces a woodcut of Eliaser the young David of Bordeaux had called the GRAND SULTAN, of pleas-
the opportunity to attend M. Aupre's ant appearance, which will move like
Bamberg (the first magician in the a real person and gesture to correctly
performances. If we take this hy-
family) performing in a public answer all questions, and will at-
pothesis into account, it seems
square in Leyden, the city where he tempt several Card tricks of which
much more likely that it was David the description would be too long,
was born in 1760. Beneath this en-
of Bordeaux instead of Torrini — and who can also answer everyone
graving is shown a poem of that era
whether real or fictional - who. se\ - without his Master being present;
(the end of the eighteenth century),
eral decades later, mentioned this this will be shown. He will also show
of which one excerpt interests us: bygone conjurer to Robert-Houdin, the SYMPATHETIC MILL which will
Many are clever in magic : who obviously could not have stop and go merely by having a light
played the "historical" and far- placed under a vial of a liquor con-
Such as Pinetti and Opre [...] cocted by him. The MAGIC LAMP
fetched role invented by Harry
David Bamberg adds that Opre will stop on command. He will do the
Houdini for the sole purpose of his surprising PISTOL trick which he
constructed his Bouquet Philoso- unfortunate thesis.
phique for Pinetti and that he also will have loaded and in which one of
manufactured automata for Eliaser 1
Bamberg. David Bamberg also con-
firms 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 sim-
ple 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. 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.

leva la Camiotct- & ruin

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

cun-o in, arrrwnuZ'

r &

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 58. 64.

fire into the air and have the ring That is, if we ignore the novelis- Memoirs of Robert-Houdin, op.
brought by a turtledove, & several tic character of the narrative and the cit., p. 140.
other tricks which will pleasantly as-
inaccuracy of a few dates subject
tonish.
The show will begin at 5:30 pre- to caution. On this topic, see the 65.
cisely. The first boxes will be 36 s., two esteemed studies of Jacques Josephe Cecile Eglantine Houdin,
the second 20 s., the parterre 12 s. Voignier, "Robert-Houdin et Torrini" born in Blois on April 1, 1811. died
It will be at the Ghapeau Rouge and ''Torrini contre Pinetti," in La in Paris on October 13. 1843. See
Theater Hall. Revue de la prestidigitation, nos. genealogical chart.
339 and 342, 1981.
It goes without saying that Aupre's
repertoire - like his namesake 59. 66.
Opre - which is along the lines of Jean Chavigny, op. cit.. p. 39- Jacques Francois Houdin, born
Pinetti's, obviously has nothing in in Blois on September 16. 1784,
common with that presented 60. died in Saint-Gervais on Novem-
by Robert-Houdin fifty-eight years In the Chateau de Blois is a wax ber 12, I860. Married to Jeanne
later. mannequin, sculpted by Albert Adelaide Cecile Blondeau, born
Chartier, depicting Robert-Houdin in Blois on November 22, 1791,
54. which is dressed with clothing that died in Paris. See genealogical
See the biography of Comus by belonged to the master. According chart.
Robert-Houdin in Appendix II, to their size, he seemed to be be-
Volume II. tween five foot seven and five foot 67.
eight inches tall. Jean Chavigny, op. cit., p. 42.
55. 61.
See Act II, chapter entitled "Olivier,
Blau was, along with Davy, Fillon, 68.
Conjuring Professor of Paris." If Jean Eugene met Cecile
Bastor, and Robert, one of the five
56. watchmakers from Blois included in Eglantine at the end of 1828 or the
the almanacs of this period. beginning of 1829 - Robert-Houdin
We know of at least two other per- wrote in his memoirs that the
formers named Castelli in the his- young girl was seventeen years old
tory of magic: Giuseppe Castelli, 62.
Jean Chavigny. op. cit., p. 40. when they met for the first time -
Profesore e demonstratore di fisica he only saw her again a year later.
e mecanica, countryman and con- The youth of his "bride to be" was
temporary of Pinetti, whose entire 63.
Memoirs of Robert-Houdin, op, probably the main reason for this
repertoire he had apparently du- delay.
plicated - unless perhaps it was cit., p. 137.
the other way around - and Signor
Castelli de Milan (Castelli d'Orino),
who was the master of the famous
calculating dog Munito. The narra-
tive of the performance of Castelli
that Robert-Houdin recounts is
particularly savory, this charlatan
not lacking "guts." Cf. Memoirs of
Robert-Houdin, p. 69-

57.
Dr. R. Shelton Mackenzie, the au-
thor of the preface of the first
American edition of Memoirs of
Robert-Houdin (1859), questioned
the truth of this episode, which ac-
cording to him particularly showed
the extent of Robert-Houdin's qual-
ities 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• 1831-
32 — The Componium • p. 123 • 1832-1835 — A Long
Depression* p. 126+ 1833 — GiovaniBartolomeoBosco«/>. 129+ 1835-
6 — 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 Robert-
Houdin'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...in-
credible 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 This deliberate choice of the author is directly
us with few indications as to the author's specific related to what I have previously termed the re-
activities during the years 1830-1845, that is to say, lentless narration through which Robert-Houdin,
from his arrival in Paris until the opening of his with the talent of an experienced storyteller,
theater. His invention of the Alarm-Lighter and his guided the mind of his reader. Whether he is a ma-
famous Mysterious Clock are described in a few gician or layman, the reader should hardly be sur-
brief lines, and only his repair of The Componium prised that from one chapter to the next and in the
and his construction of The Writing and Drawing space of only fifteen years, the mechanician trans-
Automaton are described in any detail. In the first forms himself into a magician whose outstanding
volume of his memoirs, pages 216 to 374, which talent is immediately recognized by the public. But
cover this period, consist primarily of anecdotes this is only one interesting example of the kind of
about Von Kempelen's Chess-Player and Vaucanson, literary misdirection one finds throughout the
as well as descriptions of the performances and memoirs of this author, who handled his pen as
lives of Comte, Philippe, and Bosco. 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.

. /....»., f, ,..r/... ,;... ^ A , , t" IT." %TVf.'.'.~* - i"

t.,„. . . . - - ->-/«. .,~/.~ ,» ,\/,^,.. r_, , ,
A.'/ A, <•*•* *•••- - ' » . - . / „ , / . „ . . ,,.,.J,,_^.,

-/••—' ;* ' '/7..- / »..^ / ,.

"•' /*"' • " - " / '"'" / .'' ''•' ' " " *"V W

0 '-

-• s ? - ' • "• 1 " " ' * •

/,^.,y. C /. *„...„J&
~~, ..,/,.,. /,.„ r . . . y . ,.. A.,..,.,,.. ..... (
I ^ . /> V <• ; • •

/./...,.,.., „£,/.,. /,A AiA. „«-«./

7 ,™_. «..»^« .
,.-.,.«. sc **.,.<•:./>•!•'-
/ . ,,.. j~. ..,,.-
•*«'-,'., v / „ ' . « • . . . / A . ,
^ u , (y /.. / • ' - • « / ' • »••••"- « ^ . . . . ... / « . ./. . . / .
rH~-tr *~« ^ « /- y.*!».,«,
A . * - . A , / . ./»«"/.; J- ^ / - ^ * M w . . - ^ . /: ^o.,
,„.,,.- /» ^..« - /..M •*/*,-.-/.,••. /-,,.»„
:..**'* A'.*rtA /*«»«-?. / . ^ l / . .f^A, fc.. •J.-iX.
«'. ... , . / /
l.,,,ua.,,~. »...««. ~.«.. .-« ./ y .

76
 ACT II

Paris, Here I Come

We cannot begin this chapter more appro- granted such happiness I would never leave
priately than by allowing Robert-Houdin to Paris, which would then become my home. But
speak through the following unpublished docu- I would give up if not for a few sincere friends
ment, whose contents reveal his emotions whose unlimited devotion one can depend on. I
began work at M. Baullier's at the beginning of
about his first days in Paris and how he spent
last week; I quite enjoy it. Everyone is very
them, [i] The handwriting of this letter is not as pleasant. I work a lot from eight o'clock in the
full and confident as that of his later writings, morning until 10:30 but it does not bother me
and we discover a Jean Eugene who honestly too much when I think of the future. I earn
reveals his first impressions to his best friend, nothing but the rent, which will cause me some
"Cousin Robert." expenditure because it is costly to live in Paris.
As much as I try to save money by eating in in-
Paris, February 26, 1830 expensive restaurants, I cannot spend less than
My good friends: 1 franc 25 centimes per day on food; I therefore
You will not believe how much pleasure your count on 80 to 100 francs per month, but this
letter brought me, especially when I learned of will not last for long. At times I somewhat miss
M. Frederic's success. He is happy and can ask what attached me to Blois, but I console myself
for nothing more. Mme. Renou, who places her by thinking about the motive of my journey.
happiness in that of her children, must be very Sometimes I go to dinner at the young lady's
pleased; such a mother gives me deep regrets home; I had dinner there on Sunday and for
but perhaps one day I will be lucky enough to Mardi Gras. The father does not want us to talk
find a nice mother-in-law who can replace my about anything in front of his daughter but I
real one. I would love her so much that she hope that when alone with her, I will be able to
would have affection for me, and if I was transgress my future father-in-law's orders.

Illustrations "5 and ~"6 - Traveling Conjurers.

77
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 supposed to talk to me for Mile. Egret; every-
those I spent in Blois. Not the slightest plea- thing was for her, but I do not know how they
sure, and it is in times like these that I miss the will take this; I sent them their candle-rings
lovely little society and the pleasant evenings through an acquaintance without telling them
and balls I used to attend, instead of working anything. They will be furious with me. Try to
half the day and going to the other side of the find out what they think; I am sure that they
city to play ecarte until 10 in the evening. I will not brag about their advances. Try to wipe
could throw the cards to hell; the little games out all suspicion concerning me. I forgot to tell
would amuse me much more. There is nothing you in my last letter...when Demance gives you
new for the moment; the set time period is my two spheres [that he] is supposed to melt,
going to seem very long but I do not get dis- there is also the model that I gave [to you],
couraged because I know that it is for the best. which makes three. It would give me great plea
I would be wrong to complain. My dear Robert, [sure] if you have them machine turned and
I do not know how you could have thought that
send them to me when you have a chance. I beg
I had forgotten you for an instant; you really in-
you not to forget to send me any and all news of
sult me, accusing me of ingratitude...Oh,
Robert...you do not really think it...it would be everyone as often as possible. I will be waiting
fine for a mistress, but for a friend, I would for my shirt, hat, and plinths in the next trunk.
never forgive myself. Since arriving in Paris, I Your cousin and friend,
have learned that Mme. Renou Desfray [2] was 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 wed-
ding plans, a union about which the Robert and
Houdin families apparently remained very dis-
creet with respect to their family members,
who, unsuspecting, proposed other alliances to
Jean Eugene.
M. Baullier, with whom the young man ob- ted at 9, Rue Vendome under the commercial
tained his first employment in the capital, was heading "Baullier father and son, merchants,
a watchmaker whose establishment was situa- watchmaking, bronzes, Vendome 9." Strangely,

a (t Hlllt 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 eve-
rything about the arts of mechanisms and illu-
sion; 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 Illustrations 81 and 82 - Traveling Conjurers.
could attend Curiosity Shows, which included Engravings from the works Robert Macaire et son ami
Bertrand. (Anonymous). Paris. 1840 and (Euvres de Florian.
phantasmagoria, optics, physics and mathema- les fables illustrees. Collection des grands classiques francais
tics, wax figures, phenomena, performing ani- et Strangers, Pans et Lille (n d.).
mals, 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, re-
mained etched into his memory. He did not
cease to practice and improve upon these dis-
coveries. Even if he did not judge all of his fu-
ture 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 gra-
ciously performed certain welcome repairs
Par elle on obtimil tout, on salt tutit, on fait Unit.
and expanded his study of and devotion to his C'eit la gratule eiicvctop6die.

81
ROBERF-HOUDIN

art to the point of agreeing to act as a confe- event took place. The reader, used to my paren-
derate for his new acquaintances! theses, will allow me to open one here to place my
narrative.
Here is an unpublished text, part of the first
At that time, possessed by my passion for
drafts of Memoirs of Robert-Houdin, which will
conjuring, I assiduously courted conjurers and
explain and illustrate his refusal to allow his became acquainted with a certain Saubert,
performances to employ confederates, an age- whose name was not well known, but who was
old technique that conjurers and mountebanks nonetheless quite skillful. He gave performances
had quite overused: "Of course, after the abuse at the Faubourg St. Germain in a small hall he
I have showered upon the use of accomplices, had built next to the Rue de l'Ecole de
I totally eliminated them. I have always regar- Medecine.
ded such trickery as unworthy of a real artist, as Hardly a day went by without my going to see
it raises doubts about his skill. Moreover, ha- him, and each time, he gave me a small mission
as an accomplice, which I did my best to per-
ving frequently acted as a confederate myself, I
form.
recalled the unfavorable impression this role
One evening I had promised to slip a card into
made upon me regarding the talent of my
the pocket of a spectator. I caught sight of a
partner [*]." kind-faced man whose calm demeanor seemed to
On one of these occasions, a brief but unique ensure the success of my undertaking. I furtively

-ife,"Ju.>
7" I*
.. , my,.,..,../
•* ***•**•• % * f t

-x-tf—+•/*»"*+-rrf / J *

/ (y

2^

H./l

J p
/

(l^X^Kj-j^fC/a

82
 Aci II

LB PURE

Illustration 83 - The Jester. Engraving from the work of Loredan-Larchey. Dictionnaire de largotparisien. Paris. F. Polo. Editor,
1873
ROBHR1 -HoLDTN

slipped behind him and, pretending to lend an

/u y
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 dis-
covery! If this snuff-user put his hand into his
pocket before the trick occured, the illusion
/ 7
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
A iv, / <- £*- AVLAM J\tvk- fiZ&G GtuA, more difficult.
1/
•J
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 advan-
Li^p*Jf^^. CJ-~*yu* <r»<^cy~ » <)*IA
tage 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 offi-
cer. 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.
(f I wanted to explain. My interlocutor did not
give me a chance but whispered in my ear the fol-
/T7 / o lowing short and peremptory warning: "No dis-
cussion 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 at-
tracting the attention of my neighbors and ex-
ited.
However, despite my distress, I had not lost
the card, and this card could explain every-
thing, as Grassot would say. I made it my safety
net.
"Can't you see, sir," I cried with such sincer-
ity that a heart of stone would be moved, "don't
you see that you are making a mistake? I am a
>y •*<- ... confederate of M. Saubert; you encountered me
just as I was trying to put a card into my neigh-
bor's pocket as I was asked to do. You can come
to my friend's stage with me; he himself will con-
firm what I sav."

8-1
 ACT II

Deep down, the policeman was not as hard-

ened as he seemed and, moved by the earnest-
ness 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 fol-
lowed me.
We found Saubert backstage; he had seen my
exit from the theater and, suspecting what had be-
fallen me, was preparing to chase after me to re-
quest my release.
The conjurer expressed regrets about this un-
fortunate 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 /fittAA LAtii&J-a./ft\t /ot Cm t*Jt4i*-*/ It a*t*U

for confederates, and since then I have never had

the least desire to use them.

In the second chapter of volume two of his

memoirs, Robert-Houdin confirmed this ta-
lent, which derives more from the music-hall
art of pickpocketing than from conjuring. He
described his problems with a Belgian cus-
toms 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 ques-
tion of late "remorse'' felt by the author, or for
material reasons linked to the cost of prin-
ting? 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 cat-
alogue, 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 thea-
ter of M. Comte, the King's Conjurer. One can
hardly doubt that after having paid his res-
pects to his future in-laws and to his new em-
ployer, Jean Eugene hurried to these two ad- Illustration 92 - Alexandre Roujol's signature.
dresses.
It is difficult for a layman to imagine the ir-
resistible attraction for a magician of a magic Illustration 93 - Cover page of Roujol's catalogue (circa
dealer's store and a fortiori his storerooms or 1 8 3 0 ) . (Jacques Voignier collection)

workshops for building the unique equip-

ment, which are only revealed to very care-
fully selected professionals. The illusion-
CATALOGUE
DES PRINGIPAOX INSTROMENS
maker also makes one dream through his
catalogues; large or small, or more-or-less
descriptive or illustrated, according to the RECREATIVE AMUSANTE,
period, they are bearers of mystery and pro- TOURS D'ADRESSE ET DE G1BEC1ERE,
mises of success. The apparatus Roujol offe- IJUI SE FiBIUQUEST

red to neophytes and professionals were ROUJOL

christened with evocative titles: Tantale's
Cups, The Temple of Flore, The Bacchanalian
u '} ttB 5 ; vid.~^-vi<4
Oven, The Magic Well, The Turtledove's Star,
etc. All these marvels obviously had a price, 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
often too high for the "wallet of a young ama- Donne an air merveilleux au plus simple des tours.
teur, 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
K PARIS.
and to shine in public.

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.
Alexandre Francois Roujol, whom Robert-
Houdin 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 unassu-
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. ming category was hidden the most important
Frontispice engraving a n d cover page of the very rare w ork French manufacturer of conjuring material,
b\ C Prejean, Lejeu des goblets, Paris, 1793. This artist was with a catalogue that included 132 tricks ran-
one of the famous clients of Alexandre Roujol's boutique.
ging from the smallest conjuring prop to the
most sophisticated trick automata of his era:
LEJEU DES GOBLETS. "Catalogue of the principal apparatus of
RENDV SENSIBLE, Physique recreative amusante, sleight-of-
Mis a la porte'e des Personnes les mains hand, and gibeciere tricks, manufactured by
dextres , demontre' par des Principes
iheoriques et pratiques . Roujol tinsmith-mechanician, inventor of va-
OB rious amusements; 5, Rue Richelieu, across
Sectieil Prfcieux de Recreations utiles et
plaisantes, contenant en oixtre , des Tours from the Theatre Francais. In Paris." Before
de Cartes , d'Adresses , des Amusemens
de Phisique et de MatWmatiqne des plus Robert-Houdin, another famous magician,
nouveaux , invente's et composes par le
Pinetti, had mentioned the name of Roujol,
Le C. PHiiEAN.(*)
spelled Rougeole, on the last page of the third
Ce n*est l*0r ui !es Diamants ,
E ui decide chiprix des choses,
ouveut la moindre FIe«y des champs ,
lie dispute mtx plus belles Roses.
edition of Amusemens Physiques. At the shop
of Rougeole, who could well have been the
(*) Le C. PR&rEA& M/canicien, eonnu father of the aforementioned, the conjuring
par ses Machines d'utilitS et d'agrdment
pour la Ville et la Campagne, demeure enthusiast could obtain the apparatus needed
Rue St. Honors', lf°. en face la rue
de PArbre-sea, au3" chez M". GRIVET, for the tricks described in the work of the
Marchand de Rubam, et au Jardin de
I'Egalitif, N". aoo. Italian chevalier: [6] "One will find these cups
A PARIS. ready-made by M. Rougeole, tinsmith, under
the new archway. At his place can also be
Del1usmiMi&IE , rue Gallanie N°. 79»
found different objects concerning the said
work." M
 ACT II

.)-,'*"'1"™
ft"

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

** L'OPERATION LA FOIRE AUX PLAISIRS
SANS TOUR
LES ECUS SOHCIEKS offert aujc jcunes speclatcurs

NECHOMANCIE
I/INCENDIE
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, ; Premieres, ; Parquet, ; Parterre, ; SeconOes, ; Troisiuiries,
Les Bureaux ouvriront a 7 Inures. — On coimnencrra a 81ieurcs.

NUTA. — M. t'wuuu a I'honncur dil prh'tftir le j id lie rju'il Irarai'h sans materiel, bottes a double
fond on trappes.

BABBEZIBIX. !>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 II

In the civil register, the parents of the magic watchmaker. Their combined talents may have
manufacturer were Pierre Roujol and Francoise accounted for the quality of certain pieces
Henriette Godet. sold in the little shop and it is very likely that
Alexandre Francois Roujol was the spouse of it was thanks to "Father Roujol" that the young
Marguerite Francoise Dannaux. The couple had creator entered into contact with a few artists
three children: Alexandre Francois Adolphe, to whom he sold certain tricks of his invention
Louis Julien, and Marie Victoire. [>] which contributed to the quality of their re-
pertoire and perhaps their fame as well. Jean
The boutique and the workshop of "Father Eugene had plenty of time; extra money
Roujol'' swiftly became a meeting place for would be welcome; and working with or for
Jean Eugene, who encountered there every Roujol would have meant, for the neophyte,
conjurer in the capital, including Jules de the immense advantage of discovering all the
Rovere, immortalized by the invention of the subtleties of these automata and conjuring ins-
word prestidigitateur, approved by the Aca- truments and therefore quench his thirst for
demie Francaise. A few modest purchases, a knowledge. Until his death Robert-Houdin
demonstration of his talents, and the avowal kept two trick automata with rudimentary me-
of his ambitions placed him in the host's good chanisms, which appeared in RoujoFs cata-
graces, and a true friendship was built bet- logue; the important document that we are
ween an experienced artisan who had known going to partially describe, although it does
the greatest conjurers of his time, and a young not confirm this possible collaboration, at
man fresh from the countryside and thirsty for least shows a close friendly and professional
knowledge. Without having tangible proof, we relationship.
cannot set aside the hypothesis of a professio- In Robert-Houdin's archives is a manuscript
nal collaboration between the tinsmith and the in large format with the title Recueil de

Illustrations 98 and 99 - The

Learned Turtledove and
The Extraordinary Per-
sian.
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.
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"

c# •EM PH
 ACT II

Recreations de Physique amusante in- The Blooming of Flowers; and of Philippe

diquant en abrege la maniere d'executer - The Dutch House, The Miraculous Stew
differ entes de ces recreations (1831). This Pot; or even of Bosco - The Canary's
artistically handwritten manuscript by Casket, the Device for Beheading a
Jean Eugene describes 97 of the 132 ex- Shadow. The manuscript does not bother
periments, tricks, and automata proposed with partial explanations like those of
in Roujol's catalogue. [9] The teachings Decremps describing Pinetti's repertoire,
that one can glean from this document or the often incomplete - if not totally
have an incalculable value for the history fabricated - secrets of popular works
of conjuring apparatus and the state of for the general public. It gives brief and
the art of magic prior to Robert-Houdin's extremely precise descriptions of the ef-
time. The manuscript contains the effects fects and mechanisms of various conju-
and explanations of numerous experi- ring apparatus, written by a magician
ments in Pinetti's reper- who had access to such equipment. For
toire such as The those impassioned by Robert-Houdin's
Towering Inferno, creative work, these texts allow one to
The Wise Little measure the importance of the conjurer's
Turk, The Worry- imminent renewal of the art of magic and
Free Mill, the to refute several unfounded theories on
Simple Card Rise this subject. We will discuss the contents
Houlette, etc.; of this manuscript in detail in our upco-
those of Comte - ming study Les Secrets des Soirees
The King's Vase, Fantastiques.

Illustration 101 - Recueil de Recreations de Physique Amusante. Covet page of

the very important unpublished manuscript by Robert-Houdm from 1831 which de-
scribes 9^ of the 132 experiments offered in Roujol's catalogue.

J LM dft ''~'
/

93
ROBERT-HOUDIN

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

After this overview of the equipment avai- these pamphlets of little biographical interest -
lable to conjurers for the performance of their but of much bibliographical value! — which
effects, let us now learn about the person were sold or given away in the days preceding
who was then the art's most famous repre- the artist's arrival in town and provided excel-
sentative. From 1814 until 1845 - the opening lent publicity. [13] Ideally suited for the imagi-
year of Robert-Houdin's Soirees Fantastiques nation of a naive and rustic readership, these
- Comte dominated the Parisian stage, was picturesque anecdotes were at that time part
extremely popular in aristocratic salons of the of the essential baggage of conjurers and
capital, and made his name a veritable insti- mountebanks, whose artistic repertoire was
tution, giving him a status unmatched by his fairly limited with repetitive tricks. In these
European colleagues during his long profes- little pitchbooks we find the description of the
sional career. For example, although Bosco same "feats" which, depending on the era,
and Philippe acquired international fame du-
Illustration 103 — Comte by Dantan.
ring the same period thanks to their remar-
kable talent, their tours on the continent, in Portrait of the conjurer Comte by Dantan the \ounger from
the Album de portraits comiques. Pans. Office of Magasin
Russia, and even in Asia - with their succes- des Families, 34. Rue Richer, (circa 1850)
sion of triumphs and also unfortunate set-
backs - did not grant them a level of comfort
in their old age comparable to their reputa-
tions.
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 pu-
blish brochures in which an "anonymous wit-
ness" recounted his adventures. The impos-
sible magic tricks, the dramatic situations
where ventriloquism saved his life, abound in

95
ROBERT-HOUDIN

had already been attributed to Pinetti or comic-magic" tales that differed only in the
Philadelphia! For more than a century from name of the protagonist.
Comte to Bosco and even Commander After humble beginnings in Swiss villages,
Cazeneuve, who did not disdain this type of Comte romantically swept away Marie
publicity - but which Robert-Houdin always Madeleine Rabatel, who became his wife, and
forbade — the same stories, with few variations, arrived in France, where, thanks to his art of
served generations of magicians for "tragi- ventriloquism enriched with feats of Physique
amusante, he became successful in the pro-
vinces. It was during these first tours that he
met M. David of Bordeaux, [i<| the wealthy
VOYAGES amateur magician who helped and encoura-
ET
ged him in the field of conjuring. The manner
in which Comte presented ventriloquism has
STANCES ANECDOTIQUES little in common with today's ventriloquists.
DE M. COMTE (do Geneve),
Comte did not use ''dolls" or "dummies" and
PHYSICO-MAGI-VESTRILOQLTE I E PLUS CELEBR£ DE SOS
had the talent of making his voice come out
JOURS , of all sides of a theater: the balcony, the flies,
Public's par un teinoiti auri-oculaire invisible de tous
a box, behind the scenes, etc. The most fa-
lesdits fails et tours extra ordinal res , miraculous , mous of his ventriloquism acts was The Lame
instructifs et amusans de ce modeme et incompa-
rable enchanteur.
Devil, during which a mysterious voice, sur-
ging from all sides, asked "embarrassing"
ORNJ3 DE TROIS GRAVU&ES.
questions or revealed little amusing secrets
Cbarta sicut columba Yolat; loquitur about the personalities attending the perfor-
renter; uwibus attonitis stupeat
gentcs; fama slat. mance. 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, ne-
PARIS,
cessitated a good "information service" in the
J. G. DENTU, IMPRIMEUR-LIBRAIRE,
rue da Font de Lodi, n» 3, preslePont-Neuf.
main salons of this era, in cafes where gossip
l8l6. was whispered, or even in high-school cour-
tyards.

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 In 1812, Gomte came to Paris [Actually, June 22,
M. Comte (de Gendve). Title page and engravings from 1809] and moved into 24, Rue Thionville (Rue
brochure of M. Comte published by J.G. Dentu in Paris in Dauphine), a children's theater, already named
1816.
Theatre des Jeunes-Eleves. His performances suf-
fered 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

r\ Parisian public. [16]

After this half-success or half-failure, Comte
returned to his profitable tours in the provinces
Is and from 1814 exclusively performed in the ca-
pital at the Hotel des Fermes, 55, Rue Grenelle
Saint-Honore, in a venue that his predecessors
Pinetti, Bienvenu, [17] and Olivier had used. It
Seance chez le !Roi .
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 per-
formance:
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 pro-
gram 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
Illustration 109 - Comte by Dantan. His Majesty, His Lordship the Count d'Artois, Her
Portrait of the conjurer Comte by Dantan the younger, taken Ladyship the Duchess of Angouleme, Their Graces
from the Album de Portraits Comiques, Paris. Office of the Dukes of Angouleme and De Berri, and more
Magasin des Families. 34 Rue Richer, (circa 1850). 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 discove-
red 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 him-
self, at Saint-Cloud before another sovereign.
We previously mentioned the inclusion in
Roujol's catalogue of the effect of The King's
Illustration 110 - Comte and The King's Vase. Engraving of
Vase, created by Comte for this performance
M. Comte performing The Kings Vase effect specially created in honor of Louis XVIII, thanks to which the
for a performance before Louis XVIII. After this brilliant per- great magician and talented courtesan was re-
formance, the artist was officially given the flattering title of warded for his skill by the royal title of King's
the King's Conjurer. This engraving is taken from Max Dif's
V» ork Histoire et evolution technique de la prestidigitation (op Conjurer that the king officially granted him in
cit.). July 1816 [is]:
 ACT II

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 TIIKATRK OK M. COMTE PHYS1CIEN DU ROI,

HiHrt dr. l-urliiei Hue <)e <,rti*!le-M..Honorf, n". 53, o» me Ju Braih/, n'. • *
For M. Louis Gomte In >|«cude, wiiMinliwi jnidl 7 Bvricr 1813,11 t/jr i w m fl i W > 4> K#,
We, Claude Louis, Duke de la Chatre, Minister
of the State, Peer of France, First Gentleman of M. COMTE
DOJX SCKNRS COMIQUE MELEES DR VRNTRILOQUE
the King's Chamber, Lieutenant General of his U i'»i I n EU*i«tc« uirprciuut (Ee
Armies, etc.
Being informed of the good life and morals of 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*
M. Louis Comte, Conjurer, residing 32, Rue 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
Coquillere in Paris, we have, with the approval of 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
His Majesty, named and do name him Conjurer
Mechanician of the King's Chamber, and in conse-
quence allow him to add the inscription to his coat
of arms before his residence and to assume the Illustration 112 - Theatre de M. Comte, Physicien du Rot
title in all assemblies and public and private acts, From L'lllusionniste, December 1908.

99
ROBIRl-HOUDLX

as much in judgment as without, with the benefits Comte presented a few scenes of buffoonery
and honors and advantages attributed to those that added to the audience's amusement, with
with the same title. the participation of children." [20] In 1814 he
In faith of which we have sent the present royal had a gated box built in order to host a veri-
warrant, which we have signed and had counter- table congress of crowned heads, including the
signed by the ordinary secretary of the Ring's
Russian and Austrian emperors, the King of
Chamber, and have presently affixed our Seal of
Prussia, and the Grand Duke Constantine.
Arms.
The Cirque Olympique at that time was lo-
Completed at the Chateau des Tuileries, on July
26,1816
cated in the Rue du Mont-Thabor. When
Signed: Duke de la Chatre Franconi built a larger theater on Boulevard du
By the First Gentleman Temple, M. Comte left the Hotel des Fermes in
The Secretary of the King's Chamber 1817 and occupied the abandoned hall in
[Signed]: L. de Champollet Mont-Thabor. He had it modified and made
more compact for his type of performance. His
By way of illustration, the income declared
privileges, at first quite limited, little by little
from M. Comte's theater in 1816 reached 12.960
became more extensive; the authorities tolera-
francs, [19] while that of his main competitors -
ted much and he took the rest! After having
Robertson, creator of phantasmagoria, the
been allowed to let his children perform -
conjurer Olivier, M. Pierre's Mechanical Theater,
Comte had fifteen children from his first mar-
and even Seraphin's Chinese Shadows - peaked
riage, of which five survived, among them his
at 3,000 to 4,000 francs. Here is the text of ad-
vertisements 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 di-
rector at the theater, who will make all neces-
sary arrangements and even advance income.

After having occupied the first floor of the

Hotel des Fermes, he moved down to the mez-
zanine 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 II

son Charles, whom we will discuss later - he

did not go a day without hiring more. Comte Sl'EGTA'* K w. ,MA(»iku ooi ENFANSUEM.COMIE
(,IIYSMI:N nr nm, i'v*s.wr. ms WMinams. ^ >
asked for, and was granted, permission to per-
form plays with several characters, on the
condition that he only showed them to the au- Dot aii Berceau,
„ . _.,,,_ „., 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 «
dience through a sort of gauze that
covered the stage from the footlights to the
ceiling; so he turned his show into a sort of
leju||nj£asnifexf?§
animated phantasmagoria where impalpable le hoii (ils
shadows roamed, with talking statues illumina-
ted by pyrotechnic lights. The skillful director 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
used such a thin, transparent gauze that on se- 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*.

veral 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 'D'JSS 331iBIB3 iKBIKB'jnflS 3)'JB i l l ,

finally satisfied, once and for all, Comte imme- Atijntirdiitii Mororrdl 5 Ffvricr MM.
diately had the gauze taken away! La 54 "" Rrpresrntalion I>K
After a few years of trial and error, Comte
maintained a show that made his theater fa-
mous: a theater entirely dedicated to children HcnpjJV en Famille 9
with "blossoming artists, young artists who
will make all of Paris rush to see them."
These actors, whose ages supposedly ranged LES SOEIIHS DE LAIT,
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 reprodu- Illustration 114 and 115 - M. Comte's Theaters.
cing here a letter by Comte addressed to a Comte's playbills for the Spectacle de Magie et des Enfants
man of letters, asking him to write a play for de M. Comte and Theatre des Jeunes Acteurs de M. Comte.
Documents from L'lHusionniste. December 1908. and the
his theater. This letter confirms the King's
author's collection.
Conjurer's qualities as a director and busi-
nessman who, in his request, tells of his
humble means and appeals to the author's ar-
tistic, "selfless" sensitivity:
M. COMTE I'HVSICIKS D U M i l .
In 1832 and 1833, I called upon the artistic, ATRE DE L'HOTKL DES FKHMKS,
well-hewn talents of men of letters, and several of
Spectacle lioiweati, Mujimnl'liiii sminli ty jatuict
them responded and enlarged my repertoire of W, COM II'. n u I'iiwirtW 'If lUnmn urn
nix tteurvi et tkrmfo tlu soin
BltlU./lNIK
charming productions. SEANCE DK M\(UE NKCROMANOE ET DK PHYSIQUE
AMUSAXTE
Today my authors have grown, as they once did
at the Theatre des Jeunes-Eleves, a school from Illustration 116 M. Comte at the Theatre de l'Hotel des
which emerged the artistic celebrities who have Fermes. Advertisement for Seance de Magie. Xecromancie,
reigned and still reign in our major theaters. They et de Physique amusante de M Comte, Physicien du Rot
can express, with great elegance, the passions and 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 II

abundant emotions without which a play would

never be complete, although my type of show is THEATRE DES JEUNES ACTEURS DS M.
devoted to education. COMTE, PHTMCIRK DV HOI, direct, prop- ,pat$. Choi-
I have come to ask you again, Sir, to please de- *eul et r. Monsigny. Tous les jours a 6 h. du soir.
vote some of your waking hours to me. Av -scene des 1"* et rez-de-chausstie... fit'. » c.
Premieres de face, loges grilWes de face
My theater does not allow me sacrifices wor- au rez~de-cliaus«6:: 3 «
thy of a talent such as yours, but the love of Orchestre , premieres de c 6 t £ . . . . . . . . a »
Premiere galerie et poartonr......... a •
monetary gain, in the heart of a true dramatic Parterre et *econdes 1 »
author, could not possibly be more important Ce theatre, honore* de la protection de S. A. R.
than the desire to create a lovely play and work Madame , donne des pieces gaiet et instructive*; dc
nombreuses families et des instituteurs y conduisent
of merit. une jeuncssc qui prend plaisir k ces soirees varie'es par
Constantly in the field for the past 32 years, I les prestiges et les scenes de, ventriloquie de M- Comte.
clearly know the type of work that would corre- M. Comte vend fantasmagorics (it instruiaeos de
physique arnusantc; se charge d'envoyer, pour les
spond to my needs, and therefore it would be a fetes, dans les maisons particulieres, » jour et
good idea for us to agree prior to commence- heure fixes, a l.i ville <>u a la campagoe, les specta-
ment...! am eager to accept an appointment at cles ei-apres : vaudevilles, physiciens , scenes d'irai-
tatioo, ventriloqucs, marionnt'ttest fantasmagories,
your convenience. lanfernes magiques, etc., theatres et eiubellissvntcns
Please accept the sincere expression, Sir, of my necessaires. Prix : i5o , 300 ou 5oo fr. par soiree.
distinguished consideration. M. CouUe trailt'M • avantageusoment tes pension-
nats, et (era une remise, iorsquunc soir^o«e campo-
Gomte sera <|« plusieurs genre*,
New Theatre des Jeunes Ele\ es
Director of the
One act 6F Ghoiseul
Two acts with tableaux 8 Theater.
Three acts idem ... 12
1812. THEATRE DES JEUNES KLEVES DB
When, despite all his efforts, Comte did not COSITE, PHTSiciKK DU not, direct, prop., pass, Choi-
manage to avoid the demands of the authorities teul, 65. Tous les jours a 6 h. •§- du soir.
Fe'eries, drames, comedies, vaudevilles, pieces mo-
whom he regularly flaunted, the skillful diplo- rales et enfantines, stances de Comte, magic, pres-
mat knew how to bring his powerful protectors tiges, illusions, fantasmagorie historique ctanim^e.
to his side with appeals that the hardest heart Av. scene 5 f. »c,
Loges de face, stalles 3 »
could not resist. [21] In spite of his Parisian Orchestre, premiere galerie et pourtour a »
successes, Comte was not forgotten in the Parterre et secondes ... 1 »
De nombreuses families et des instituteurs y con
provinces, where he sometimes still went on duisent journellement une jeunessc qui prend plaisir
tour. In a letter dated November 9, 1821, a cer- a ces soirees amusantes et instructives.
tain M. Victor Augier from Valence wrote an ac- Une loge enliere aux premieres est mise chaquc
soir et pendant toute l'anne'e a la disposition de l'elevc
count of events taking place in the town. I cite qui aura obtenu aux compositions la premiere place de
this short excerpt: sa classc on le premier prix lors des distributions
annueilfsclans les colleges royaux etdanstes pensions
The famous conjurer Comte deigned to stop in des deux, sexes de Paris et de la banlieiie; cette loge
our little town. [22] He gave three performances sera ddlivrde sur un bulletin signd du professeur que
and conjured up much approval and a lot of money. Ton adressora franco trois jouvsaravaucea M.Comtc.
M. Comte donne des lemons de magic blanche. II
The flowers of all different types that he lavished donne des soirees en ville du prix. de 100 a 15o, aoo
on the audience especially enchanted the ladies. a 5oo fr.
In 1823, the famous ventriloquist rented in
the Passage des Panoramas, from M. Thayer Illustrations 118 and 119 - M. Comte's Theaters.
for 4,000 francs per year, a bijou residence Comte's advertisements for the Theatre des jeunes acteurs
that was built for his Lilliputian troupe. It was and the Theatre des jeunes eleves. (Archives nattonales).

103
ROBFRl-HOUDIN

&0

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 ver-
sion 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 vicin-
ity 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 THEATRE DE CALAIS.
AUJOURD'UVI HS&CRXJOI s6 NOPEVBRE 1817,
have a theater built from stone. This insuffi- slbormemcns i?l louie cspece d'mlrtles defaveur geniralemeni sitspendus,
GRAND SPECTACLE NOUYEATI ET EXTRAORDINAIRE,
cient period was the equivalent of the expira- SEANCE AMUSANTE
tion date of his authorization, but, used to fac- DE PHYSIQUE, MAGTE,
ing destiny and seizing opportunities, M. NECROMANCIE
Comte did not despair. He managed to find an ET FEyTRlLOQOIE.
appropriate space at the former location of the
old Ministry of Finance, where the Passage M'COMTE,
Choiseul was about to be built. His theater DE PARIS,
VeMsfktfjH el Pkjskini ISJ ROt. vwWfll d'AnwIcrdam, te rendini i Ptsis. iara Mumneor J t donntr

and a tobacco merchant's boutique lined the LE BATEAU A VAPEUR.

edge of the windowed gallery. Aside from ac- OV LE JARDIN1ER ASPBYX1E,
S e i n e <lc V r N T I U L O Q U E K p i u ; I t u r s •.-oil loinUUiM, d i n s h r u e , J i » s o n t i i j i n e l , e t c . , d i n s
h n t c l k M C O M T I , j>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
quiring the land to build his hall, Comte, 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,

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 perfor- £>£ 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
mance to passersby. His shopkeeper neigh- BOCLES5 D'OR
COil EN
iS/V L'AIR
£'4/R el
e« [action
[action elonnante
bors, following his example, wanted to post D'AVALER UNE EPEE,
their own advertisements as well, but he re-
fused by invoking his "sacred" right as
landowner. There was a trial and, despite the LE CALIFE DE BAGDAD, e otkaiak,

efforts of the opposing parties, the King's 7f

Conjurer won the case.
The inauguration of the Theatre Comte in icofvenlnlc <
' ii \-: \\ < \ ;!~--.- if. -I-
"" LI h from Mali
fiilhfTlou.lkln.il 11 ]» 1 uropVui cuiinl.-i^ \n:i-:~\i ultu.;, hcwil'l,;!.', .•;: ,c, f .ipsn a straw, he mil jtnd
the Passage Choiseul took place on December
• liiiia-to
i,fi in thr ?,;>• s~iir.il "Iv.c j.'. •„ i 1! ;i,;. : ,.rn. . i-.n-liJI-, d,T 1 «
will el es
!i '• ]vt.'«'hM,
Uifb j.j.ind
Ihp (itceplion of
ilonishing feat of iwaL!-j..ing a s^oid jluli ivliicli he jtili d a ^ a / i

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 Illustration 121 - Large bilingual bill for Comte at the
M. Emile Vanderburch. The evening of the Theatre de Calais in 1817.

105
ROBERT-HOUDIN

fve 1M moan „ U JKWI gaftt isodwUnurat II laUl*, it' dress rehearsal, the Duchess de Berry at-
m ift2. Et M»S danger b mire y condiidni» fllli. unit.
tended the show with the little Duke de
THEATRE DBS JEUNES I3LEVES 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
On commencera A 6 licures 1/2 ambassador of England occupied the box
fl ABONNUJlENX POOH I.ES FiHIIXES
across from this one, and the hall was inun-
dated with reservations from princesses and
1 (Bon /ww I» 9 > S <%? 4 zretu<»me<i. duchesses; ordinary marquises had to be satis-
Aujourd'hui jusqu'au Novemhre «83 fied with a stall!
ca Ulict, on no pniera mi« 50 e, par penonne pour la Parquet,
<m 1 fr, pour POrchestrc on In Prcmttnt. The halls managed by Comte had diverse
names: Theatre de Physique amusante, ventri-
Illustration 122 - M. Comte's Theatre des jeunes eleves. loquie, magie - Theatre des Nouveautes -
Free entry coupon to a show by the King's Conjurer. 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 fol-
lowing motto could be read:

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 re-
served 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 engrav-
307 POUE ing, 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 en-
rich fairground businessmen. To vary his pro-
Illustrations 123 to 126 - Tokens for the Theatre Comte;
famil) subscription and discounts for tickets. (Francois grams, the King's Conjurer employed The
Voignier collection) Man-Fly, the clown Ratel, the two Baby sis-

106
 ACT II

ters, and even the Incombustible Man who en-

closed 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 gal-
lantly offered the public slices of lamb cooked
medium-rare.
Comte found material for his shows every-
where. 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 abun-
dantly 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 irrel- Illustrations 127 and 128 - Note and letters of M. Comte.
evant: they had been transformed! Comte Note from the artist's journal of home performances
nonetheless applied his professionalism to this Comte comments here on a performance in Neuilly on July
10. I84O before the King and his family and gives a few
jest and had accomplices put on animal heads
details about his magic performances and \ entriloquism
in the dark just before the announcement of shows.
the feat. Discovering their neighbors in the Below, a letter from Comte to one of Ins theater's house
glow of the Bengal lights, naive spectators or playwrights.
perhaps other accomplices began to scream
and run from the hall in terror!
rtgi/ Jz%e&&CMn tut i&t-ot.
During this period, the King's Conjurer often
practiced his art in lucrative performances sev- $/
U> PASSAGE OHOKBEHX..

eral times per week in aristocratic and bour- / J

geois salons of the capital:
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 ap-
pear [onstage] at least once a week, for two rea-
sons: his performances, due to their rarity, always
had a beneficial effect on the receipts; and, on the
other hand, by continuing to perform, he pre-
vented other professors of conjuring from setting
up in competition with him. [23] 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
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 accor-
dance with his: we both succeeded, though differ-
ing in our treatment, and this only proves that
"all styles are good except that which is weari-
some.' [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.
Seance
108
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 SPECTACLE
DE 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,

JLJE 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 plu-
sieurs 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 Ba-
uette magique , la Houlette de Magnes , la Colonne d'Egjpte } la Maison
S [ollandaii>e, et fera manosuvrer les deux Automates } de grandeur d'homnie.

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 em-
brasent l'atmosphere ; le tonnerre eronde dans le lointain , et redouble en
approchant ; le vent , la pluie , la grSle, et la foudre qui tombeavec fra-
cas, 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 cap-
tivent 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, experimen-
tales et masquees ; E T
LE BALLET DES SORCIERS,
OU 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 conju- l;\'HiiUENCES DE M- ROBERTSON,
l'kysiaen et ahvuautc, houlcvutt Mantmaitre, it.
rer Olivier - Pierre Joseph Olivier, known as
Ktjtmtfort d'ubjfU d« conoatUs.—Salua dt jiLj^quc.—Salle de« iJImiooJ—S,
Olivier - has his rightful place in this essay Tom let juurs , a six he tires iu tuir.—Prix UVutu-e, 5 fr- ou 3 fr.
because Robert-Houdin was his dedicated SPECTACLE PITTOaiiSQUl*: UV MliCANlQUE,

and observant spectator. In an unpublished 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 .
text written during his youth for his newspa- 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.}
per Le Cagliostro, the future conjurer painted Prix dttplaces. Fremitres, 5 fr.—Seccjodes, 2 fr.—-Truisieoies, t fr.
PAKOttAMAS.
a portrait of Olivier describing the artist's 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,
show, along with a narrative of an anecdote
S P E C T A C L E DC M. O L I V I E R ,
that took place during one of his perfor- RueNauve-deS'Petil»-C/tamps, *5.
Tnnrs d'adresse, piecpi me'can'KjQes et faalasrnagorie, Tous le< jours, a sixlwm.
mances: i»
i Lngi>t grit feet 4 f. a c.
IPuurttmr. , . . . 5 5o
The latter created a genre, if we can so term it, 'nx ties places.f ricnuerei 3 »
that Bosco later imitated: that of adopting a for-
eign jargon with which they could easily hide
their linguistic inadequacy, since neither of them Illustration 132 - M. Olivier's show. Advertisment by Robertson
was educated and they performed in shirt- and Olivier in an almanac from the period. (Archives nationalesj
sleeves.

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

Olivier played a dirty trick on one of his faith- by the spectator who, to avenge himself for the im-
ful spectators - because all of his tricks were not polite manner in which the sorcerer had treated
equally good and some were even indecent or op- him, the next day pasted on the bottom of the
portunistic; thus, once Olivier borrowed a specta- playbill on the door of the theater the following
tor's hat, and as soon as it was in his hands, to the rhyme, which could almost have passed for a qua-
great amusement of the crowd, he produced half a train.
dozen wigs from it, saying to the owner of the hat ''Over him, Sirs, a donkey has an immense ad-
in his usual gibberish: vantage:
"Sir, you forgot in your hat, not on purpose I To be understood if he wants to speak what he
suppose, these little items for your personal thinks;
use." Correctly, he speaks in his language;
The spectator in question was completely But Olivier, never!"
bald.
This joke in poor taste was hardly appreciated Olivier, in association with Demmeny, de-

112
 ACT II

<•

-1

f" i • f £.

iji.il«(/i»(,,«,.j,ttI II(X'«<UI (, «««;S«(i.i

fef hi in ^I'lH'u-it alipofn^vt T^-^U^ft Ufeinttft* (

t " ^ , VII (l(O«*' / «t l>lVlill,(n' ^ I C J ^ I I U J , 1U iiiVwil Ol(t

A f' titdiiXtitXoti fill (yfiiittlSnAj.

«•«
J
AH-

/ >

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 Champs. His son performed under the name
1800 in a show made up of sleight-of-hand "Olivier, son." [25]
tricks, automata, and mechanical instruments, Henri d'Almeras recalled Olivier as one of
concluding with phantasmagoria "as never the favorite entertainers of the Duchess
seen before in Paris." This false advertising d'Abrantes, who said of him, "Olivier was a
must have especially exasperated Robertson, man who did card tricks and sleight-of-hand
the creator of this effect. Olivier advertised his with marvelous talent." Olivier also had the
shows for years with the title "Show of honor of being celebrated in one of Desaugier's
Novelties! Physique amusante, sleight-of-hand, songs, "Soiree de Cadet Buteux, passeux a la
phantasmagoria, and mechanical instruments." Rapee, aux experiences du sieur Olivier, " [26] a
Under the title "Spectacle de M. Olivier," he sufficiently rare privilege to justify its being pu-
performed in 1815 at 15, Rue Neuve-des-Petits- blished here.

113
ROBERT-HOUDIN

Je m'vois, en fait de spectacles Il me d'mande que j'li garde.

Foi d'Cadet Buteux, Six ecus tournois ;
Rien qui vaille les miracles J'les prenons, mais quand j'y r'garde
D'nos escamoteux; V'la qu'i' m'en manqu' trois ;
J'en savons un passe maitre On les trouv' dans un' aut' poche :
Qu' j'avons vu Taut' soir; A Paris, quoiqu'ca
Gn'y a qu'un moyen de l'connaitre N'faut point z'un' lunett' d'approche
Et c'est d'aller l'voir. Pour voir ces coups-la.

J'crois que c'luron-la s'appelle Il perce un mouchoir d'percale

Monsieur Olivier; D'la grosseur d'un oeuf ;
Et c'est dans la ru' d'guernelle I souffle dessus, il l'etale,
Qu'travaille l'sorcier; Crac, le v'la tout neuf.
I'sait vous r'tourner, vous prendre Pour nos fill's, ah ! queu trouvaille,
Qu'on n'y connait rien Dans c'siecle d'vertus
Et j'dis qu' s'il ne s'fait point prendre Si, pour boucher z'un' entaille
C'est qu'il le veut bien. N'fallait qu'souffler d'ssus !

J'pensons une carte, i' m'la nomme, V'la qu' tout a coup la nuit tombe...
C'etait l'roi d'carreau : Et, pour divertir
V'la qu' d'une main i prend z'un' pomme J'vois comm' qui dirait d'un' tombe
Et d' l'autre un couteau ; D's esquelett's sortir :
II la partage, il la montre, A leurs airs sees et minables,
Et voyez, l'malin ! On s'disait commen' ca ;
V'la mon roi qui s'y rencontre C'est-i d's artist's veritables
En guise d'pepin. Qui jou'nt ces rol's-la ?

C qu'est pus fort, c'est qu'il prepare Mais avant qu'un chacun sorte
Un grand verre d'vin, (Et c'est la l'chiendent !)
Et vous l'flanque, sans dir' gare, Via l'Fanfan qui nous apporte
Au nez d'mon voisin : Deux torches d'rev'nant
L'diable d'vin s'metamorphose Morgue ! que l'bon Dieu t'benisse,
En rose, en ceillet: Suppot d'Lucifer !
V'la, m'dis-je, en restant tout chose, J'croyions que j'avions la jaunisse,
Un vin qu'a l'bouquet ! Tant j'avions l'teint vert.

J'li pretons, a sa priere, Bref, c't' Olivier s'est capable,

Mon castor a glands, Dans l'mequier qu'i' fait,
pare' qu'il avait z'envi d'faire D'escamoter jusqu'au diable,
Une om'lette dedans ; Si l'diable l'tentait;
Gn'y a point z'a dire, il l'a faite, Par ainsi, sans epigramme,
Et ca sous not'nez Crainte d'accident,
Et, jarni, moi, d'voir c't'om'lette Faut toujours, messieurs et dames,
Ca m'a tout r'tourne. 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 II

AVEC P E R M I S S I O N

'•• • — • — • — , •

J
ml
life-
till,
•—
-—
, ____ 4?
THEATRE DE BERNE.

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 per-
formed at the Theatre de Berne (Switzerland), Saturday, Ma> 23, 1815
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 Blois (Loir-et-Cher), lieu dit, at the foot of the
his letter of February 26, Jean Eugene confided to quarter, bearing the numbers 6, 7, 8, 9, and 10,
his cousin: ''It seems a long way off." The mar- and another house situated in the same city on
riage, however, took place on July 8, 1830 at the Faubourg Saint Jean.
city hall in the ninth arrondissement, and then at 2nd: One-fourth of the rent of the aforemen-
Notre-Dame, thus only four months after writing tioned houses amounting to 150 francs.
his letter...although it seemed like a century for a 3Rl; Various claims from the succession of
young man in love. Jacques Guillon, his grandfather, to which he
The marriage contract was signed forty-eight had the right to one fourth and which were at-
hours earlier on July 6 in the office of Maitre tributed by the division of this succession be-
Deschesnes, [27] in the presence of the future fore Maitre Riffault and his colleague, notaries
spouses; their parents; Agnes Josephe in Blois on February 12, Eighteen-hundred and
Marteliere, Jacques Houdin's widow; Jean thirty, as officially registered...
Eugene's sister Marie Celine; Cecile Eglantine's
Finally, the sum of 3000 francs, all in
brother Louis Francois; his uncle Dr. Desfray;
monies which include the value of his cloth-
cousin Elisabeth Josephine Desfray; Charles
ing, linen, furniture, and furnishings for per-
Claude Dallet, landowner and first cousin of
sonal use.
Jean Gherbrant, attorney; and Mile. Marie
Jeanne de Narmau, wife of M. Desrondingh of The total, not including the value of the
Nantes. In this notarized document, the de- buildings brought in kind and the assets, cited
clared profession of Jacques Francois Houdin, for memory at 13,095 francs 63 centimes.
like that of Jean Eugene Robert, is watch-
maker. The future wife brought as a dowry:
The text of this wedding contract, concluding I-1: The sum of 15,000 francs in cash that they
with a communal estate settlement covering only [M. and Mine. Houdin) together promise to pay
property acquired after marriage, shows that the to the future spouses, as donators, on April 1,
young couple started out in life in the best pos- eighteen hundred thirty-five and they promise
sible circumstances, at least financially, although to pay until the effective payment of the inter-
the notarized documents do not include the est of five percent yearly, with no withholding,
wealth of the spouses' feelings. also payable at their home every six months,
from the day of the celebration of the wedding.
The future husband brought as a dowry; 2nd: A trousseau made up of linen, clothing,
1st: One-fourth in full property and one- and furnishings, for the use of the future wife,
fourth in property without usufruct, minus that of a value of 1,000 francs that will be given to
of M. Prosper Robert, the totality indivisible the future spouses the day before the wed-
with Mile. Marie Celine Robert, his sister, owner ding, whose celebration will stand as acquit-
of the same portion, in five houses situated in tal.

117
ROBkRT-HOUDIN

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 II

Thus, it was with a certain ease that this and bloody combats of the Trois Glorieuses of
couple in love, nineteen and twenty-four years July 27, 28, and 29 in an insurgent Paris forced
old, formed a family, and we can hope that the out Charles X and only calmed down with the
tragic events of the July revolution did not oath of the new king, Louis-Philippe, on
darken their honeymoon too much. The riots August 9-

(Ml
PREFECTURE DU DEPARTEMENT DE LA SEISE.

ACTE DE MARIAGE
Ritabli en sertu de la Loi du 12 ftorUr 1872, par la ~&~ section de la Commission,
dans so. stance du --D..0 J & Z / S j ^ ^

Illustration 141 - Wedding act of Robert-Houdin dated July 8, 1830.

119
ROBERT-HOUDIN

The First Son

What were Jean Eugene's career plans in set- As Robert-Houdin's thirst for discovery had
tling down in Paris? His ambitions were not been quenched, he soon had the frustrating
twofold: to progress in his knowledge and con- feeling of going around in circles. A few
struction of automata, and to perfect his learn- weeks, perhaps a few months had sufficed for
ing and practice of the art of magic. These two him to study the automata and conjuring appa-
combined passions were to give birth to the ratus of "Father Roujol", and the impassioned
show he dreamed of performing in public and neophyte was left unsatisfied. His research in
whose shape was not yet precise in his mind. libraries on mechanical creations of the past
Robert-Houdin, as we will call him from now had not entirely fulfilled him, and he dreamed
on, never had the intention of arriving in the of undertaking some great challenge in order
capital to open a watchmaking business. He to learn and acquire the experience he lacked.
certainly planned to work with his father-in- Before the end of 1831. providence would give
law, who knew and shared his views, for the him the chance to do so.
The young family was preparing for a great
time needed to build a few mechanical pieces
joy. Cecile Eglantine was pregnant and their
and accessories essential to his performances.
first son was born on May 21, 1831. Jean-
The author confided to us in his memoirs:
Jacques Emile Robert-Houdin, |>s] who would
"[Proud of] the approbation of a man [His fa-
later participate in his father's performances,
ther-in-law] with whose extreme prudence I holds a special place in the history of magic, at
was acquainted, I gave myself up seriously, least in that of Soirees Fantastiques. For the
during my leisure hours, to my favorite exer- time being, both the Parisian and Blois families
cises, and began by contriving some instru- shared the joy of the happy young wife and
ments for my future cabinet." In order to do so, that of the father, who did not hide his pride.
the young man utilized a small amount of cap- The baby smiled and cried just like any other
ital which would suffice for the needs of his robust newborn and his father was perhaps al-
family and his first creations. If he failed in this ready entertaining the idea of rocking him to a
undertaking, he could either set up on his own very strange musical instrument.
as watchmaker-mechanician, or go into busi-
ness with his father-in-law, whose only son,
Louis Francois, had chosen to pursue his stud-
ies. We do not know for how long Robert-
Houdin 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. Illustration 142 — Signature of Emile Robert-Houdin.

120
 ACT II

Illustration 143 Original portrait of Emile Robert-Houdin by his friend Lemercier de Neuville towards 1880.
ROBFRT-HOUDIN

Illustration 144 - The Cotnponiutn. (Philippe John van Ttggelen collection)

 ACT II

The Componium

On December 16, 1823, the Wenzel Pavilion, the beginning of the nineteenth century. [29] In
Rue de l'Echiquier, welcomed an exhibition Holland, he dedicated himself to the manufac-
that the Restoration's high society rushed to ture of automatic instruments and, despite his
see. The object of this flattering curiosity was genius, acquired only a modest reputation
called The Componium, a mechanical orchestra among his peers. His lack of business sense
that had the ability to infinitely improvise and his passivity in asserting his rights over
music and create new variations on a given his inventions probably contributed to his rel-
theme. This extraordinary instrument was ex- ative anonymity. The example that best illus-
hibited in the central gallery of the Echiquier trates Winkel's setbacks is that of his inven-
Pavilion, where it was shown twice a day at a tion of a revolutionary musical chronometer
ticket price of three francs. Both the general that he created in 1814. At the end of the sum-
and trade press published laudatory reviews of mer of 1815, Johann Nepomuc Maelzel -
this masterpiece, which the artistic, literary, sci- whose name is familiar to those interested in
entific, 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, dis-
mantled, 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 con-
taining the various parts of the instrument were
exposed to cold, heat, and humidity, resulting
in the deteriorization of this jewel of mechani- THK Hi RMAH M "SH'AI,
cal music.

The inventor of The Componium was

Diederich Nicolaus Winkel, watchmaker-me- Illustration I45 - Poster for The Componium.
chanician, inventor, and manufacturer of auto- English advertisement used during the presentation of The Com-
matic instruments, who lived in Amsterdam at ponium in London. May 1830. (PhilippeJohn Van Tiggelen collection)

123
ROBFRT-HOUDIN

the history of magic because he exhibited Von turely on September 28, 1826 in Amsterdam at
Kempelen's Chess Player automaton in the age of forty-nine.
America as well as in Europe - saw Winkel's Having finally recuperated his property from
invention, bought it, and filed patents in the customs office, the promoter, whom Robert-
London and Paris for a similar apparatus. Houdin identifies only by the initial D, was at-
Mass-produced and deemed The Metronome, tempting to dispose of the cumbersome instru-
it found immediate success throughout ment, but in order to sell it for a profit, it had
Europe. Although years later Winkel managed to be restored, or at least reassembled.
to exercise his rights, his instrument remained The repair of The Componium was a tedious
known under the name of Maelzel's business - a work of perseverance and research -
Metronome and it was the plagiarist who ob- because its arrangement had always been kept se-
tained the glory and all the profits...Winkel, cret and no one could supply the least informa-
who had created such a unique and fantastic tion. D himself, having no notion of mechanisms,
instrument. The Componium, died prema- 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 humiliat-
ing, 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 of-
fered 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 [co-
operative 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 emp-
tied, 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
Illustration I46 - The Componium as it looked in 1908. size and shape, such as cornets, bugles, hautboys,
'Philippe John \a>/ I iggelen collection) flutes, clarinets, bassoons, organ pipes, big drum,

124
 ACT II

triangle, cymbals, etc. all arranged in sizes ac- tire career, and even during his retirement,
cording to the chromatic scale, I was so frightened individuals and institutions called upon his
by the difficulty of my task that I was quite anni- talent to repair and restore the most famous
hilated for several hours.
automata.
To better understand my mad presumption,
A few years later, The Componium was sold
which only my passion for mechanics and my love
to an organ enthusiast, M. Mathieu de Livran.
of the marvellous can excuse, I must add that I
never even saw the Gomponium performing; Today this uncommon instrument is part of
hence, all was an unknown country for me. Add to the collections of the Musee Instrumental of
this that the greater portion of the works was cov- the Conservatoire Royal de Musique in
ered with rust and verdigris. Brussels.
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 dis-
posed, and feeling the influence of the Hippocratic
axiom "Mens sana in corpore sano," I felt dis-
gusted 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, at-
tempts, 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 inclina- Illustrations 147 and I48 - The Componium.
tion and content myself with stating that, for a
Front and back \ lews of The Componium. with pipes par-
whole year, I proceeded from the known to the tially r e m o v e d , fPhilippe John Van Tiggelen collection)
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 out-
lay, 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 en-

125
ROBERT-HOUDIN

A Long Depression

The year 1832 began under cruel circum- public but full of teachings for enthusiasts of
stances. Robert-Houdin's older sister, Marie- the art of magic. However, it is precisely during
Celine, passed away in Paris on January 20 at this period that the first outlines and initial ver-
the age of twenty-nine. [31] She had come to sions of several of his future creations would be
help her sister-in-law, pregnant for the second sketched. The years 1830 to 1835 were years of
time. creative freedom for the young mechanician,
Cecile Eglantine's child did not survive. The during which he could learn, work, and invent
young mother endured this terrible shock with without restraining his imagination. He was also
great difficulty. Jean Eugene and his spouse had free of the daily worry of providing for his fa-
seven children, of which five died very young... mily. The other side of this agreeable situation
[32] The repairing of The Componium was there- was that, even though his creations progressed,
fore probably not the only reason for the ills none of them became definitive. A creator, free
described by Robert-Houdin. of material worries, has the leisure to conti-
nually perfect his works and redo in the mor-
My sleepless nights, my incessant toil, and, ning the undertakings of the day before.
above all, the feverish agitations resulting from all
Although his entire repertoire was already in
the emotions of such an arduous undertaking, had
undermined my health. A brain fever attacked gestation, the fruit was not yet ripe. Did Robert-
me, and though I recovered from it, it was only to Houdin really have a brain fever? Was it a re-
pass five long years in listlessness and vacuity. My lapse of the same illness from which he suffe-
mind seemed quite gone; I felt no passion, no red in his youth? In reality, if we consider the
love, and no interest, even in the arts I had so de- symptoms described, we can imagine that he
lighted in; conjuring and mechanism only existed was struck with an illness that he would fight
for me in the shape of recollections, [33] with all his strength: depression. He asked him-
Although it is helpful to recall that at the be- self more and more questions about his future
ginning of 1832, the population of Paris was se- and the answers hardly reassured him. In co-
verely affected by a cholera epidemic that ming to Paris, he had dreamt about impressive
caused thousands of victims - which probably discoveries in the art of magic, but, after only a
explains the premature death of Marie Celine few months, he had the impression of having
Robert and the reason why Robert-Houdin and already seen it all. There were certainly more
his family left the capital for a few months for renowned artists in the capital than in the pro-
the fresh air of the Blois countryside - one must vinces and Robert-Houdin had observed them
refrain from taking the previous paragraph from assiduously as a spectator, and also in private,
the Memoirs literally. Robert-Houdin "conjures but he could not see himself performing this
away" five years of his existence, thereby avoi- type of magic, with "Father Roujol's" "double-
ding telling readers about the beginnings of his bottomed boxes," stooges, or the mystifications
research in the field of mechanics and his acti- dear to M. Comte. His vision of this art was too
vity as illusion-maker for his future colleagues, different, but nothing allowed him to believe
which would have been of little interest to the that it would lead him to success because these

126
 ACT II

performers, whose talents he appreciated in va- period, conjuring was not so respectable as it is
rious ways, seemed to please the audience. now; people went to an exhibition of that sort to
Some even became rich. laugh at the conjurer's victims, even if themselves
If, in order to obtain the favors of the public, exposed to his attacks.
an artist must be different, trailblazing in an My readers ought to have seen the mystifier
overly flagrant manner could, on the contrary, [par excellence], the celebrated physico-ventrilo-
condemn him to failure. Robert-Houdin did not quist of the age, Gomte, to form an idea of the
yet feel in tune with his time and his mind was cool way in which the public was then treated.
overcome by bleak thoughts. He could not ima- This performer, though so graceful and gallant to-
gine using the same artifices as his colleagues, wards ladies, was merciless to men. According to
and seeing them delight spectators, he felt close his notions, the cavaliers (as they were then cal-
to neither of them: led) were predestined to supply amusement for
Besides, it must be remembered that, at this the fair sex. [34]

IAN 18*5

d e i P r e t U s t i c i u t o r et&e j . n n i t

w.n PATRICE VALENTIN

Au B a r m Central k MUSHJUS pkcs 4sla Bourn,29
rax H so

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 fabu-
lous 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, Bosco was born in Torino, Italy, in 1793. t35!
we cannot avoid the memory of the hundred, At the age of nineteen, the young man was un-
perhaps thousand conjurers, palatines of the gi- willingly drafted into Napoleon's army for the
beciere and the Cups and Balls, who traveled disastrous Russia campaign. Injured during an
throughout Europe from the Middle Ages until attack, he was left for dead on the battlefield.
the first half of the nineteenth century. A glo- When he regained consciousness, an individual
rious figure dominated them all; his name was was in the process of robbing him. Pretending
Bosco and he was certainly the most famous to be unconscious. Bosco allowed himself to
among them, and also the last representative of be robbed and at the same time robbed the
that brilliant school where celebrated artists robber.
rubbed shoulders with performers who would Bosco was supposedly the inventor of a
remain forever anonymous. skillful trick that invariably filled his theater.
He would always walk through the markets of
GURIOSE AWENTURE the city where he had scheduled a perfor-
mance; after spotting an egg merchant and
agreeing on the price, Bosco chose one egg
BREVI CENNI SULLA VITA 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
PRESTIGIAXOKE all the eggs herself, hoping to find other
samples of the precious metal. This little
scene, renewed at each new stall, amused pas-
IKYEKTORE DELLA MAGIA EGIZIANA sersby, set off hilarity, and, through word of
CON UN CO1WPENMO NOMINATIVO DS DH.ETTEVOLI OIOCHI
mouth, the theater and Bosco's cashbox were
Dl F1SICA K DI MECCAXJCA DA hVl IUTHOVATI. filled that same evening. [36] These amusing
anecdotes — which of course are true! — were
part of the stories printed in the artist's adver-
tising brochures. Like those of Comte, the)- in-
cluded many adventures, one more incredible
than the next.
Robert-Houdin attended Bosco's perfor-
mances during his first passage through Paris
from late 1832 to early 1833. In reading his re-
cord of the conjurer's performance, we under-
NAPOLI stand that Bosco w as not an artist after his ow n
DAIXA STAHPEIUA B CAUTIKltA DEL FIIffiENO
Largo S. Domenico Maggiore Nr° 3. heart. For a young amateur of magic who w an-
1837. ted to make conjuring a tasteful, refined enter-
tainment, some aspects of Bosco's show s could

129
ROBFRl -HOUDIN

nwt SATANAS
ou8
feen $eifen AVENTURES
aitert

B. BOSCO DE TURIN,

Professeur de Prestidigitation.

POITIERS,
IMPB1HEB1E DE A. DLTRE, ROE DE LA J1AIR1E, 10.

Sudjfcuifaei wii 3ttfras (Smft.

1854.
Illustrations 152 and 153 - German and French biographies of Bosco.

only repel him. His presentation, his old-fa- tricks - an uneasiness also shared by certain co-
shioned suit, and his performance in shirt- lumnists of the time (see note 38). The sensiti-
sleeves, his overuse of stooges, his macabre vity of nineteenth-century individuals was pro-
decor, etc., all of this seemed archaic. Robert- bably not the same as ours, but we must note
Houdin criticized him, among other things, for a that Robert-Houdin's soul was probably not very
revolting cruelty to animals. During his tricks, far from our own...On the other hand, he credi-
Bosco twisted birds' feet, suffocated them, ac- ted Bosco with an unequaled manual dexterity
tually cut their necks onstage, and skewered ca- in Cups and Balls and was determined to ana-
naries with a sword. [37] if the majority of the au- lyze the objective reasons for this artist's success
dience was unaware of the reality of these in his memoirs and a posteriori :
tortures, we understand the uneasiness of a fel- I have seen Bosco several times since then,
low artist watching the succession of these cruel and each time I studied him carefully, not only to

130
 ACT II

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 vari-
ous 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 bird-
murders 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
ROHIRI-HOIDIN

better than he how to take advantage of it.

Neglecting no opportunity for notoriety, he per-
forms 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 per-
formances consider themselves bound to return
Bosco's politeness by attending his public perfor-
mance. They have formed the acquaintance of
the celebrated conjurer and are obliged to sus-
feint gwegu ©cogc tain the reputation of their new friend. Hence,
in Dem ««f bent
they urge all their acquaintances to go also, puff
off the performance, and thus the room is always
[usually] full.
It must also be mentioned that numerous ac-
complices help Bosco's popularity materially.
inn B Mr 'giitt , .'fil -B H Each of them, it is known, is instructed to hand
. '.•:.: SJ:,,";f,: ;.;;...: .:t

the magician a handkerchief, shawl, watch, etc.,

Illustrations 156 and 15" - German bills for Bosco in 1829 which he has in double. This allows him to pass
and 1827. The first of these two German bills was part of them with an appearance of magic or skill into a
J.B Findlavs collection, the second is in the authors col- cabbage, a loaf, a box, or any other object. These
lection. accomplices, while aiding in the conjurer's ex-
periments, have a great interest in securing their
jbctsfeitliiSet
success: for their self-love finds its profit in the
aKfttroo®, t>en I8"« g»lD 182/ success of the mystification. Besides, they have
ff ira g r o g e n 8tebouten*©aate no objection to accept some of the applause as
their due; hence the magician has as many ad-
mirers as accomplices, and the influence a dozen
intelligent prompters can exert in a room is well
Detail tet known.
1) ®ie folafnmen &attm.i
2)
;•>,
iOaS (sclui -•* :;-i;rKi1;! "' '-u
.0:: Unite SaubergfixEe. Such were the influences which, joined to
:) ,» ic (;. [bijeetliwetara.
5)
0)
(Sfit ©tii* <iu§ etc ^eCTommifit,
iCiefc#i;I'U-.1^-.;-;: •:.;„.;.
Bosco's talent, gained him a great renown for
8) Slie grofie fpmpaliftlje £iigtl many years. [38]
@(#ufj bev ecfttit «
Detail Hi tfotittn
1) SDaS but* eine fclbft fcjjteftentw geber cni
2) iCiE fie^euiie SMuaetrtuItuv
A minority of magic historians of the twen-
g) JDrt DftfcfemiiUE CJtnnefii; I
tieth century criticized the bluntness with
Oj erne arc&e Switft, t # ^intfti an ha Ufy @5E.SKaje^tte8 *
fomifcSe Siuvf. ©tacjic Stfinbu
which Robert-Houdin expressed himself about
"-StoUt
his colleague throughout his memoirs.
SXtttt serfic&«i imb bfl§ BtwIjtunjiSvititttEft $)ut)iifum
*cn ijorgef^titfeii sotrb ©a8 Detail jftgt f^on an, »a6 frine uon
f # fib«
Although we cannot doubt the sincerity of
ben Aunftdi nieber^oH t»if>, loeEciie tit 6tn SICES ftu^erit s5orffen«n=
gen ptrobitittt rootben finb.
i« HummctitfEtt 2i&m fmb tdfjttc|> in metnw
some, others are clearly more suspicious, as
H61el de Pologne ju ^a&CtU
their writings portray a purely fictional artistic
nineteenth century in which all conjurers,
physiciens, and prestidigitators seemed to ben-
efit from the same sympathy and success with
respect to the public. Any researcher who does

132
 ACT II

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

Des INCENDIES de la commune D'ANCODRT.

.ms in nuii us 2i juiliet ucroi&is t>i\ aiaisoB^ de ectte coturaaae
proie A'un nu't-mlif occasionne par !o feu du del. La pevtc s'4m!ue H un •
rhiffre coURulijnililc!. Dc pfiavees et hotioi'ables brailles ont tHe eittU*mYionfc

I n appel a fto U\i a i hmnaniu- et au tniojlt df M. 5OSU&, qul relavdf

SOU depart afin d'y
M DEPUFAM . vonlnni s'assopier ti crtle bomip a^llofi, ppfttem 3e
concom-s de
flsosent, 1'uii el i'fuHiv. poniptw sui rpEappegspmeHi^nele jmlilit- met Ira
.\ les seconeier.

MAT Hi AS LINVAL1DE
W. OVHKRT. pnwta Lomiqac du i h ^ n e du \ audcville, ipniplfra le
rdle de Wathlag.
Les Porte* •'front oucerft-s d 7 hpuret \}'2. — fJii titmuifni6V'i <i 8 hpures
<n, BOSCO eonuueneern ii O

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.
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 the-
aters where they performed, the entrance
prices of their performances and their fre-
quency, and the reviews of their shows -
and not simply their advertisements - pub-
lished in the press give an entirely different
view of the artistic and professional reality
of the times. Such research confirms com-
ments by Robert-Houdin about his col-
leagues, whose true merits he examined
with great perceptiveness. In several cases,
he proved to be a much more kindly colum-
nist than journalists of the time. Sometimes
Illustrations 159 and 160 - German Bosco
he wrote what he thought, as with Bosco,
brochure. Frontispiece engraving and title whose cruel behavior to animals he de-
page of brochure of the famous conjurer plored. Should he be blamed for that?
published in I84 i in Leipzig.
Beaumarchais wrote a very meaningful sen-
tence on this subject: "Without the freedom
to condemn, there can be no flattery"; as for
BOSCO. laudatory comments, those written by
Robert-Houdin about Bosco's dexterity are
Wcn fa$ ttettitgefjitfeit
undoubtedly the most flattering ever made.
SSon

fiotlje.

€rfte gefi:

Setpjig. 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

EXPOSITION GENERALE
l)F.s PRODTJITS DE I.'AGRICI'LTI RE. DE I/INDUSTRIE ET DES ARTS INDUSTR1ELB fcj

ftlKEC U 7 N0\

MEDAILLLE D'ARGENT V CLASSE

f/in-///i' "//I MEDAILLE D ARGENT 1 CLASSE Os t

L&ueo, , /<• fM.

Xi SW.Kml J> L 'XuuU r i ^ . JulJJ

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 20,000 francs. Jacques Francois Houdin took
of watchmaking and mechanism, Robert- out other loans to cover the costs of the ex-
Houdin thought that the time had come to sort pensive undertaking but, just as the store
out his professional status. Following a propo- seemed to have a promising future, the notary
sition by Jacques Francois Houdin, the board responsible for the funds ran off with his
of directors of the Societe d'encouragement
money and that of his clients. Ruined by this
pour l'lndustrie nationale accepted 'Jean
theft and incapable of reimbursing his credi-
Eugene Robert, Watchmaker, 41, Rue Neuve
tors, Jacques-Francois Houdin was placed in
Vivienne, in Paris" on March 4, 1835 and reg-
liquidation. Bankruptcy was declared on
istered 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 mas-
terpieces from which the magic was never ab-
sent, 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 &u
to provide the "sum of 15,000 francs in cash &• i/f'

that they together promise to pay to the future

spouses...on April 1, eighteen hundred thirty-
five." This large sum made up Cecile
Eglantine's dowry and was only partially paid
to the young family for the following reason: ret/iAu u*

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 cut

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 Illustration 164 - Extract from the minutes of the Societe
placed the rest of his wife's dowry and the ma- d'encouragement pour l'lndustrie nationale of March
jority of his assets in the project, a sum of 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 sepa-
rated 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, watch-
maker, residing with him in Paris, 10, Rue Notre-
Dame-des-Victoires, has asked for the separation
of her assets from those of M. Iloudin, her hus-
band, 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 re-
J&L..JZ-* quest.
Air-V~
Robert-Houdin, in order not to lose all, and
on the advice of his father-in-law, enlarged the
4 mass of creditors of the bankruptcy. This cata-
7 strophe hit a family already struck with a tragic
4 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
Illustrations 165 and 166 - Letter from Societe d'encourage- granted 6,000 francs in the liquidation, which
ment pour l'lndustrie nationale. This personal letter ad-
dressed to Eugene Robert, watchmaker, confirms his admis- he gave to his in-laws, who were on the brink
sion to the society. of ruin, and that M. Houdin was placed at the
 ACT II

head of his business to take care of the final liq-

/ / uidation on May 20, 1837, concluding arrange-
; /

/ • ft // J
• 7
it*, \i * •
ments 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

1
a life, courageously chose to become an em-
t if

ployee. He was the artisan of the success of the

.1
/" "
Destouches watchmaking company, which had
just opened its doors at 160, Rue Saint-Martin,
•/v J &*?'< where he became its foreman. His abilities con-
tributed so much to the prosperity of this busi-
Illustration 167 — Bankruptcy register. ness that he was considered a co-founder and
Extract from the Parisian bankruptcy register of 1836 in which at the Exposition of 1855, M. Destouches very
the assets and liabilities of Jacques Francois Houdin are
noted, as well as the names and addresses of his creditors.
loyally wrote to the minister that he would ac-
(Archives nationales). cept the award that was offered to him only if
M. Houdin was honored at the same time. This
is what in fact occured. [*i]

QUITTANCE
SOC1ETE D'ENGOURAGEMENT QUITTANCE SOGI&TE D'ENCOURAGEMENT
P0 NATION ALE.
™ SouscniPTlON ? 0 0 R
^'INDUSTRIE KATIONALE.

Je, soussien**, TttHsorier de la Socitfte', reconneiis avoir /'« par la Commtitton dn Jf^sounigne, Tresot ier de le Socie'te', reconnajs avo
Vu par la Cemmtmon aes y . . -^ •-. jy ^yf
ret
'" 3 *^1\A*/* <u d<' ^ ^ ' r b &<t> &*y£~

\mt~L^1 ' tle l r e Q t e s i l f f r a n c s

" ) poncJfi numtant de sa ^oll AOI wme. du E»RI« / C somnte de trcntc-six francs, pour le montant fie S-
jrSTTTStSffiW^ri^ie- Sauscription de Van mil huit cent/] *^ a-uvsfc- C%*i £">ibiJjw'a.'rtw"^^ ,9BUS(;/ ijjlfonrfe/'«n nw7 Atfft «W* qutirante c*
:ol, !ti S ni|i crip lions loot ' / I / ion ivpoqsit it*i'adiaiH»B Dont quittance, a Paris,
e .Don* quittance, a Paris, ce I / ^
MH Unit cent quaianti
if/i7 A«ji cenf trente U*:

Illustrations 168 and 169 - Dues receipts.

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

139
ROBERT-HOUDIN

Sullelin de Ia.Soc€i/>!J'Enc<iurajem/*i/,jy'CCCC.\'LI'~ PI.

Tier 2
O

il !

m Jd- lei&xe Jd- ft sculp

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 but I had too few, and the specimens I had in
well for Cecile Eglantine and Jean Eugene with hand still required years of study and labor.
the birth of their first daughter Marie Rosalie on These wise reflections restored my courage,
and, resigned to my new situation, I resolved to
February 25. l>2]
affect an utter reform in my budget. I had noth-
I could no longer think of inventing machines, ing more to look for than what I earned with my
but [had to] work, day by day, to support my large own hands.
family. I had four children, all very young, and
So I hired a modest lodging, at three hundred
this was a heavy burden on a man who had never
francs a year, in the Rue du Temple.
yet thought of his own interests. [43]
It consisted of a room, a cabinet, and a stove
in a cupboard, to which my proprietor gave the
Robert-Houdin speaks here of four chil-
name of ''kitchen."
dren; we know of three at this period: Jean-
I converted the largest room into our common
Jacques 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 father- •
:
in-law's disaster that he took on a business
activity that he had not previously planned.
i
M
"Why should I despair?" I said to myself. "At
my age, time itself is a fortune, and I have a con-
siderable 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

---- -n-MS^w8Fiii^Bfti
would overcome the indifference a new per-
former 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
'i
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."
Illustration 1 1 - 63, Rue du Temple.
My automata and mechanical curiosities would Robert-Houdin's modest apartment was situated under the
not have betrayed the hopes I built upon them, gables.

Ill
ROBFRT-HObDIN

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

 ACT II

sleeping apartment, the cabinet served as my magic repertoire, as well as his creations in
workshop, while the stove kitchen was used to watchmaking and mechanisms. In all these ac-
prepare our modest meals. tivities, his interest in science, especially elec-
My wife, though in delicate health, undertook tricity, is present. The phenomenally creative
the household department. Fortunately, this was
work of Robert-Houdin matured and refined it-
not very laborious, as our meals were most mod-
est; and as our rooms were limited in number, self during this entire period, through his ex-
there was not much moving about required. periments, doubts, depression, and possible
The proximity of our mutual laboratories had total ruin. From 1837, and for nearly seven
also this double advantage, that, whenever my years, inventions abounded, and though the
housekeeper was absent, I could watch the pot- portrait he painted of his private life and his
au-feu or stir a ragout without leaving my levers, humble financial position may seem a bit too
wheels, and cogs. sincere, those years did allow him to develop
These vulgar occupations for an artist will his research. Then, necessity forced him to
make many a reader smile, but when a man can- make his inventions public. On September 20,
not afford to keep a servant, and the quality of
1837, he filed his application for a patent for an
the dinner, consisting of a single dish, depends on
the care devoted to it, it is better to pocket one's Alarm-Lighter, which was officially registered
dignity and attend to the culinary department, at on November 13 by Louis-Philippe:
any rate, without feeling false shame. Besides, it Louis-Philippe, King of the French, To all
appears that I performed my confidential mission those present, greetings...We have ordered and
admirably, for my exactitude gained me abundant do order the following...no. 343: M. Robert (Jean
praise. Eugene), watchmaker, residing in Paris, no. 41,
Still I must confess that I had very slight tal- Rue Vivienne, to whom it was delivered on
ent for cooking, and this boasted exactitude was September 20 the certificate of his request for
produced by my fear of incurring the reproaches an Invention and Perfectioning Patent for a five-
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 suc-
culent dishes affected me very little. My wife,
surrounded by her children, to whom she de-
voted 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]
Contrary to stubborn legends for which he
was partially responsible, their source being his
writings, Robert-Houdin did not have as com-
partmentalized 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 Alarm-Lighter.

143
ROBERT-HOUDIN

Illustration 174 - Robert-Houdin's clock. Illustration 1~"5 - The Mysterious Illustration 176 - The Mysterious
This model predates the famous Clock. Clock with double mystery
Mysterious Clock. on the crystal column.

year period, for an Alarm-Lighter whose func- same year at 9, Rue Paradis; and from 1841, 9.
tion is to provide light as one awakens... Rue Vendome, where he took over the space
occupied by his first Parisian employer, M.
This lovely piece of clockwork was the size
of a travel clock. The time was set when one Baullier. [«] Here is an example of the adver-
went to bed and the bell woke up the sleeper tisements for Robert-Houdin in the business
while a lit candle, hidden behind a small door, directories in 1841:
popped out from one side of the alarm clock. Robert-Houdin, mechanician, granted patent
No more groping in the dark to light one's for Alarm-lighter that lights a candle the mo-
candle. The Alarm-Lighter became very fash- ment it wakes one up; simple perfected alarm
ionable and brought new comfort to the clock; new ring; mysterious clocks, idem with
Robert family. Robert, in order to distinguish crystal column, conjurer, and mechanical
himself from his numerous homonyms - there tightrope dancer; execution and repair of au-
were many Roberts under the watchmaker tomata and items of this sort. B 1839, R.
Vendome 9, in the Marais.
headings in the business almanacs of his time
- unofficially took the name Robert-Houdin as Robert-Houdin was working on a small
he had done since his wedding, and it is under clock whose base was decorated with a win-
this patronym that he was officially listed in ged griffin holding a very thin, round ename-
the professional directories: in 1835. 41, Rue led dial. This clock was the origin of his fa-
Vivienne; in 1840, 11, Rue Vendome; then, the mous 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 the other models. Although scarce ten years
hands, are supported by a column, also made ago, their mysterious ''reappearance" in abun-
of crystal, embedded in a group of imaginary dance in public auction rooms and private
animals set onto the base. These clocks, transactions seems to suggest an inexhaus-
whose transmission mechanisms are invisible tible source just like their creator's famous
to the uninitiated, were extremely successful Bottle. [47]
and their reputation was definitively establi- One of Robert-Houdin's very first crea-
shed at the Exposition of French industrial tions, the Chinese Conjurer - some of the
products in 1839. With acute business sense, first versions actually bear the stamp of J. F.
Robert-Houdin developed several different Houdin's workshop, where they were built
versions of his Mysterious Clock at various [4s] _ W as also developed into different-sized
prices: the small model was the most popular models: a little inlaid base on which the
and had one hand; the medium-sized one had Chinese man and his conjuring table are
one hand but the dial was supported by a placed; a version in which the conjurer and
crystal column; and finally, the most presti- his table are presented on a large, finely wor-
gious had two hands and a column - it was ked golden bronze base; and a final model -
called the Pendule a Triple Mystere. He also we can only discuss those known today — in
made a version with two hands whose dial which a clock dial and a watchmaking me-
was supported by two columns that we have chanism are fit into the platform. In this
not seen on the market recently, contrary to 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.
Robert-Houdin created other automata
known as The Dancers on a Tightrope, or
Dancers on Mechanical Cords, which he pro-
duced in different versions - with a large dan-
cer, with or without musicians - whose prices
varied depending on the elegance of the set-
ting 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 traditio-
Illustration 178 - Painting by William Manning. This illustra- nal clocks, of which only a few copies have
tion is from William Mannings work Recollections of Robert- been preserved, [so] We must also mention
Houdin, London, 1891. and represents one of the tumbler" more modest activities such as the manufacture
toys made with mercun commonly known as Sautriaut and
manufactured in the mechanician's workshops 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 crea- exposition of French industrial products
tions in this domain. He spent a great that opened on May 1, 1839, and at the
number of years working on it, much 1844 Exposition - from May 1 to June 30
more than the "eighteen months of re- — the tools and individual parts presen-
treat" that he refers to in his me- ted with The Writing and Drawing
moirs. We will return to this auto- Automaton and The Singing Lesson
maton, which holds a very special won him a silver medal, accompa-
place in the story, but to complete nied by the compliments of the
this inventory of Robert-Houdin's French sovereign.
mechanical works, I will add that I will end this chapter with
the inventor developed his a very instructive document,
Writing and Drawing Automaton taken from the "Inventory after
in the same way as his other the death of Cecile Eglantine
creations. In addition to the Robert," dated February 12,
model later shown at Giroux's, 1844. This was a notarized do-
then at the 1844 Exposition, he cument established in the pre-
made other impressive clocks, sence of the auctioneer of J. F.
crowned by the mechanized Houdin and E. Robert. The in-
figurine of The Writing and ventory lists all the objects
Drawing Automaton, in the that filled each room of the
same decorative style of his Robert family's home, from
Conjurer clock. the coffee spoons to the
This carefully prepared and contents of the library. The ex-
majestically executed produc- tract that will follow concerns
tion lasted from 1835 to 1844 only Robert-Houdin's work-
Illustration 182 - The Mysterious Conjurer shop, the appraisal of his works,
and merely slowed down du- by Robert-Houdin (Pierre Mayer collection)
ring the period of Soirees the state of advancement of the
Fantastiques. mechanical and watchmaking pieces, as well as
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 Robert-
since become famous: Pierrot in the Egg and The
Houdin filed a new patent on September 29, 1840
Ladies' Favorite. The majority of the other me-
for 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,
pour l'Industrie Nationale, after having heard the 300 francs; a Mysterious Clock with caryatids,
report of "M. Francceur, member of the committee 150 francs; a simple Mysterious Clock, 120
of mechanical arts," awarded Robert-Houdin a sil- francs.
ver medal for his "new watchmaking mecha- An alarm clock made in inlaid rosewood at 40
francs; 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
ROBLRT-HOUDIN

€*tratt t>u
L t/ecmce €2

c
a ete An/; an worn

Ja

t/cc&e£e, /; t/em/c au4U^

"—i

*J%. z^/&

4*>

Illustration 183 - Silver medal awarded to Robert-Houdin in 1841 b\ the Societe dencouragement pour l'Industrie nationale
for the mechanician's 'New watchmaking mechanisms."
 ACT II

columns, 130 francs.

An old Alarm-Lighter, 40 francs; nine com-
plete 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 Clock-
Writer, no.11, at 500 francs.
A Mysterious Conjurer, well-advanced, at 280
francs.
A bird instrument, Du Perron model, well-ad-
vanced, 700 francs; Odalisque, clock with bird,
150 francs.
A mechanical Dancer on a Tightrope, well-ad-
vanced, 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 Illustrations 184 and 185 - Large and small models of
francs. 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 con-
tents, including "watchmaking materials and me-
chanical pieces'' as well as '"tools," totaled 13,495
francs 50 centimes.
This notarized document has great impor-
tance 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 or-
dered. 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
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 II

instrument, Du Perron model, well-advanced,

at 700 francs; The Dancer on a Tightrope, well-
advanced, 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-hol-
der." The contents of his library reveal much
about his reading habits: Qiuvres Completes de
Jean-Jacques Rousseau in 21 volumes, 1826 edi-
tion; 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 vo-
Illustrations 187 and 188 - Two models of Robert-
lumes, 1741 edition; an incomplete volume of Houdin's The Singing Lesson. (Musee Paul-Dupuy
Description de Machines et Procedes; Bulletin of Toulouse and private collection)
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 vo-
lumes of Ozanam's Recreations Mathema-
tiques, 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
ROBERT-HOUDIN

PST!T SI8I1I mta,non. MUemoiselk SIMOtf,

M i t «K...« 4*30. y.S i 4 « » « j *f 50

rvun i* r •n nv
A'. MEUE k::ii'r DU MEM iWtEUR

USE LEBVC
Co. Cbxtot J«HI
la £(Hu

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
 ACT II

The Salon Conjurer

From 1831 to 1835, while building his clock- nonetheless alluded to an aborted first attempt
work creations, Robert-Houdin began to manu- to open his own venue, which can be situated
facture the mechanical pieces of his future per- around 1836-1837:
formances. I performed this wearisome progress during
I have already repeatedly mentioned the au- six months, and, at the end of that time, though I
tomata I made, and it is high time to describe the had several specimens far advanced, it was still
nature of the articles intended to be used in my impossible for me to fix the period when they
performances. would be quite finished. In order not to defer my
The first was a small pastrycook issuing from appearance before the public, I therefore re-
his shop door at the word of command, and bring- solved to begin with my conjuring tricks and
ing - according to the spectator's requests - pas- such automata as were ready. I had arranged with
tries and refreshments of every description. At an architect, who was to help me in finding a
the side of the shop, assistant pastrycooks might suitable site for a theater, but I had scarce taken
be seen rolling paste and putting it in the oven. my first steps, when an unforeseen catastrophe
[almost completely] ruined both my father-in-law
Another specimen represented two clowns,
and myself. [52]
[my] Auriol and Debureau. The latter held out at
arm's length a chair, on which his merry comrade Robert-Houdin always had a long-term vi-
performed acrobatic tricks, like his namesake at sion of his career and one can scarcely un-
the circus in the Ghamps-Elysees. After these per-
derstand his day-to-day choices without con-
formances, Auriol smoked a pipe, and ended by
sidering them in the context of a wisely
accompanying on the flageolet an air played by
the orchestra.
planned professional and artistic strategy.
During the years preceding the opening of
The next was a mysterious orange-tree, on
which flowers and fruit burst into life at the re- his theater, the magic aspect of the mechani-
quest of the ladies. As the finale, a handkerchief cian's activities was linked to two very dis-
I borrowed was conveyed into an orange pur- tinct domains. While continuing his research
posely left on the tree. This opened and dis- and personal development in various
played the handkerchief, which two butterflies branches of the magic art, Robert-Houdin
took by the corners and unfolded before the commercialized some of his inventions and
spectators.
sold them to a few performers including, if
Lastly, I made a dial of transparent glass, we believe the press of the period, Ludwig
which marked the hours at the will of the specta-
Dobler, Philippe, and other "celebrities" of
tors, and struck the time on a crystal ball. [51]
that time.
These four experiments are listed on the in- We know that both amateur and profes-
augural playbill of the Soirees Fantastiques de sional conjurers were already paying fre-
Robert-Houdin on July 3, 1845. Although quent visits to the mechanician's workshops
Robert-Houdin's narrative is, as we have al- because in an undated note. Robert-Houdin
ready written, fairly vague concerning the refers to an order by "M. Donckelle [sic-
years preceding the debut of his theater, he Real name of Robin], which Legrand will de-

153
ROBbRF-HOUDIN

Illustration 190 — A salon seance around 1865- Stereoscopic Mew

liver to Rue Vendome on Thursday," with no debut as a conjurer for Parisian society in a
further details A few years later, the con- most brilliant and unusual way.
necuon of these two latter characters had re- Robert-Houdin did not receive the major-
grettable consequences for the secrets of the ity of his support from other professionals,
future conjurer s repertoire. but instead from his clients, wealthy collec-
Psychological and financial reasons ex- tors of mechanical objects. To acquire these
plain Robert-Houdin's decision to sell some masterpieces, handcrafted in very small num-
ol his creations rather then exhibit them bers, one had to be able to afford such lux-
himself. His father-in-law's bankruptcy had uries at a time when the majority of citizens
broken the- sound financial equilibrium of had to work hard just to make ends meet.
Robert-Houdin's young household and the These collectors formed a friendly network
mechanician, having a family to support, did around Robert-Houdin over the years. His
not feel he had the right to risk everything creations were admired, his company was
for an artistic career where glory did not al- enjoyed, his skill was found fascinating, and
ways mean security. his workshop began to attract visitors in the
In addition, as we have already written, same way as those of famous painters or
Robert-Houdin did not feel any affinity for sculptors. These collectors, who were all of
the type of performances that the public his generation, occupied or would occupy
seemed to enjoy. This fact could have led the very important positions, and the familiarity
mechanician to give up his ambitions for the and friendship - the word is not too strong -
stage had not certain encounters far from the that developed between them furthered his
universe of "Father Roujol propelled his destiny.

154
 ACT II

At first, it was not Robert-Houdin's financial The second reason is linked to the fact that
situation that most benefited from these rela- he performed in these salons as a guest and
tionships. His clients, on the contrary, forced not as a paid performer. Relating the events of
him to surpass himself and constantly reinvest these evenings would have given readers the
his income in new research. This insistence on impression that Robert-Houdin had revealed
quality, this absolute artistic dedication, the private life of his hosts, which is some-
earned him the respect of his early admirers, thing the author always correctly avoided. The
who naturally took him under their wings and only allusion by Robert-Houdin to this type of
sponsored his entrance into the most closed soiree is found in his posthumous work The
circles of the capital, where Robert-Houdin's Secrets of Stage Conjuring and one must stress
natural elegance could only blossom. that, well before the publication of this book,
In his memoirs, Robert-Houdin did not de- all the protagonists of the story were already
scribe his artistic activities in Paris prior to deceased. In his mini-biography of Robert-
the opening of the Soirees Fantastiques for Houdin, Eugene Hatin - who was very close
several likely reasons. The first is that in a to Robert-Houdin - is the only author to refer
narrative destined for lay readers, any de- to the conjurer's first public performances,
scription of his salon performances would which preceded those of Palais-Royal:
have merely repeated that of his theater per- He began by performing in amateur soirees, and
formances. 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 sa- Robert-Houdin's fame grew in this little circle,
lons of Paris wanted to see this new wizard, who and, following the example of the Count de
from then on became the hero of all the best par- l'Escalopier, his other protectors, among them
ties.
Benjamin Delessert, director of the Caisse
It was indeed no longer the old-fashioned con- d'Epargne, contributed to his first steps in the
juring with rolled-up sleeves and the ever-present
performance world.
collection of cups and double-bottomed boxes;
this was a man of the world mixing in with the au- Even though artists of various talents were
dience and leading them from surprise to surprise paid to entertain the guests at aristocratic sa-
with no apparatus other than his fingers, with no lons or the haute bourgeoisie, their presence at
other accomplice but himself. these soirees was limited to the length of their
Among the good souls interested in the performances. They did not mix with the
brilliant craftsman's future was the young guests, either before or after their perfor-
Count de l'Escalopier, who frequently invited mances, following which the social barriers
Robert-Houdin to his hotel particulier situated were again raised. Only certain types of artists
at 25, Place Royale - today the Place des escaped the era's social prejudice, including
Vosges — for his intimate soirees where Robert- poets, writers, painters, and composers. The
Houdin willingly displayed his talents. The ele- fact that Robert-Houdin's astonishing creations
gance with which he carried out his perfor- were so admired allowed him to be part of
mance flattered the elite audience's good taste these soirees where only those of the same so-
(which one evening included His Grace, cial class mixed. Robert-Houdin knew how to
Monseigneur Affre, Archbishop of Paris). These project himself as an interesting and well-read
spectators did not hesitate to encourage him. raconteur and very quickly learned how to

156
 ACT II

model his behavior on that of his interlocutors. cause some of his clocks and automata decora-
Throughout the evening, he was expected to ted the reception rooms. Robert-Houdin was
be one of those charming personalities "who admitted to all these residences for mainte-
can enliven a select group and whose social ta- nance of his mechanical creations, and one can
lents can amuse or amaze. easily imagine that he had the chance to se-
This unique situation brought a great many cretly prepare, a few days in advance, the
advantages to the artist, who was aware of place where his "improvised" show would be
exactly why he had been invited. His network performed.
of friends grew and both his reputation and bu- This would have provided him a huge ad-
siness benefited from this arrangement, and vantage in terms of the impact of his effects. A
numerous hosts, aware that he had become the playing card slipped under the center of a
star attraction of their receptions and their cha- heavy carpet, a bill or coin conveniently hid-
rity events, considered themselves indebted to den under a candelabra or a vase could trans-
him. At a time when the protection of the pow- form a simple trick into a small miracle. In cer-
erful was as good as law. Robert-Houdin, reco- tain cases, the "invisible" help of household
gnized artist and unpaid magician, accrued servants could be just as useful.
considerable assets in public relations, whose At all such events, card tables were set up in
interest he would receive until the end of his the living room, where the guests could play
life. against each other whenever they desired. One
At these soirees, Robert-Houdin's repertoire can readily imagine the success of Robert-
consisted mainly of "parlor tricks." He often Houdin's demonstrations of card-sharping. This
knew the places where he was to perform be- aspect of his repertoire must have been one of

157
ROBER'l-HOLDIN

the most popular because twenty years later he standard elements of the card-sharp's ward-
wrote in his daily diaries that in certain soirees robe. Robert-Houdin was one of the first, if not
to which he was invited, he could not "refuse the first, to adapt several of these invisible
to perform a few cheating demonstrations" at weapons to evening wear exclusively for
the guests' request. conjuring, and he invented many others.
These examples, to which we could easily Before becoming the world famous illusio-
add, show that for years preceding the opening nist, Robert-Houdin was already at that time a
of the Soirees Fantastiques, Robert-Houdin master of the brilliant magic specialty that was
practiced his art in public using only his re- later called table magic, then close-up magic.
markable manual dexterity. The necessity of Without having ever performed, at least offi-
performing at these salons in a seemingly im- cially, before the Parisian public, the conjurer
provised manner forbade all use of obvious had already been accepted by an audience
equipment. At these events, his only props whose approval alone could make an artist fa-
were those of any worldly man: handkerchief, mous. We can be certain that during the seven
coins, bills, visiting cards, watch, wallet, etc. years from 1837 to 1844, Robert-Houdin crea-
This led him to perfect the resources that his ted and refined the formula for the Soirees
evening wear could provide, and which he Fantastiques, whose context and structure so
began to modify by adding all sorts of secret closely resembled the places where he perfor-
pockets, which he would later describe in The med during this period.
Secrets of Conjuring and Magic. Although Because he was a revelation to these worldly
some of these principles were already used in circles, their appreciation and attention put an
traditional magicians' clothing, they were also end to many of the author's doubts. His vision

158
 ACT II

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 cu-
riosity show. The refined elite, curious about
all scientific progress, had found itself the per-
fect artist; and as for Robert-Houdin, he had fi-
nally found his path. It was now simply a mat-
ter of time, means, and lucky opportunities.

Fig. 8.

Fig. 9.

Illustrations 195 and 196 — The secret pockets of the con-

jurer's vest. Engravings from Robert-Houdin s work The
Secrets of Conjuring and Magic (op cit).

159
ROBERT-HOUDIN

The Little Parisian Curiosity Shows

Besides specialized theaters like that of Paris many small curiosity shows whose
M. Comte, or halls in which certain magi- longevity was variable. As Robert-Houdin's
cians sporadically performed, there were in Soirees Fantastiques w as classed three years

Police Prefect

General Headquarters
Status of
2 ' Office in virtue of authorizations or tolerances

district Address Name of Type of show

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

IT" idem Gamier • Optics

idem Mercier • Various curiosities
idem Botte Puppets
idem Flanc — Mechanics
Rue de VHotel Colbert N° 9 Bastard - Tightrope walkers, jugglers •
Rue de Bievre N° 21 Steub idem
12" Rue Moufetard N° 48 Sexe -idem •
Rue St Nicolas du Chardonnet N° 7 Queval - -idem
Rue St Jean de Beauvais N° 34 Morin — Mechanics

I
 ACT II

later in this particular category, the reader the year 1842 in which the art of conjuring
will hopefully be interested in this table of was represented by M. Harrington and
the capital's "minor" distractions during M. Liote.

Paris, January 25, 1842

Csllf"lOSlty 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 id , October 18, 1841 —
id- id , December 11, 1841-
Tolerated 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
id- id-
Authorization 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 -, November 1, 1841-
id - id , October 8, 1841 —

id id- -—, May 26, 1840 -

id id- —-, April 7, 1836
id id- -—, April 21, 1836 Permission also granted for the Place St. Sulpice
id id • -—, December 17, 1835
id - id- -—, May 21, 1834
id id- —-, April 7, 1835
id-— id- —-, February 20, 1836 -
id — id- -—, October 17, 1831 -
Tolerated by the Police Prefect -—
id-— id-
id- id-
id- id-
id- id-

Seen by the State Counsel Prefect of Police

 ROBLRT-HOUDIN

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

6 taTele mfernale 10 U Bassm de Neplune

1 Cuisine de 7arafarajamus ou lespoissons dor
2 l e Chapelierde 1943. I LeChapeaumerveilleux
8 lArleqmn savant ella menadene prodigteuse.
3 Le Faon majjique 11 Eclairaje de toullelhealre improvise
4 la Rnn)fiilLe enchantee 8 Le ConBseur qalant.

Illustration 19"7 - Grandes Soirees Mysterieuses de M. Philippe.

162
 ACT II

Philippe Talon, known as Philippe

In his memoirs, Robert-Houdin concluded Houdin he described the performances given

his portrait gallery of famous magicians with from 1843 to 1845 at the Bazar Bonne-
Philippe. Before Robert-Houdin exclusively Nouvelle.
reigned in the capital, Philippe was the last The artist had a small, stylish room set up
tenor of the profession who won the approval on the second floor of the establishment,
of Parisians. The biographical notes the author "excellently adapted for this style of perfor-
dedicated to him are lighter in tone than the mance," christened the ''Palais Enchante,
preceding ones. Robert-Houdin showed an Soirees mysterieuses de M. Philippe" with
amused kindness that is sometimes absent stalls, pit, gallery, and tiered seating.
from his portrayals of Comte and Bosco. We Accompanied by six musicians "of dubious
cannot conclude from this that Robert-Houdin talent," Philippe performed shows that at-
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 ca-
reer, Philippe benefited from a flattering re-
putation in England, where some critics did
not hesitate to say that he was superior to all
English magicians. Robert-Houdin undoub-
tedly had a chance to attend Philippe's
Parisian performances in the Montesquieu Illustration 198 - Philippe, le celebre magicien de Paris.
Hall in 1841, but in Memoirs of Robert- Austrian engraving from the first half of the 19" century.

163
ROBERT-HOUDIN

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

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

 ACT II

tracted a large audience for a few months.

His repertoire consisted of conjuring experi-
STRAND THEATRE.
ments; the presentation of automata - such
OPEN EVERY EVENING,
as The Cossack, The Magic Peacock, and The And (by desire) M. Fhillippe will give A

Harlequin; a version of the Inexhaustible GRAND MORNING PERFORMANCE

Every Wednesday and Saturday.
Hat, renamed Fortunatus's Hat; a burlesque The Morning Performances commence at 2 o'clock. The Evening
Performances commence at quarter before 8.
scene. The Kitchen of Parafaragaramus; and " l a Galate est la sante de L'ame la Tristesse en est le poison."

finally a second part entitled The Festival of Stalls $s. Boxes 2s. Pit Is. Gallery 6d.
Nankin in which, in a Chinese setting, dres-
sed in an ample Oriental-type outfit, MODERN MIRACLES!!
Philippe performed the ring routine and the Part l—Will comprise Ms celebrated and Unrivalled Tours du
Physique, and Astcundinjf Feats of Magical Delusions,
including a Selection from the following popular
goldfish effect, the latter's modus operandi Experiments and Astonishing Deceptions,
Which MI 1 prepared nt an immense expence during the recent recess,
requiring the wearing of a robe. In his des- so as to render an entire change in his various entertainments;

cription of Philippe's automata. Robert- M. E will commence the Performances

on each occasion by LIGHTING
Houdin deliberately omitted mention of The 250ThisWAX CANDLES BY A SINGLE PISTOL SHOT,
Unique and brilliant Experiment was originally performed by
Gallant Confectioner - a cousin of The M, PliiUtppe for upwards of ;oo consecutive nights in Paris.
The Miller of Amsterdam Mndamoiselle Poupee
The Obedient Cards A New Svstem of making Swert-
Impromptu Liquor Merchant and The Dutch 1'lie learned Mercury
The Fenlher Bush
meatft i Bon botisforthe Million,
Gratis !
Flight Myslerieuse Cupid's Pulace and the MHRIC Rose
House sold by Roujol - to avoid confusion in The Metamorphoses, or the Charmed " A Lesson for the Ladies," or a Ntw
Method of Making Coffee,
The Voyage of Papa t,ftpin
the reader's mind between the effect of this ORAND DISTRIBUTION OP THE BRITISH FLAG!!
" The Flag- that"s Braved a Thousand years," | " The Battle and the Breeze,"
trick and his own Pastrycook of Palais-Royal. IS THE COURSK OB THE liVltNINQ M. 1'HILLIPPE WILL INTRODUCE
We will later also see that the general struc- HIS GRANDMOTHER'S CAP
ture of these two mechanisms, their effects, WITH AIX ITS RAPID AND HUMOUROUS TRANSFORMATIONS.
Pas de Characters - Mile. PAULINE CHIARINI.
and especially the means and principles used Pas de Zephyr - Mile. CONSTANCE CHIARINI.
The Highland Fling - - - Mile. VAUUNE CHIARINI.
by Robert-Houdin in this trick were comple- Composed and arranged for La Petite Adele CHIARINI (only 3 years of age)
AFTHR WHICH THE CBl.EBItATED
tely different from those of Philippe. Roujol,
and De Rovere.
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 Ma^ir Telescope THE HAT OF GOOD FORTUNE
The Prolific Aviery afj and Flying Endless and Inexhaustible Profusion1
i Including the Grand European baz-
aar 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
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 of the stage was stronger, because Philippe, al-
stage in 1845 helped "convince" Philippe to ready elderly, returned to his lengthy travels. He
leave the capital for lucrative tours in the went to Russia and the Balkans for a last, disas-
provinces and abroad. A few years later, he re- trous tour before heading to Asia, where he
sumed the trade of confectioner, but either his passed away in Boukhara, Turkey, on June 27,
business was not entirely successful or the call 1878 at almost seventy-six years of age. [54]

,$<xtm de PxtsttdUfntion m, fyiu- ^airu: KsoaMola/lts Tours de passe* ptis.se

tie la<I'Jiyjiuwc, do ('Cplujti.* £&"'

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

A very large part of the first volume of tion as many scientists contend. But this is what
Memoirs of Robert-Houdin is dedicated to I plan to address and demonstrate on this occa-
sion. The digested matter in the stomach is
educating the reader about the celebrities of
brought through tubes, as in an animal's in-
magic who preceded Robert-Houdin, as well
testines, to the anus, where a sphincter allows it
as about the creations of the famous automa- to exit.
ton builders. This choice of the author was I do not attempt to claim that this digestion is
dictated not only by an objective pedagogical perfect, capable of making blood and nourish-
intent, but also by the goal of placing his ment for the well-being of the animal: it would be
works into perspective with respect to those unfair, I believe, to reproach me for failing to do
so. I merely try to imitate the mechanics of this
of his colleagues. In the area of automata,
action in three ways: first, swallowing the grain;
Robert-Houdin humorously recounted the second, chewing it, heating or dissolving it; third,
supposed merits of The Bronze Fly. The making it come out in an altered form... [56]
Bronze Head, and finally The Bronze Man, be-
This mythical duck, which had remained so
fore lengthily presenting in the most laudatory
vivid in the public's memory, enormously
manner the illustrious mechanician of the
stimulated Robert-Houdin's curiosity and ad-
eighteenth century, Jacques de Vaucanson. [55]
miration. During his early days in Paris he had
Vaucanson's genius brought us The German
begun researching the creations of his glori-
Flute Player, The Tambourine Player, and The
Artificial Duck. The latter automaton had al-
ready become a legend in Robert-Houdin's
time. Here is how the mechanician from
Grenoble described his Duck in a letter ad-
dressed to Monsieur l'Abbe D.F. (Father
Desfontaines) in 1738:
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 de-
clare that all the necessary elements of these ac-
tions are perfectly imitated - he stretches his
neck to take the seed from one's hand, he swal-
lows 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 Illustration 206 - Jacques de Vaucanson.
actual animals, by dissolution and not by tritura- 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 &fesplu-
mes, 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.

ous predecessor. A few years later, providence memoirs [of the Academie des Sciences], was
would allow him to auscultate this master- only a mystification - a real canard, in fact.
piece and discover a secret that he would re- Decidedly, Vaucanson was not only my master in
veal to us. mechanism, but I must bow before his genius for
juggling.
...but in 1844 [In fact in 1846], Vaucanson's
duck was exhibited in a room at the Palais- The trick was as simple as it was interesting.
Royal. Of course I was one of the first to visit it A vase, containing seed steeped in water, was
and was much struck by its skillful and learned placed before the bird. The motion of the bill, in
formation. dabbling, crushed the food and facilitated its in-
Some time after, one of the wings having been troduction into a pipe placed beneath the lower
injured, the duck was sent to me to repair, and I bill. The water and seed thus swallowed fell into
was initiated into the famous mystery of diges- a box placed under the bird's stomach, which
tion. To my great surprise, I found that the illus- was emptied after exhibitions every three or four
trious master had not disdained to have recourse days. The other part of the operation was thus
to a trick which a conjurer would have been effected - bread-crumb, colored green, was ex-
proud of. The digestion, [the tour deforce of his pelled by a forcing pump, and carefully caught
automaton], so pompously announced in the on a silver salver as the result of artificial diges-

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 opin-
ion 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
Illustration 209 - Supposed mechanism of Vaucanson's
Duck. 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 real-
life 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 pu-
blic'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
M. Charles DULLIN, Han:. le role du btiroti i)t" KrmpeUn, du film
of the Viennese baron's android. The latter
was one of a host of trick automata to which
LE JOUEUR D'ECHECS their creators attributed a sort of artificial in-
J e l« Socu-ttf des Films historiques (exrtn,fn>tlt' Jean tie .'//<v7y^
telligence that was demonstrated through
Illustration 210 - Photograph from the film The Chess tasks performed by apparently highly so-
Player.
From La Petite illustration cinematographique, February
phisticated mechanisms. In numerous cases,
1927. (Georges Proust collection) these mechanisms were only for show or

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 aux Illustration 212 - The Chess Player.
echecs.
Title page of this booklet published in 1770. English engra\ ing of The Chess Player

"powder in the eyes" that hid the presence, beginning of the performance all the doors
inside or outside the automaton, of one or of the desk were opened to show the au-
more assistants, who remained invisible to dience that there was nothing inside except
all and who were the real '"brains" of the de- a finely tuned entanglement of cogs,
vice. These artifices did not make the springs, and cams. The metallic shell cove-
concepts and the extraordinary actions of red with the material of the Turkish chess
these machines less remarkable, but they player's body was also opened, and all these
belong more to the patrimony of illusionism procedures hopefully proved to the au-
than to that of mechanism. dience that there was no possibility of
Von Kempelen's Chess Player [60] was a human presence in the android. After the
life-sized automaton dressed in Oriental clo- mechanism had been wound up, the chess
thing and wearing a turban. He was seated game could begin between the automaton
behind a desk with a chessboard. This desk and a player chosen from the audience. The
contained the various mechanisms that al- Turk's head started to move, his arm hove-
lowed the automaton to move, and at the red above the chessboard, and his fingers

ri
 ACT II

grasped the pieces, which he placed one by

one onto other squares. Whatever the out-
come of the game, which the automaton
often won, the performance was so fascina-
ting that crowds rushed to see it and even
some of the world's most prominent indivi-
duals deigned to play against the android,
t
who, on these occasions, knew how to be a
good diplomat and lose.
Of course it did not enter into Robert-
Houdin'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 accura-
tely. 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 ma-
gnified Von Kempelen's personality in his
narrative by attributing generous and huma-
nitarian motives to him, ideas that, accor-
ding to the author, were the only reasons
behind the Viennese mechanician's creation Illustration 213 - Baron von Kempelen.
of The Chess Player!
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,
No. 28, St. Jamet'i-Street, EXHIBITION
EVERY DAY FROM ONE TILL tOUK O'CLOCK, AND F5OM EIGHT WLL KIMS 1H 1HS K73 Of the Ne Plus Ultra in Mechanism,
A REPRESENTATION OF THE The AUTOMATON
Conflagration
IK
flg
'•- • -hich
of Moscow,
^ • Mr.
• • * •M
• fins
• -••
endeavoured ' to
•• combine
-••• the
•••- An
'rw of Dfcigt., Mech»r.U», «ndMa»ie,Ml*
PLAYER,
o produrc, by » novel imiulian of Nstnr*, a perfect f.csimile lie of ilie
e rutX icene.
feme. The
Theview ii ro»
«» W froM in ele- AKD
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>
of the Czarc, and the head of ilia French cotuirini commence*
f d h i h f h f i f
nf the
f h
hit us entry. The gnduil prcjfw*
l i ,*" md
P the din of «Hlike-*wti
Automaton Trumpeter,
" THIS" 4, SPRING GARDENS,
Automaton Ohess^JPlayer Of Mr. DE KEMPELEK ^
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 asto-
ll pL>
The Automaton Cii«'«- i'lsjer will pL> tlie Mi
Mine came it played attaum
attamit the Empwof
Empeiof NATOLYOW
during hit Itit campnt|ti A hen
h Mr.M M M. U I ilia
i honour
hnour of exhibiting
hbiti Im
Im various
u i u i meciwnkil nisimieut. Altliougii every part of the interior Me-
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 ' chanism is exhibited to public scrutiny, previously
no one tiu yet mcceeded hi d covering the |>rinciple of its action. to every Pcrformant-e» no one has yet succeeded in
discovering the principle of its action. The Auto-

THE ORCHESTRION, maton 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
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 • * - sixty-four squares, and the Automaton will move it
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 APOLLO- successively into every square of the Hoard, without
NlCOK,aiid all otlier imtrutnenli eunsirurleil ftilfi organ-pipes; it it, Wide*, the only one of ihe Htne liie
ond iiuwei in Euroj)«,
touching the same sauare twice.
Tlie moit eoiinent Comnwar. in London and on the Continent h»ve given it their onqu»l,fied appro. The Automaton Trumpeter (the Invention of Mr.
ballon ; Mr. M fecit, therefore, *omt conGdence iin tdlimiutng utng it
it to
to the
tli jj tidgmenl
g e n t nff B Brinth public:
a Brinth public be
be
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 J. Maefzel, of Vienna), is known to a limited part of
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 British Public, by its performance during two
THE OVEHTURK TO T1M0THKUS, COmpote<l bv HASDJL. nights at the English Opera, when the audience ho-
MILITARY SYMPHONY HAYHN.
TiiK OVRRTU11E TO tODOlSKA . . . CHMCBIKI nored it with the most rapturous applause. It will
VICTORY SVMPHOKY BbKtliwYBK. perform a variety of Cavalry Signals, as also several
AN ECHO PIECE . . . • ClItUCBiNI
TWO MARCHES , MOMCIIELW. Marches, with Instrumental Accompaniments, written
The Uit three piece* computed exprwil; foe the Ordicit tion, «nd out of fnemlthip for Mr. M. by the moat distinguished Composers.
W * A few yt*n ifnce, a very imperfect insirament of tiiii deicripiion n « i exhibitea in Londoo,
under tus t i m e of PtttharmtvuroH; the pt nun who then proclaimed himielf »i the inn-nior h*d conmted The three Morning Exhibitions will begin precisely
during tbe tbMOCt of Mr. Mielxel fiom Vienm, hy the aid of workmen nre»n.n*ly employed by Mr at One, half-past Two, and Four o'clock ; when, for
M. to BwcufMtura an itnituion of Mr. M.'t origin*invention. Thin •t»teniV-nt will nut br rertived « a
mere Bumpported utertlon, tince, at the time of Mr. M,'» fini acrivtl in thU rauntry, when Iw found the the general accommodation of the Public, the Chess
•o called Pmlitrmcmieoi) in URIUKI exhibition, he lost no tiai« in iiibmiuing by s<i*«rtbi.'iiient in the
d«ily prinu,
d«ily prinu, tb«tb« ii h
h» fret* to the iioti« of the pnbire, liiereby giving to the exhibitor an opportunity
» tt fret* Player's operations will be limited to the playing of
of comrtdietlag tfeit itMemtnt »nd which he thought proprr never to do.
of comrtdietlag tfeit itMemtn several curious and scientific ends of Games against
any Opponent.—In the Evening it will be ready to
T
THE AUTOMATOlTTRUMPETER commence a Game with any Antagonist.
Both tht Automata are tunable *f prrformirtf in OM« purl o/ the
Of JOHN MAET.ZEJ, of Vienna. Ream, but ike Mechamim of Ih i'rumpettr cu*not it ta.'iibittdto
The Tmmpeto* will perform two Mwchc*, with loiuumenul Accompaniment, untten, expre»ly for
r
the Public.
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». Admittance toeach Performance2i.6</. Children Is.&d.
• # • 'fhc Exhibition will positively close on Saturday the V4th. OAK*)*, Pritltr,4, CtAtriitt-Smtt,Btmt.

Worousky, who found himself heading a he-

roic and desperate insurrection against the
MAELZEL'S EXHIBITION, 1 Tzar's armies. Gravely wounded by a gun-
No. 29, St. James's Street.
| shot that broke both his legs, Worousky

The Chess
Ia owed his salvation to Dr. Orloff, who, in
order to save his patient, had to amputate
8 both his legs. In spite of his recovery, the
Automaton Player
3
I Polish hero's life was still in danger because
the Tzar's police actively pursued him. The
1 Edinburgh and Liverpool, where (giving the Pav
, in upwards uf 200 Games, although opposed by AT,L

oycucD itjs renegade's only consolation was the game

WITH THE

! AUTOMATON T R U M P E T E R , of chess, at which he was remarkably talen-

AND TH E
IQ ted. M. Von Kempelen, having come in a
Conflagration ofJUoscow, (ID
• tit which M M. has endeavo ired to combine (he A&TS of DESIOH, MIJCKANISK, and Music, so an
most timely fashion to visit his friend
h MbyM
produce, h
a novel I d dof Nature, opeifucl Fie Simile of the leal Scene. The View is from
Iinitntion
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.
i
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.
I
Tiie MORNING EXHIBITIONS begin a l l wid 3 o'Clocb, and the EVENING EXHIBITION at 8 i
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.
T Figures 215. 216. and 2V - Advertisements for Maelzel.
Jidmisswn gs.6ii Children is.M. each.
Posters announcing Maelzel's exhibition of Von Kempelen's
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 or Chess Player in London at no. 29. St. James Street. (215 -
Moitoir, end the I'atetilfor the MBTUVNOHKS, are to be dmpntd of.
I J.B. Findlay. 216 - John Gaughan Collection, 217 -Histoire
et evolution technique de la prestidigitation by Max Dif).

174
 ACT II

Dr. Orloff, noted the outlaw's unhappy si-

tuation and his skill in chess, which then
gave him the idea of a machine whose hu-
manitarian goal was above all to allow
Worousky to escape. A few years later this
eminently romanticized tale, lacking histori-
cal foundation, became the basis of a drama
entitled La Czarine, to which we will return RORERT-HOlDItV1,
later. i^cdeue, de, "PalW, i&&, efc lite De

In his memoirs Robert-Houdin explains

that in 1844 he had the opportunity to exa- $->J , 16

mine 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 re-
mained in America after Maelzel's death.
Robert-Houdin believed that he saw the ori-
ginal 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 mechani-
cal pieces. In my edition of the Memoirs pu-
blished by Stock in 1994, I reproduced a let-
-^ , - - - ~. _

ter 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 mecha-
nician in the past tense: "...for which our
/

poor M. Cronier had made the mechanism..."

Alexandre Cronier was not unknown in the •
' - • *

j
magic circles of the era. He was one of a
few craftsmen who manufactured conjuring
Illustration 218 - Letter by Robert-Houdin in 1847.
equipment and automata to be used by
Letter addressed to the painter Lefebvre in which Robert-
conjurers and amateurs. Some of his adver-
Houdin 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 amu-
sante, automata, acrobats, dancers on a tightrope,
LETTRES
mechanical and picturesque theaters; Pierre, at
IDE M. Belleville, 20, Rue des Rigoles.
CHARLES GOTTLIEB DE WINDISCH
$ UR
OPTICIENS.—PA.RIS.

LEJOUEURD'ECHECS tttivre de at
sique par a
Jecker fils,
rue de 1'on
DE M. DE KEMPELEN. 1834.
q Konnerailt,
17.
TRADUCTION LIBRE DE L'AIXEMAND,

Accompagnde de trois Gravures en tuille-doiice

qui reprefentent ce fameux Automate,
It was therefore not a novice who showed
& publiee
his friend Robert-Houdin the remains of the
Chess Player automaton, and nothing definiti-
PAR C H R E T I E N DE MECHEL, vely proves it was any more than a copy of the
Membre de l'Academie Imperiale & Royale famous android, which ended its "career" on
de Vienne & de plufieurs autres. the other side of the Atlantic. [62]
Having described the merits of these two fa-
mous automata, Robert-Houdin was then able
to tell the story of his Writing and Drawing
ABASLE CHEZ L'EDITEUR. Automaton. We learn in Memoirs of Robert-
MDCCLXXX1II. Houdin that it was thanks to the confidence of
a Monsieur G., who financed his work in ad-
Avec Privilege de S. M, Imperiale & Royalt.
vance, that Robert-Houdin could begin creating
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 il-
lustrations 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
Z S J :• i ::_£^_-i I
Octave Gastineau, and which was performed at the Theatre
de 1'Amblgu comique in May 1868.
s

176
 ACT II

the android. This man, for whom he provided mechanicians were already capable of perfor-
only an initial, was Alphonse Giroux, who had ming, albeit by different procedures, some of
his store and salons at 7, Rue du Coq-Saint- the feats later performed by his Writing and
Honore. This establishment reserved for very Drawing Automaton.
wealthy clients was specialized in the sale of The romanticized story Robert-Houdin wrote
merchandise of exceptionally high quality, concerning his long retirement to Belleville, a
such as mechanisms, uncommon watchmaking, period during which he dedicated himself to
or even luxury toys for the use of princely off- the construction of The Writing and Drawing
spring. Automaton, are among the best pages of his
The dream of many famous mechanicians Memoirs. The development of the narrative is,
has always been to create androids in the however, subject to caution. In this text, the
image of man, an ambition or sign of vanity author had a clear desire to share with the rea-
from which the young Robert-Houdin did not der his solitude, trials, doubts, and disappoint-
escape, since his Writing and Drawing ments, which were illustrated through the pic-
Automaton became one of the first projects he turesque figure of his porter M. Auguste,
undertook in his father-in-law's workshop. apparently based on the character of M.
Although this creation was the one of which he Pipelet, a traditional show-business foil of this
seemed to have been the proudest, we can no- period. This narrative, poignant in certain res-
netheless make a few comments about it. A pects, raised the creative pathway of the me-
youthful work is often marked by the admira- chanician to that of a composer, feverish from
tion that the young apprentice has for the mas- his own music, or of a painter haunted by the
ters he dreams of equaling or even surpassing. beauty of a model whom he is trying to per-
Prior to Robert-Houdin these masters, with manently capture on canvas. This was probably
names like Jacquet-Droz and De Maillardet, one of the primary goals of the author who, on
had created writing and drawing automata that this occasion and many others, wanted his art
the author "forgot" to describe in his memoirs, to be considered equal to that of his peers. In
probably because the androids of the Swiss this passage of his memoirs, brief remarks also

Ill
ROBERT-HOUDIN

likely that he abandoned his family and left his

successful workshops and workers unsuper-
Ttvised 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, ele-
ven 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 si-
lent - to put this subtle equipment slightly out
of order because the spectators wrongly imagi-
ned that the squeaking noise of springs and
gears were synonymous with quality and sho-
wed 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 ear-
lier. 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 se-
veral examples of his daily schedule. The me-
chanician liked to divide his days between four
or five creations in progress on which he suc-
cessively worked, probably in order to avoid
all risk of routine and to provide him with an
objectivity with respect to the work just com-
pleted. Although the writer tried to convince us Illustration 225 - Profile of Robert-Houdin made by his
of the contrary in his narrative, it is highly un- Writing and Drawing Automaton, /chateau de la i die deBloi-,)

178
 ACT II

have undoubtedly continued to manufacture very curious pieces consisting of:

other versions of The Writing and Drawing 1. A Writing and Drawing automaton;
Automaton had not a certain Barnum, whom 2. A Singing bird;
we are about to discover, come to the 3. A Shenobate [Tightrope dancer]
Children can see these masterpieces of me-
Exposition. The conditions of the transaction
chanical art, executed by M. Robert-Houdin, every
that followed prevented Robert-Houdin from
day, even Sunday, beginning today.
recommencing the manufacture of the The
Writing and Drawing Automaton for two de- A strange, mysterious link reunited the fate
cades, but allowed him to exaggerate its im- of the legendary automata described by the
portance by implying that it was unique. [to] author. Vaucanson's Duck, Von Kempelen's
The advanced rough models of the The Chess Player, and the copy of The Writing
Writing and Drawing Automaton, The Dancer and Drawing Automaton sold to Barnum all
on a Tightrope, and The Singing Bird convin- came to sad ends: the first vanished in
ced M. Giroux to pay Robert-Houdin the sum Dresden, the second in Philadelphia in a fire
of 5,000 francs in advance, in two installments, in the Chinese Museum in 1854, and the third
as a deposit on the sale of the finished auto- in 1865 in New York in a fire at the American
mata. This agreement was respected because Museum.
the following advertisement could be read in
L'Illustration, December 9, 1843: 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 pre-
sents this year even more attractions than the pre-
vious 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 en-
core plus d'attraits que les preeedentes par la variete inflnie
d'objets nouveaux qu'ils renferaeut.
On distingue, enlre autres merveilles, VExposition des Auto-
mates, 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. Ro-
BEBT-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'ou-
verture 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 imi-

tate the chirping of birds and regulate his mechanical Illustration 22" - Advertisement by the Maison Giroux for the
pieces. (Chateau de la Ville de Blots) 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 II

b • '^/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 pro-
found 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 7
the same day. Already stricken by the loss of his
wife, Robert-Houdin lost his only daughter and Illustration 229 - Notarized document concerning Marie
Rosalie Robert-Houdin.
his father on the same day. A few months later,
preoccupied above all by the education and The w itness of this document is the clockmaking worker
Omcr Augustin Legrand, emplo) ee of Robert-Houdin. v, ho
well-being of his two boys, he resolved to re-
\\ as one of the main protagonists in the trial described in
marry. 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 wed-
ding 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 morn-
ing 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 hur-
ried regards.
Robert-Houdin
Madame Desmadril / 60, Rue des Tournelles / in
Illustration 231 - Marguerite Francoise Olympe Braconnier, the city. [65]
Robert-Houdin's wife.
The author was as precise in his private "por-
Terra cotta medallion of the profile of the artist's second traits" as he was in those he later published, and
wife, sculpted by his friend Dantan the younger, (chateau de
his dislike for revealing his intimate feelings in
la Ville de Blots)
public is obvious here. Cecile Eglantine Houdin
had been the spouse of a renowned mechani-
Marguerite Francoise Olympe Braconnier [64]
cian; Marguerite Francoise Olympe Braconnier
was twenty-eight years old and single; her sis- would be the wife of a famous conjurer with an
ter Amelie Charlotte had a flower shop and her international reputation and the retirement com-
brother Charles Michel held the rank of second panion of a respected scientist.
lieutenant in the Belgian army. She had also just
Olympe and Jean Eugene were married on
recently lost her father, Charles Albert Samuel
August 22, 1844 at the city hall of the ninth ar-
Braconnier. Here is how Robert-Houdin pre-
rondissement in Paris. The marriage contract, a
sented his future wife in a letter written to a
communal estate settlement for the spouses, had
certain Mme. Desmadril:
been signed the day before at the notarial office
Paris, August 15, 1844 of Maitre Jozon, in the presence of M. Charles
Madame Jules August Adam, former notary, residing in
I was sorry last night to have been prevented by Paris at 8, Passage de l'Industrie, cousin by mar-
bad weather from coming to your home to thank riage of the future husband; Mme. Rosalie
you for thinking of me for M. Charles's soiree, Metivier, widow of M. Prosper Robert, residing in
which it will be impossible for me to attend, as you
Blois, Loir-et-Cher, future mother-in-law; Mme.
will judge for yourself.
Marguerite Louis Martin, widow of Braconnier,
For a while I have been entirely occupied by a
serious matter; I am getting married.- the activity mother of the future wife; M. Louis Michel
that I have been obliged to engage in this business Martin, infantry captain in Orleans, uncle; Mile.
has prevented me from coming to see you. Until Amelie Charlotte Braconnier, sister; and Mme.
now, it was quite uncertain; on the one hand the Laure Marie Porcher, cousin, wife of M. Cavillier.

183
 ROBLRT-HOI DIN

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

The future wife brought as a dowry land and The future husband brought a dowry of
houses situated in Belgium, the native country 18,000 francs owed to him in the short term; the
of her father's family. Her contribution was value of his merchandise, estimated at approxi-
jointly held with her sister Amelie and her mately 15.000 francs; and three houses, com-
brother Charles: one third in a house situated pletely owned, at the location known as Au Pied
in Mons. 33, Rue des Clercs - two buildings du Quartier in Blois and bearing the numbers 8,
with a cellar, courtyard, stables, and a shed; 9, and 10. The debts of the future husband to-
one third in a parcel of farmland of eleven taled 7,085 francs.
hectares, sixty acres, in Aulehin, a district of If we compare the assets that the mechanician
Charleroy, in fifteen leased parcels; and one possessed upon his arrival in Paris to the state of
third in a small house with a pasture in Aulehin his finances nearly fifteen years later, we realize
rented by lease. Her contributions were re- that in spite of the considerable loss due to his
duced by one third of a debt of 3,000 francs father-in-law's bankruptcy, Robert-Houdin knew
due to M. Leroux, one third of rent of 71.15 how to intelligently take care of his business, but
francs due to a M. Labbe, and of another for he was still far from having made a fortune. That
21.71 francs. 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 by-
marriage 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 si-
tuated 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 use-
ful 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 manu-
factured. 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 ar-
rangements.
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 Lit Dllirftt Efct'rfapteil P« atf.ri

caricatured as Jean de la Vigne and in 243 he is wearing ftlUntion Citijens l i s a s * de fain disparate cette petite lemaistllt ,«t J j substltuer ¥ jeao

Bosco's costume. 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 arrived, holding the Comte de Paris The King made the following inquiry: "How
by the hand, and I stood on his left hand to explain many inhabitants does Paris contain?"
my various articles. The Duchess of Orleans was The writer raised its left hand as if to indicate
by my side, and the other members of the royal fa- that it required a sheet of paper, on receiving
mily formed a circle around his majesty, while the which it wrote very distinctly: "Paris contains
crowd, kept back by the keepers of the palace and 998,964 inhabitants."
the police agents, left an open space round my ex-
The paper passed from the King's hand into
hibition.
those of the royal family, and all admired the
The King was in a charming humor and seemed beauty of the writing; but I saw that Louis-Philippe
to take a pleasure in all I showed him. He fre- had a critique to offer; his smile proved that
quently asked me questions and missed no occa- plainly enough. Hence I was not surprised when,
sion to show his excellent judgment. pointing to the paper which had come back to
At the end of the seance, the party stopped be- him, he said, "Monsieur Robert-Houdin, you did
fore my Writer. not, perhaps, recollect that this number will not
This automaton, it must be borne in mind, agree with the new census, which is almost com-
wrote or drew according to the question asked. pleted."

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 accusto-
med 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 souf-

franee,
Abandonne de tous, Vhomme va succomber,
Quel est I'ange divin qui vient le consoler?
C'est...
(Philippe] Rien Jans Its Minis, rien Jans les Pnclies,
I' Guizol) 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 wri-
ter 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 com-
pliment as for the delicate manner in which it was
conveyed.
"Now then, Monsieur Robert-Houdin," Louis-
Philippe 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 sur-
prise, 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 drafts-
man's pencil broke, and the crown could not be fi-
nished.
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 dis-
played towards me... [66]
The anecdote about the pencil point break-
ing, thereby preventing The Writing and
Drawing Automaton from finishing his work,

L'ESCAMOTUR KSCA.MOTE

190
 ACT II

was apparently a forewarning because the you did not apply the talent you have evinced in
Count of Paris, heir to the throne of France, was fancy objects to serious labors."
never crowned. This criticism wounded me the more, because
The jury of the Exposition awarded Robert- at that period I considered nothing superior to my
works, and in my fairest dreams of the future I de-
Houdin a silver medal upon which were in-
sired no greater glory than that of the skillful in-
scribed the words ''You enrich me, I honor you,"
ventor of the automaton duck.
and he was presented it by the King himself on "Sir," I replied, in a tone that betrayed my
July 29 in the Tuileries in the Salle des pique, "I know no works more serious than those
Marechaux, where the sovereign distributed the which give a man an honest livelihood. Still, I am
prizes to the exhibitors designated by the differ- ready to change my views, if you give me the same
ent juries. The brilliant mechanician was one of advice after you have heard me.
the two hundred medallists who took part in a "At the period when I devoted myself to
splendid banquet held in the great hall of the chronometers, I hardly earned enough to live
Louvre. A toast made by the King "To industry upon; at present, I have four workmen to help me
and commerce" ended this celebration. in making my automata; and as the least skillful
among them earns six francs a day, you can easily
At the end of his memoirs, the author related
form an idea what I earn myself.
a small disagreement he had with one of the "Now, sir, I ask you if I ought to return to my
members of the jury of the Exposition, as well old trade."
as the quite "prophetic" conclusion of this inci- My critic was silent, but another member of the
dent: jury coming up to me, said, in a low voice, "Go on,
The jury entrusted with the examination of me- Monsieur Robert-Houdin, go on; I am convinced
chanical instruments and designs had come to my that your ingenious works, after leading you to
productions, and I had repeated the little perfor- success, will conduct you straight to useful discov-
mance I had given a few days previously in the eries."
presence of Louis-Philippe. "Monsieur le Baron Seguier," I replied, in the
After listening with interest to the details of the same key, "I thank you for your encouraging pre-
numerous difficulties I had to overcome in making diction, and will do my best to prove its correct-
my automata, one of the members of the jury said ness."
to me: I have followed the advice of the illustrious sa-
"It is a great pity, Monsieur Robert-Houdin, that vant, and find myself all the better for it. [67]

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 247 - General Tom Thumb. Illustration 248 - Barnum's memoirs.

Engraving from the work Fahrend Volk, Signor Saltarino,
Leipzig. J.J. Weber. 1895.

The Exposition was visited by royalty, poli- I met and became well acquainted with a cele-
ticians, scientists, and artists, including the brated conjurer, as he called himself, Robert-
great Barnum, [H who was already famous on Houdin, but who was not only a prestidigitateur
the other side of the Atlantic and was exhibi- and legerdemain performer, but a mechanic of ab-
ting in England one of his best-known disco- solute genius. I bought at the exposition the best
veries: Charles Stratton, known as General automaton he exhibited and for which he ob-
tained a gold medal [sic]. I paid a round price for
Tom Thumb.
this most ingenious little figure, which was an au-
Wanting to find novelties for his American tomaton writer and artist. It sat on a small table,
Museum in New York, Phineas Taylor Barnum pencil in hand; and if asked, for instance, for an
could not miss the Exposition. In his memoirs, emblem of "fidelity," it would instantly draw the
he recounts his meeting with Robert-Houdin: 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 there was a contract, and it is difficult to ima-
took this curiosity to London, where it was exhib- gine otherwise, we can reasonably assume it in-
ited for some time at the Royal Adelaide Gallery, cluded a clause granting Barnum exclusivity of
and then I sent it across the Atlantic to my
The Writing and Drawing Automaton. Thus, du-
American Museum, where it attracted great atten-
tion from the people and the press. During my
ring the length of the automaton's exhibition,
visit, Houdin was giving evening legerdemain per- no manufacture or commercial showing of a
formances, and by his pressing invitation I fre- duplicate was permitted. The end of the story
quently was present. [70] He took great pains, too, of The Writing and Drawing Automaton seems
to introduce me to other inventors and exhibitors to support this hypothesis.
of moving figures, which I liberally purchased, His business and his home restored, Robert-
making them prominent features in the attrac-
Houdin finally decided to "strike the grand
tions of the American Museum, [TX].
blow," an exhortation constantly launched at
We do not know the details of the contract him by the Count de l'Escalopier, and began to
that was probably exchanged between the wise journey the capital looking for a site suitable for
showman, the mechanician, and M. Giroux. If his future theater.

LE GENERAL TOM POUCE.

Lt ibe'aire du Vaudeville. Tina d'obt?nir un >es diTann, rceolt ton R«m, ft mire,fait*i(o»-
itCM iueec* him rare* dc mn jour*. Chsqun hue, caroiso to meoton de la bl&DetaltMnie.
«oir U re«;ptte eit de 4,00>; ft. ci ceue TOIJUC a Vo!«i qu'it outre »»eorre«poDdaaeet({U'Hchi.
Hi p»>;>heiiide par (out !<•.« jnumaux qui imi tie un valet maladroit, et rtrtno de pied fa
renducouipledu U puco du P E T J T i OVCHT. cap do costume du f;rand PrMfrio, pom sl-
de MM. Clain-ille et Domaooir. ier combattre i« michanl ogre.

• TomPoucc. d)t le Sihdt, e*t le p!ui jolt • Quant aw gfadral. d!t le Commaru, I
petit enfant qu'on public Imap.iner; nou» avons ett rcellemem plo* petit que tea protprefoi
«t6 admix a le titltrr dint, too cablnrt de toi- cus-rotme*n4lftdl«ent. Parml let bovqoeu
lette, il cit Impossible d'ftire mieux fail oi plug de Heuri qui lui ont aejotet et dent i'oa—
proponlonnfi; l e i ytax trfii vif. ont loujourt doax piril—afillli lVeraier.il ta*UiU't\nt\
unecxpresvlon Joytu»c.»ibouchpert bifnd<-x- hauti e,w. lui, pour In moini. Tom Pouee,q««l.
»lnfc. On ne peut M faire une id«e dc I'jnle'll- que part qo« lea auteura I'alent fuurrd, dtni
genccque Dieu t placee dan* ce petit cerveau,. une botte, dsns un nid d'oUeau, dint un pi-
i^>*etnb!c toojours ktonsise.
On lit darn 1ft Constitvdonntl: Gniableau J°
fdiilajjlement a«{reable et curieux, e'est c«-lui "J^ Le Charivari, a ion tour, wmarooe • que
qui r»prdi>ente Tom Pnoce dam non Iwurioir, |'*dmlnlair*«ioo du ihfatre du Vaodeiille t
un boudoir de* plus / W a n s , orne de glare* monte* la pltac. dans laqnetie Tom Ponee pa-
ft dp iriAiib'et rift »olr. Tom >'otice. enveloppd rait. a»ee un luxe extraordinaire tt on toiu
d'une robe de chambrechamanie.M rouls tur "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 In his Tablettes Parisiennes
TABLETTES
still in Blois on February 12, 1830. (Brussels, H. Tarlier, Libraire Editeur, PARISIENNES,
See article 3 of his wedding con- 1825), M. Santo-Domingo portrays
tract. the streets of the capital in the fol- PAE M. SANTO-DOMINGO.

lowing manner:
2. But [the people] are more and more
Relative of Doctor Desfray, for- hungry for conjurers. Should I be
mer head surgeon of the Hotel Dieu surprised, given that I myself can-
in Blois, corresponding member of not see such tricksters without
the Academie de Medecine, district joining the crowd who, with strained
councilman and widower of necks and gaping mouths, devour
Josephe Madeleine Houdin, who the gestures and words of these
amusing mystifiers with eyes and BRUXELLES,
was the sister of Jean Eugene's fu-
H. TAELIES, HBEAIRE-fiDITEUR.
ture father-in-law, Jacques Francois Illustration 250 - Cover page of "work by
Houdin. M. Santo-Domingo. M DCCC xxv.

195
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 magic manufacturer, one notes (See Act II. The Little Parisian
fooled, because he finds this such that their effects are not de- Curiosity Shows.')
an amusing pastime. The mysti- scribed. The conclusion of this Louis Julien Roujol. born on
fiers are always careful never to opuscule on pages 11 and 12 is as April 29. 1811. baptized at Saint-
forget the cup tricks; these days follows: Mery on April 30. 1811.
one cannot take one step without
Marie Victoire Roujol. born on
meeting some conjurer. Here, a All of this apparatus, either in
joueur de gibeciere changes three brass or varnished tin, in modern April 21. 1808. married at Saint-
coins into one. and out of that one shapes, mechanically simple, are Roch on June 2. 1827 to M. Georges
makes three. perfectly constructed for the pur- Langolff.
pose they serve, and for which
4. any sort of confederates or secret 9.
Memoirs of Robert-Houdin. op. handling is unnecessary. I here owe much to Jacques
cit . p. 235. Consequently. the master Voignier. who compiled a list com-
ROUJOL will provide amateurs paring the effects described in this
5. who deign to honor him with their manuscript with those of Roujol's
This document is an army order trust (even the most unskilled in catalogue, of which he owns one
replacing "gunner" Alexandre this art), the means to perform of the few know n copies.
Francois Roujol with a certain with ease.
Bruneteau and is signed by the no- In addition to the objects des- 10,
tary Tricard (Caran Etude II. regis- ignated in the present catalogue, Comte was born in Geneva,
ter 778). This act. dated 28 Floreal. we also build any type of fantasy Switzerland, on June 22. 1788
Year VIII (May 18. 1800) situates instruments and tools related to and died in Rueil. Seine-et-Oise.
Roujol at no. 20. Rue des Petits the art of conjuring and to science on November 25. 1859. His sec-
Champs. in general.
ond name is Christin and not
All these devices can be easily Christian as spelled by numerous
The addresses I have found for
sent to any country: one may re- authors.
Roujol are 5. Rue de Richelieu until quest this by indicating the num-
1837. and 21. Rue de Richelieu ber placed next to each piece.
from 1838 to 1852. One of his sons 11.
NOTA: Those who wish to add In this biographical note on
was also a tinsmith in 1845 at 368. one franc more per item will re-
Rue Saint-Denis and in 1852 at 232. Comte. I ha\e reproduced several
ceive a detailed descriptive note unpublished documents and un-
Rue du Faubourg Saint-Martin. explaining how to gracefully use
the apparatus. know n facts on the life of the il-
6. Those who are far away must
lustrious Kings Conjurer, thanks to
Jacques Yoigmer noted this indicate an address in Paris where the kindness of descendants from
similarity between names. Roujol we can receive the sum due when a branch of his family who agreed
and Rougeole. and this possible the article is sent: otherwise we to open their archnes. Other ele-
kinship, in the work The Magic of ask for payment via messenger or ments from this same source have
France: French Laboratories of cargo transportation. allowed me to reconstruct certain
Legerdemain (1769-1992) by Please stamp letters when in- episodes that would later unite
Jacques Voignier and Robert Albo. quiring about price and other in- Messrs. Comte and Robert-Houdin.
1993, in the Albo Classic Magic formation. The obituary from the Figaro-
with Apparatus series. It is also in Programme of November 27. 1859
this work that Jacques Yoignier 7. by Jules Prevel also provided me
describes Alexandre Roujols cata- Jean-Joseph Pmetti. Amusemens with a few of the anecdotes that
logue, which he was the first to physiques, third edition. 1791. p 83 adorned M. Comte's career. For
discover. Roujols little tw eh e- all conjurers, no matter how-
page catalogue offers 132 tricks 8. renowned, Comte's influence was
and 23 articles in boxwood with Alexandre Frangois Adolphe considerable throughout his long
prices ranging from one franc for Roujol. baptized at Saint-Eustache career. His privileged relationship
Le Portefeuilie a la Bague (no. on 2 Frimaire. year IX - November with those in power was impres-
108). to 200 francs for Le Temple 23. 1801 - married Mile. Masse at sive, and the high rank he held in
de Flore (no. 91). Although this Notre-Dame-des-Victoires on January Freemasonry at the end of his life
catalogue lists the names of the 9. 1836. A Masse family was running in Freemasonry was perhaps not
effects or props offered by the a Theatre Mecanique at this time. unrelated. Comte was initiated into

197
ROBERT-HOUDIN

MM.
UiVE S O I R E E DE M. T H I E M E T ,
SOIREES D'AUTREFOIS, Mercredi 19 Nivdse an iS,
Zxz trotsfemeaura lieu le Mercredi 7 Frimaire an iZt
Sxt.Lt, »is RZDOBTIS ET CONCERTS , Rue do Crenelle St. Hoaor^, N°. 4° * SUAB 01s RiD0aTi3 ET COKCIRTS ( Rue de GreaeUe St. H o n o r e , N u . 40-,
a -7 heures et demie tnss~precise$, par i 7 Acurw et
Elle t u n lieu par
LES DERVICHES ov LES MOINES GOURMANDS,
Settle de moi, que jt jouerat seal, dans laquelh je changerai de visage »t de voix LE COMSDIEN I3E SOCIRTE,
JiuitJbUf et ferai aHec ma figure ctllt d'un Derviche plturantt d'un cdN du visaga Proverbe a sceuei dpisodiquei, /« Jf«i d'argenttla MalUparlant$, »t dtfforentei imiiaiiotii.
tt riant da I'autre en mime terns ; Suivie :
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 ,
]• ferai diffirentes Seines a"imitation ; entr'autm zs DINSJI MAXQU&, scttci &t Sceuti de Veulriloqiie, duns laquelle M. Tmiutv jeiera » volz de maniere qu'etle
vtnraiLQQUX, dans laquelle je jetterai ma voix de maniire qu'elle sera entendua aera ealandue commit si eliu parloit de quaire endroili a la fob.
comma si elle partoit de auatre endroits a la Jots ; VARRACHBUR BE SBNTS, LE CORPS.DB.GARDE ,
Scene Italienne de fnu, Carliu j j'imiterai dffirens, Instrument de Musiaue, plusieurt Sceae dau ItqueUe M. ThUmet repreieatera 3 ivrogues de di&retu carteieret.
Acteurscdlh&res, et sur ma main la figure d'un* Vieilte Femme qui toil, mangpek
LE DEPART OK NICAISE ,
Seine it 8 voix, dans laquelt* U fora entendre ua MaUde dan* ito Hi et Nicaisetnr
Le Specitcle ser» t«rraioi pir $ lfl dov«Dt do la Scene, UQ Ramontur dam It cbgoiin^t, un Tottdeur de chiens iiama
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, cabinet, le Crigur de Journaux dans U rue, ele.
Dans iaqueUe jHmittrai 40 voix et idi4m*s Affirent j pr&rfdie d«
Sans un entr'acte, M. Tmiutt fera u»a Seine de Ventriloque* I'iatdrUur delaSalle.
LA CHASSE 00 LE MOULIS,
Sc^us ds X'sravent, ^us j'«i faito en 1780* dim laquelle i'imiterai le bruit da Le Spectacle sera termine* par
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 «* LA CHASSE on LE MOULIN,
iloignd, touts une Mtt&tet enfin tons let acctstoiret d'unt Chats*. 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,
Mademoiselle STXPIUHJE TSJLYOWIU,* ex^cutera lur U HARP» , apr&s U premiere Scene I'Abatement d«s Chiens de loin et de prks, le son des Cor* de pris et dloigni,
et aviut It detuiere, difTeren* morceaux de Mmitjue. toute une Me&tt, erifin tout les accestoires d'un* Chats*, CCrT
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. Tribunei, 1 Jr. 65 cenf.
TroUIeraes, 2 francs 20 cent. Les Bureaux seront ouverts k 6 heures,
Les Bureaux seroat ouverts h G heures. Hota, On pourrt te procurer a 3'aTance de» billet! che« M. THXEMET,
27ota. On pourra te procurer A I'ovance de* billet* desquels hs places leroot •iiiviirr^*. 9.
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 the time were Baron de Mengen,

was 85th/87 on the chronological Saint-Gilles. Thiemet, Fitz-James.
list of the Sacred Order of Soph .-. Borel, Alexandre. and Comte.
12. 13.
In 1805, the ventriloquist Thiemet Voyages et Seances anecdo-
(or Tiemet) performed twice a tiques de M. Comte (de Geneve)
week, Wednesday and Saturday, in physico-magie-ventriloque, le plus
the Salle des Redoutes of the Rue celebre de nos jours, pubtie par un
Grenelle-Saint Honore, where the temoin auri-occulaire invisible...
conjurer Olivier also performed. (Tales of the Travels and Perfor-
The most famous ventriloquists of mances of M. Comte [of Geneva],
The Most Famous Conjuro-Magic-
Ventriloquist of our time, pub-
lished by an invisible ear- and eye
witness) Paris J'.G. Dentu, 1816.
Biographie de Comte, Physicien
du Roi, avec des documents his-
toriques sur sa vie, ses voyages, et
Illustration 255 - The ventriloquist ses aventures. suivie de la Biogra-
Illustration 254 - Signature of Thiemet. M. Alexandre. phie en miniature des acteurs et ac-

198
 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 ac-
tors 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 •* entrilo-
quist 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 Illustration 256 - Le Cafe des Aveugles, where the ventriloquist Fitz-James per-
theatre of the famous fantasmagore formed.
on December 13. 1799 and his talent
quickly became one of the main at- so named because the orchestra that The ventriloquist Borel was also
tractions of Robertson's show. After entertained was composed exclu- a Parisian celebrity who performed
leaving this show in 1802, citizen sively of residents of the Quinze- at his Cafe Borel, former site of the
Fitz-James performed in England be- Vingts hospital for the blind. He died Fevrier restaurant, in the Salle
fore returning to France, where one heroically on the Butte-Montmartre Montansier at Palais-Royal
could applaud him at Palais-Royal in on March 30. 1814. defending Paris
the very popular Cafe des Aveugles, against an attack by the Cossacks. 16.
Grand Dictionnaire du XIX sie-
cle 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 biogra-
phy 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 be-
cause 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
Illustration 25^ - The ventriloquist Borel. Monseigneur!

199
ROBERT-HOUDIN

•/W ^ / ' ^ 2 / , / ,). ,/SU.

v
-- "' ^ ^Ja/t,fa(ifM/f" ~"~~

*s ^. fuiuJpot/vr Hi ?bfie i/afcl '"OIL Cdiuef !)c //ujiytu> a. Se i/ttumt/hrlix Pvfit

etucui m\
ff ' r /
^ (fltitiU cxf&t^rjjuActtiQU- fed ftutttpattyn fhxjj 3c J'ifattttJt «/&##£r^eM

V,iSu~*A) Vjaltt JuJituU /««*W«W uVe^ite 4e t/J % S.A I

cf
MX Jc fttc-rhoi e/tf/ci4te>j Ufttc. ttKtutwt/taU ttetc e* tttott dou/jitt^ z/t tats*

' /A
que / tf/at'te
/ • t/e
0 ft
/ ut&ufw
' toP /'

qttt cattjfeutj tie. t/at*4 ttOtwf eneovt *Jeaki<fJ<Ldr Ce^ftu',,<•« ? W "

/ cMe4<c/J ayec GtuJiaeta Ce te*«orveca*ft Or, J

J^ /7
Ctfe c Jeittuj

Illustration 258 - Letter from the conjurer Bienvenu to the Minister of the Interior in 1809- (Archivei nattonales)
 NOTES TO ACT II

The undersigned, Bienvenu, pro- It is helpful to recall that prior one dreaming of claiming a portion
fessor and presenter of Physique to the revolution, the plaintiff had of my income, in spite of the fact
experimentale, has the honor of in Paris. Rue de Roubaix, a bou- that the public purchased tickets,
protesting to your Excellency re- tique with conjuring apparatus since this is the only way to com-
garding the pretentions of theater manufactured for him. He usually pensate me for the considerable
owners in the provinces, who state gave conjuring lessons twice expenses necessary for the trans-
their privileges authorize them to yearly, which made him well portation of my show, which
receive a fifth of gross ticket sales. known enough to earn him the weighs sixty quintaux.
The undersigned, with the au- honor of a request to maintain the I have tried subscriptions; they
thorization he obtained from the devices in the establishment of barely succeeded for me. In
previous government (letter from Monseigneur le Dauphin in Meudon France, one tries to educate one-
the Minister of the Interior dated from 1787 to 1788; during the rev- self without appearing to do so.
July 11. 1809) to present perfor- olution, the plaintiff, like so many I believe that I am the first to
mances of Physique experimentale other Frenchmen, was obliged to have traveled and given legitimate
without depending in any manner depart Paris and soon after leave lessons in conjuring.
on theatre owners, as long as he the country. After several stays in I have had the honor of present-
did not add any dramatic presenta- the southern provinces where he ing them before several rulers; the
tion to these performances. taught conjuring lessons, he sailed special protection and testimonies
We have objected in vain to this from Marseille to Italy; pursued by of satisfaction they deigned to
claimed privilege of theater owners the troubles of this country and grant me are titles too precious and
allowing them to receive a tax on obliged to seek asylum elsewhere, too honorable for me to not men-
all types of performances, includ- he left for Spain, where he offered tion them.
ing that of the Physicien. conjuring lessons in the major It is therefore only in France,
What arc what one calls physi- cities. my homeland, that I am deprived
ciens? Mostly wandering", home- It was only after ten years of ab- of advantages that were enthusias-
less charlatans who travel from sence and travels that he was fi- tically lavished upon me abroad.
fair to fair with a few card tricks, nally able to return to France. Back
The type of performance I offer
sleight-of-hand, or white magic ad- at home, he traveled through vari-
for the curiosity of an enlightened
equate to earn the admiration of ous regions, always with his show,
public approaches science — to the
commoners, carrying a rickety but not with as much success as
progress of which it could even
wooden table for spreading out the abroad.
contribute; progress, because its
debris of a few automata and some Afterward, as a result of these goal is to stimulate one's interest in
shabby devices they call conjuring revolutionary torments, wartorn it through the pleasure it creates —
equipment, claiming to be a France had nearly lost its interest too closely for your excellency to
Physicien. in these sciences and could not refuse it the high protection that
This is far from the status of the offer much of a welcome for shows Your Majesty so generously grants
plaintiff. He is a homeowner in the based on them. This circumstance to the arts and sciences.
Indre et Loire region; his show is forced him to return once again
I have the honor of offering the
filled with beautiful brass appara- to Italy, where he remained for
deepest respect,
tus costing him because more than several years. then traveled
through various countries such as For Your Excellency,
80,000 francs; he is perhaps fa-
mous enough for it to be pointless Germany, Austria, and Bavaria be- Monseigneur.
to speak of his celebrity; he re- fore returning to France through The Very Humble and Very
quires a vast and decent venue; his Strasbourg in 1808. It was around Obedient Servant,
performances call for an enlight- this period that the pretensions of Bienvenu
ened public that seeks science as the theater owners began. Tours. December 16. 1814, Rue
well as amusement: and he incurs In Paris, before the revolution, de la Gellerie, no. 100.
large costs, his demonstrations all shows paid a fee to the Opera,
mainly being performed with the but conjuring performances never 18.
help of machines and equipment of did so. At the end of a performance
the greatest proportions in order to For three years. I performed that he gave at the Tuileries before
dazzle the eyes of a large audience. my conjuring in Madrid as I had in Louis XVIII. he invited his majesty
Finally, the plaintiff asks that one France, without any privileged to select a card from the pack. It
not confuse a legitimate, serious theatre owner ever demanding a may be that chance led the King to
series of experiments in various fee. draw his majesty of hearts: it may
branches of this science with old- In Milan. Rome. Naples, Flo- be, though, that the conjurer's ad-
fashioned shows of sleight-of-hand rence, Vienna, and Munich, I also dress produced this result. During
stunts and card tricks. performed in theaters without any- this time, a servant placed on an

201
ROBLRT-IIOIDIN

isolated table a vase filled with "Your majesty, a single several times before Her Royal
flowers. glance ennobles my successes: Highness the Duchess de Berry in
Gomte next took a pistol loaded All of my voices do not equal front of the noble children of
with powder, in which he inserted yours: France.
the King of Hearts as a wad: then, Why can't I. after one. after Now I am to be reduced to sim-
turning to his august spectator, he the other, ple conjuring tricks that have no
begged him to fix his eye on the Speak of your virtues, your dramatic element and. despite all
vase, as the card would appear just talents, your goodwill: of my efforts, cannot justify the
over it. I would become the echo of enormous expense of an establish-
The pistol was fired, and the the voice of the French".] ment in Paris, so. in spite of the
bust of Louis XVIII appeared powerful protection of Your Royal
among the flowers. Memoirs of Robert-Houdin. op Highness and the tolerance that
The King, not knowing how to cit.. pp. 146-47 S.E.. the Minister of the Interior,
explain this unexpected result, has granted me for almost two
asked Gomte the meaning of this 19. years, I will be exiled, so to speak,
strange apparition, adding, in a Francoise Levie. Etienne-Gaspard and will have to travel from town to
slightly sarcastic tone. "I fancy, sir. Robertson: La vie d'un fantasmagore town to support my large family.
that your trick has not ended as (Etienne-Gaspard Robertson: The I am a father of eight children,
you stated.'" Life of a Phantasmagorian). Collec- I have spent more than thirty
"I beg your majesty's pardon.' thousand francs to create an estab-
tion -Contrechamp.' Le Preambule, lishment that the capital needed,
Comte replied, assuming the man- 1990. p. 249
ner of a courtier. "I have quite kept because, between the Chinese
my promise. I pledged that the shadows of Seraphin and the mon-
20. strous genre of melodrama, there
King of Hearts should appear on Grand Dictionnaire du XIX'
that vase, and I appeal to all was no intermediary for a child at
siecle de Pierre Larousse. letter the age of reason. I put the fables of
Frenchmen whether that bust does C. article on Comte. volume IV.
not represent the king of all Aesop and La Fontaine into action,
pp. 819-20. as well as the Proverbs of Berquin:
hearts?"
with what joy did I not celebrate
It may be easily supposed that 21. for my little children the glorious
this trick was heartily applauded To His Royal Highness. His victories of V.A.R. in Spain, with
by the audience. In fact, the Royal Grace the Duke d'Angouleme what enthusiasm did the public ap-
Journal of the 20th December. Your Grace. plaud their songs. H.R.H. the
1814 thus describes the end of the He whom his Majesty honored Duchess de Berry has tried to en-
performance: with sueh kindness with the title courage my efforts; she has even
"'The whole audience ex- of the King's Conjurer, a title that been so kind as to ask His Lordship
claimed, in reply [of] M. Gomte. he seeks to ennoble even more, if the Count de Corbiere for a twelve-
'We recognize him — it is he - the this is possible, by interspersing year permit for the genre I have
king of all hearts! The beloved of his conjuring demonstrations and created and which is performed by
the French — of the whole universe feats with moral and instructive no other. His Lordship the Count
- Louis XVIII. the august grandson children's performances, is now de Corbiere told her that he pre-
of Henri IV.' about to be ruined and forced to ferred to grant me a provisional ex-
"The King, much affected by leave the country if Your Royal ception rather than a license, but
these warm acclamations, compli- Highness does not deign to cast a stated that I would be perfectly
mented M. Gomte on his skill. kindly glance in his direction, protected; and it is now in the
'"It would be a pity.' he said to and it is with the utmost confi- midst of this apparent tranquility
him. 'to order such a talented sor- dence that he places at the feet of that I am somewhat stricken by
cerer to be burnt alive. You have Your Royal Highness the subject this curse and threatened with
caused us too much pleasure for us of his most troublesome afflic- complete ruin if V.A.R. does not
to cause you pain. Live many years tions. look upon me benevolently.
for yourself, in the first place, and A recent decision of His Fathers of families have found
then for us." Excellency the Minister of the my performances a stimulating re-
M. Gomte answered this compli- Interior has ordered Monsieur the ward for their children; a single in-
ment from his King with a ventrilo- State Councilor and Prefect of stant could destroy everything; but
quism feat, in which a distant Police to forbid me to continue to informing V.A.R. of the threat loom-
voice, with the accent of the con- publicly perform in my tiny hall ing over me is as good as knowing
jurer, expressed himself in the fol- the moral and children's perfor- that it will never reach me.
lowing manner: mances that have been presented I am. with the deepest respect

202
 NOTES ro ACT II

for my lord Your Royal Highness, legitimate mechanical pieces that

his very humble and very obedient would ha\ e enthralled our hero, and
servant. whose memories and experiences
Gomte. the King's Conjurer. could satisfy his thirst for knowledge.
Young beginners in the art of magic
22. have always tried to meet their glori-
Words underlined in the manu- ous predecessors, who have made it
script text. their duty to receive them and some-
SPECTACLE INSTRUCTIF times teach them. Robert-Houdin did
23. DE the same during his retirement in
Memoirs of Robert-Houdin. op. Blois. where he met neophytes and
cit.. pp. 141-42. ROBERTSON, corresponded with beginners from all
PHYSICIEN ET AERONAUTE, over the world. To meet Robertson,
24.
Memoirs of Robert-Houdin. op. Jean Eugene had a name that he per-
cit.. p. 152. 92°. haps used as an "open sesame." be-
t
A sept heures.
cause the phantasmagorian was also
25. born with the surname Robert:
Also see page 343 regarding PROGRAMME. Etienne Gaspare! Robert, known as
Olivier's son. Robertson, born in Liege. Belgium.
TJitaih du Spectacle donais pat- le Journal des Sciences et
Arisf dam le n". 38g, du 25 mat i 8 i 5 . June 15. 1763. died in Paris. France,
26. VISION. on July 2. 1837.
Chansons de Desaugiers. Paris. Et le jcur dn sabui, apr& le soleil oouche, un esprit me
poussa vcrs la panic des boulevards suspends qui bordent
eette cii<!, il m'entralntt vera un jnlais voisin , (font Teimee
1858. p. 110. «l(wt iwaiijiiee par deux trepieds vomissant t( sflanines
Je mo trouvai transport^ dans un vasle .-Ion, ou eta iu
minis un grand uontbre de babylonicus <jm &*tbU$m»lcm
28.
27. Jean Jacques Emile Robert-
By a strange coincidence, Jean Houdin. born in Paris on May 21.
Illustration 259 - First page of the pro-
Eugenes notary. Maitre Deschesnes, 1831. died in Paris on March 17,
gram of the conjurer Robertson.
was also that of Robertson, the fa- 1883. See genealogical chart.
mous inventor of phantasmagoria
and the pioneer of parachuting - 29.
Archives Caran. cote mc/and/LXV/711
Froger-Deschesnes aine 1820/1842.
MEMOIRES Diederich Nicolaus Winkel,
etude XXXI. The jurist might have watchmaker, mechanician. in\ en-
facilitated a meeting between the tor, and creator of automatic in-
neophyte, whose marriage contract struments, born in Lippstadt,
he had recently written, and his fa- Westphalia on August 24. 1777,
E. G. ROBERTSON,
mous client. At this period, the lat- died in Amsterdam. Holland, on
ter was writing his memoirs, and 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
September 28, 1829. In this brief
one might imagine that one or sev-
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
chapter, we cannot describe the
eral encounters could have taken OKIES DE PI ASCHES ET FIGLItKS
marvels of ingenuity that made The
place between the old man. who Componium an exceptional exam-
readily related his memories, and ple of a mechanical orchestra.
TOME PREMIER.
Jean Eugene, who would have had Philippe John Van Tiggelen dedi-
so many questions to ask him. cated a completely fascinating
about optics of course, as well as and extraordinarily well-docu-
about his creations and perhaps mented volume to this instrument.
even Pinetti. This chapter owes everything to
the erudition of this author, who
Without placing too much impor-
has generously allowed me to
tance on what may simply be a coin-
reproduce documents from his
cidence, it is far from unreasonable to A PARIS,
think that one of the first professional collection. Philippe John Van
CBE2 L'AUi'liUB, BOULr.VARO M O ^ I M A R T R K . R«

magicians that the young Robert- EV i l . i LtBHAinib DE «DRTZ. HOE DK BOURBON , %• f Tiggelen. Componium: The Mecha-
Houdin would have liked to meet 1831.
nical Musical Improvisor. Institut
would be Robertson, who. in addi- superieur darcheologie et d his-
tion to phantasmagoria and conjur- toire de Tart. Louvain-la-Neuve
Illustration 260 Title page of t h e first
ing, had exhibited during his travels volume of Robertsons Memoires.
1987.

203
RofShRf-HoUDIN

LE MIRACLE DES CEUPS — Illustrations de H« STEIMER.

II n'est pm ^^ W on de veus, Sur laltadesavte, Robeit-IIoudin s'dtaltreilrd ... qui *"*——~ marehait peniblement, pof-
mes peiits amis, qui n'ait emendu parler de aus environs de Blois, dans une charmame pro- taottittdtiorme panier piein d'ceufs ffais, quana eiie
Rabert-Houdin,
>!
le prestsdigitateui", et lou.^ ks pri£t6. Or, UR jotif qu'ft passak en voiture sur k fut accostee par unepsuvie vieiHc temme qui lutdit;
™ tsParisiensontassiH(!«uxi-epri>s<inlstions route menaiu ait bourg voisin, il upergm une — Par piiiii, Madame, dotinez-moi ddus cettfs
sonnentsessuccesseuFs. grosse (ermiere.... fraisp<jurmonen!':it-it tjtiU-it maladet

L« fermiere ne rtpondit pas. La p«VMnne rtpliaua, mm s'arrt- Robert-lloudtn avait vu touie la ge&ne. IE suklt en
L-autre inslsuit: - Madame, je n'ni pas de ter r — Je uc nourris pas les f.iim'ants I Mon voUure la marcliande d'asufs, gut se reodak aa mar-
i;iiui i.chtu i-citi mils pour mon enfant, ilest brenest 4 moi, « jc U: ;:.mie i Kiellc poursuivii ch6 de Molssac. Quand cite y rut ins talkie, le prestl-
maiade.Deuxosufsnevous rutneront pas! so« chemin. digitateuf* qui av«U conduit a 1'auberge sa voltufe.*,

pp d'elie, Robert-iiou ^W din prit an Bt, devant la femme ^bahle» il sorllt de fceuf «i
• • Voulej^vouSj Madante, «ri sou de vos ee des eeufs, le cassa, et ' a^ue ens or.
La femme au pameF se i^cria E *— 9 V««t miite francs ks deux, ces ceufs-la, fit-it
— Un sou, mes ceufs! Est-ee q«e vous — Pesiel Vous ovezraison.dit-il.Void Et if se saus*a en emponsnt la liague.
fou? Yitigt-dnq sous la dou^aine, et encore t cinq sous doce1ui-dl

La foulc |ue, comme le Monsieur I'avatt fatt. CeqneUefiit sait u n e

La fefmi^ret stuptsfaiie, d£ctsF4» illec«ss» un oof, tea ceafs.totis les t^te, 1& fenuKre (•— J'ai eu tort, se dit-eHe.
— ie ne ies vends pins Itftucuttprlx I mufs y pass^rent IUIY npfe$ Iautre, et de refuser dmt ceufs a eeite ftmmc. £t
Et etle s*eftfuit 4 son tour ew emponani son pander, pour nature'llement elle Be trouva ni bsguc, efie rentra eher. clle, se promeuant Men
^ter UQ |»eu plus loia casser ua de ses as«ts, et en sontr «ne ni ir<3sor d'aucune sorte. 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 il-
lustrious 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.
 No i lib TO ACT II

30. The text of a song by Robert- 1793, died in Dresden (Saxe) on

Memoirs of Robert-Houdin. op. Houdin that the artist sang at each March 7. 1863. The dates of birth
baptism is reprinted in a letter and death of Bosco. engraved on
cit., pp. 173-75.
from January 21, 1903 written b\ his tombstone, are apparently
Georges Robert-Houdin to his sis- wrong. The ones indicated above
31. ter Eglantine in response to a re- seem more plausible.
Robert-Houdin inherited the quest for information on the num-
majority of his sister's wealth. ber of children their father had. 36.
Through a notarized act of Here is the excerpt from this cor- Prior to Bosco, certain authors
October 15. 1832, Prosper Robert respondence:
gave his parts and their usufruct in attributed this anecdote to Pinetti,
the five houses in Blois inherited I had more trouble finding the who found gold coins in cakes he
number of children born from both purchased from bakers. It was also
from grandfather Guillon to his marriages; I luckily remembered a
son Jean Eugene. In exchange, attributed to Robert-Houdin after
song written and sung by my father his death, and became the subject
Robert-Houdin paid him a lifelong at each baptism. The 3rd and last
allowance of 757 francs. In a sepa- refrain gives us the total of births of the comic strip reproduced
rate act, Robert-Houdin made a from each marriage; here is the re- here.
gift to his mother-in-law of a life- frain (very joyful):
time allowance of 400 francs "only How much have I spent this year 37.
in the event that she survive her To pay for baptisms Decremps's v% ork succinctly pro-
husband" (Jean Chavigny, p. 45) Because I am at my tenth vides the explanation for "The Dead
Robert-Houdin, therefore, along To the priest I am going to speak and Alive Bird." The unfolding of
with his spouse, was the sole To get the Church this cruel experiment, still per-
owner of the five houses situated To give me a discount formed decades later by Bosco, is
in Blois, the sixth having already Then unlimited credit described in detail in the manu-
Because of the quantity
been sold and its income shared Friends, I am indeed happy script of the "Third Notebook of
among the rightful heirs. Very happy to have done Experiments, Conjuring, Subtleties,
Even better than my father Small Effects" of David of Bor-
32. Even better than my father! deaux. This routine, which the au-
The number of these children, thor seems to have performed, is il-
Of the ten children, you were
all having died very young, is indi- the last, and my mother had before lustrated with drawings of this
cated by Georges Robert-Houdin, us only a little girl (Marie) whom long-gone amateur of our art:
first son of Robert-Houdin's se- she lost.
cond marriage, in handwritten Apparently the eleventh - and The Dead and Alive Bird
genealogical notes regarding his last - child of Robert-Houdin was You must have a sort of tin can-
family. Among these five prema- Henri Louis, who passed av\ ay ten ister in the following shape
turely deceased children, we have days after his birth. It was undoubt- [Drawing] in which fits a second
the names of only three: Marie edly to perpetuate the family tradi- one [Draining], The surface BB
Rosalie Robert-Houdin (see note tion that Emile Robert-Houdin must be slightly longer than sur-
42 of this act), whom we will have ended a letter announcing the birth face AA. Glue to end C and end F a
a chance to discuss later; Louis of his first son Paul with: ''Even bet- layer of seed covering the con-
Henri Robert-Houdin, born in Paris ter than my father!" (See Act IV of tainer. In D are small holes. You
on March 6, 1839 and Auguste Volume II.) must also have a bell [Draining]
Adolphe Robert-Houdin, born in that can cover the two canisters
Paris on January 1, 1841. The latter, when one is inside the other. All is
33. thus arranged so that when one
contrary to writings of Chavigny Memoirs of Robert-Houdin, op
and Sharpe, must have died before canister is inside the other and the
cit,, p. 176. bell completely encloses them, it
1843. because his name is not on
compresses the edge BB enough to
a civil register or a notarized act 34. remove it, leaving the other con-
of this period, which had the Memoirs of Robert-Houdin, op. tainer. Now here is how to use all
names of the other heirs who were cit., p. 69- this. You have two identical birds,
then alive. (See Act II.) Auguste or nearly identical. One bird is en-
Adolphe could therefore not have 35- closed between bottom C and bot-
helped his father in his perfor- Giovani Bartolomeo Bosco, born tom F. The other is kept to display
mance in Palais-Royal. in Torino (Piemont) on January 3, to the spectators. State that you

205
ROBfcRl-HOLDIN

you suffocate the bird. When the

choice has been made, hand the
bird to someone to hold. If possi-
ble, choose a little girl and place

\ Z,
• / the bird in her hands. Tell her not
to let it escape and to hold her
£ 4, hands closed without moving them,
jf /, which prevents her from seeing
•& A. that it is no longer alive. This done,
•&U4 ?» 4M^4v 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
J- £ Umx the little girl. Ask if she did this on
purpose. She always answers, "Oh.
<i d rnon dieu. no." Then, with great
ft' • / _ / _ / . / . ', 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

s5fi ' ' f £*• AtA

r
young lady if she wants to resusci-
tate it and when she responds affir-
matively, 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
Illustrations 262 and 263 - The Dead and Alive Bird. Extract from the manuscript of the only three seeds. But the difficulty
Third Xotebook of David of Bordeaux is making a dead bird eat, but that
by warming it up you hope to suc-
ceed. 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 resusci-
tated). Lift the bell, grasp the can-
ister, 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 appara-
tus examined and deter the curi-
have raised this bird with great manner the spectators, seeing it ous. I have altered the shape of this
care and that at the command of struggle, will be quite convinced it apparatus. Here is the one I use
the spectators it will sing any re- is alive. Ask one of the spectators [Drawing]. This shape looks rough
quested song. As you say this, you to choose a song and during the in the drawing but when con-
hold the bird by one leg and in this brief fun that this choice causes. structed is infinitely elegant.

206
 NOTES TO ACT II

38. Busoni, who described in L Illus-

Memoirs of Robert-Houdin. op. tration the treatment of "the poor
cit.. pp. 190-91. During a meeting ammunition" which the conjurer
of collector friends I hosted in the "shoves into his pistol alive"; then,
Bordelais in June 1999 including after the gunshot has been fired
Georges Proust, Jacques Yoignier. by a "well-meaning spectator, the
Pierre Mayer. Volker Huber. Bob sorcerer catches the flying bird on
Read. Bill Kalush. and Ricky Jay, the tip of a sword." All magicians
the latter two told us that certain familiar w ith the principle of The
words used by Robert-Houdin to Card Sword can readily under-
describe Boscos work were ab- stand the horror of this procedure
normally shocking. These words for the unfortunate bird, this effect
are "the bird-murders." In compar- being its first but also its last per-
Illustration 265 - The Canary Caught on
ing this American translation w ith the Tip of a Sword. formance.
the French edition, we all noticed To be convinced of Robert-
that in the sentence ~Le public Houdin's objectivity, it seems to
suppose quepar une adresse inex- it") w ere translated into English as me that it suffices to read The
plicable, les executions capitales "Bosco had strangled it." These Secrets of Conjuring and Magic, a
et autres sont simplement differences in text, expressed at work in which he again praises
simulees" ("The public imagines \ arious points in the English trans- the dexterity of the Italian
that due to an unexplainable skill, lation, could have wrongly given artist. ..but only his dexterity.
the principal actions and others Anglo-American readers the im-
are only simulated"), the transla- pression that Robert-Houdin, in 39.
tor, instead of accurately translat- his writings, had excessively em- Jean Laurent Gherbrant was one
ing the words "les executions cap- phasized Boscos cruelty towards of the witnesses of the wedding
itales et autres" ("the principal animals. Robert-Houdin's opinion contract of the Robert spouses.
actions and others"), summarized about this aspect of Boscos per-
them as "the bird-murders." On formances w as furthermore shared 40.
page 304, the words "Bosco Vavait by certain important chroniclers of From written notes of Georges
etouffe'e" ("Bosco had suffocated the time, among them Philippe Emile Robert-Houdin. Robert-
Houdin's son from his second mar-
riage to Mile. Braconnier. Despite
my researches, I have not found
confirmation of the death of Louis
GABINETTO MAGICO Francois Houdin during this period.

41.
Robert-Houdin always had great
L'ARTE DEL PRESTIGIATORE affection for his father-in-law, M.
CONTKNENTE Houdin. When the latter became a
110 giuoehi sorprendenti <h magia naturale
con carte, dadi, pilic monete. anelh. ecc
uon che 19 altn giuoelii di carte
widower and could no longer w ork
e 68 mterewanileslini graoohi antrnetici
d'amena istruzione nei trattcnimenti e neile bngate as before, his son-in-law decided to
NONA EDIZIONE host him at The Priory, given the fi-
ACORNA DEI RiTRATTO E D! TAVOLE If} RAVE nancial difficulties of continuing to
live in Paris. Robert-Houdin trav-
eled to Paris in June 1859- took care
of the moving of M. Houdin. and re-
turned with him on June 20 to
Tip GIO GL6S0M V.ddmt Saint-Gervais. He gave his father-in-
M1LANO j VOQHERA
law a lovely room and set up a pri-
vate workshop for him. On
November 15. a letter informed
M. Houdin that he had w on a silver
Illustration 264 - Gabinetto tnagico del Cavaliere Bartolonieo Bosco. medal at the Bordeaux Exposition.

20^
ROBERT-HOUDIN

42. The magic community, which

Marie Rosalie Robert, born in discovers advertisements for for-
Paris, second arrondissement, on merly scarce objects every month
February 25, 1836. died in Blois on in its magazines, would appreci-
February 28. 1844. See genealogical ate clarifications as to their origin
chart. by the sellers or their representa-
tives, who are "experts' or deal-
43. ers, all well-known in the world
Memoirs of Robert-Houdin, op. of magic.
cit.. p. 193.
48.
44. M. Houdin was a traditional
Joseph Prosper Eugene Robert- watchmaker who imposed strict
Houdin. born in Paris on June 19, rules on those employed in his
1837. died in the battle of workshop. It is therefore not sur-
Reichshoffen on August 6. 1870. prising that Robert-Houdin signed
See genealogical chart. his Chinese Conjurer automata in
his own name. In fact. M. Houdin
45. believed that even if a worker had
Memoirs of Robert-Houdin. op made all the parts of his work, the
cit.. pp. 193-95. sole fact that it w as done in his
workshops was enough for the
46. worker to relinquish credit in
In the 18-M business almanac, favor of his employer, w ho signed
Illustration 266 - M. Houdin during the Robert-Houdin is listed at two dif- in his place. A few years later,
final years of his life. (Private collection) ferent addresses: 9. Rue Vendome w hen M. Houdin had become the
and 9- Rue Madame. His father-in- foreman of the Destouches work-
In February I860, his health began law Jacques Francois Houdin is shop, he applied these same prin-
to seriously decline. Dr. Arnould di- listed as In ing at 19. Rue Bergere ciples. This earned him biting
agnosed his condition as critical. in a building where his spouse was comments from the trade journal-
On February 13 he was given com- employed.
ists of the Exposition, who criti-
munion and as a result M. Houdin cized him for thus depriving cer-
was quite distressed. His state pre- 47. tain workers of their credit at the
vented him from sleeping in his bed On this subject, see the inven-
company he directed. On this
for fear of suffocating, so he had to tory reproduced at the end of this
chapter, which shows how limited same subject, see Bulletin de
spend his nights in an armchair. The
Robert-Houdin's handcrafted pro- 1 Association Nationale des
state of his legs and thighs, already
quite swollen, greatly worried ductions were and how scarce his Collectionneurs et Amateurs d'Hor-
Robert-Houdin. BY the end of creations already were during his logerie Ancienne, no. 58. summer
February, thanks to Dr. Arnoult's lifetime, chiefly because of the time 1990. pp. 15-17.
good care and the love his whole and care required for their con-
family offered. M. Houdin was struction, and probably also be- 49.
graced with somewhat of a remis- cause of their high cost, which
A version of L'Odalisque, from
reduced the number of potential
sion and was able to return to his the Edouard Gelis collection, is
purchasers. The number of Mys-
workshop and sleep in his bed. at the Musee Paul-Depuy m
terious Clocks and other mechani-
This remission lasted until cal creations wrongly or correctly Toulouse; the example known as
October, when he again fell very se- attributed to Robert-Houdin. and the Du Perron, which belonged
riously ill. He passed away on which have •appeared" over the to Paul Robert-Houdin. is in the
No\ ember 10 at three o'clock in the past ten years in England at auc- Chateau de Blois. and a third
evening. Robert-Houdin. who called tions or private sales, seem to ex- version, similar to the example
him Papa, lost a dear relative, ceed the total number of clocks sold by Emile Voisin to the con-
friend, and mentor. His death would made by the master during his brief juring amateur Grivolas, is part
long and profoundly affect him. career as a clockmaker. of an American collection.

208
 NOTFS TO ACT II

50.
In France, the Chateau de Blois
has preserved a traditional clock in Par permission de M. le Maire.
ebony supported by four
columns: a French collector owns THEATRE HISTORIQUE,
a clock in black marble, as well Edairi par 100 Bees de Gaz. r:
as one in elm. also with four
SPECTACLE DES
columns, signed "Robert-Houdin
Palais-Royal; and I have in my
collection a gold-plated pocket-
watch engraved inside no. 160.
Robert-Houdin, rue Kve Vivienne
BARRICADES, EVENEMENTS DE PAIUS.
no. 41 - Paris — Echapt. a cylin-
Attnqnc et Barricade da Pantheon ,
dres quatre trous en rubis."
LE 2 5 JOIN,

51. OU XiA PRISE DE XiA BASTILLE.

Memoirs of Robert Houdin. op. MORT

cit.. pp. 179-180.
DE MONSEIGNEUR L'ARCBEVEQUE DE PARIS
52.
Memoirs of Robert-Houdin. op. Ces Eepresentations seront rendues par des milliers de figures mecaniques
a pied et a cheval, qui viendront combattre contre les barricades. L'artiste
cit.. p. 192. n'a rien neglige pour donner a toutes ces figures meeaniques les mouve-
ments qu'exeeute un eorps d'armee.
Admirable Polyorama mouvant, le seul qui ait paru jusqu'alors, mele
53. de chromatrophe anglais et suivi d'une double Fantasmagorie nouvelle et
In his posthumous work The risible par toute espece de jeux comiques.
Secrets of Stage Conjuring, Robert- i S
Houdin related the effect he specially LA SUSPENSION ETHEREE1E
invented for Monseigneur Affre. After B'lPRES tiOBERT HOi_DI\.

having entrusted to the eminent ec- APOTHEOSE DE M.er L'ARCHEVEQUE DE PARIS.

clesiastic's vicar "a stationery enve- Les Interludes seront remplis par dens effets de peinture peints par les deux plus
grands maitres, MM. Cioeri et Cambon.
lope \\ ith seals at each corner," 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
Robert-Houdin asked the prelate to stances, ]a premiere afiheures, la derniere ii 8 heures.
secretly write a sentence or a thought La Loge est situde Place d'Armes.
on a piece of paper. The slip was
then folded into quarters and appar- PBIX DES PLACES : Premieres, SO c ; Secondes, 30 c.

ently burned. The ashes having 91. CHARLES, olrecteur dc ee Spectacle^ ose ejspcrer, ici eoinme partout
scarcely been dispersed. Robert- 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.
Houdin asked the Archbishop to
open the envelope he held in his 1 c
Alencon, Imp. de M."" Y.
hands. It contained tw elve other her-
metically sealed envelopes, one in-
Illustration 26~ - Historical Theater, Spectacle des Barricades
side the other. In the last one. the
prelate found intact the slip with his This mechanical shcyw appeared to show Monseigneur Affre's heroic death on the bar-
handwriting that everyone had just ricades, 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
witnessed being burned. The aston-
Suspension, for whom he had predicted, in the earh years in the salons of M. De
ished spectators then passed around l'Escalopier. "great success in [his] future career."
this paper, upon which was written:
"Without being a prophet, I predict.
sir. your great success in your future
tyr on the barricades. Robert-Houdin 54.
always kept this slip with him like a Here is a letter from Philippe
career." Robert-Houdin asked Mon- pious relic and reserved a special
seigneur Affre permission to keep written to his wife. Louise Yictoire
place for it in a w allet that was al- Masson, a few w eeks before his
this autograph: he was granted this ways with him. During his journey to
"with a charming graciousness." In death:
Algeria, he lost the wallet and the
1849. Monseigneur Affre died a mar- precious document it contained. Boukharat. May 30. 18^8

209
ROBERT-HOUDIN

My poor wife, bother me at all because I have had

I am taking advantage of a only water for a long time. The Bek
friend's departure to write these was charming and grandiose [Illegible
few lines; by the grace of God I word]; curious to see the audience
have left Russia, which I liked very attending my performance seated
much compared to [Illegible word]; cross-legged on rugs on the
everything is new to me in the ground, except for the Bek. who
country where I am presently. To was seated on a bed prepared for
give you a more precise idea. I me. Before leaving, he gave me a
would say that I left hell for par- hundred coins of 32 kopecks and
adise; I entered the first village ac- three robes worth 50 to 60 rubles.
companied by five people: a watch- The three carriages of my compan-
maker and the Jew to whom I o\\ e ions were given a robe that the
money, a Sarthe-Russian interpreter, Sarthes wear I packed up the same
my servant whom I am trying to evening and we left the same day
train to assist me on stage, and an- accompanied by two gandouras on
other Sarthe. The Jew. watchmaker, horseback. The same day we ar-
and the servant have a carriage: rived in a small town where the
Illustration 268 - One of the last engrav- Sultans son lives. Everything was
myself, my Sarthe, and my inter- ings of Philippe.
preter are in another; and my bag- ready when we arrived because of
gage in another. The carriages are From L'lllusionniste, May 1902 the letter I had sent ahead so that
tipcarts covered in straw and the food and lodging could be pre-
wheels are six or seven feet in di- pared. The next day the Sultan's
ameter: no suspension, but they roll son received us and said that upon
gently Like simple [Illegible word] my return I would perform for him
we travel six to eight leagues a day. but that his father had to see me
At the first village that I arrived in, first. While I was leaving his hum-
the Bek invited my companions Bimanehe © Kara 1860 ble home, fifty soldiers bearing
Chaque personne recevra gratis pour une arms told me to wait, and a Sarthe
and myself to his home. All of the baignoire et bel Stage, 10 numeros, 2me et
Sarthe are covered by a sort of robe 3me rang 8, loge lettree 12, 4tne rang 6, ioge brought me three hundred coins of
letteree 4me rang 8, Fauteuil ler rang 3, Fau-
and a Calicot turban. Impossible to teuils Stailles et Balcoo 2, gallerie4me rung, 32 kopecks and three pelisses and
place au B etage, 1 numero.
see the tip of a woman's nose; they one for each of my companions.
On commencera a 7 heures 1/2. The Jew took the 60 rubles by force
are covered with a thick black veil.
It would be difficult to describe the and there w as almost a fight. As a
reception we have received and all M" P H I L I P P E scandal would have ruined me, I
of this is thanks to the letter of in- DE PARIS had to give way. On the way to
troduction that the governor of Physicien prcstidigilateur du Bazard bonne Boukhara, everything was ready for
Nouvelle etdes principaux Theatres d'Europe,
Samarcande gave me I was led into d'Asie, d'Amerique et d'Afrique, donnera une us. The emissaries sent by the
Soiree mysterieuse Indienne et Chinoise en Ministry were waiting for us at the
a sort of square house made of 3 parties.
earth, as all the houses here are station to show us the way into
Premiere Partie.
made of earth and remarkably sim- Tours varies de dexterite, illusion et pres-
town, where everything was ready
ple. I was able to give a perfor- tiges Mecaniques des plus nouveaux. for us. One of them took my letter
mance in this house my second day Deuxieme Partie. to the Ministry, who sent it to the
here. I must tell you that as soon as Grande fete magique. Une nuit dans un pa- Sultan. The Sultan is currently forty
lais de Pekin ou seront executes divers tours
I entered the room, which w as indiens et chinois splendides et merveillieux, leagues from Boukhara and at the
dont rien ne saurait egaler l'effet.
fairly large, a table was set and in- moment I am writing I have no re-
stantly covered with cabaret platters Troisieme Partie. sponse. Paper is scarce: as soon as
Les amusement de la soiree seront termines
filled with praline, almond, and pis- par une surprise agreable et risible d'un genre I have some I will send you money.
enticiement nouveau. Cette surprise consistera People are half black since I came
tachio cakes. The pistachios in their en une distribution des priz [gratis] composes
shells are five shillings a pound; de neuf lots heureux et trois raalheureux. to this country. I am housed and
endless tea and sugar as well. In fed free...at the moment It is hotter
this country, no white or red wine than I have ever seen: if you put an
Illustration 269 - Russian poster for egg on a sand dune, it will be hard-
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.
boiled in an hour. My position is

210
 NOTES TO ACT II

completely changed: if God gives as much as by age as by the numer-

me strength. I will soon be able to ous restoration attempts it had en-
help you. Adieu. I kiss you all. Your dured. Certain parts, among them
Alfred CHAPUIS et Edouard GELIS
husband. the most delicate, were ruined and
Philippe. forever lost. There were various ele- LE
ments mixed in that had nothing to
do with it, and what the repairer MONDE
had in his hands could either help DES
an inventive mind or fool it. And the
mechanism, as such, was not even AUTOMATES
ETUDE HISTORIQUE ET TECHNIQUE
Illustration 270 - Philippe's signature. the main thing, because in order PRfiFACE
to establish the entire digestive tie M . Edmond HARAUCOURT
process, the help of more complex
55. elements was needed, and yet the
Jacques de Yaucanson. born in TOME PEEMII
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. 241-
56. 42).
M. de Vaucanson, Le Mecanisme So here is the pitiful state in
du Fluteur Automate, Chez Jacques which Duck, which Rechsteiner
Guerin, Printer-Bookseller, Paris was to restore over three and a
1738. half years, was found. The first
presentation of the magic bird re-
57. born from the ashes was in 1844 at
Memoirs of Robert-Houdin, op. the Scala in Milan, and it was then
cit., pp. 159-160. exhibited - I am still quoting Illustrations 2~1 and 2~2 - Cover pages of
Chapuis - in Torino. Besancon. Volumes I and II of Le Monde des
58. and Paris. This new narrative by automates.
Pierre De\ aux, Automates et Chapuis therefore confirms point
Automatisme. Presses Universitaires by point that of Robert-Houdin re-
de France, Paris, 1941. garding the date of the Duck's
exhibition in Paris and concerning
59- its mechanism. Indeed, Robert-
In Le Monde des Automates, writ- Houdin could have only described Alfred CHAPUIS et Edouard GELIS
ten in 1928 with Edouard Gelis, what he saw in examining the
Alfred Chapuis refutes Robert- Duck in 1844 and could not know LE
whether or not the digestive mech-
Houdin's "secret" of the digestive
mechanism of Vaucanson's Duck. In anism was Vaucanson's original
MONDE
DES
1949, in Les Automates, written with work or the result of Rechsteiner's
Edmond Droz, Chapuis relates new
discoveries about Vaucanson's Duck.
restoration, assuming the two dif-
fered. Despite this evidence.
AUTOMATES
ETUDE HISTORIQUE EJ TECHNIQUE
This automaton, he tells us, after un- Chapuis not only remains consis- PR£?ACE

dergoing a variety of circumstances, tent with his previous writings but de M.Edmond HARAUCOURT
was rediscovered in Berlin in 1839 declares on page 246 of Auto-
by Georges Dietz, who found the mates: "As for the trick referred to
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 ac- When we hurriedly go to footnote
quired the Duck from him, Dietz en- 17 of Chapter XI, we read the fol-
trusted 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 pre-

211
ROBl RT-HOUDIX

ceding chapter: "Robert-Houdin In his work Alfred Chapuis Dear Prof. Chapuis:
relates that Yaucanson's duck was strangely tried to minimize the im- Thanks for your letter of August
exhibited in Paris in 1844 [This is portance of Robert-Houdins me- 21st. This note is only to let you
exactly what Chapuis has just chanical creations during the nine- know your letter has arrived and I
written in his Chapter XT] and that teenth century. We could do nothing will go into details at my first
it was subject to certain of his own but bow before his verdict had it leisure moment.
repairs. There is in any event a been based on his own personal re- You have my full permission to
search on the subject. This was re- reproduce or use any of my infor-
mistake about the date, because it mation in my book The Unmasking
was in 1839 that the bird was grettably not the case and the Swiss
historian, who perhaps wanted to of Robert Houdin as long as you
found in Berlin and entrusted to courteously give me credit for my
Rechsteiner. It is extremeh likely assert the superiority of his eigh-
material. [Which Alfred Chapuis
that the one repaired by Robert- teenth-century countrymen in this did not always do, especially
Houdin was an imitation. [!]" We domain, oddly carried out no re- after Harry Houdini's death.] I
can be legitimately surprised that search in France and based all his will send you both of my books
the author so blatantly contradicts writings about Robert-Houdin on with my compliments some time
himself in his work in order to the least reliable and least objective this week.
continue to support his initial source: The Unmasking of Robert- It may interest you to know that
assertions, and all the more be- Houdin by Harry Houdini. I have at home an automaton
cause Chapuis also specifies that The author contacted the famous which I purchased from De Yerli,
Rechsteiner. after Milan, did not King of Handcuffs" through his who claims it was bought at a
want to take Yaucanson's automa- compatriot from Geneva. Adolphe Robert-Houdin sale. I will try and
ton - w hich he had just restored - Blind. "Professor Magicus," during give you a full description of it
the first decade of the twentieth shortly.
to Torino. Besancon. and Paris, a
century. Harry Houdini then gave Kindest regards.
city where, due to Rechsteiner's Sincerely yours,
absence, Robert-Houdin was asked him authorization to use all the "in-
formation" published in his work. Iloudini
to repair a wing of the duck that
had broken! It is possible, how - Here is one of his letters: This letter by Harry Houdini in-
ever, Chapuis emphasizes, that cludes a sizable inaccuracy. Con-
Robert-Houdin made a mistake in trary to what he implied in this let-
the date (1844 instead of 1846) ter, the famous artist never owned
because Parisians did admire any of Robert-Houdins automata.
Yaucanson's masterpiece in 1846 He merely purchased from the
alongside a •mechanical elephant" magic dealer Charles De Yere in
at 123. Place du Palais-Royal. 1913 an imitation of the trapeze
Robert-Houdin had obviously writ- 1* Cote 81 artist Antonio Diavolo. manufac-
ten the truth about the trick he dis- Danr PI-of. Cliapuls; •
iMC OF A u g u r t 23 -Ht. ThlB
tured and signed by the mechani-
covered inside the famous Duck. BBfel cian Deveaux. De Vere very
repv
WJ •"-.' xi In s=y book "Ibo L
":•. m clearly specified - in a letter
These observations, which an at- tdtf: r
~of.--'. e l .
-ong BB ;

which is today part of the archrv es

tentive reader can make in reading a r.aj tatai-L
\lt Si "• V* of the University of Texas in
the w orks of Chapuis. are confirmed
Austin, which John Gaughan
by the academic study of M. Andre
kindly provided me with — the ori-
Doyon and M. Lucien Liaigre.
gin of this automaton, which the
Jacques Vaucanson. mecanicien de
"King of Handcuffs" thus could
genie Presses Universitaires de
not have been unaware of.
France. 1966, in which, on pages
Although at the time there w as in
123 and 125. the authors reproduce Illustration 273 - Letter from Harry fact a Belgian magician named De
an excerpt from the writings of Houdini to Alfred Chapuis. Verli, there was never a "Robert-
Christophe Frederic Nicolai. (Chro-
Houdin sale"!
nique a trovers TAllemagne et la
Suisse. Berlin and Stettin. 1789. p. The consequences of these un-
284) confirming as early as 1781 September 14th, 1921 fortunate epistolary contacts influ-
Robert-Houdins version of the fa- Prof. Alfred Chapuis enced Alfred Chapuis's works It
mous Duck's so-called "digestive" Rue de la Cote. 21. led him to corroborate certain to-
mechanism point b\ point. Neuchatel. Switzerland. tally erroneous hearsay of Harry

212
 TO ACT II

Neuchatelois of May-June 1926 the exhibitions of his automata in

without verifying or carrying out the years 1773-74. At the end of
any additional research. 1781. and on the occasion of the
Twenty-three years after this visit to Vienna of Grand Duke Paul
MUSEE unfair and slanderous claim, which of Russia. Von Kempelen restored
NEUCHATELOLS had no basis in fact, and due to
the discovery of Maillardet's au-
his machine. In April 1783. The
Chess Player was presented in
ORGANE
DE LA SOCIETE DKLSTOIRE DU CANTON tomaton in Philadelphia. Alfred Paris, then in London in Novem-
DE NEUCHATEL
Chapuis was obliged to reverse ber. In September 1784 it was in
FONDE EN 1 himself. In Les Automates, figures Leipzig, then in Dresden, and fi-
artificielles d'hommes et d'ani- nally in Amsterdam in 1785. Von
maux (Neuchatel, Editions du Kempelen stopped showing The
Griffon. 1949), written in collabo- Chess Player in public and re-
ration with Edmond Droz. Alfred sumed his position as court advi-
1Q2D Chapuis qualified Robert-Houdin sor in Vienna, where he died in
for the first time as an illusionist 1804. It was at this period that
SOMMAIRE of genius" and had to resoh e him- Maelzel acquired the famous an-
self to finally write this sentence as droid from his heirs.
a very discreet mea culpa-. 'Today
one could admit that Robert- 61.
Houdin. inspired by the work of Maelzel was born in Regensburg
Jacquet-Droz. could \\A\ e con- on August 5. 1772 and died at sea
structed such an automaton in his on July 21. 1838, on a boat going
workshops." This short, tardy from Havana to Philadelphia.
Illustration 2^4 - Cover of the Musee
Neuchatelois.
avowal alas did not suffice to re-
pair the damage caused to Robert-
Houdin by the author in various
Houdmi and e\ en in one specific publications for more than forty
case, to 'authenticate" the writings years.
that the 'King of Handcuffs" had Although I believe that Alfred
the prudence to formulate only as Chapuis was deliberately led into
hypotheses. This was the case con- error by Harry Houdini. and I do Illustration 2^5 - Signature of Maelzel.
cerning Harry Houdinis theory not doubt his sincerity and erudi-
about The Writing and Drawing tion, we can only regret that one of
Automaton, which suggested that it the most important historians of au-
V\ as an automaton created by tomata so cavalierly allied himself 62.
Maillardet which had been lost at with the revisionist theories of the Certain reasons could have in-
that time and which Robert-Houdin "King of Handcuffs" at the expense deed prompted Maelzel not to take
"remade" before taking credit for it! of the memory of a great artist who the original of The Chess Player to
This unfair hypothesis - which is was rightfully considered to be the America. Maelzel acquired the au-
definitely denied by the history of finest mechanician of his time by tomaton from Von Kempelens heirs
the creation of The Writer-Drawers, contemporary scientists and lay- in I8O4 and again exhibited it in a
of which Robert-Houdin made at men. Europe prey to the Napoleonic
least ele^ en examples: the report of wars. Eugene de Beauharnais. the
the 1844 Exposition jun; and also 60. Emperors son-in-law. who was then
the existence of Maillardet's origi- Wolfgang von Kempelen. born Viceroy of Italy, had the chance to
nal automaton, which has since in Pressburg on January 23. 1734, play against the famous machine.
been found and can be admired died in Vienna on March 26. 1804. Impassioned with chess and unable
today in the collections of the He was advisor to the court of to accept not knowing the secret of
Philadelphia Research Museum - Empress Marie-Theiese of Austria, the automaton, he bought The
was surprisingly repeated and cor- w here he show eel his Chess Plaver Chess Player from its 1 >wner for the
roborated by Alfred Chapuis. who automaton for the first time in amount of 30.000 francs around
published it in no. 3 of the Musee 1809 or 1810. The aui >maton then
1769 or 1770. He apparently ended

213
ROBfcRT-HOUDIN

returned to obscurity for a few but we must keep in mind the huge
years, but in 1818 Maelzel went to legal risks of such behavior. It is
Munich and negotiated the exhibi- hard to believe that he would have
tion rights and the sale contract of risked such a swindle any more than
The Chess Player with Eugene de he would have left France with a
Beauharnais, who had by then be- machine confiscated or about to be
come the Duke of Leuchtenberg. confiscated by the law. Any of these
The details of this transaction are crimes would have made him an
unknown, but it seems that Maelzel eternal outcast with no possibility of
promised to pay to the duke the return. On the other hand, leaving
sum of thirty thousand francs, in in- with a copy of the automaton would
stallments, and also pledged not to have been a very skillful maneuver,
leave the continent with the pawned such a misdemeanor being negliga-
automaton until the totality of this ble compared to leaving with a
sum was reimbursed. In spite of the pawned or confiscated object. He
profitable exhibitions and tours in would have been sent to prison for
Europe, Maelzel could not or did several years and would not even
not want to respect the agreement, have repaid his debt. Did Cronier,
and the duke, and then his heirs, the mechanician from Belleville,
dragged him through the courts in participate partially or totally in the
Paris in 1824. From then, to explain manufacture of the copy of The
what next occured, one must think Chess Player? Was he aware of the
details through one of Maelzel's me-
as both a jurist and a historian.
chanicians? Vast questions whose
Maelzel hurriedly left France for
answers we will probably never
America in the last days of 1825
know any more than the arguments MICHEL SELDOW
with his automata and The Chess
Cronier gave Robert-Houdin to per-
Player - for which he did not even
suade him that the wreckage he pre-
have time to hire a "director"! What
sented him was really one of the
we mean by this is a great chess most famous trick automata of all
player, the actual brain of the ma-
chine. In order to not be considered
time. ROBERT-HOUDIN
by the French police as a thief on
the run, which would have earned 63.
him a jail sentence and immediate At the Chateau de Blois is a
seizure of all his material once he miniature gilded table that was long
arrived in New York, Maelzel could
have very well left the original FAYAKD
Chess Player as collateral, gone to
America with the copy, and defini-
tively 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 as-
sumption and imagine that Maelzel
left a copy of The Chess Player as
collateral to the heirs of the Duke of Illustrations 27"'. 2^8 and 2"?9 - Photograph
Illustration 276 - Small gilded-bronze and signature of Michel Seldow
Leuchtenberg, or purely and simply table of The Writing and Drawing framing the cover page of his biog-
ran away leaving nothing behind, Automaton. (Chateau de la Ville de Blois) raphy of Robert-Houdin.

214
 NOTES TO ACT II

believed to be a model of the cen- Olympe's paternal grandmother was dwarves and the dance steps of
ter table of the stage of Soirees from the noble Dumont de Longpont Siamese twin sisters? Robert-Houdin
Fantastiques. This confusion can family in Mons, whose ancestors had preferred to let his readers dream
be explained because we find a occupied important local positions about his automaton and to end his
drawing of this table in an engrav- in the sixteenth century: magis- narrative after the brilliant tete-a-tete
ing depicting the theater stage in trates, village leaders, etc. Olympe between The Writing and Drawing
the posthumous work of the mas- had maintained close relationships Automaton and the King of France.
ter. We now have photographs with the Dumont de Longpont This purely artistic and literary choice
from Hamilton's time and that of family. Her brother Charles, al- to give the chapter on The Writing
Melies in which we can see Robert- though born in Orleans like his and Drawing Automaton a romantic
Houdin's central table, which looks sister Olympe, decided to assume conclusion does not show any disre-
different from this model. However, Belgian nationality, became an of- spect for the great Barnum, with
if we compare this miniature table ficer, and participated in Stanley's whom he maintained the best of re-
to the only known print depicting expedition for the conquest of the lationships, as confirmed by the writ-
such an object, which shows Congo. He became a general and ings of the shrewd showman. This
Robert-Houdin next to The Writing held important positions. again shows that the conjurer, when
and Drawing Automaton, we real- he played the role of storyteller, al-
ize that the tiny table in the print is 65. ways knew on which 'climax1' he
identical to this table, whose size is I am indebted to the kindness of needed to end a lovely story.
perfectly on the scale of the au- M. Keime Robert-Houdin for the N.B. In the vocabulary of magi-
tomaton's table and its creator. This copy of this letter, conserved in the cians, the 'climax" is the culminat-
object is probably all that remains Bibliotheque de Versailles. The ing point of a trick, also known as
of the famous Writing and Drawing words underlined in this letter are his 'ending.'
Automaton. See the reproduction in also underlined in the original text.
the third color section of the re- 70.
vised edition of Confidences d'un 66.
Prestidigitateur published by Stock Memoirs of Robert-Houdin, op. In this narrative, published in
in 1994. The engraving of Robert- eft., pp. 231-233. his memoirs, Barnum is mixing
Houdin and his automaton is on three of his voyages to Paris, the
the first page of the first color sec- 67. first during the 1844 Exposition, the
tion. This table is also shown on Memoirs of Robert-Houdin, op. second during performances given
page 79 of Michel Seldow's work, cit., pp. 369-370. by Tom Thumb in the capital in
Vie et secrets de Robert-Houdin, 1845, and the third after the young
Fayard, 1971. 68. prodigy's tour in the provinces,
Phineas Taylor Barnum, born in when Robert-Houdin's Soirees
64. Bethel, Connecticut on July 5, 1810, Fantastiques were at the peak of
died in Bridgeport. Connecticut, on their success.
Marguerite Framboise Olympe April 7, 1891-
Braconnier, born in Orleans on
October 14, 1815, died in Blois On this subject, see the remark-
69. able biography of the great show-
on January 2. 1901. See ge- Some authors have claimed to be
nealogical chart. man, P.T. Barnum. The Legend and
surprised that Robert-Houdin did not The Man by A.H. Saxon, Columbia
Olympe's father. Charles Albert discuss this transaction with P.T. University Press, New York, 1989-
Samuel Braconnier, was Belgian and Barnum in his memoirs. The expla-
from Mons. Having entered into the nation is, however, clear: after exalt-
administration of the First Empire, ing the qualities of his extraordinary
71.
he was assigned to Orleans, where invention, which earned the admira- According to certain authors,
he married Marguerite Louise tion of thousands of visitors to the Barnum, following the advice of
Martin, daughter of an old, impor- Exposition and its jury, how could Robert-Houdin, negotiated, for
tant cloth-manufacturing family in Robert-Houdin have risked disap- 3,000 dollars, a diorama illustrating
Romorantin. We can therefore as- pointing some of his readers by re- the return of Napoleon's ashes from
sume that Robert-Houdin met his vealing that the final destiny of The Saint-Helene to Paris. The great
second wife through old family re- Writing and Drawing Automaton was showman, in his memoirs, mentions
lationships, because he had an to be displayed in a museum of phe- a sum of 12,000 dollars paid for a
uncle. Jean Toussaint Robert, who nomena, where it was exhibited for huge panorama, "Napoleon's funeral
was a cloth manufacturer in Blois. nearly twenty years between comic at the Invalides.''

215
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.
siiiiiimtutiuiiin PALAIS-ROYAL,
1/2. Hi i, galerfa d<< Vnlats,
i i i - LLJ 15, ni* (Ic \ aloK,

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. 11. IIOIH'UI H O I I ) 1 \ -c- Tail ml plai.ii
t.alerie 1 f. .V) ilc immlwr nn\ iiumlciii'n ttet loars HDtliMUX
wtr^n.nnrnl rnotliM, n l'«fdftii»qiitla an pout
Lo^es tie faee t't (ra\aiit-M*em\ 4 pni-mtir a Tarn- illusion. Set lOfOnsiQllI tl ini
prh IUCKIPIT.
IA- jii-ir ilr* fitures IIHIHS tfttintur B*MI Jut*
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 com/i%ur

Robert-Houdin'a S
Htian Fechiwr collection)
 Aiijoiird'ltiii Vendredi 17 Mars 1848.
PALAIS-ROYAL. .rv«4.T.Uafc, I * .

ROBERT HOUDIIU
SEANCE ENTIEREMEWT
> MK IMIIKV «K««KK nc H I NIKI us MKirn:s *»uvm>.

SiffATAMT 2NCORE JAMAIS PAH1I TEIXES ODK

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 T M l EH BQUIUBBK AVIX I.'tIB

Clu^mtjtmr dn ifM,**, fri*, f&mi irlUi i,faM ntfnm,»/b< »•'

ii'Mont LunwuiinuiMini. lunnmiuiirnnwii uKwamuoui n.i UKUU

u IMMIIII m U K : Li nnim. u mm m m
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 FutlUi&tiifUVH ill

 GALEIK DE YALOIS. 1S4 PALAIS-NATIONAL IDE DE YALOIS. 13,
lx% Hurmut iMirmml a 7 hrwm 1/2.
I*C**. 3 t,
\iijtiurJ'hiii Merrredi 44 Janvier 1852.

SOIREES FAWTASTIQUES
ROBERT HOUDDy
ILLUSIONS, SUBTILITES IIIAGIE

AUTOMATES PRESTIDIGITATION.
DIMANCHE PROCHAIN

DEUX SEANCES I* frtmiirt * 1 fctara, la ..camfc a $ V i m <fc an*-.

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.

MAY DS
PKIVATI, BOXES \ti> STALLS «ECUBI,D AT
Mr. UElTCHEXil'S EOYAL LIBRARY, 33, OLD BOND RTREET;
Mr. SAW*' !to|fll Uhmy, ftt JBIIMT** Uirert. M a n £•**»', ANDIKVI", HUOKIIAW'*, ALLCMTT'*, LXADU i C O M , h OLLIVIM*
i H.I .. i!"t(,( MIM: !,.*'>....,-..; th« Caiium Library, )£, Itt-goii Sin-et,
Aad »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.

« /» O ° °Om
H i© . °O
• • • - .
0
• • • * •

mI
M

H AWT,'•

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

E V E N I N G ,
.1t
k
llalfpait l.tyhl a {hick.

WEDNESDAY A SATDRDAY IODN1KCS ' m i . * , tii ,n,/ at Half-pott I"" o'Vluck

sr 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 LOOISA I'ULKA, compoi-il by Mr T. BROWNE.
IHI>H( Mt CHABLES I h l l Of Her M»jcm» Th*.trr

Stalls,7* BoocesA* PW Gallery,\

Pltn ATK BO\J-S <l l i . £1 Hi W 4 r* i /
Mr MITCHELL'S EOTAL'LIBEAET 38, O L D .ad
Liuu BO|_Cni,
H OCaurtu
S T I B «T;
Hrti kr.ll

Th« BOX OFFICB of ihe 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)
ST. JAMES'S THEATRE,
KING STREET, ST. JAMES'S.

The Surprising and Interesting Performances of

ROBlTJlllN AS PRESENTED BEFOEE

HER HOST GRACIOUS MAJESTY THE QUEEN,
I

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)

 ST. JAMES S THEATRE. ST. THEATRE.
BY PARTICULAR DESIRE. I'OSITIVELV THE

LAST NIGHT BUT »Vi;

GRAND OF THE EXTRAORDINARY SEANCES FANTASTIQUES
.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, FRIDAY ETfENIMUl. 18.
WEDNESDAY MORNING
AVtiVHT l«//(. 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*
LAST REPRESEMTATION.
SATURDAY EVENING Auc 19
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

ST. JAMES'S THEATRE,

Kl%(. BTBRBT, 8T J»«KS'8.
1 ROBERTHOUDUTI
ROBERT-HOUDIM
EASTER HOLIDAYS. LASTMGHT IIS ENGLAND.
ST. JAMES'S THEATRE.
Ewery Eienin^ 1)1 KIM. FareweU Seance
EASTER WEEK, SATURDAY EVENING.
DAY PERFORMANCE BEING MOST POSITIVELY HIS
WV*rfin'M% iS f'riflai/ .Jiominf/s.
LAST REPRESENTATION
FAREWELL
PerlbruiaiK'eH in this Country
" — I ' '
IN THIS COUNTRY,
' — - . X • • * - -

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 The Programme on this occiurton w n eompctae tk*
"""" FarcTwcU Occasion*, 8 J U L P8WCB A1BEHT, TBS BOTAL FA LY, and
bU«t Uw DtstclbctioB (rom tbe - COSM£ D iBONDiNCE • « W W M 4 « wltfc the OODBT, at SDOXnrOBAV PALAOM.
"*"""" Liberality St Profusion. n fmm W^t /*>*. a. k l
Tlr Aniuity V.*itTlmam'*ti M H H a/ flalj-p.nl I ujki axA *- .U-faiif I'trfmrmmft. «f llal/^atl Turn

tOXm*- rotnt *Hii»tj«o«. « t . TWO *HIU.IMOB A*r«iTHE*r»«, u *• •UfLf - • PRIVATI BOXXI u » M . . . . . . . ftf
1
• - i.s - < ."••!"• 1 T 1 «<**( • • . .
* • 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.

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 . »•- OAXAEttY, la.
BOXKfc I II II, M. t « I.
•- >. MIHTUIW, « wuxcu ynmm u u i w i

XXVII - Ko
(Private collection)
 flliTI 1 • -J»

FOSITIYJSLT THE LAST SIX XI&ZSTS OF

M.
If
ROBERT N\ JOB and

HOIDII •I
Whose Eitraordinory performaaces have been THREE TIMES HONOURED
• j U
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 Intrepid Soldier. The rroduction of Flowers.
The Animated Cards. The Instantaneous Transposition.
The Marvellous Orange Tree. The Golden Shower.
»he IMtaphlstophelcs" Telescope. The Bnohanted Garland of Flowers.
The Travelling Tnrtle Doves. A Wonderful Surprise for the Ladles.
The Transparent Crystal Box. THIRD FART.
Vbe Confectioner. 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 Robert-
Houdin only to his closest friends and family. The one reprinted abo\e is dedicated to Dantan: To Dantan the younger with af-
fectionate memories Robert-Houdin." (Private collection)
 ACT III

• j •

The Big Leap

After searching all over Paris 'for a fort- The galleries that surround the garden of the
night, passing from the largest to the smallest Palais-Royal are divided into successive arches,
houses in turn." Robert-Houdin finally decided occupied by shops that are, with reason, re-
on a large apartment at Palais-Royal which puted to contain the richest, most elegant, and
could easily be transformed into a theater. It
was thus at 164. Galerie de Valois [i] and 13.
SOIH EES F A N T AST X QUES
Rue de Valois that the conjurer finally found
1MB
the long-sought location that fulfilled his re-
ROBERT-HOUDIN,
quirements.
Gaff we. 3a Vrtioid iGi, efc <u& Da Y O M W , I 3 , *

The proprietor of this house had been dream-

ing for a long time in vain about a benevolent ten-
ant who, while paying an exorbitant price for his
room, would come in without expecting any re-
pairs 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 [con-
cerning doors and windows, caretakers, etc.]
Indeed, I would have given much more, so afraid
-j?d/rL /Tnuitij^t 4tous* -fat-. <)*A*4 *£*-
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 relation-
ship - and whom Robert-Houdin identifies
only by the initial B. was Marie Jean Baptiste
Bertin, a jeweler at 10, Rue de la Chaussee- ^O -
d'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 au-
thor uncharacteristically uses a sarcastic tone
twro or three times in his memoirs, it is always
in regards to someone who has behaved un-
fairly 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 Illustration 282 - Letter from Robert-Houdin to Dantan.
posthumous work. The Secrets of Stage
This letter accompanied the lithograph reproduced on the
Conjuring: preceding page.

219
ROBERT-Hoi DIN

most tasteful wares that Paris can boast. Above forgotten to ask the police department for au-
these arches there are, on the second floor, spa- thorization to open a theater. There, a dis-
cious suites of apartments, used as public as- dainful employee told him that a ministerial
sembly rooms, clubs, cafes, restaurants, etc. It
decision opposed the opening of new estab-
was in the space occupied by one of these
suites, at no. 164 of the Rue de Valois, that I lishments within Palais-Royal. [3] In despair
built my theater, which extended in width over because of this refusal, Robert-Houdin asked
three of the above-mentioned arches and in for the help of one of his clients, Benjamin
length the distance between the garden of the Delessert, the police chief's brother. After
Palais-Royal and the Rue de Valois, or, in other having witnessed the conjurer's talents at a
words, the whole depth of the building. The di-
mensions of my exhibition room were therefore, reception, the kindly chief agreed to use his
as will be seen, very limited; a couple of hun- influence so the artist could obtain the nec-
dred persons could barely be accommodated essary authorization. In reality, things did not
therein; it should, however, be mentioned that turn out this way whatsoever, perhaps the
the benches were comfortably divided into sep- only time in his entire life that Robert-Houdin
arate seats.
was confronted with such a situation, in
If we believe his memoirs. Robert-Houdin's which he almost lost everything for reasons
search for the location of his theater lasted beyond his control. To understand the causes
barely a few days. The new director suppos- of the conflict between the police chief and
edly then began major renovation work be- the Minister of the Interior, we must go back
fore noticing that he had "absentmindedly" in time a bit.

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 the Bibliotheque de l'Arsenal, this man be-
face the Parisian public for several years, and friended Robert-Houdin. During their conver-
even though he had precisely defined the for- sations in the artist's workshop, he urged him
mula for his show as well as the setting in to "strike the great blow'' and open the theater
which he wanted to perform, two equally im- whose ingenious devices the mechanician had
portant factors prevented him from taking the already described to him and which would be
final step. The first was linked to his close re- the ideal environment for the apparatus and
lationship with Comte, whose fighting spirit automata he had worked on for so many
and ability to retaliate were formidable when a years. The Count de l'Escalopier, convinced
newcomer tried to hunt on his territory. His by the practicality of these novel ideas, was
glorious elder had advised him to wait because persuaded that his talent, which had devel-
he was convinced that two establishments spe- oped in such a brilliant way in the salons,
cializing in the same kind of entertainment could blossom even more on a custom-made
could not be successful for long. stage. It was this devoted friend, this patron,
who gave ten thousand francs to Robert-
The King's Conjurer was sincere in giving
Houdin to partially cover the costs of opening
this advice to Robert-Houdin. He did not fear
Soirees Fantastiques. Adding generosity to
potential competitors because during his rule
tact, he refused to have a written contract for
over the Parisian stage, no magician had
this unguaranteed loan, and only a handshake
been able to create a theater in the capital to
followed by a warm embrace sealed their
undermine his supremacy. Robert-Houdin
agreement.
would just have to be patient, as he had been
during his entire youth. Moreover, M. Comte In 1842, Comte, while actively maintaining
would know the right time to very elegantly his profitable private evenings, began to per-
step aside to allow his young and talented form less on stage. Soon there would be no
more professional or financial obstacles to
colleague to take over, and Robert-Houdin
the inevitable ascension of the future con-
had no reason to regret trusting Comte's
jurer.
judgment. Robert-Houdin wrote the following
about this model manager in an unpublished Robert-Houdin's strategic career choices
text: "...he was as remarkable for his skill in had always been wisely thought out, and
the handling of cards as for his moral and he never made rash decisions. This vision-
personal qualities." M ary, extremely imaginative artist, who
freely expressed himself on all subjects,
The second reason was purely financial. always managed to coexist with his twin:
Building a theater, even a small one. as a wise and careful manager. For some time
Robert-Houdin had envisioned it, required now, Robert-Houdin had been waiting for
considerable investment and he did not want an appropriate space in Palais-Royal to
to take the risk because of his responsibilities become available. Setting up a new the-
as head of a family. We recall that it was ater in this area was going against the
thanks to the young Count de l'Escalopier that trend of the times, which had elected the
Robert-Houdin took his first steps in the Boulevards as the new Eldorado of
closed world of Parisian salons. [5] Rich and Parisian entertainment.
cultivated, an art collector and learned biblio- For decades, Palais-Royal had been the
phile who was to become volunteer curator of Mecca not only of frivolities and chic cafes,

221
ROBERT-HOUDIN

•ft -
PUBLIC D15 SE1UPHIN.

Illustration 284 - Seraphin's Audience by Gustave Dore. (Georges Proust collection)

222
 ACT III

but also of prostitution and curiosity shows. granted by the police department. Robert-
These activities, under the severe directives Houdin, with very solid instinct, had an in-
of the authorities, had gradually departed, tuition that his new type of show would at-
and a largely family-oriented, bourgeois tract to this location a quality crowd repelled
clientele once again patronized the arcades. by the shady crowds and vulgar shows of the
Seraphin's Ombres chinoises was the last Boulevards.
vestige of the old entertainment of Palais-
Royal, faithfully remaining at its spot at 121, Among Robert-Houdin's faithful follow-
Galerie de Valois because of a waiver ers 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
PREMIERE P A R - this young banker was also a lover of con-
juring, because he had in his library a book
T I E DES SVBTILES,
ET PLAISA NTES legendary among collectors of the magic
INVENTIONS. art, La Premiere partie des subfiles et
plaisantes inventions by J. Prevost, native
Ceittendnt plujjeursteux de recreation, &• trdtts defiuppl
of Toulouse, Lyon, 1584. M This is consid-
fir It difcours defyuelsjes impoftttres des Battleursfint
defcottuertes. Compojepar I. Preuoft, ered by historians to be the world's first
natifde Tolofe. published work entirely dedicated to
magic tricks. Delessert undoubtedly must
A Monfieur Durand de Geftes 3 Efcuyer,
Seigneur de Vernofe. have introduced Robert-Houdin to Gabriel
Delessert, his uncle, the all-powerful
Parisian police chief. |>] This meeting prob-
ably took place well before Robert-Houdin
asked for authorization to open a new the-
ater 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.

When Robert-Houdin finally discovered

his ideal location, the police chief autho-
Par Ancoine Baftide marchant Libraire. rized him to present his creations there.
I j 8 4. 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
Illustration 285 - "Prevost."
of this historical document, the official
Cover page of the copy of "Prevost" from the library of
Benjamin Delessert. This book is now part of the au-
birth certificate of Robert-Houdin's Soirees
thor's collection. Fantastiques.

223
 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 au-
tomata 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 autho-
rized to open a public show of curiosi-
ties in the salons of the second floor
of 164, Galerie de Valois at Palais-
Royal.

Article 2.
This show may only include
the exhibition of automata, mechani-
cal elements, performances of
Physique amusante, formally exclud-
ing all acting, dialogue, pantomime,
dancing, and singing.

Illustrations 286 and 28^ — The official "birth certificate" of Soirees Fantastiques de
Robert-Houdin.
 Ac I III

Article 3.
The preceding authorizations
are granted to M. Robert Houdin
under the following conditions:
1. To show nothing to the pub- an
lic that is immoral and that would
fit t
shock propriety;
2. To hold no performances be- f/'

fore the formalities are examined by K

the theater commission, to ensure se- /ftst/ar

curity;
3. To refrain from announcing A/A ue #/</*-
the show by a crier, either in the >.. dt «/
Galerie de Valois or at the door that
leads to the exhibition rooms;
4. To pay taxes for the desti- h
A J«^ 9'*
tute on the gross income;
5. To pay the police service in 'Jlu A
conformity with the tariffs of our pre-
fecture.

Article 4.
The present authorization is
specific to M. Robert Houdin, non-
transferable without our authorization
and valid only until January 1, 1846.
™z ill
However, it can be revoked in
the case of non-execution of the afore- /u
mentioned conditions or for public A/
reasons.
'"'£/$////•'
Article 5.
The present decree will be ren-
dered to the chief of police of the
Palais-Royal district in order for him
% p.
to survey its execution and to be noti-
fied to M. Robert Houdin with an in-
junction to conform to it.
f
Signed in Paris on 11"' January 1845
The Peer of France Police Chief
[signed] Gl. Delessert

225
ROBERT-HOUDIN

Of course, it was only after having received Felix Martin, who resided at 35, Rue de
the notification of this precious asset from the Miromesnil, with the renovation work for his
hands of Alexandre Vassal, "police chief of the future theater. As soon as the work began, the
city of Paris, assigned to the Palais-Royal dis- relationship between M. Bertin and his new
trict," that Robert-Houdin signed a lease under tenant became very tense. The owner fre-
private agreement with the owner of the loca- quently came to the site, alone or accompa-
tion, M. Bertin. The signature of this act took nied by his own architect. The following year,
place on January 15, 1845. The lease was es- the two men appear to have opposed each
tablished for a nine-year period and would ex- other in a trial or serious litigation because
pire on April 1, 1854. The rent was set at four Robert-Houdin asked Felix Martin to supply
thousand eight hundred francs per year. In him with a sworn statement, which gives us a
conformity with this act, Robert-Houdin paid certain amount of picturesque information on
M. Bertin the sum of "two thousand four hun- the problems of the famous theater's site:
dred francs for six months in advance, charge- The undersigned architect asserts that, hav-
ing been hired in January 1845 to establish
able to the last six months of the lease."
M. Robert-Houdin's theater on M. Bertin's prop-
Robert-Houdin entrusted the young architect erty in Palais-Royal, he had, regarding these
works, many conferences with M. Bertin himself
and M. Guillemin his architect before the begin-
ning of the work and during its execution, and on
several occasions he explained to these gentle-
men and especially to M. Bertin the plans, which
remained unchanged during the execution of the
work.
Knowing that the work would destroy the con-
figuration 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 re-
frain from insisting on the use of this support,
until after many meetings he recognized the im-
possibility of placing this column in the middle of
the theater.
Illustration 288 - Notification of the decree of Police Chief To cut a door to provide access to the stalls
Gabriel Delessert to Robert-Houdin. forced the removal of part of the chimney pipe;

226
 ACT III

M. Bertin approved the necessary work to be car-

ried out and even had it done by his own chimney
specialist.
Finally, in all the circumstances where the un-
dersigned 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 will-
ingly 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 nine-
Illustrations 289 and 290 - Ludwig Dobler.
year lease and undertake major renovation
Engraving and playbill of Professor Ludwig Dobler.
work. To proceed in this fashion, the artist
must have had the utmost faith in his support-
ers and friends. They would soon publicly
demonstrate their devotion. DftBLXiRS MASIG,
Although he benefited from a certain notori- LAST WEEK OF
ety in Parisian high society, Robert-Houdin had Doblcr's Attractive Entertainment.
also become throughout the years an essential TUESDAY JVNB 18,
figure in the small world of magic, which knew THURSDAY, JUNE 2O,
SATURDAY, JUNE 22.
of his creations and often called on his talents Tin ihMfl j M4 IW P«W* i t i«f«ltk'li ••Um<* ik.i

. . HEBB tOOIS
as an inventor and manufacturer. When Robert-
Houdin moved to London in 1848 to give per- D O B.L E R
formances at the Saint-James's Theater, the EXPERIMENTS &"WONDERS
English press stressed the fact that for more
than a decade the French conjurer had con-
ceived and created the most beautiful pieces of
the repertoire of current celebrities, from
MAGIC
Ludwig Dobler to Philippe. This relatively un- Water Co*v*rted Mo Whu The Jttegie Zyre
lite .WfWa/iir Wathtng
Tke ff'alch &ti*sien
Wandering Hmdkerekitf> Ttco in One.
T«miBUif *HI Hm Don^A'a C4^i»l tad *&w*4 JV^-l->u 3 of

known aspect of Robert-Houdin's artistic activ- FLORAS GIFTS.

ity "was recalled in Le Charivari in an article of BTAULS 7B. BOXES 4* PIT 2s, GALLERY Is 6d.
July 10, 1845 devoted to the flattering account Mr.TOFT*II*:*,I •* Iloynl I.l^ntr^, IIS, Old Ifemd Xire* t f
X> MKB"< Lilmj. W.Jimo&Stm*. K M > ANIIRB«»^ Likiuj. tit* Bo-lSmm Hi KBKIlS Litm). OH B™l
Stmt, uti U At Boi O»« M 4« tltun, wfctfi a ifa iWj.ftmKhin 1^ Tit • d m t
of the inauguration of Soirees Fantastiques. l!/..ikr.,;inF

Here is an excerpt:

22-
ROBhRI-HOUDIX

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 mechani-
cian, who, tired of creating the ingenious devices
that made the reputation of past and present ma-
gicians, 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 Illustration 291 - Portrait of Dominique Francois Seraphin.
of the mechanician's work, whose origin prob- From L'Hhisionniste. April 1908.
ably goes back to his Parisian debut with in-law of the daughter of the original Seraphin
"Father Roujol": "However, the success obtained - was used to epistolary denouncement (see
by his inventions in the hands of others led him note 10).
to exploit them himself." It is likely that the cre- On January 31, 1845, Gabriel Delessert wrote
ator's decision to perform made a number of his the following memo to the Minister of the
former clients wince as they foresaw all the
Interior:
dangers that this talented competition would
represent. Seraphin was the first to worry about To his Excellency the Minister of the Interior
this danger, even more so because he was per- Your Excellency,
fectly aware of the stature of his future neigh- I have the honor of transmitting to you a certi-
bor. He had already asked him to create inter- fied copy of my decree of the 11 th of the month,
ludes to include between the acts of his Ombres which authorizes M. Robert-Houdin to open a cu-
chinoises, among these a Mechanical Trapeze riosity show, 164, Galerie de Valois, and this under
Artist that Robert-Houdin manufactured for the the usual conditions for this type of show.
Please accept my regards, Monsieur le Ministre...
1840 season. Having quickly understood that
Peer of France, Chief of Police
the police department approved of the future
Gabriel Delessert.
conjurer, Seraphin directed his efforts and those
of his contacts toward the Minister of the Though the work contracted by Robert-
Interior in order to prevent Robert-Houdin from Houdin was already irreversible and all his en-
opening at Palais-Royal. We must indicate that ergy was devoted to pushing his workers to
this particular Seraphin - who was the son- complete it as quickly as possible - the theater

228
 Acr III

had to be opened by the month of April - in If M. Robert-Houdin has not yet been noti-
early February, the conjurer was summoned fied of the decree you sent me, it seems prefer-
by Gabriel Delessert, who had some bad news able to withdraw it. If this is not the case, in
keeping with recently applied measures to
for him. Even though ordinarily the ratifica-
these types of shows, it would be desirable to
tion of his decrees by the minister was only an
add to the restrictive conditions one concern-
administrative formality that was never con- ing the number of spectators, limiting it to sixty
tested, the prefect had just heard unofficially maximum.
that, in this particular case, the minister was Please receive, Monsieur the Prefect, the assur-
planning to refuse it. A certain number of in- ance of my highest consideration.
terventions from different spheres supported The Minister, Secretary of State of the Interior.
Seraphin's complaints to the Minister of the
The solutions advocated by the minister
Interior that he did not want an establishment
both represented a death sentence for the the-
he considered detrimental to his interests to
ater: the first prevented it from existing and the
open at Palais-Royal. Foreseeing these diffi-
second condemned it financially. The answer
culties, Gabriel Delessert advised Robert-
to the minister from the prefect proves how
Houdin to suspend sine die his work until the
much Gabriel Delessert took Robert-Houdin's
litigation was officially resolved. Although the
cause to heart, to the point of "confusing" the
prefect reassured the artist that he would put
capacity of the foyer of the theater with that
all his weight behind him, we can easily imag-
of the main room or including restrictions that
ine into what state of despondency he was
could in no way impede Robert-Houdin.
plunged. Would he ever be able to open his
Moreover, the deep hommage of this high-
theater, and, if so, when? In the best-case sce-
ranking person to the work and the personality
nario, the end of the season was already jeop-
of Robert-Houdin amounted to a courteous but
ardized, and in the worst, it would be the ruin
firm invitation to the minister to kindly end the
of his hopes and reputation. The site had been
debate:
abandoned for nearly a month when the offi-
cial response from the Minister arrived on Police Department — General Secretary-2"d
February 26th: Office
Paris, February 27, 1845
Curiosity Show, Galerie de Valois, Palais-
Paris February 26"1
Royal
Spectacle de Curiosite de Sieur Houdin Explanation on the subject of the authorization
Contrary notice to its authorization granted to M. Robert-Houdin
Urgent.
Monsieur, the Peer of Prance, Chief of Police
To his Excellency the Minister of the Interior
We have received the letter you sent concern- Your Excellency,
ing the decree in which you authorize M. Robert- Through the letter that Your Excellency hon-
Houdin to set up a curiosity show in the Galerie de ored me with by writing on February 26th, Your
Valois. I regret in general seeing the number of Excellency regrets that I authorized M. Robert-
these shows increase, the competition of which is Houdin to establish a curiosity show, Galerie de
injurious to existing theaters and in particular the Valois, Palais-Royal, in the same area as
existence of this concern seems justified in the Seraphin's show. He therefore wishes that if M.
vicinity of a show of the same type, that of Houdin has already been notified of my decree,
M. Seraphin, who has long been a few steps away several restrictions be added to it.
in the same gallery. I have the honor of informing Your Excellency

229
ROBERT-HOUDIN

that the permission has already been conveyed

to the agent and that it is consequently impossi-
ble 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
Here is the Minister's response to Gabriel
with that of M. Seraphin. It consists mainly of an
exhibition of artworks and automata, whose
Delessert:
mechanisms aroused public admiration during Minister of the Interior
the last Exposition. He certainly has the right to Paris, March 4, 1845
add a few amusing conjuring tricks with optical Monsieur Peer of France, Chief of Police
effects, but he has been positively forbidden, In keeping with the wishes presented in your
with precise notification, to present Chinese letter of 27th February, I have the honor of inform-
shadows or other curiosities like those already ing you that I approve the decree by which you
performed by M. Seraphin. Moreover, M. Houdin's have authorized M. Robert-Houdin to open a cu-
authorization was granted for one year and has riosity show. It would be desirable that in the fu-
only ten months left to run and has not yet been ture decrees of this type be communicated to me
used. The room where his automata will be ex- as proposals, and not after the notification of the
hibited can contain only 60 people and he has decrees to the relevant parties. It would then be
stated that he will be happy to receive merely 20 possible to introduce changes deemed appropriate
to 30 visitors per day [sic]. and the administration would not be given the al-
ternative of ratification of already-granted autho-
Finally, M. Robert-Houdin is not at all a moun- rizations or their modification, thereby inciting
tebank or a charlatan, but a distinguished man, a the concerned parties to argue when they already
savant in mechanical art whose main goal is to have the official document.
make his curious masterpieces known to the Please accept [etc.]
public.
I think that, as a result of these explanations, In order to be as complete as possible re-
Your Excellency will be convinced this show can- garding this affair, of which Robert-Houdin was
not at all harm M. Seraphin's establishment and the unwilling detonator, we have included in
that I have imposed all the necessary restrictions the notes of this section the reply from the po-
to prevent any troublesome competition. lice chief, who did not want anyone, including
I would therefore be greatly obliged to Your the Minister of the Interior, to infringe on his le-
Excellency if you would grant me approval of my gitimate rights. [9] It is with this letter that this
decree of 11th January 1845, relative to the small wrestling match between these two powerful
proposed show, 164, Galerie de Valois personalities ended, an episode that Robert-
Please accept the tribute of my respect, Houdin had to keep secret and which obviously
Monsieur le Ministre could not be included in his writings without
The Peer of France, Chief of Police compromising the memory of a devoted friend
G. Delessert and that of a minister of state, and the reputa-
tion of his "colleague" Seraphin. [10] The delay
In conclusion, Gabriel Delessert added in the renovation pushed the inauguration of
under his signature this handwritten note: the theater back to the month of July, the be-
"M. Robert-Houdin is a knowledgeable me- ginning of the hot weather and the least favor-
chanician of the greatest distinction and com- able time in Paris for the launching of a new
pletely uncommon." show. The conjurer's immediate success under

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 au-
tomata that accompanied Robert-Houdin at his the-
ater and on the European stages on which he per-
formed. 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 de-
scribe 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.]

*i *-*•*, / i.svn,'/ Aw aui..y<i»»"»A- '**

* JkAwncr

* #**.

„,< ti ; Ik 0

audit* V&™ •«»/»;,

Illustration 293 - Official decree of the opening of the theater dated June 12, 1845, listing the conditions and modifica-
tions required of Robert-Houdin by the theater security commission.
ROBERT-HOL'DIN

!BI(I. j . M;j«n C*

Illustration 29^ -Les Soirees Fantastiques de Robert-Houdin from the 1845-1846 season, by Pruche. (Jacques Vbfgnlercollection)

232
 ACT III

233
ROBERT -HOUDI\

LES SOIREES FANTASTIQUES DE ROBERT HOUDIN Quadrille inllant

VEBIE A MOniEl' ism It Kaiis trtc Acccaji.'lad Hit /.jar

AK. IE CARPENT1ER
Public i ?aris,{» CHAIUJnhiH MDBIIU-IK, 1!

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
 ACT III

The Secret Machinery of the Theater

In his Memoirs, Robert-Houdin shared with Real sleight-of-hand must not be the tinman's
his readers the principles and reforms under- work but the artist's, and people do not visit the
taken for his performances of Soirees latter to see instruments perform.
Fantastiques. The three main artistic trends of Of course, after the abuse I have showered
his time were represented by M. Comte, the upon the use of accomplices, I quite did away with
them. I have always regarded such trickery as un-
King's Conjurer; the prince of mystification,
worthy of a real artist, as it raises doubts as to his
Bosco, the brilliant and final heir to an ancient skill. Besides, having frequently acted as an ac-
lineage of conjurers; and finally Philippe, complice, I remembered the unfavorable impres-
whose hat and costume were straight out of sion this employment had left upon me as to the
legends and fairy tales. The principles and re- talent of my partner.
forms that Robert-Houdin defined and prac- Jets of gas, covered by opaque [frosted] globes,
ticed would become the new foundations of were to be substituted on my stage for the thou-
the modern, renovated magic art, which all sands of candles, whose brilliancy is only intended
the practitioners of his time would copy, with- to dazzle the spectators and thus injure the effect
out always understanding their true meaning of the experiments.
and infinite possibilities: Among the reforms I intended to introduce on
the stage, the most important was the abolition of
[My performance was to have two distinct those long tablecloths reaching to the ground, be-
characteristics: skill and mechanism, repre- neath which an assistant is always suspected, and
sented by conjuring and automata. One would generally with some show of reason. For these im-
help the charm of the other by diverting the mind mense chests of deception I substituted consoles
with a pleasant variety. ] of gilt wood after the style of Louis XV.
Remembering Torrini's principles, I intended to Of course, I abstained from any eccentric cos-
have an elegant and simple stage, unencumbered tume.
by all the paraphernalia of the ordinary conjurer, And I never thought of making any change in
which looks more like a toyshop than a serious the attire civilized society has agreed to accept for
performance. evening dress, for I was always of the opinion that
bizarre accoutrements, far from giving the wearer
I would have none of those enormous metal
any consideration, on the contrary cast disfavor
shades usually placed over objects that are to
upon him.
disappear, and whose secret duties cannot es-
I had also traced out for my performances a
cape the notice of the simplest spectator.
line of conduct from which I never diverged; that
Apparatus of transparent or opaque glass, ac- was to make no puns or play upon words, and
cording to circumstances, would suffice for all never to permit myself to be guilty of a mystifica-
my operations. tion, even were I sure of gaining the greatest suc-
In the performance of my tricks I also intended cess.
to abolish those double-bottomed boxes of which Finally, I wished to offer new experiments di-
some conjurers made such an abuse, as well as all vested of all charlatanism and possessing no other
instruments designed to make up for the per- resources than those offered by skillful manipula-
former's want of skill. tion and the influence of illusions.

235
ROHERI-HOUDIN

This was, it will be seen, a complete regenera- So what were the special arrangements whose
tion in the art of conjuring. surprising devices had been so carefully con-
My only fear was whether the public would ac- ceived by Robert-Houdin?
cept these important reforms and such elegant The two semicircular consoles that decora-
simplicity, [H] ted each side of the stage were equipped with
In his memoirs, if the author does not men- circular trapdoors mounted on counter-
tion the secret arrangements of his theater in weights, to which there was secret access
the list of reforms he brought to the magic art, from backstage. Any object or package set on
these consoles and momentarily covered or
it is simply because his goal is not to reveal
hidden could thus be exchanged for a dupli-
these mysteries to lay readers. We must not,
cate.
however, ignore this aspect of his magic and
his contribution to the patrimony of the disci- The first gueridon or side table, whose top
pline. Robert-Houdin did not invent trapdoors was very thin in appearance, contained a rec-
or sets of pistons. He never claimed to have tangular space that could be loaded from the
done so, but he did create equipment that per- back of the stage. The recuperation of these
mitted multiple combinations of techniques, objects was accomplished through a trapdoor
and the technical innovations of his stage situated at the center of its top. When the table,
once loaded, was placed in a precise spot on
made Soirees Fantastiques a theater of revolu-
the proscenium, one could set a box or any
tionary magic in more ways than one. Never
other object on it. A piston, located under the
before had any of his predecessors managed
stage floor and activated by a pull from backs-
to take such advantage of a permanent set-up
tage, made a stem move up and slide into the
and very few after him would understand the
base of the pedestal table, thereby opening the
value of this approach. Later, the artist also
tabletop's trapdoor, which raised the loaded
knew how to adapt this arrangement to over-
objects to the level of the opening in the box
come the difficulties encountered by a travel-
that was on the table. This table was used for
ing show.
the Cabalistic Drying effect. The same system,
The succinct description to follow will con- applied to a table that looked exactly the same
cern the secret layout of the theater, which but whose top was mechanized, was notably
we will return to in detail in the technical used for the Shower of Gold effect. A third side
complement to this work, will better show table allowed the invisible and instant transfer
today's magicians the many strategies these backstage of any small borrowed objects pre-
devices brought to the artist's magic, as well viously exchanged for duplicates by manipula-
as the overwhelming effect they had on the tion, such as rings, handkerchiefs, coins,
minds of the audience, whose reasoning ca- watches, etc. It also enabled the magician to in-
pacity was obliterated by these weapons, visibly procure a pack of prepared cards
whose existence they could not imagine, without his hands going near his coat, and al-
given the elegance of the decorated and fur- lowed Robert-Houdin to perform his Glove
nished stage. It was identical to the most re- Column or any other effect using pneumatics.
fined salons of the time and no object, prop, The top of the table in the center of the
or element of decoration had anything in stage was equipped with other trapdoors and
common with the clattering Pallas of mounte- servantes and a set of twelve pistons used to
banks and conjurers. activate the automata. The piston wires ran

236
 Ac i- III

Illustration 296 - Cabalistic Drying.

Engraving horn 1849 English bill for Robert-Houdin.

under the stage after passing through the ta- permitted the appearance of a child for the fi-
ble's two back legs, and from there, guided by nale of The Fantastic Portfolio thanks to a
a set of pulleys, ended up at a command strong lever activated from backstage.
panel backstage. Because of the wires, the As in the main room, the ceiling of the stage
table was permanently set in place by its four - which had no flies - had hooks that linked
legs over a large central trapdoor, hinged at suspended apparatus to electrical impulses fur-
the rear. When the stage had to be cleared nished by Smee batteries. Among those we can
for something large, such as The Ethereal list are The Garland of Flowers, The Aerial
Suspension, the wires were released to pro- Clock and its Bell, or even The Crystal Casket.
vide some slack, the trapdoor was opened, The stage ceiling was also specially set up for
lowering the table under the stage, and a Antonio Diavolo's trapeze, which could be fol-
panel covered with the same rug as the floor ded up onstage, as well as the finale of The
took its place. The passages under the stage 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 per-
formances given by the artist at the Saint James's Theater
for the 1848-1849 season.

which part of the proscenium and two orches-

tra seats were also fitted with special devices.
LA TRAPEZE.
As in the main room, the ceiling of the
stage - which had no flies - had hooks that
linked suspended apparatus to electrical im-
pulses furnished by Smee batteries. Among
those we can list are The Garland of Flowers,
Sur ma oorde voyez comme je cabriole,
The Aerial Clock and its Bell, or even The
Souple oomme un serpent et prompt oomme l'eelair
Crystal Casket. The stage ceiling was also spe-
Je mo roule en tous sens et je vole dans Fair. cially set up for Antonio Diavolo's trapeze,
Venez m'y voir voler, sans penr que je TOUS vole. 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

238
 Ac I III

and two orchestra seats were also fitted with agem contributed to preserving the secrets of
special devices. his creations for decades.
I always arranged my program in such a man- Several of Robert-Houdin's effects which we
ner that each trick should last about ten minutes, correctly classify today as trick automata were
thus making a total of twelve for a two-hour not seen as such by his audience. The
performance. At the conclusion of each trick, Mysterious Orange Tree, for example, was at
whether at a public or private performance, I used the beginning considered by the audience as
to retire and remain absent about a couple of min- nothing more than a stage prop. It looked very
utes. This short interval allowed the spectators much like the orange trees in planters that dec-
time to exchange notes of their impressions and orated the winter gardens of the wealthy elite.
gave them a temporary repose after the close at-
Its leaves seemed authentic and the flowers and
tention which the trick they had just seen had in-
fruit which magically grew on its branches were
volved. To myself these two minutes of interval
were even more valuable. I first took a few se- indeed real. Bouquets of orange blossoms were
conds' rest, then I ascertained whether all was in offered to the ladies and appetizing fruit de-
order for the next item of the program, and pro- lighted their children. On the other hand, these
vided myself with whatever was necessary for the same spectators could not explain the technical
purpose of that trick. and intellectual prowesses of the Inexhaustible
The scene, however, was never left "cold." At Pastrycook (who distributed candy, performed
the concluding phrase of each illusion, the orches- calculations and conjuring tricks, and made
tra or piano recommenced, and did not cease until change) except by believing it to have an extra-
I again came forward. [12] ordinarily complex mechanism due to the cre-
ator's talent.
When we observe Robert-Houdin's magic art
through the engravings depicting his effects, we This form of psychological misdirection -
might get the incorrect impression that his masking the mechanism when in fact it is om-
repertoire consisted mainly of the exhibition of nipresent, and doing the opposite when it is
automata. Other than the fact that this would practically nonexistent — is one of the many tac-
have been repetitive and dull, it does not at all tics of the artist's magic philosophy.
correspond to the repertoire of his perfor- Robert-Houdin banished from his repertoire
mances, which alternated sleight-of-hand, par- any object that could have been designated as
lor tricks, mentalism. stage illusions, and of conjuring apparatus. No more macabre curtains
course automata, the purely mechanical aspect or confederates, accompanied by a parade of
of which was only one of the components of mystifications and vulgar, primitive double-bot-
the routine or effect. Robert-Houdin is himself tomed boxes. This new outlook on the art of
the source of the false view that we have of his magic and its presentation, revolutionary at the
repertoire, but one must not forget that his rep- time, disrupted and overturned timeless tradi-
utation as a mechanician led him, especially in tions.
Paris, to always emphasize this aspect and to The novel tricks of Robert-Houdin's perfor-
create a certain ambiguity in his advertisements mances accounted for a large part of his suc-
and in his memoirs about the specific qualities cess, but it was undoubtedly his style and per-
of his stage automata. He often called them me- sonality that won all the votes. His distinction,
chanical pieces, which was more or less justi- elegance, and tasteful good humor, which the
fied, depending on the example. This little strat- European press would emphasize throughout

239
ROBFRI-HOIDIN

CHASSEUR-

Ulustrations 299 and 300 - The Hunter.

Engraving representing The Hunter and The Rosebush or
Love Nest by Robert-Houdin with its accompanying poem,
from the English somenir album of the artists perfor-
mances at the Saint James's Theater during the 1848-1849
season.
his career, would alone have sufficed to set him
LE CHASSEUR. 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,
Mesdames, mon petit chasseur, decorators, and upholsterers. Robert-Houdin
A votre presence est sensible, first coordinated with his backstage operator -
E6 pour mieux toucher votre cosur who also had the job of stagehand and stage
II fsrait -reaietnent l'impossible, manager - the delicate and precise timing of
Si vous n'etiez pas l a ! Si son bnt lni manquait! the automata that had to be activated from a
Mon sensible chasseur pour la coop deviendrait distance. He then rehearsed the texts of the in-
Encore plus sans eiblo. troduction of each trick with a pianist, who
quietly played the musical accompaniment

240
 ACT III

composed by Adrien Le Carpentier, the

nephew of the "knowledgeable antique dealer,
LE PATISSIER ESCAMOTEUR.
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 Pour vous consommatoiud je souffle mes foumeaux,
nights, and fatigue they created, he had to J e fotmris dcs sirops des tartes des gateaux,
Mes brioches surtout prouvent mon savoir faire,
continue to manage his toy and mechanism
Par leur fumet engageant;
workshop. Robert-Houdin also had to be con- Goutez messieurs, en en mangeanfc
scious of the health of Olympe, his new wife, Vous etes sura de n'en pas faire.

now pregnant, who would give birth to their

first child, Louise Marie, on July 7. 1845, [«]
barely four days after the premiere of Soirees
Illustrations 301 and 302 - The Conjuring Pastrycook.
Fantastiques. This put his working ability to
the test, as well as his attention to detail and Poem and engraving of The Inexhaustible Pastrycook, later
named The Pastrycook of Palais-Royal, and later, in London,
the unique talent that he had always shown in The Conjuring Pastrycook. Taken from the English sou\ enir
anticipating events. Everything had been pre- album of the artist's performances at the Saint James's
pared for months, even years, and the unfore- Theater during the 1848-1849 season.
seeable could rarely get the best of such a
carefully designed program.

For his sons, Emile and Eugene, respectively

IA
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, bril-
liantly aided the conjurer in numerous experi-
ments, 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 per-
former and his close friends attending the dress

241
ROBERT-HOUDIN

E«!L,ISUE PAROISSIAOS MM SAINT-ROCH, ME PARIS.

€xtva\t bu Jflegistrf bez 2lcUs bt

muf/ftaJ cent auaranie

f
/

Of t^^ */*.«

' JJ

af f

enne a fowamaf, et de&wv /uzr noud

J&arit, ce / /

Illustration 303 - Birth certificate of Louise Marie, daughter of Olympe and Jean Eugene Robert-Houdin.

242
 ACT III

rehearsal. He then describes the first perfor- By mid-June 1845 the construction and deco-
mance, which was only moderately successful ration of the little theater were complete, and
because of stage fright and accumulated fa- the theater security commission visited it and
tigue, at the end of which he almost gave up reported to the authorities, confirming the rat-
everything, and finally the official inauguration ification of the decree authorizing the open-
that marked the beginning of a practically un- ing. This document, signed on June 23, was
interrupted successful run. 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 an- with all the usual elements of theaters — arm-
nouncing Robert-Houdin's first performance chairs, stalls, galleries, and boxes - was de-
was worded in these terms: signed to give the audience the illusion of
walking into a luxurious reception room deco-
SOIHtKS FAXTASTlUl'ES DE nOBEKT-HOUDLN", rated mainly in red. The stage's layout - two
Palais-lioyat, ilii, galtric de Palois. consoles situated on either side of an off-white
On HiuuUKV pour jeudi 3 juilloi I'utivorlurc des soirees fta-
lasliqinjs tie M. Hobert-llouilin, uu PuUis-Uoyal, IGi, galerie living room decorated in gold, and two side ta-
ilo Valois. bles around a Louis XV-style center table in
M. Hiilvri-Iloiuiin o.-t |>arvciiu, jiar mi long travail, aaupli-
mior la iikVauU|uo a la prestidigitation , et il est arrive a pro- sculpted, gilded wood - along with Robert-
(iitire des elfots »{ui ticiiiicul rtiollomont de la feerie. Tout Paris
voudra assister a di-s experiences qui depassent lout ceque I'oa Houdin's demeanor, gave the audience the im-
a \n dans if gtciirc.
pression of being the privileged guests of a
distinguished host. This apparently simple
We announce for Thursday July 3"' the opening decor gave the magician the air of a miracle
of Soirees Fantastiques of M. Robert-Houdin, at worker and made it inconceivable to imagine
Palais-Royal, 164, Galerie de Valois. M. Robert- the invisible assistance that made the impossi-
Houdin has managed through much effort to apply ble possible. With the opening of Soirees
mechanics to conjuring and he has produced effects Fantastiques, a page in the history of magic
that are nothing short of magical. All of Paris will was turned once and for all; there would now
want to see these experiments, which surpass any- be a "before" and "after" Robert-Houdin.
thing 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 be-
Nous recommandons les Soirees que donne M. Robert-Houdin,
au Palais-Royal, galerie Valois, n° 164. Cet habile prestidigi- tween Robert-Houdin and himself, and one
tateur, emploie a la fois la subtile adresse de ses doigts et des can imagine the quality of the advice that he
moyens mecaniques trouves par lui et qui etonnenl chaque soir
ses nombreux spectateurs. gave to his new colleague in this circumstance.
[16] An unpublished document indirectly shows

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 dis-
covered a stylish antechamber or foyer, where
Illustrations 307 and 309 — M. Comte's performances.
the host's automata and mechanical pieces were
exhibited: the Mysterious Clocks, Mechanical Cover page of the journal of home performances by M
Comte. the Kings Conjurer, from 1821 to 1853. Page 247.
Dancers on a Tightrope, Conjurer Clocks, The
left: Reproduction of the page noting the artist s sole per
Little Canary or The Singing Lesson, etc. The formance of the year I843 at a price much lower than those
appearance of the main room, although fitted of previous years.

2-45
ROBERT-HOUDIN

Illustration 308 - Equilibre Retnarquable.

Engraving of The Marvelous Fishing from an English Robert-Houdin poster. 1849
 ACT III

The first newspaper to publish a review of

the opening of Soirees Fantastiques was Le
Ja>
Moniteur universel of July 6, 1845 in the theater
oA column:
1 M. Robert-Houdin, the skillful mechanician
t
whose exhibition of mechanical clocks was

- \ 22M^
noticed at the Exposition, has just opened a
little theater of mechanism and phantasmago-

) ria at Rue de Valois in Palais-Royal, the inau-

guration of which took place last night. The
<y&- > room, containing approximately 100 people
g '
/ [sic] is very comfortably and agreeably laid
out. All of artistic and fashionable Paris will
C fa. ?n ^ Jf^J want to go admire M. Robert-Houdin's charm-
ing automata, which walk, act, listen, and
hear as if they were animated, intelligent be-
t /£. 'ML- d O%KJ<"*-

i —•

0
1 t ?Ma<ucJit
i

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 La Corne d'abondance.
very profitable performances ranges from two
to four per week until 1843. In 1844 this sus- Illustrations 310 and 311 - The Horn of Plenty.
tained rhythm was reduced to ten perfor- Engraving and poem from the Album des Soirees
mances given in twelve months. From July to Fantastiques de Robert-Houdin au Palais-Royal'.
December 1845, the period when Robert-
Houdin opened his theater, Comte gave only a
CORNE S'ABONBANCE.
single private performance, on September 3 at
the Baroness Billing's home. Robert-Houdin in
turn reigned alone in the capital, and he be- Mesdameit, ce cornet, soumis hvos smihaits,
came the one called on from now on for this Fount!t des £ventails, des corbeilies fleuiies,
De savoureux bonbons, d'exquises sucreries,
type of lucrative performance. M. Comte was Des souvenirs el des bouquets;
right to suggest that he be patient; [17] Robert- Vous n'avez qu% chobir. Cependant je me vante
Houdin was smart enough to take this advice, De voir, au taut que vous, exaueer mon desir :
Vous reeevez ces dons, et moi je me contento
and both of them had their own season to reap
Du bonhetir de vous les offrir.
the fruits of their labor and talent.

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 III

ings. This little theater is a good fortune for given us a new show, where truly all fantasies
lovers of tasteful pleasures and for fathers of imaginable are perfectly realized. M. Robert-
families. Houdin does not only perform his own tricks
himself, not at all! That would be too simple! He
From the beginning, the artist was greatly
makes his automata perform. Under his com-
praised by the press, as seen in the articles writ-
mand, little wooden men, birds, and trees skill-
ten in Le Charivari of July 10, 1845 and fully do what up until now necessitated the hand
L'Illustration of July 19, 1845 from which we and mind of a thinking and living being. The
have already offered two excerpts: clock trick with no springs that moves according
Soirees Fantastiques de Robert-Houdin. In to the onlooker's will, the orange tree trick that
the Galerie de Valois, at Palais-Royal in Paris, makes flowers, then fruits to your liking and
there is a sorcerer...This sorcerer is named quite which ends up conjuring away our handkerchief
simply Robert-Houdin. M. Robert-Houdin is a into its oranges; the trick of the little man that
sorcerer, as I have said, but a real one, a true en- comes out of an egg and guesses the card you
chanter, guaranteed and tested, who performs have thought of; the exercises of a wooden
miracles before the naked eye, for a trifling two Auriol and Debureau that jump, smoke, laugh,
francs [sic] from six to eight in the evening and mimic as lively and joyously as their flesh-
[sic], in a little theater that opened up last and-blood counterparts...I will pass over even
Thursday. O, you who descend from Thomas and better ones that are prodigiously remarkable and
are gifted with Parisian incredulity, eclectic successful. It is the science of Vaucanson, of
skepticism, and a philosophical indifference to- Maelzel, and of Stevenard, combined with the art
ward the supernatural and the fantastic, go there of Bosco, Gomte, and Philippe: it is mechanism
and see to believe, and you will be converted; and legerdemain linked together, and all this in a
you will wonder if M. Robert-Houdin does not de- charming room decorated with taste by the skill-
serve to be burned or worshipped. [Here the pas- ful designer Henri Fugeres, a real box of treats,
sage already quoted on page 228.] The worker as commented by a lady who emerged delighted
wanted to become a master in his own right. He with her hands full of candy.
wanted to perform using his own inventions and After this article by Louis Huart in Le Charivari,
under the title of Soirees Fantastiques he has
here is the review by Philippe Busoni in
Illustrations 314 and 315 - The Aerial Clock. L'lllustration:
Engraving and poem from the Album des Soirees Competition is everywhere, but what we are
Fantastiques de Robert-Houdin au Palais-Royal going to discuss is not the competition that
shamelessly trumpets its publicity; it is on the

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 III

contrary so modest that although it has been run- him. The most astounding are: the mechanical ac-
ning for quite some time, L'lllustration will prob- tors who perform the tricks of Auriol and
ably be the first, as is its role and duty, to inform Debureau's pantomime; the pastrycook from the
its readers that at number 164, of the Galerie de Louis XV period, full of feats and surprises; the
Pierre of Palais-Royal, not far from Seraphin's the- marvelous orange tree that visibly blooms with
ater and the crystal staircase, those two favorites buds, flowers, and fruit; this art can go no further;
of children and provincials, an emulator of the it is almost creation itself.
sorcerer Philippe has just opened a charming lit-
Thanks to the support of the press and the
tle theater to which M. Martin, a young talented
architect, has given all the finery and comfort of audience's satisfaction, the summer months
the most elegant salon. The manufacture of went smoothly and word of mouth was such
leather items has already demonstrated some of that, as early as September, the theater was
M. Martin's best furniture design. [Passage al- full. The clientele was particularly elite; Count
ready quoted page 228.] However, without pre- de L'Escalopier, Baron Seguier, and Benjamin
tending to be a magician, M. Robert-Houdin shows and Gabriel Delessert were part of this vogue,
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 cos-
tume 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
La PSche Merveilleuse.
banality.
Illustrations 317 and 318 - The Miraculous Fishing.
In La Presse of July 28, 1845, the famous Engraving and poem from the Album des Soirees
man of letters Gerard de Nerval saluted the Fantastiques de Robert-Houdin au Palais-Royal
birth of Soirees Fantastiques in the following
manner:
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
Ge tour est tellement subtil
Palais-Royal and which is ready for anything,
Que ces poissons a l'6cailie brillante,
even playing variety shows if allowed. Stalls, gal-
En quelque mois que jevous les presente,
leries, pit, orchestra, nothing is missing. However,
Sont toujours des Poissons d'avril.
Robert Houdin [Without a hyphen] is a rival of M.
Pierre in mechanics and M. Gomte in conjuring] Robert-Houdin.
His skill is marvelous, but more pleasant than that
of street conjurers; he has no spectators behind

251
ROBERT-HOUDIN

Illustration 319 — The Horn of Plenty. Engraving from an English bill for Robert-Houdin in 1849.

252
 ACT III

this craze, one could say, that swept the aris-

tocracy 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 "sur-
prises 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 Le Patissiei' (Automate).
of people who would like to fill it," and after
describing the artist's feats, concluded her arti-
Illustrations 320 and 321 - The Pastrycook.
cle with the following sentence: ''But I will go
on no longer about these mysterious transfor- Engraving and poem from Album des Soirees Fantastiques
de Robert-Houdin au Palais-Royal.
mations 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 L E PATISSIER (automate).

ticket to the Soirees Fantastiques of M. Robert-

Houdin." Poor les eoBsonnmatetirs alhimaBt mes foumeaux,
Je fais des idbamAh, des tartes» des gateaux;
Finally, the review in L 'Esprit public of Mes brioches surtcmt prouvenfc mon savoir-faire
September 28, 1845 adds to this concert of Parleur gofttsaFOttrenx, lent fumet engageant,
Go&tez-y done ; en les mangeaat
praise by emphasizing the fact that the artist's
Vons serez a t e de n'oa pas faire.
dazzling debut had forced Philippe to leave
Robert-Houdin.
the capital:
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. Robert-
Houdin performs every evening for a large audi- IE MTISSIER J.P4LAIS-R0YAL.
ence. From the cabalistic clock that guesses your
most secret thoughts to the tiny pastrycook who
calculates as well as our most famous mathemati-
cians, everything here is charming and delightful.
Philippe stepped down before this formidable Pour les coBsoramateurs je souffle mes foumeaux.
rival, and he was correct to do so because it is im- Je fournis des strops, des taites, des giteaux;
Mes brioches surtout prouveal moa savoir-faire;
possible to compare his experiments to M. Robert- Mais vous, Messieurs, en y gofliant,
Houdin's ravishing creations, which go beyond Assurement,
Vous serez stirs de n'en pas faire.
everything that the imagination could depict.
Illustration 322 - The Pastrycook of Palais-Royal.
To end this chapter, here is an unpublished Engraving and poem from Quadrille mignonette des Soirees
text, amusing and instructive, from the manu- Fantastiques de Robert-Houdin au Palais-Royal by Adrien
script of his Memoirs, in which Robert-Houdin 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 dur-
ing 1848-1849 season.
 ACT III

describes how he "extended" the space and in-

come of Soirees Fantastiques, as well as his
staff:
LA CORBEILLE QE FLEURS.
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, Si tie ma corbeille iietme
Manager, Administrator, Author, Mechanician, t e tour que je pi •iseiue 2 pour vous quclque a.ppas,
Joignez-k ee bouquet, M&sdaraes, j e vous prie,
Actor, ete....M. Robert-Houdin, undersecretary La Seur de i¥e m*o«fe/w* pew.

(secondary business) ft. H.

Cashier (Of course)...Mme. Robert-Houdin,

Illustrations 325 and 326 - The Basket of Flowers and The
Manager in training Cabalistic Clock. Engravings and poems from Quadrille
Actors (Major small parts)...Messrs. Robert- mignonette des Soirees Fantastiques de Robert-Houdin au
Houdin, sons Palais-Royal b) Adrien Le Carpentier.
Stage manager, general handyman, stroller...
Monsieur X or Monsieur Z
Conductor, pianist singlehandedly filling the
multiple positions of his large staff...Monsieur Z, LA PENDULE CABAL1STIQUE.
student of the Conservatory (first place, invari-
ably)
Three welcoming and amiable lady atten-
dants...Mmes. X.... Y.... Z.... (1)
A servant in charge of cleaning the theater...X Ma ptmdute obeit, compte> devme et sontie
Total of salaried workers 3 Les moments que cbactm ici passe \ loisir,
Oraole de ca soir, en n'oublisnt persoune,
Of which the combined salary raises my daily Paisse-t-eHe souner deux houres de plaisir.

expenditures to the amount of approximately B. U.

sixty francs.
As for the income, because I want to reveal
everything, it is somewhat more difficult to indi-
cate the amount. It depends not only on the num-
ber of spectators but on thousands of other fac-
tors.
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 sea-
son, things changed. All the seats were sold in ad-
vance, 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 Illustration 32"" - Robert-Houdin's stage handkerchief.
of the trade. What I did is practiced everywhere. (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, dur-
ing the 1848-18 i9 season
 ACT III

First, we transformed one or several benches request, private performances that were very well
into stalls, then we placed chairs, stools, etc. in paid, [is]
all the corners and empty spots; boxes with six (1) Theater attendants are always paid through
seats contained eight; and even the space for the the audience's tips only.
pianist was crowded, leaving him only the space In addition to his "very well paid'' home
for his arms. Finally, we managed to sell, for the performances, the artist occasionally per-
same price as the boxes, the right to watch the
formed, after his daily shows, in the large
show from the openings in doors leading onto the
hallways. We were well packed in, squeezed, and
Parisian theaters at the conclusion of excep-
uncomfortable, but we had much more fun than if tional galas. He also performed free of
we had had more space. Who is more enthusiastic charge for charity balls or for his colleagues
than the spectator who had trouble finding a in need.
seat? This is how I eked out the amount of six Robert-Houdin's success was discussed in
hundred francs. I will also add that every Sunday, the King's court and the sovereign of France
and often during the week, I gave two perfor- would soon invite the conjurer to Saint-
mances, but after my shows I also granted, upon Cloud.
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 coat-of-arms of some family, his son had to
most impressive. Although he never claimed answer, for example: "...shield, red field
to have the slightest "power." Second Sight, its with two silver emanches placed in pal. "
effects, and its inexplicable phenomena could Sometimes these objects w ere even presented
only cause him to be suspected of heresy by to Robert-Houdin in a closed case, making it
his contemporaries. [«] apparently impossible to perform Second
Emile Robert-Houdin stood onstage, blind- Sight.
folded, while his father, in the audience, ac- Although the basis of this experiment was
cepted the spectators' requests for him. The a very sophisticated verbal code, mnemonic
young man could obviously not hear the au-
dience'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 per-
son's wallet." etc.. we can understand that
the effects of the secret communication be-
tween father and son offered great possibili-
ties. 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, min-
erals, books printed in alphabets of every de-
scription (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 concrete and priceless information. It is

signs that reached Emile in spite of the "opac- highly likely that father and son worked at
ity" of his blindfold, its success was also due this discipline for months, if not years, this
to the use of "the game of Kim" - made pop- type of exercise not permitting mediocrity or
ular by Rudyard Kipling in The Jungle Book- amateurishness. Over time, the success of this
and the constant rehearsal of our talented experiment could only stimulate the activities
duo, who must have known everything about of imitators, plagiarists, and even exposers.
heraldic art, numismatics, and many other sci- Robert-Houdin retaliated a few years later
ences to unscramble the enigmas proposed with a silent version of Second Sight in which
by a knowledgeable public. Their studious all verbal codes were eliminated; the ''electric
time spent in Aristide Le Carpentier's antique fairy" was certainly no stranger to this new
office, among others, provided the artists with feat.

260
 ACT III

In his memoirs, Robert-Houdin implied that father." A brilliant article by Theophile

the first performances of Second Sight took Gautier, the author of Capitaine Fracasse, re-
place in February 1846; however, on the ear- views this new routine in La Presse, December
liest poster we have of Soirees Fantastiques, 1, 1845:
from the 136th performance on Tuesday, Theatre du Palais Royal - Exceptional perfor-
November 18, 1845, we read the following: mance - Robert-Houdin
"To complete the seance of conjuring, the son Let us continue with Robert-Houdin, who per-
of M. Robert-Houdin, gifted with a penetrat- formed a very strange experiment at the Theatre
ing second sight, will perform a completely du Palais Royal.
new and fascinating experiment with his You know that adepts of mesmerism appar-
ently make their slumbering subjects describe all
sorts of objects presented to them, even though
they are asleep and their eyes covered with cot-
ton and thick bands which let no light penetrate.
Hrh.n. 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 inex-
plicable 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 in-
creasing 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
us 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,
Les coc»9series amusent les gens qui out un penchant a deviiicr les rebus.
and second of watches, the name of the watch-
maker written in the case, the shape and number
JACQUES DUBOCHET.
of rings. Incredible details! You will speak of con-
Tir6 a la presse mecanique de LACBABPE ct C*, rue Pamieite, i. federates, but an entire theater cannot be filled
with confederates of M. Robert-Houdin; I, for one,
was no confederate, but nonetheless the object
Illustration 333 - Second Sight as a r e b u s . that we lent was immediately identified.

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,
On ctmimviuM'a S II"IIITS piecittOh. 15, ruodc Valois.

2 HEURES I S DE MAGIE
SOIREES FANTASTIQUES

ROBERT-HOUDIN
TOURS D ADRESSE ET DE PRESTIDIGITATION
PHYSICIEX ET .Mi

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. M ItOBRRT-IHM U1S no Ml nil |>l»i»"'
Oalerie If. 5 0 cr ati\ aniiih'ttlH des nmrs iut:niMiiv
Stulles 5 nfill r.icilt^, « 1 iliilt* <h'M[iirK on prut
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 <h'* [>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 from card tricks and ordinary conjuring, is re-
this. How does this feat work? That is what is peated every evening in the charming little room
impossible to conceive. The nebulous explana- that he has built at the end of the gallery where
tion of mesmerism can serve no purpose here, one finds the old show of Seraphin, who, with his
because the child is perfectly awake; under his diaphanorama, now has to bow to the ideas of the
black blindfold there can be no mirror effects, day. Except for the divination experiment, you
or acoustic ones because the miracle takes can see here automata that Vaucanson would
place in any room at random; never any hesi- have been happy to claim as his own: an Auriol,
tation, never any error! It leaves one speech- a Debureau which all the children will believe is
less. real, a magical pastrycook, all with such incredi-
This astonishing experiment, which differs ble tricks that M. Robert-Houdin would have

262
 ACT III

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 mes-
meric experiments that have so excited the imag- En toute saison je fteuris,
Et je fournis
ination of savants and poets, now that a conjurer Des fruits
can imitate all of them and even surpass them? Smbauines de papfums eitqtiis.
te/, geatils enfants dont t'essaim nt'environne;
''Who is being tricked here?" as Beaumarchais VfmeZj doux auges aux \eux bteus;
Goutez a mes fruits savoureux,
said. 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 mes-
merism that he is not at all asleep. L'AMOUR CHASSEUR.
- Theophile Gautier.

As is often the case in Memoirs of Robert-

Houdin, the dates are approximate and for the
author the most important consideration is the
On (Jit partout que 1'amoiti- eat sensible,
continuity of the narrative. This leads him from Permeuez-moi d'en douter, .s't! vous plait
Puisqu \\ possi'de un tir au pistolet,
time to time to make involuntary ellipses, as in On lie pi.'Ut pas dire qu'tl est sans able
the narrative of the performance he gave at
Saint-Cloud, which in his memoirs begins in
Illustrations 335 and 556 — The Marvelous Orange Tree and
November 1846 and which he concludes five Cupid Hunting.
months earlier on June 6, 1846, while, in fact, it
Engravings and poems taken from Quadrille mignonette des
took place on Sunday, November 9, 1845! Soirees Fantastiques de Robert-Houdin au Palais-Royal by
During this performance before King Adrien Le Carpentier.
Louis-Philippe and his family at the Chateau
de Saint-Cloud, Robert-Houdin performed an
extraordinary effect specially created for the piece in the vast living room, a trick that was
occasion. He borrowed six handkerchiefs judged too easy for the skillful magician. The
from the noble group and bundled them into second suggested that the handkerchiefs be
a small packet, then asked his distinguished transported to the dome of the Invalides. but
spectators to write on little cards the location this attractive proposal was vetoed because
where they would like these handkerchiefs to of the distance that separated the two loca-
be magically transported. The King agreed to tions. Finally, the third requested that they be
select three of these cards. The first proposed sent into the planter of one of the orange
that the handkerchiefs be found under one of trees on the terrace. As soon as this sugges-
the candelabras that decorated the mantel- tion 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 companied by a rolled parchment with the
no one could approach it. Robert-Houdin "authentic" seal of Cagliostro. On the parch-
then made the bundle of handkerchiefs dis- ment could be read the following text: "This
appear and a gardener was dispatched to the day, the 6th June, 1786, this iron box, con-
orange tree. In the earth, surrounded by the taining six handkerchiefs, was placed around
tree's roots, was a small iron chest that the the roots of an orange tree by me, Balsamo,
gardener brought to the living room. The Count of Cagliostro, to serve in performing
artist then made a turtledove appear wearing an act of magic which will be executed on
a little key around its neck, which he handed the same day sixty years hence before Louis-
to the King, stating that the handkerchiefs Philippe of Orleans and his family." The King
had been in the small chest for a long time. then unsealed the package, protected by the
Louis-Philippe opened the rust-eaten trunk same seal, and found the six borrowed hand-
and found inside a neatly sealed package ac- kerchiefs. Robert-Houdin added: "This trick
gained me lively applause, but in my Second
Sight trick, which was to end the perfor-
mance, 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 pre-
sented him with a diamond pin.
The acclaim given this feat would, for
many years, make it one of the permanent el-
ements of his conjuring performances. Here is
how Le Charivari of February 5, 1846 com-
mented 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 inau-
COMTK de'dG
gural bill for Soirees Fantastiques: The Cabalistic
_V'c hi tru>ff,,-/t,/</t/s /-iti-, Ciini>/if / aftf/it/- , •Y;.. Clock, Auriol and Debureau, The Marvelous
C'1 eiitt'MWIn mJsir/ n'a/ume

ti Htf-'U ti/j'/t* A<'> I't'txz./f i/t^t/t 4t

Orange Tree, The Mysterious Bouquet, The
Surprising Handkerchief, Pierrot in the Egg, The
Obedient Cards, The Miraculous Fishing, The
Fascinating Owl, and The Inexhaustible
Illustration 338 - The Count of Cagliostro. Pastrycook. On the second bill previously cited

265
ROBERT-HOUDIN

Sciini*.t;s UNiAsiiucrsilo Hiiltprl-I'timlm, culoiio <!•• Vnlruk,

Ilil, flruo ilo Valois, 1.1, f'ulnis-Rnval. —Tonic la prom' »
I'II'1 uimuiiiin jHiur ri'inlii 1 liiimuinfin sm tiiloiii |M<HJIKI"II\ <U> Lcs charmantes Soirees fanlastiques de M. Robert Houdin ne per-
I'lmliili: |>rostuli«iliiic«i'/tl'l sail u i i n w cliaqiic will" In |ilu» dentrien de leur vogue. On s'empresse chaque soir de retenir des
In ilUinlo socii'U1! il« I'IIIMK duns *.n ilelicitusn Uuih<ianim>. La. places a I'avance pour assister a ces raerveilles de I'adresse et du pres-
mronilo vno tin fil«<le M. UiiViort-lliimliii vinnl «MHMI« d'uioo- tige. 51. Robert Houdin se fera line reputation europeenne.
lor nil uotivol aiU'iiit uu dwrmo <\c cos uniivoK IIIHMIHI*1* » ,«i
b m ilniil Koin'os luntusliijucs.

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 open- ferred to a trick automaton which produced
ing of his theater, Robert-Houdin had already four to six liquors and which was similar in
introduced new tricks like The Diabolical Seer, principle and appearance to the Confiseur
The Tyrolean Hunter [20] (and The Glove Galant of Philippe or to The Dutch House
Column), The Ladies' Favorite, and, as we have of "Father Roujol," and which had been made
already noted, Second Sight. We must empha- popular in its time by Jules de Rovere. At the
size a few details of this poster, which ends end of September 1846, Robert-Houdin
with the following note: "Monsieur Robert- rechristened his Inexhaustible Pastrycook,
Houdin takes pleasure in showing amateurs which became simply The Pastrycook of
new, extremely easy tricks with which illusions Palais-Royal and its old name was given to
can be created. His lessons are very reasonably the Bottle, which lost its ribbons along the
priced. He has all conjuring tools in his way! It is therefore under the name The
premises.'' Then, finally, this last advertisement Inexhaustible Bottle that this experiment ap-
printed in larger type: "M. Robert-Houdin han- peared from then on in theater advertise-
dles the repair of all automata and complex de- ments. Although the appearance of ribbons
vices." The conjurer had not neglected to take and all reference to color were eliminated,
advantage of Comte's experience and never let the principle of diverse liquor productions on
a chance for potential gain escape him. Comte's demand in apparently unlimited quantities
bills specified: "M. Comte sells phantasmagoria
and instruments of Physique Amusante. M. Comte
gives lessons in white magic."
It was during the month of December 1845 LA BOUTEILLE INEPUISABLE.
that the artist added a new experiment to his
program that would cause quite a stir: The
Bottle and Ribbons. The conjurer produced Cctte in^puisable bouteille
ribbons of any color chosen by the audience Fournit des vins et des liqueurs
from an empty bottle of Bordeaux that was De tous leg go&te, de toutesles eouleurs;
rinsed with plain water in front of the audi- C'est tine cave sans pareille.
ence. After each of these productions, he Bienveillants apeciateura de mes tours favoris,
Ayez autant de jours prospftres,
poured from the same bottle glasses of vari-
Anbmt de bong, de vrsis amis,
ous liquors, whose colors matched the rib-
One ma bouteille emplit de verres.
bons. This new trick was quickly given a
subtitle: The Bottle and Ribbons or The
Impromptu Liquor Merchant. This subtitle re-

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 cre-
ations [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, Robert-
Houdin performed in Belgium, where he re-
ceived 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 per-
formance:

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 be-
neath 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 Illustration 351 - Robert-Houdin in The Ladies' Looking-Glass.
in the skill of the conjurer in hiding his methods? Engraving from The Secrets of Conjuring and Magic by
We could alwavs sav M. Robert-Houdin makes lit- 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 less success. The young spectators who attended
where, while seemingly pulling them from an the Monday evening performance in large num-
empty basket and showering the theater with bers truly tested his intelligence and talent in
them; we could not describe the undoubtedly serving cookies, cakes, candy, and refresh-
natural-born dexterity with which he accom- ments. A six-year-old amused the assembly by
plishes this feat. his imperative-sounding demand for a glass of
Not only does M. Robert-Houdin have the Jamaican rum.
most skillful hands in the world, he also has The greatest attention was paid to the ex-
charming mechanisms that work to perfection periment called second sight, which was car-
under the influence of the same powerful wand. ried out by M. Robert-Houdin's son, a ten- or
We greatly applauded the movements of little eleven-year-old young man. The skillful con-
Auriol, who, with his companion Debureau, per- jurer claimed to have discovered the child's ca-
forms on a stage of six square feet. The little pacity to see objects from any distance through
pastrycook, whose store is well stocked, had no a blindfold that is impenetrable to visual rays.

272
 Aci III

We do not believe in the gift of second sight, the accepted term, in a salon garnished with
but we readily admit that M. Robert-Houdin's a small number of rich and tasteful props.
son answers without hesitation all questions Moreover, he has a great ease in speaking, and
asked by his father as to the nature, shape, and that is an essential quality for a conjurer who
color of certain objects he receives from the must alone hold the attention of an interested
first volunteers in the audience; we admit that public for an entire evening.
he tells the time of a watch and the number a The performance ended with a phantasmago-
spectator has written on a chalkboard without ria show. Instead of the traditional figures that
making the slightest mistake. M. Robert- usually appear in these tenebrous exhibitions,
Houdin states that mesmerism does not enter M. Robert-Houdin substituted rebuses like those
into this, and it is true that the young man is of L'lllnstration where a single character, in cer-
entirely awake. What are the people who tain instances, indicates the meaning of an en-
blindly put their faith in Miss Prudence's mes- tire sentence. But what we noted most was a suc-
meric miracles going to say? There must cer- cession of paintings, landscapes, cityscapes,
tainly be a means of communication between ruins, etc. that followed each other in such a way
father and son, but it is so prompt and per- that our eyes had not erased the preceding image
fectly hidden that even the most clairvoyant before the following one became distinct. This
spectators can detect nothing. effect, created by a principle with light invented
M. Robert-Houdin has the advantage over his by M. Daguerre and applied by him to the
rivals of a very remarkable understanding of stag- Diorama, was new to most of the audience at the
ing. His theater is not like that of Philippe, whose Theatre du Pare.
performances excited great curiosity two years
ago, and whose show is encumbered with old iron Robert-Houdin made his debut on June 1 at
tools painted white; Robert-Houdin works, to use the Theatre du Pare in Brussels, where he per-
formed 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 Robert-
Houdin'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
Illustration 353 - The French Guardsman. reproduces the magic, marvels, and even the im-
Engraving from La Mature. September 5. 1891- possibilities that we witnessed yesterday.

2-3
ROBERT-HOUDIN

Illustration 35-t - The Aerial Clock and The Glove Column. Illustration 354 - Tfoe Fabulous Rosebush.
Amateur drawing of Robert-Houdin by a spectator (magic Another drawing from the same amateur series,
enthusiast?), from the conjurer's archives.

And to come show himself to be the rival grotesque, shiny, varied, and bedazzling as the di-
of these renowned diabolical, satanic, and ca- verse subjects and landscapes that he alternately
balistic men, it is necessary not only to show shows before our eyes.
oneself their equal in the art of magic and wiz- M. Houdin is so rich in marvels of all sorts that
ardry, but also to prove that one is even more he gives as a simple intermission, as if it were
diabolic; and this is a proof that M. Robert- just something trivial, a sort of exercise that
Houdin, who will before long exchange his would alone make the fortune of any other con-
name for that of Robert-le-Diable, has no diffi- jurer, so incomprehensible are the results he ob-
culty in producing. tains. We refer to his second sight interlude, in
But do not think there is any trace of which his young son, whose eyes are covered
Beelzebub's ugliness and rudeness in M. Houdin's with a thick blindfold, can clearly distinguish ob-
character: far from it. M. Houdin is a lion-con- jects. He names them, indicates their color,
jurer, elegant, a charming speaker, skillfully shape, destination, and the material of which
launching compliments to the ladies and espe- they are made; he tells the exact time of a watch;
cially knowing how to continually please his au- yesterday, he stated how many cigars were in a
dience. closed case; he sees and designates even more as-
M. Houdin's show is so varied that we are hav- tonishing things. We do not need to say that we
ing a difficult time giving a description. Should I do not believe in second sight. However, yester-
speak of his sleight-of-hand tricks? This is some- day we saw things that could make a reasonable
thing with which he astonishes. His automata? man have doubts if the experimenters themselves
They are little masterpieces of perfection and did not admit that mesmerism has nothing to do
truth. His phantasmagoria? Nothing is so graceful. with the masterful effects they produce.

2-74
 ACT III

We will make another general remark on the at the crucial moment of the trick. But his
skillful conjurer's theater and his experiments. sleeves are not rolled up. This is alarming; how-
All his instruments are elegant in shape, shiny ever, it does not prevent him from carrying out
and glowing as in an silversmith's shop. In his his tricks with great skill and being applauded
feats he not only surprises and astonishes the by the entire room, including Father Gourtois,
public, he pleasantly amuses sight and imagi- the prince of the pass and the cup whose com-
nation through the elegance of his words and petence in this matter cannot be disputed by
deeds. He works with lovely turtledoves, as anyone. Moreover, the performances are pleas-
well as charming birds, sweet-smelling flowers, antly varied by the exhibition of mechanical
fresh bouquets, bushes that bloom and produce pieces of admirable precision; this is no longer
fruit before your eyes, candies, favors, and sug- in the area of magic, it is true, but that of
ary liquors, parfait amour, anisettes, even mechanism. It is still very interesting. We espe-
eau-de-vie - for certain enthusiasts who actu-
ally 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 Jf
gourmets both old and young. They will hurry,
we surely believe, to make a first visit to ascer-
tain 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 Robert-
L'Oranger.
Houdin in its city and published the following
account:

People frequently discussed M. Robert-

LORANGER.
Houdin before his arrival in Liege; now that he
has given a first performance and it has ful-
filled all expectations, we have the right to ask Chaque soir je Beuris,
the reader to believe us in all the details of our Et mes fleurs embaumees
account of this artist, unless he wishes to go Sont tranformees
see for himself. En fruits exquis.
At first sight, M. Robert-Houdin does not Venez, gentils enfantsdont l'essairn ro'environne.
seem to be different from the antique category Puisse-je par mes dons vous rendre tous heureux!
of ordinary conjurers. Like them, he walks Venez, regalez-vous de mesfruitssavoureux,
about in a very complicated and brilliant labo- En attendant que ma fleur vous couronne.
ratory. He has before him all the tools used by Robert-Houdin
all traditional magicians: tables with draperies,
trunks, vases, magic wands, mirrors, etc. He Illustrations 356 and 3S"7 - The Mysterious Orange Tree.
even has the appropriate joke and pleasant Engraving and poem taken from the Album des Soirees
anecdote to distract his spectator and relax him 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 complai-
sance and stamina deserving all our compli-
ments. The cooks of the Palais-RoyaZ [sic] then
received an enthusiastic welcome: marvelous
cooks, three inches tall, bring on a silver plat-
ter, according to your wishes, flowers, brioches,
glasses of rum and anisette [sic], silver sugar
bowls, and golden thimbles! Let us also men-
tion the phantasmagoric paintings, after which
we can leisurely discuss the long sight [sic] ex-
periments. on la Clochette mysteHeuse.
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 LASEGONDEVUE,
will perhaps think there is something super- on la Clochette mysterieuse.
natural in all this. Do not believe it. There is
nothing as simple and ordinary as my secret; Diable, mon cher ami, si votre ceil penetrant
and if it were not my secret, I would take Devine ainsi malgre le foulard qui le voile,
great pleasure in sharing it with you now, so Savez-vous qu'on pourrait hesiter en entrant?
guess - there are many possibilities. It is not Rassurez-vous, Messieurs, sur ce que je devoile:
mesmerism, Dieu rnerci! It is less than that Mon pere, en me donnant ce talent precieux,
or more. However, as opinions are free, I will Pour votre seul plaisir voulut en faire usage,
Et ne double le pouvoir de mes yeux
not in any way prevent you from thinking
Que pour vous charmer davantage.
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 redou-
bled its attention. Illustrations 358 and 359 - Second Sight.
M. Houdin takes his little boy, a child of Engraving and poem from the Album des Soirees
about twelve, blindfolds him, and, moving Fantastiques de Robert-Houdin au Palais-Royal
away, leaves him seated on a chair in the mid-
dle of the stage in total isolation. He asks the
audience to give him different objects, the first bouquet, he designates the nuances of color of
thing out of one's pocket - watches, rings, a carnation, etc. He does this from such a dis-
change - and the child minutely and instantly tance that this extremely precise and quick
describes all these as they are handed to his telegraphic communication between Robert-
father. With incredible ease, he carries out Houdin and his son astonishes us. We say tele-
complicated calculations with numbers he has graphic, because the marvel must work in one
divined, such as the year of a coin. This is not way or another. This explanation is as good as
all. He even gives the hour and minute of a the next, since mesmerism is not used. The
watch with a mocking self-assurance, as well child is not at all asleep and is the most alert
as the name of the watchmaker engraved on child imaginable. What confidence! And above
the case; he names the different flowers of a all, what speed! The answer comes almost be-

276
 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 interest-
ing 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 Robert-
Houdin 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 Illustrations 360 and 361 — Louis Courtois, known as Papa
all that the art of Conjuring and Prestidigitation Courtois.
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.
Louis Courtois seemed to have much trou-
ble doing business in Liege, and in spite of
the publication of new, intriguing advertise-
ments wherein the conjurer promised a
'Soiree Mysterieuse" and "Indian Juggling" or
even "hydraulic lights and diamond lights,"
the public ignored his "Grande Loge. " Robert-
Houdin, once made aware of his Belgian col-
league's difficulties, offered his help, a gen-
erosity that he would show unfortunate
colleagues throughout his career and retire-
ment. In La Tribune de Liege of Thursday,
July 23, we can read the following advertise-
ment:
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 M. Houdin - Closing
enough to cover the expenses incurred by the Bills have announced the definitive closing of
construction of a theater at the Place de M. Houdin's performances. Hey, M. Sorcerer, you
l'Universite. This father is now nearly in a very
have forgotten your host. Do not think that the
unfortunate situation.
public of Liege will let the father conjure himself
M. Houdin, who is also a conjurer like away as he does his son. This is not so; when one
M. Gourtois, but whose performances have been works before such a large audience, when one
well attended from the first day, wants to come to makes them laugh for an entire evening, it be-
the aide of his colleague by performing for his
comes impossible to just leave; although you are
benefit. The show will take place tomorrow at the
superior in talent, skill, and whatever else you
Theatre du Gymnase.
please, to the numerous conjurers that we have
M. Houdin's skill has up until now sufficed to seen until now, you must stay true to tradition,
attract a large crowd to the Gymnase; we hope as such; we will announce the closing, then the
that this skill, linked to the pleasure in doing a definitive closing, and then the definitive, ab-
good deed, will allow M. Gourtois to make up for solute, and final closing; you are only at the clos-
his losses.
ing stage, so you owe us two performances; be-
It will be even more interesting to see
M. Courtois and M. Houdin working together,
which seems quite possible.
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 per-
formances, 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 6/MCH

Tuesday, July 28, announced the closing of

Soirees Fantastiques de Robert-Houdin for the Illustration 362 - Disappearance under a giant cup.
30th in warm and humoristic terms: Engraving from Delion s work (op oil)

278
 ACT III

cause three minus one equals two - ask your ca-

balistic clock that calculates and adds like
Bareme.
Readers, you must know that these reason-
ings and calculations have completely destabi-
lized 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 na-
tional guards, enough candy to feed an entire
Le Foulard aux Surprises.
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.
LE FOULARD AUX SURPRISES.
The second-sight exercises between
M. Houdin and his son will be performed for
the sixth time, and for the sixth time the audi- Dans les secrets replis de ce tissu soyeux
ence may experience the same astonishment, Sont caches, j'en eonviens, objets de toute sorte;
still without being able to understand the Evenlails, souvenirs, fleurs, bonbons savoureux;
means by which the father and the son com- Pour nos desirs enin il n'est rien qui n'en sorte.
municate. Bring the most bizarre and unheard- Mais pourquoi devant vous etaler ses vertus?
S'il remplissait de fleurs des milliers de corbeilles,
of things to try to fool the two sorcerers; you
Mesdames, ces bouquets seraient-ee des merveilles?
will be doing us a favor because we have tried
Ce ne serait ici que quelques fleurs de plus,
and failed.
Remember: the last performance is Thursday. Robert-Houdin.
Spread the word.
Once back in Paris and after a short break
"dedicated to the development of new experi- Illustrations 363 and 36 1 - The Surprising Silk Handkerchief.
ments," Robert-Houdin reopened his theater at Engraving and poem from the Album des Soirees
Palais-Royal. 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 Brilliants" of Adrien Le Carpentier contain-
tricksters and conjurers offer little gifts to ing the musical scores of his routines; illus-
their audience: candy magically produced trated souvenir albums describing his ef-
or offered in a raffle - Philippe's specialty - fects; mini-biographies decorated with
or flowers or little bouquets for the ladies - his portrait, written by Eugene Hatin; and
the specialty of M. Comte. Robert-Houdin copies of his humorous newspaper Le
maintained this tradition. He gave his fe- Cagliostro. Robert-Houdin generously dis-
male spectators bouquets and treated the tributed these "promotional" gifts to the au-
public to his cakes and sorbets and the dience. On the fans and in the albums were
generously dispensed liquors of The Pas- printed little rhymes from the hand of the
trycook of Palais-Royal. To these perishable master himself, who was also "editor-in-
gifts he wanted to add souvenirs of his per- chief of his newspaper. We must also men-
formances for the audience to keep and tion the fake 500-franc bills - printed on
show to their friends. The Horn of Plenty thin pink or white paper decorated with
apparatus, a sort of truncated horn with a beautiful engravings bearing the words
handle, which could be opened vertically to "Banque des Soirees Fantastiques. Come
show that it was empty, provided him with see us five hundred times" - used in The
an opportunity to do so. From this appara- Shower of Gold effect and copied in the fol-
tus, first shown empty, Robert-Houdin pro- lowing decade by the conjurers Adrien,
duced advertising fans; the "Quadrilles Loramus, and Courtois, and later by the

PRIX DE L'ABONNEMENT. e^j

INSERTIONS,

S3 I.es puffet reclames b haute prcs-

1 fr. 50, 3 ft. ct ltr.,ad hbilam sion sont seuls admis dans co
Jonnial.

En s'abonnant, on recoil comme Qncstpridd'affranchirleshUres,

VRIHE GRAiHITB I'espoiV fie si Von lie profile ks adresser
recevoir Uft numdt'o du Journal tltA>CO.

Journal,les (N«»,»»...„.J»«w«e-Pen.)
E LI QUftl PAR Dl^

lie Redacteur previent qu'il n'est pas timbre (le journal).

Illustration 36T — Le Cagliostro, Robeit-Houdin's humoristic newspaper

281
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 confection-
er. The production of these souvenirs, as di-
verse as they were charming, and whose
presentation and quality were particularly ROBERT-HOUDIN ( i
meticulous, continued from 1845 to 1852.
Robert-Houdin also had Pruche design a FAR EUGENE HATIN.
small lithograph depicting eighteen of his Extrait du Feuilleton da Journal le Constitutionnel
effects from the 1845-1846 seasons and ano-
ther 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, Illustration 371 — Biographie de Robert-Houdin by Eugene
dated from 1848, shows him full length sur- Hatin.
rounded 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
ROBERT-HOUDIN
sculptor, Jean-Pierre Dantan, known as
Dantan the younger, a small statue depic-
ting his son Emile during this routine.

ROBERT-HOUDIN

Illustration 370 - Quadrille Mignonette des Soirees Illustrations 3~2 and 3^3 - Volumes I and II of the Album des
Fantastiques de Robert-Houdin Soirees Fantastiques de Robert-Houdin au Palais-Royal

283
ROBERT -HOUDIN

Illustration 37-i - Emile Robert-

Houdin 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 we agreed, in as many stores as you can.
wrote to the artist: Please accept my friendly regards.
Paris, April 25, 1846 Your devoted.
My dear Dantan Robert-Houdin [26]
Gould you please deliver six small statues to
me as soon as possible? I must send them at Through the years, Dantan became a close
once to Brussels because they should be there friend of Robert-Houdin and we will have
at least three weeks before my arrival. many opportunities to discover their rela-
Independently, you may place some in Paris as tionship.

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

Magicians have always had a variety of atti- the result of their demonstrations depended
tudes regarding so-called paranormal phenom- more on the procedures of the art of magic
enon. The majority, who claim to have no than on powers from beyond! [2s] The Marquis
supernatural gifts, are justifiably skeptical. de Mirville was a knowledgeable and influen-
There have always been artists who publicly tial man, impassioned by spiritualism, mes-
denounce the procedures and schemes of cer- merism, and spirit manifestations. He wrote
tain individuals who falsely claim that they several volumes on these phenomena, and we
have gifts or powers from heaven or hell. also find this same form of gullibility in certain
Although we might consider these law-abiding contemporary scholars, who support the repu-
illusionists to be beneficial to the public by tations of our current parapsychologists.
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 pri-
vate he could not refuse to give his advice to
acquaintances who asked him about these
phenomena. The position of arbitrator and ex-
pert 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 medi-
ums. They performed for wealthy individuals
who sometimes became their protectors.
Marcillet, who then had the job of road con-
ALEHS.
tractor on Rue de la Grange-Bateliere, had the
role of "mesmerist" and presented "his subject" Illustrations 3"9 and 380 - The medium Alexis.
Alexis Didier, who was then a clerk in his com- Frontispiece engraving and title page of the work by Henri
pany. It is unnecessary to tell the readers that Delage.

28"
ROBERT-HOUDIN

are harmless ones. Confronting De Mirville with

LE his errors and publicly unmasking the two pro-
tagonists would create a mini-scandal that
SOMMEIL MAGNETIQUE would shame his host, whose only fault was
being blind and content to be so. Diminishing
EXPLIQUfi the marquis in the eyes of his peers would not
have increased Robert-Houdin's prestige and
PAR LE SOMNAMBULE ALEXIS would have gained him unwanted enemies in
the scholarly set who shared De Mirville's opin-
EN ETAT DE LUCIOITE,
ions. Robert-Houdin therefore chose to make a
judgment worthy of Solomon, saying that both
sides were right.
PAIS HENBI D E L U G E . These two performances were a succession of
"impossible" predictions and "miraculous" reve-
lations, all in the great tradition of the thousands
of "undeniable" accounts that can be read about
in abundant "spiritualist" literature. The attesta-
tions given to the marquis after Alexis Didier's
demonstrations with Robert-Houdin as an ac-
PARIS
commodating spectator are not to be taken at
E. BBNT0, LIBKAIRB-fiDITEUB,
SUXMS H'OmMSS, 13, PALAKi-l;OHI,. face value because their conclusions are master-
1856
pieces of irony. The conjurer probably did not
Dtoils to Mfraduotioa et da tadittton risowfc. imagine they would be published one day. [29]
May 4, 1847
...Although I can hardly accept the praise
Naivete was obviously not unique to nine- M. de M... so kindly grant me, and above all
hoping my signature will show no bias in my
teenth-century scholars.
opinions for or against mesmerism, I cannot,
On May 3, 1847, the Marquis de Mirville asked however, avoid stating that the facts recorded
Robert-Houdin to observe a demonstration by above are entirely accurate and that, the
the medium Alexis Didier, which was followed more I ponder, the harder it is for me to place
them among those who are part of my art and
by another seance a few days later. We do not
work. [!]
know if Robert-Houdin knew Alexis, but we
Robert-Houdin.
have discovered that the conjurer had a good
relationship with his mentor, the ''mesmerist" Here is the conclusion of the second:
Marcillet. Robert-Houdin was in an uncomfort- I have therefore returned from this seance as
able position because if he enlightened De dazzled as I could be, and convinced that it is im-
Mirville, he would ruin the reputation of his possible that chance or skill could produce such
marvelous effects. [!]
"colleague," whose livelihood depended on
Robert-Houdin.
these demonstrations. Robert-Houdin, as an as-
tute psychologist, also knew that the public It is agreed that neither "chance" nor "skill"
rarely forgives someone who shatters their played any part in these effects, and that the
dreams and fantasies, at least as long as they author could also write, without contradicting

288
 Acr III

himself, that it was impossible for him to "place demonstrated by Daniel Home." It is true that
them among those who are part of [his] art and the famous American medium had become the
work!" On these two evenings, the conjurer, favorite of the imperial couple.
who had promised himself to never again be a In conclusion, here is the opinion of an ex-
confederate, became one again against his will. pert in these matters, Alfred de Caston, in his
A few years later, Marcillet, having fallen into work Les Marchands de miracles (The Miracle
dire straits, wrote to Robert-Houdin to ask for Merchants) (Paris, Dentu, 1864):
help, which he generously granted. [30]
We have seen all the mediums from
This refusal to condemn "colleagues" was M. Lafontaine and M. Lassaigne to M. Marcillet. We
also the way that Robert-Houdin's family acted. have attended the seances of Miss Prudence,
His brother-in-law Hamilton publicly defended Alexis, and twenty other extra-lucid somnambu-
lists, and we can assert that if by chance a glimmer
the Davenport Brothers in the press while
of truth came to enlighten us, we always returned
Robin unashamedly revealed their tricks to the to the domain of conjuring.
press and on the stage of his theater. Moreover,
The greatest conjurer-mechanician of our time,
Robert-Houdin's friend Moreau-Sainti, before Robert-Houdin, in creating the anti-mesmeric
Napoleon III, "wisely" agreed "that there were double sight, has unveiled and multiplied the re-
no usual conjuring techniques in anything sources of mediums."

ALFRED de CASTON

Illustration 381 - The medium Daniel Dunglas Home. Illustration 382 - Alfred de Caston.
Photographed by Disden. Portrait by Etienne Carjat

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 reper- his son back down to the floor for the final
toire of Soirees Fantastiques: the new versions curtain call.
of The Fantastic Portfolio and The Aerial Here is an article from L Illustration of
Clock, accompanied by its crystal bell; Antonio October 16, 1847 giving an account of the per-
Diavolo, the trapeze acrobat; The Transparent formance illustrated by an engraving of the
Cashbox; and the extraordinarily renowned Ethereal Suspension:
Ethereal Suspension in midair. The latter, the
And since we are still listing the entertain-
most sensational illusion of its time, was ment for the week, how can we not give an hon-
shown to the public at the beginning of the orable mention to Robert-Houdin's skillful
1847-1848 season. We must remember that the tricks? L'lllustration offers a reproduction of one
invention of ether and the possibilities this of his marvelous feats: the son of Robert-Houdin
product offered the field of medicine were an lying in space in a horizontal position. What is
supporting him? An occult force, a genie no
important topic of discussion for the artist's
doubt, who is none other than his own father.
contemporaries. As a preamble to his experi-
The wizard Merlin, the ingenious Paracelsus,
ment, Robert-Houdin spoke about one of the Swedenborg, Bosco, who effortlessly conjured his
new characteristics of ether that he claimed to world, even Gagliostro, the man with the mar-
have discovered. His younger son, Eugene, velous flask who brought back the dead, were not
then came onstage and his father had him greater sorcerers than Robert-Houdin. This one
breathe the fumes from a fake bottle of ether knows all your secrets; the present and the future
hold no mystery for him; he is endowed with a
for a few seconds. Simultaneously, backstage,
divinatory instinct that never fails him; the mali-
the stage manager poured a few drops of ether cious imp of magic has subdued the invisible
onto a hot shovel and the smell flowed world before him. I am not talking about objects
through the theater, momentarily transforming that change places and pockets all by themselves
the atmosphere of Soirees Fantastiques into upon the magician's command, nor of candles
that of a hospital, a perfect example of intel- that walk, nor portraits that speak; we will also
remain silent about the surprise of Second Sight
lectual and olfactory misdirection. Eugene
and the miracle of the multiplication of flowers; I
began to "fall asleep," and the conjurer placed
will speak no more about the unique bottle from
a cane under each of his arms to support him. which flow liquors of every color of the rainbow:
Robert-Houdin then took away the one under blue, white, yellow, black, and green; but every
the left arm and raised his son's body parallel evening an adoring crowd fills the theater: to
to the floor, leaving him seemingly suspended what trick do we owe this? And every evening
in midair with the only point of contact being this admirable Robert-Houdin makes gold with a
flask and a pack of cards. Find me a greater sor-
the cane under his right elbow. For the first
cerer!
time, a body remained miraculously suspen-
ded in midair on the stage of a theater, until
The resounding success of The Ethereal
the artist decided to break the spell and bring Suspension created so many plagiarists that

291
ROBFRI -HOUDIN

Illustration 384 - The Ethereal Suspension. From Llllustration. October 16. 1847.

Robert-Houdin, in 1849, after his return his reasons as their contents are particularly
from England, created a new version so so- fascinating:
phisticated and perfect that it was never Many people went on Thursday to M. Robert-
copied during his entire artistic career. Houdin's and readily admitted, as everyone else
does, that never before has anything so extraordi-
Some of Robert-Houdin's audience took the nary been seen in Paris as M. R.-Houdin's perfor-
routine literally and sent letters, the anony- mances. But one notes with curiosity and displea-
mous ones especially indignant, scolding sure the etherization of his young son. It has been
requested that this experiment be discontinued,
him for endangering the health of his child.
otherwise it will promptly weaken and kill this
The author writes in his memoirs that he child.
preciously kept these letters, two of which This unfavorable impression remained even
are still part of his archives. We understand after the end of the show; on the stairs, many

292
 ACT III

said that the police should prohibit the final ex- same remark about M. Houdin's young child.
periment and that they would surely do so if
it were reported to them. Everything that Here is the second letter, dated January 23,
M. Robert-IIoudin does is strange and extraordi- 1848:
nary enough for him to cease this feat because Sir,
he creates a painful feeling in general and elicits I attended your performances last year and
true concern for his child, and one may assume they so charmed me that I wanted to return this
that either M. Houdin does not realize the harm year, and recommended to many your astonish-
he can do to him or that he is sacrificing him to ing and interesting performance. But Sir, I must
increase the interest in his show — which is im- frankly tell you the unpleasant and painful im-
possible to think. pression that I and many others had concerning
Since yesterday, many people have made the the ethereal suspension of your son, which you

s
I Ft* iii

WE
H 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 Engravings taken from the work by Delion (op cii )
Fantastiques de Robert-Houdin au Palais-Royal

293
ROBERT -HOUDIN

Aiijnurd'hiii Vemlredi 17 H i m 1 8 4 8 . IM.CMM.4t TUMi,

PAiAIS ROYAL.

ROBERT HOUDHV
SEANCE ENTIEREMENT NOUVEU.E
PIUHNUHR, MKCMWIIW, MKHBRK »K I>U S U M S Kw:if:H':s mvi.vrwt

ES WAYANT ENCORE JTAMAIS PAHU TELLES OCX

LE CARTON ROBERT HQUDIN LA PELOTTE DE LAINE.

bfMum -.wualle if PMiigu, MIUI»P> •! Sukliliw.

LA BOUTEILLE INEPUISABLE LA PECHE MERVEILLEUSE.

Ou If l*ju<irui« iwprawiptit.

LA VOLTIGE DU TRAPEZE. | LAPENDULE AERIENNE

Ou H

SUSPENSION ETHEREENNE
III! SB(.OM> Wl.S DB HOBBKT-HailDIW TRKC RR KQUIMBitF. A V I * I.*A1K ATNOSPHRRIQUB.

i;kafmej»mr itt tmfitU*u% ftiMi jMtwl ttlttt 4*farferrtlVrtiimMt, UUu fwt

tuuuMiLitriuuutut,
uitMTmuimNMPi, uHUE•uiuuiiiii1 uauiu«MI umu*t<Mit.
u I-HMII n M anm, : unmnu. u n w R •», •
t f t SECONDS TOE. - L'ESCAMOTAGE ttED. HODEHTHODDEN, He, w•r.mtjwu «<»Ue nouwNc S.i,iu-e.
sera tcriuiiuta par let merveilleux ettete du Polyorama. ** Tt

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 pre-
served today. (Jacques Voignier collection)

felt you had to add to a program which, before, return despite the intense pleasure you gave them,
left nothing to be desired. because of this experiment.
I am telling you, sir, in your interest and in Believe me, sir: this feat can please only the
that of humanity, that you are killing your child vulgar or the heartless.
little by little by etherizing him in this way. The I must also tell you, to speak of a lesser point,
life of this child does not belong to you, and God, that the smell of ether that spread throughout the
who gave him to you as a blessing, will make you theater caused strong headaches to a few people,
pay a terrible price. which is yet another reason for them not to re-
This child evokes concern as soon as he enters turn.
onstage with his look of suffering, and many peo- I hope, sir, that none of these remarks will
ple, seeing him etherized, said that they would not displease you, because they are dictated by the

294
 ACT III

concern that I have for your child and for your- Aren't these letters worth the most laudatory
self because of all the pleasure you have given press reviews for a magician? By preserving
me. 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

J«okla»k, . . . . H», J. W4TSOK—' Burr; florinm, Mr.BLVIK
Ur.Butna, -.»• «»• JOHKSTOff & lanjei Circuit, . , Mr. ADDIBOK
H n . l b n l , . . . . Hn. BAHBT-——km*, . . . . Mm,JOHSSTONB
Jue Voltigeur au Trapeze. Emma Bertram, 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, Mijs K. WATSON
Avec ardeur lorsque je me balance,
To wmolniJe with t?ie Farce of—The
A vos bravos, Messieurs, c'est pour donner l'elan;
C'est pour atteindre a votre bienveillance, VILIiAGE LAWYER.
SDflBS. fthe CjRwysr) Mr, ELV1N—. Simrl, K r D4>iBY—-ChiLrteii, Mr. ADQISON
Dont je serai toujours le zele partisan, Wsooot Mr«. BASBT Kate, M™. JT, WATOOir
Plaire, amuser, c'est ma devise,
BQS98 Fire SbiHinge —PitTwo Shillings and Sixpence—Gallery One Shilling (mil Sixpence,
Et mon d6sir est, chaque soir, 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
En me quittant que chacun dise : 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
Au revoir! au revoir! 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 Robert-Houdin lo\ ed to gi\ e his stage automata famous
Fantastiques de Robert-Houdin au Palais-Royal 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

<k/yvtc>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-of-
hand performances by Robert-Houdin's friend Moreau-Sainti. (Archives Rationales)
 ACT III

Moreau-Sainti and Andre Voisin

Following the opening of Soirees Fan- tion to perform in the Galerie du Barometre.
tastiques, there were few new shows dedi- Passage de l'Opera, Boulevard des Italiens,
cated to conjuring and trickery in Paris. We in the former Polyorama theater, and to
must nonetheless note those of Lacaze, "who create an establishment called Spectacle
had just set up a location in Marigny, and of Philomagique, with a capacity of approxima-
Moreau-Sainti, [31] who obtained authoriza- tely 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 III

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 CHARLES HAUMCE, t i m t n n ,
PRIX D ABONNEMENT !
club for enthusiasts of conjuring and Phy- 13 Ft PAR TRIMESTRE. FAUBOURG-M0NTMARTRE, 13.

sique amusante in 1840 called the Cercle

Philomagique, of -which Robert-Houdin was LITTERATURB. BEAUX-ARTS.

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
COUREUR DES SPECTACLES.
Sight and The Aerial Slumber performed in
"new ways." Furthermore, Moreau-Sainti's
— Soirees-Orientates, boulevart Montmartre, 10. Depuis
Spectacle Philomagique opened only after la reouverture, la foule se presse dans los salons de cet 6la-
Robert-Houdin's departure for England. blissement, Les pieces mecaniques de M. Voisin sont tres in-
genieuseset captivent l'attention du public. Le Yolligeur ae-
Here is what Robert-Houdin wrote about rien de M. Lambert est d'une rare perfection. Les demons-
him on page 81 of The Secrets of Conjuring trations du Telegraphe electrique et les experiences du Chlo-
roforine, parM. Lonnier, sont tres suivies. Prixd'entrfie : 1 fr,
and Magic:
Moreau-Sainti, the well-known actor of the
Illustrations 396 and 39~ - The conjurer Andre Voisin in
Opera Gomique, was a very skillful amateur con- Soirees Orientales in 1848. (Archives nationalesj
juror. 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 Electric Telegraph and the Chloroform experi-
conciliate popular favo[u]r by witty and appro- ments by M. Lormier have a large attendance.
priate speeches. Entrance price: 1 Fr.
Another small show, which was short-lived, Voisin and Lambert's mechanical pieces
also deserves to be mentioned because its pro- were apparently not exhibited for long be-
gram contains the first press reference I have cause their names are absent from the adver-
been able to locate of the name Voisin, who tisement published in Le Charivari of
would become the most talented French man- February 16, 1848:
ufacturer of magic apparatus in the second half
Soirees Orientales, Boulevard Montmartre, 10.
of the nineteenth century. In the column
The fashion is definitely set at this establishment.
"Nouvelles" from the Coureur des spectacles of
M. Langlois's conjuring deserves the public's atten-
January 6, 1848, which also mentions the ap- tion; the Polyorama is of a rare perfection; and fi-
pearance of the ventriloquist Valentin, ''The nally the demonstration of Chloroform and the
Man with the Doll," at the Spectacles-Concerts, Electric Telegraph of M. Lormier has everyone
we find the following text: running. Entrance price, 1 Fr.
Soirees Orientales, Boulevard Montmartre, 10. Andre Voisin, contrary to legend, did not
Since its reopening, the crowd has been rushing
open a store in 1834, but performed as a ma-
to the salons of this establishment. M. Voisin's
mechanical pieces are quite ingenious and capti- gician prior to 1850. In the main business di-
vate the audience. M. Lambert's acrobat is of a rectories published between 1830 and 1850,
rare perfection. The demonstrations of the 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 mechanicians, tinsmiths, toy manufac- of March-April 1956 of his journal L'Esca-

turers, opticians, etc. He only became a moteur to the magic dealer Andre Voisin. In
maker of magic apparatus in the years 1853- the first issue, Robelly, relying on information
1854 and published his first advertisement provided by M. Voisin's widow, estimated the
a few years later in the newspapers, notably date of the opening of his store on Rue Vieille
in Le Journal Amusant and later on in du Temple as about I860. He nonetheless
L'lllustration. We will see later in this book added that documents in his possession defi-
that Robert-Houdin and Voisin had a good nitely dated the opening around 1855. In
personal relationship. no. 57 of his journal, Robelly, using a pros-
The important place held by Andre Voisin pectus of Emile Voisin, grandson and succes-
among manufacturers of conjuring apparatus sor of Andre Voisin, erroneously returned to
during the second half of the nineteenth cen- his speculations and set the year 1834 as the
tury deserves certain historical clarifications date of the store's foundation. This date has
on points only superficially examined in no historical basis and was apparently only
magic literature. published by Emile Voisin to make his grand-
Robelly dedicated the front page of issue father's factory seem older than it actually
no. 50 of January-February 1955 and of no. 57 was. This was perhaps not free of ulterior mo-

300
 ACT III

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 mentio-
ned by Ponsin: Alphonse Giroux, 7, Rue Coq-
Saint-Honore, who proposed very beautiful
boxes for conjuring; Delion, 7-9, Passage
Verdeau, conjuring apparatus and magic sets;
and Couthier, tinsmith, 24, Rue Fontaine-au-
Roi, 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
ROBFRT-HOUDIN

HIST01RE VERITABLE
MYSZGISN H U M , 7 I f 9 PASSlil fllDUU.
Venle d1 Instruments, Lecons d'escamotage, Soirees en ville

i.sicwn DSUOM) la feu MIRIIU Lc PhysicUm DKUON «J nourncc ohm Mad.im Mts an iVnsion die/. ParafaiOKaramws. it change Mis in oi»i>r«ntKS3Kr Uu/ Nostradamus, il y fti-
lltlr
, y |t(*s«lr ei liii fail (ton ,1'esca- IWlomago. <\m en I'nlailatu, iui <lonne !vs premier In
iii ferule de aim
son maitrc en si
sitcr. tl'ofge. et allotig.- '''"I"'*
' *l«i*"*»«i*> 'Ie
• nmtveaux iiiilrumenta
•- d<;
lol.T haluk-m -ie EAbrftincr t«rra,Urinent. cute ic^ns dc inagtc Llanchc; lc pcRl noumwn joi tes nreillea de son profogseur 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
r«vlre iosfllomet -itj' trts-bten til! aultelet. >lu iwrllr ta(>n,3 t|n4l frscotle a%oc sea a

M
\1 DKUON. nommc j-rcniH-r |ibjsicien |mr l«ns M DKi ION fust mi *o>age dans les astrcs dine DHL1ON. pris |>ar des milieus necromermens 11 DLLION cbangc lous ces BauvaRCsen mBtru-
|«» mafiiciciis des cmtj porlius du rnondc reams en ciici Ie »olctt a qui it dfi'mtintrc ijuelqucs tours di; joloux des eserciccB plus fort que les leurs. \tukni menls dt (ihjsiqiie iiouveyux les embaile soigaeii-
Itrniidi- ii-iRuiiiUIco lait l.i gnerrB aits soruers fit carles. sotipe dies la lune. J d i w u \ « urn. qiutntlM le mi -Lire a !a broehe, il ee sanve en les griwiit. &c fnwM iaa
f •"• 1>allon J'r-Beable et relourne en
e .iv diublca il luir nrt'iKH! dc ue ^ s c m r d c km de irons cm'il Fcbousiie parson i»ou>j>r i!i,t:i.|iu! n s c n a i i t <ln it imnif.il!.. ii^miiuhl.- l;-uropB ou d cst attendii par 20 miiliardsde petita el
scieiif- i|iic pour 1 a muse men t du puLHt ivviem .> lerre u clicval sin la qncu« d nne • -mmH * '" !'1 WMIICHMr »«P«iMBit (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- M. DKLION iietrn.nlrc »us JHIIIBII SWX nramls ks H. DKLION niontrani in fattliiiitna
«»8iii> a I'uns. |iassaKu Vtrdtau. 7 ct 9, ou il vend seereiailosa stietii;*, iliunge mi dcs sjMMlaleurs tn des hisfotnsi tte manu re g ftlrfl nrt
iK-s bun tuarehc 'kb HistrmnLtits dc plijsiqiu: jwnt- canard ut Iui redoinie sa Tonne niiliirellL. plrtsl ijoiiiicniiUs SHIIS [KJin
«|«tmo l|UBIit1te df jo»el& el Iwnlwna

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 III

is the commentary from the list of medal win- This explains the exceptional luxuriousness
ners: of certain apparatus offered by Andre
M. Voisin makes mainly trick tables, small Voisin, who regularly used precious wood,
chests, and other outstanding conjuring pieces. mother-of-pearl inlays, and gilded bronze,
These objects, shown for the first time, reveal etc. in his creations. The aesthetics and
to the public the secrets of conjurers; all these quality of his work seduced this clientele of
pieces require a rigorous precision and the use wealthy amateurs, whereas the professionals
of many processes in a single factory. The prod- preferred solid, practical apparatus deco-
ucts shown are of very high quality. rated according to the criteria of theater
From this date on, although Andre Voisin props, and which was affordable. Andre
became the supplier of a few well-known Voisin did not publish catalogues during his
professionals, his main clients would be lifetime and only a few lists, today very
principally conjuring amateurs, whom he at- scarce, testify to the repertoire of the tricks
tracted with extensive press advertising. he sold. None of the lists are prior to the

COMMISSION EXPORTATION

&LECTR1CIT& —AUTOMATES. — PIECES MtiCANIQUES. —

AUTOMATES

Bobktes d'induction de
Le Paon, piece unique
toutes les forces.
dans son genre.
itlectro-magnetiquc.
AurioletDcburau.
La Torpille de poche.
Le Chinois.
Piles de toos systemea,
notamment la Pile de sa- L'Arlequin sortant de ea
lon sans odeur. bolte . foisatit tous les
La tcte du Diable sus- exerciees, finnant et sif-
pends flant.
La Pendule mysterieuso. Le Trapezien.
Le Timbre de cristal. Le Zouave prenant In posi-
Le Coffre de cristal. tion au commandement,
La Carafe merveilleusc. tirant un coup de fusil
Le Coffee lourd et leger. pour la colonne au guot.
La Guirlattde de fleurs. LeVoHigeursurlaeorde.
Le Tambour fantaBtique. Leocard ou le double Tra-
La Corbeille et le plateau peze,piece extr&mement
LeTrepied suapendu. remarquable.
Le Chapeeu electrique. Le Danaeur de cordc..
L'Etoile aux cartes et au\ Automates divers disimt
pieces. out et non, frappant sur
La Couronne eleotvique-. un timbre, fumant et
Le Tambour de la garde, sifftaat.
automate extraordinaire Le Singe musiciert
fonctionnant par Velee- La tete du Diable au\ cbe-
tricite. venx herisses, et lancant
Le Store on Tableau mer- des Dnmmes par In boo-
veilleux che.

MEGANICIEN
Impasse Diihois, N* 10, DANS U. RUE DU PBBSSOIR (M^ILMONTAHT)

PIECES DIVERSES
Le Gueridon a la pluie dor, sans Le G«6ndon uu toulard. quo. (Ce t ur est tr$$ surprerumt.) Le Bouquet aux cartes.
frange, tres elegant, no parais Le Gu6ridon aux ehangements Les4 volietes sortant d u n eha- La Cibie pour les monltes ei les
sent pas da tout machine (nou- servant pour toutes les passes pcau avec oiseau dedans. (Ea- cartes.
veaute). de magie. ti^rement nouveau.) La Voliere des Fees, avec tour-
Le Gufiridonaas cartesK(nouveau- La Chaiee enchantee. permettant La Maison hollandaise. niquet
te). de faite une suite a'experiences Le Mouhn merveilleux. Lo Filet au\ papillons
Le Gueridon aux 4 ou 6 pieces de les plus surprenantes. L'Oranger etles Papillons. LeCarton ou JeMobiher invisible.
5 fr. | Biles tombent une h. une f etit Ecrin servant k mettre 4 ou Le Rosier et 1'Amour rapportant La Carafe mysterieusek la main
dnns uHverro(nouvcaut6.l 6 pieces do i> ir.; elies -lispa- une baguc. La Coupe et le Verre ou les pie-
Uueridon sur lequel on pose 8 raissent une a une. Le Bouquet au*. cartes chnngennt ces anivent I'une aprfis 1'autre
pieces de 5 fr.; elks disparQis- (He construis ces icrins pour les deux 1'ois a vo)ont6. atoute distance.
sent uno & une, ot revionnont mo-wes tiesdifferentespuissaMes). Le Chevalet photomagique. La Montre changeaut d'heure.
a volonte (nouveaul^J. Bagnier magique pour faire dis- La Hour et le Vnso de cnsUl L'ojuf dc Roc-
Le Gueridon au^ bijou\, pifice pjraltrc et appara!tre it volontA L Epee a la carlo La Bonle mysterieuse
nouvellc quolquo objet quo ce soit. LFpeea 1 oiseau. La Colonne au g.mt
Le Gu6ndon aux 3 bottcs Le Gliapeau et 1 Oiscnu mGcnn Lt PaBse-passt japonatt>. La Houiette m«can!<iue.

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 sev- sions of some of the most famous of the
eral famous feats created during this period. master's creations.
Robert-Houdin knew Andre Voisin and must The incorrect date of the beginning of Andre
have liked him since he regularly sent him Voisin's business activities and the fanciful in-
clients; many magic amateurs worldwide terpretation of the article published on him in
who wrote to Robert-Houdin asked him for Llllustration in 1863 - which says exactly the
the address of a manufacturer of conjuring contrary of what one wishes it had stated - are
apparatus. After Robert-Houdin's death, responsible for some of the falsehoods often
Andre Voisin commercialized simplified ver- 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 Louis-
Philippe to abdicate. The temporary govern-
ment took two essential measures for the fu-
ture: 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 repu-
blic...'' 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 tic-
kets, generously granted by the temporary go-
vernment, than a paying audience:
The theater of our conjurer Robert-IIoudin con- Illustration 4O"7 — Robert-Houdin's seal at Palais-Royal, re-
tinues to have its vogue and its spectators. This is named Palais-National.
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 ex-
periments will always make this theater a choice
place for entertainment. [34] / TrVV

How does Robert-Houdin manage to fill his de-

lightful theater every night? This problem is less
difficult to solve than all the marvels he has imag-
ined and presents in his performances. Indeed,
CtJt
/
< o 'h
r;, •«^% 6/,'.
* -- ?>l«'

A,, /«' af;

who could resist the attraction of the curiosity /

caused by the tales of all those who have attended J

his marvelous performances? Therefore, the 7

charming little room of Palais-National is full 9

.
every evening. [35]
* • /

We can also note in passing that the Palais-

Royal, having become part of a republic, was Illustration 4O8 - Draft of an outline for a chapter of Robert-
renamed Palais-National. It was during these Houdin's memoirs.

30"
ROBHRT-HOUDIN

troubled times that Robert-Houdin received

from John Mitchell, manager of the Saint-
James's Theater in London, a proposal to per-
form before the English public. There is no
indication that in other circumstances Robert-
Houdin would have accepted leaving France
for months at a time, but because of the po-
litical 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, Robert-
Houdin's sister-in-law, had married Charles
/ must here confess Dominique Devillers. a binder, in October
Often I have cursed the charm
1846. A son named Paul Michel Louis was
Which forces me to cause myself harm
If I try to getridof my adresse [Skill] 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 man-
ager in the evening. Robert-Houdin entrusted
him with looking after the theater when, in
mid-April, he left Paris for England, accompa-
nied by his wife, his two sons, and the equip-
ment 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 sur-
vey the construction of his stage setting, made
and decorated on site by the theater's work-
ers, identical to the one at Palais-Royal.
Robert-Houdin performed at the Saint-James's
Theater alternating with troupes of French ac-
tors 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.
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 ori-
Illustration 410 - The Saint James's Theater. gin of this "mystery" later:

308
 ACT III

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 extra-
M B . MITCBKL£ seas t o ANSQOHCE THAT
ordinary and marvellous performances have, for
THE CELEBRATED
the last four years, attracted all Paris to the
ROBERT-HOUDIN (MBMBBB DE FLUSIBUBS SOCXfiTfiS 8AVANTES.)
Galerie de[s] Valois [sic] in the Palais-Royal, is
announced to appear at the St. James's Theater,
A w » bU GaMr* A Fa&w, Palm Segal, Paru,
IS EHGA3KD TO PRESENT
on Tuesday evening next. The great success and
A ZJHITED NUMBEE OF HIS OSICHNAL AND EXTRAORDINARY renown which this gentleman's performances have
SOIREES attained have given rise to hosts of imitators, who
base their pretensions to success on being able to
FANTASTIQUES, copy more or less closely the inventions of his ge-
AUTOMATES, PRESTIDIGITATION, MAGIE, nius. M. Houdin is as eminent as a mechanician as
AT THE ST. JAMES'S THEAIBB, he is adroit and skilful as an escamoteur. We pre-
On Tuesday Evening, Jf£ay 2nd, dict for him a great success.
Commencing at Half-post Eight o'clock, and he continued
EVIBY It was on May 2, and not on the 7lh as indi-
Tuesday, Thursday, cated in his memoirs, that Robert-Houdin made
Saturday Evenings. his first appearance on the stage of the Saint
The Programmeforeach Representation will be varied, and selected
from the following original Experiments,
James's Theater before a specially selected au-
INVENTED BY M. ROBERT-HOUDIN, dience consisting of the elite of arts and litera-
And exhibited by him in Paris with the most unprecedented Success s
Autiol and
ture. The Times heralded this event in the fol-
Aortol c4 Dttrares*
La Pelotte de Lalne
L« Mirobr des Dames
The Ban of Wontod,
The Ladles' tdofelug-QJasj, lowing manner:
TootisrellM Sympathiser Thw SympathUlag Turtledoves.
Ii» poniard aoi Drageca • Th« Silk KaudkolclUef with Bonbons
Sift Pcndule OAtMllvti^ue •«•••••••••!
L» Pcohe Merreillenie •
The CabaliiUo Clock.
The Marvellous Fishing. The famous Robert-Houdin, about whom we
Tht Wonderfiil Oraage-Tre«,
L'Orancer M«r*eiaenx
lie Xllbau Fftiolnatenf
The FatclQfttiQg Owl. have heard so much through the press of the conti-
The Spcirloman,
Lo B o ! d e Pirncb <
The Bowl Of Poach.
Bxerctees of the Trapesitmi,
nent, is in London. Yesterday in the charming
The Savoyard.
L* Savoyard The Safety Casket. Saint-James's Theater was the first performance of
t e Ooffl* de Sturete The Prison.
I * Prison The OKaglo Shepherd s Crook.
his Soirees Fantastiques. The room was full; all the
X,a Hoolette Mftgique The Tjiltie Clown.
Lo Petit Pierrot
2A BoutelUft * « Pawntt The Bottle with Ribbon* nobility was there. Never had the theater had such
La CoibsUl* awfcaotee The Enchanted Basket
Lei Bljotix The Trinketj.
aober* Hondin'i Portfolio,
a lively aspect, never had admiration been brought
L9 Carton 3o Robert-Hondln
L« Vase a I'Encro; oo, I*« Poi«ion Qalaul, The
t e PaUMer da PdMrRoyat The
ink Bottle; OF, the Oalant Fi«h
Pastrycook of the Pa!»i« Hoyal to such a level in this theater. It is also because
The Pans and Cannon Balla
&e« SvwatMU ot let Scmlet* The OIa» of Wine ; or, (he Smug-
I,e Verre 4« Via j oa, tt Secret de gling Secret.
Robert-Houdin has reached such a level of perfec-
Contrelwnde
L'OlHaa Mort ei Vivanij on, Le Pa The Bird, Mead or Living; or, th« tion in his art as a conjurer that one would almost
vort de» Dammi Ladies' 9eeroti%&.
lift Bfrotelll© raepuisabl*! o", 1« Liqno- The toexhatutlble BotUe ; •
rl»te improixtpht - litctaomtooger Sxtempore-
the believe in sorcerers and magic. With him, nothing is
. See.
impossible; he does everything he wants, he
changes everything he touches, and not only are his
SECONDS VOE SECOND SIGHT.
SSOAXOTAOH S B BOBBKT-ECOCSIK hands the most skillful in the world, but everything
SUSPENSION ETHEREENNE. 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 mo-
ment we can only say that, as did Shakespeare:
Mine eyes are the fools of the other senses.

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
at the Saint James's Theater on May 2, 1848. M. Robert-Houdin, the celebrated French pro-
(Harry Ransom Humanities Research Center, University of Texas. Austin) fessor of legerdemain, made his first appearance

310
 ACT III

last night. He is chiefly distinguished from the lished a review of his first performance in the
rest of his fraternity by the ease of his address, his following terms:
ready manner of speaking, and the absence of all
apparent effort when he performs the most as- ...The old saw that teaches us "one story is good
tounding feats. The miraculous production of pi- until another is told" may be paralleled by saying
geons and goldfish, tricks by sleight-of-hand and "one conjurer is good until another is seen"; for,
by intricate pieces of mechanism form the sub- much as we have thought of M. Dobler, Philippe,
stance of his exhibition, and the presents offered Herrmann, etc., we must confess that M. Robert-
to his spectators from an empty hat or a flat port- Houdin is superior to all of them. He has for a long
folio have the usual effect of exciting acquisitive- time enjoyed a high Parisian reputation, and is the
ness while they produce surprise. M. Houdin's originator of most of the clever tricks with which we
tricks are all quite original; one of the most sur- have been made acquainted by other "wizards," none
prising consists in putting a hollow cylinder over
of whom, however, performs them with the same ad-
the head of his son, a lad in his teens, and in-
mirable dexterity. From a very good program, the best
stantly making him reappear on another part of
the stage. experiments were called "The Fans & Cannonballs,"
"Robert-Houdin's Portfolio," and "Auriol and
The Illustrated London News of May 6 pub- 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

THE CELEBRATED
ROBERT-HOUDIN,
Continuing to be received with the greatest Wonder and
Astonishment, hia original and extraordinary

ROBERT-HOUDIN, Soirees
Fantastiques Will be repeated ™
HIS FIRST At the ST. J A M E S ' S T H E A T R E ,

MORNING Z
o I

PERFORMANCE V)

z
m
30
m
m
On Wednesday Next, •May 2 4 , ui z
AND WILL CONTINUE HIS EXTRAORDINARY a. z
(/>
SOIREES m

FANTASTIOUES,
AT T H I S THEATRE.
EVERY
T U E S D A Y,JTH URSD A Y,
TUESDAY, THURSDAY,
AMD SATURDAY"°EVENINGS.
Door* open at Eight o'clock.
SATURDAY EVENINGS.
FOR PARTICULARS. SEE SMALL BILLS-
DAT PERFORMANCE
BOXES & STALLS mar b& secured at WEDNESDATMORNING.
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 PIT, TWO SHILLINGS
PRIVATE BOXES & STALLS msy be secured at
ftlr BHTCHEXtL'S Boyai Library, 3 3 , Old Bond Street;

Illustration 413 - Bill for the first matinee performance Printed by W- J. GoHxmra. 6. Prin.e«.ttr«tt, L

given by Robert-Houdin at the Saint James' Theater on

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
ROBI'RI-HotDlN

The reference to the trick The Ethereal

Suspension in the Haymarket refers to a perfor-
228 PUNCH, OR THE LONDON
mance given in London by Carl (Compars)
FANTASTIC EXHIBITIONS. Herrmann, who was then starting his profes-
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 sleighta- sional career with a repertoire made up of
of-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 copies of tricks invented by Robert-Houdin.
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
Herrmann previously resided in France, where
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 his family had lived for several years; knew
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
Robert-Houdin well; and was a frequent at-
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 tendee of Soirees Fantastiques. We must recog-
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 nize 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.
The Illustrated London News emphasized
Robert-Houdin's superiority in regards to his
colleagues on several occasions. Here is an ex-
cerpt 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
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 influence to our assistance — he entirely beats us.
marvello
before us
us. The name of this wonderful little boy is JOHNNY RTJSSELL," and we He is the sole monarch of the world of wonders; all
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.
other conjurers and wizards, from whatever point
of the compass they arrive, sink into insignificant
imitators before him...
Illustration 415 — The Ethereal •Suspension as portrayed by We find such flattering assertions in every
the satirical newspaper Punch, man) Ransom HumantHes
article about Robert-Houdin in the English
Research Center. Lniversity of Texas. Austin)
press:
We hope that everybody will go and see Robert-
was a clever performance of two dolls closely repre- Houdin. The emotion of astonishment is pro-
senting the Clown at the Circus and the late Pierrot nounced by all physicians to be of healthy conse-
and the Funambulists, whose life-like antics, when quences, and Robert-Houdin and surprises are
apparently left to themselves, cause the greatest di- synonymous. He is the veritable Robert le Diable
version. The "Second Sight" was also exhibited, and and "Toi que j'aime" [You whom I love] is a chan-
the performance concluded with the "Ethereal son in which everyone will indulge who has once en-
Suspension" of which we gave a detailed account joyed his society. He is a gentleman from a country
some weeks ago. The child appeared supported in the much farther "down east" than the Wizard of the
air at right angles to a walking stick, as at the North, and he as far excels M. Philippe as that cele-
Haymarket. The performance gave the greatest satis- brated Frenchman surpassed all true British wiz-
faction to a very elegant audience, and we expect ards. Robert-Houdin is as superior to contemporary
M. Robert-Houdin will create some sensation. magicians in the character and variety of his leg-

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 tive and on the contrary omits the most en-
which he conducts his operation, and parries the thusiastic accounts published in the English
wonder of the spectators. There is nothing of the
press regarding the artist's performances and
mountebank about him, and he discards all the old
traditional tricks, not because they are not perfectly which are innumerable. The reader, who may
familiar to him, but because he seems resolved to be find these mostly unpublished texts highly in-
thoroughly original and to attempt nothing that is teresting, can find many of them in note 38 of
not a novelty. He has himself wasted the midnight this act.)
oil in subjecting all material things to his weird con-
trol; and those who visit him will have the satisfac- In a letter written on July 14 to his friend
tion of being assured that what he does nobody else Dantan, Robert-Houdin describes his shows and
can do. It took Sir Isaac Newton to assert the laws of the economic recession in London. We can see
gravitation; but it is only a M. Houdin who can "re- to what extent the artist always judged every as-
pudiate" them.
pect of a given situation with clear-sightedness
(The choice of reviews published here was and frankness, and never lost his practical
dictated solely by the demands of the narra- sense.

313
ROBERl-HOUDIN

ST. JAMES'S THEATRE, ST. JAMESS THEATRE,

KING STREKT, ST. JAMES'S.
KIMi STREET, ST MMKS'.S.
THE t'l.Ll.URATED

ROBERT-HOUDIN
ii lutiiiltlei, It U re»p»ol
THE iKl.r.UHATKD

ROBERT-HOUDIN DAY PERFORMANCE

v\ !1 i t . i v i in-- n S a T f
WEDNESDAY MORJYINO
DAY PERFORMANCE NEXT, JUNE 14,
Commencing at Half-past Ttci o'clock precisely:
WEDNESDAY MOHMLW AND ALSO COIsTINUE HIS KXTRAORDI^ARY

MAY 24,
> \ l l n i l . I . U . s o (ONTINLK Hi!- KXTItAOKDINAlO
SOIREES
SOIREES FANTASTIQUES,
FANTASTIQUES, TUESDAY, THURSDAY,
TUESDAY, THURSDAY, SATURDAY EVENINGS, f
Commencing at irulfjjasi fight o'Cl eft,
THE PROGRAMME
SATURDAY EVENINGS, INVENTED
Will comprise the following original Exjuriments,
BY M, ROBERT-HOUDIN.
f •mmtartnjf} .it Half yi,t Right L. \
Dart £.
THE PROGRAMME he* Totrrterenei Sympathiqne> The Bsmipathlsing Turtledove*.
Will nxnpnK tii*- folin*tfig nriguutl Kxfwnmmiif, VOtmxgisv Uterveilleoz .. The Wonderful Orange-Tree.
INVENTED BY M. ROBERT-HOUDIN lie Ooffre de Surete • The Safety Casket.
La Pec&e REaglqae The Marvellous Fishing,
i'.ltt t
AarloJ et Defcureau Auriol aad JDebureau.
L*» CveaUtU «* le The r«Mi tutd Qi*onoij U»li< &.c. Ac. &.c.
Le Fotf.lwtt «u> Df Th« Biu U«ndk«rchl«( with,
Th« C*h»lUUc dock. 13avt IE.
The Triakot*.
-in nohtit* Mondtn Robert Ho«dio« p«rtfoU«. Las EvealsiMi et les Botiletf-.
he Foolard a u i Dragee* The Silk Handkerchief with Bonbon
Id Feodole CabalUtlque -•• The Cab&listlo Clock.
Lea Bijoux.-~ The Trlnkett.
D*bui-c«.t3 Am lei ftod Le CJartoa de Robert Houdifl . Robert-Houdin's Portfolio,
1U.
I.* Pvotw Maglque Tta. &l(u-*«liou» rUMng. I>a Bnutellle Inepulsable; The Inexhaustible Bottte ;
L'Of"ut.ig*r MorTallieiui 1 h<- Wondatfttl O n u | ( T»«*.
l.« liouteilie Isaputikble | on, te Liquo
rbU' Itsprompiu
Ttn- inezhAOtUbl* Hot lit , oi
LI
Ut* Uqnorlste Impromptu, Liquormonger Extempore

pan ii-t Vn't EES.

SECONDS! VUE. SECONDS VtTE,
E80&MOTAOB DE BO BBRT-H O ODIK PILE,
itacAMO'fAoi; c i SOBIBT-HOCBIN rxx.»
SUSPENSION ETHEREENNE. H
o

H
fa
a
0
w
\ Son Suspended in Equilibrium by Atttiomherio Aa, ttuotajh the 3
of Concentrated Etlioi, '
P1T 2t aM3j a r JLLg on orcty occaaion, esoitee tho most cntliusiastio AdminUioa.
» ' - ' -* - ''• J ^ - 4s. GAIi. 6TALL8,
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 less her favorite entertainment. We were told that
Dear Dantan, her ministers would not allow it. I had therefore
resigned myself to making a profit without such an
I received your letter in answer to mine with
honor, but Mitchell nonetheless found a way that
pleasure. I could not reply earlier because I
could not be refused, that is, performing at a party
wanted to also send you the press reviews that
of which the Queen is the primary patroness.
Mitchell grouped together on a single sheet. In
Roger and the Italian artists will sing; the party
spite of the general uneasiness in England, we
will be magnificent. I am sending you the program;
were very successful and will have nothing to
I believe you know enough English to understand
complain about. We would have been even
it.
more successful if we had been in London dur-
ing a good period. The cheap seats are always The nobility has now started to leave for the
empty; only the aristocracy pays for entertain- country. Our income will drop but I want to
ment at this time; business is very bad and squeeze the last bit of shillings out of London. I
scarce. will not leave until there is nothing left to ac-
Until now, it had been impossible for us to per- complish. I have not yet made a decision about
form before the Queen. Since the February revo- the English provinces; it will depend on the sta-
lution she had not come to the French Theater bility of the situation in France. I have learned to
[The Saint James's Theater], which was nonethe- get by in English, but not enough to perform in it.

315
ROBERT-HOI'DIN

I am satisfied with translating a few sentences, men of the Club and in particular to our close
which always makes the audience laugh a bit be- friends.
cause of the accent that I cannot perfect. Robert-Houdin
We learned with the deepest regret of the un- When I return to Paris I will show you some
fortunate events of the insurrection; my first caricatures drawn of my performance.
fear was for our mutual friends. I sent my rela- M. Dantan, Rue Saint-Lazare, Cite Orleans.
tive to you who luckily reassured me on this
matter. How happy we are to be far from Paris at
On July 19, the day set for the festival of
such a time. Fulham, Robert-Houdin went to Sir Arthur
Please receive, my dear Dantan, the assur- Webster's residence after lunch. His manager
ance of my sincere friendship and I beg you to and the stagehands of the Saint James's
present my friendly greetings to all the gentle- 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: every-
thing was there except the footlights, deemed
unnecessary because the sun would advanta-
geously 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 re-
spectful distance behind, the wives and daughters
of the subscribers took their places, while the gen-
tlemen formed symmetrical groups around this
vast space.
1/ The sight was truly magnificent; all the ladies,

316
 ACT III

[glowing] with youth and beauty, covered with di-

amonds and flowers, and rivaling each other in
good taste and brilliancy, resembled a vast enam-
eled prairie on which the richest flowers of spring
r t$r rtptrtt JJMratugr •
were displayed, while the black coats of the gen-
TEE QUEEN, tlemen who framed this smiling picture, far from
HIS ROYAL, HIOHKESS THE PRIKCS A.L&EKT,
HER ROYAL HIGHNESS THE DBCHES3 OF KENT,
dulling it, only heightened the effect.
THEIR RO^AL HIGHNESSES THE DUKE 4 DlfCKESS OF C^MtllUDOli
On both sides of the lawn, old oak-trees lent
HER ROYAi. HtOHMESS THE DUCHESS OP OLOUCESTEh.
their refreshing shade to this improvised theater.
A GRAND 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
A CONCERT '& DANCING, now so gracious, and which seemed at every mo-
i» *Ji> or

JSat^s ana SStaij^ousw ioc tf»e EaftourEng attaspea, ment to gain fresh brilliancy at the sight of the
surprises I offered them.
OK WEDNESDAY, JULY THE 19TH, In this unique performance the time passed so
TJader the sftcrtre «XMtaA F»tr<rcftge>

* AM teen mstr ki<u)lg ptaiti at tht 4Upoia! cf th* La&Ut fit

IMSB
ST JAMES'S THEATRE
s ot i
JByi Pariicwinr MPesiwe

s
MADAME ORISI, MADAME
M^.Dl<tB AI,BONt,
S1O. BSARIO, M, KOOER, SIO. TAMBURIMI, & SIS. tABLACHB.

A TE-VT WILL BE ERECTED IN THE GROUNDS,

ROBSItT-HOtJDtN, EXTRA
open from On* «Clock untU £!$%(' AND FINAL REPRESENTATIONS.
SOT. SSITOHELZi bogs to annonaoo that in compliance with aamoroiw
applications, and owing to tho disappointment ozt>orionso4 t>y raatty parties In
OKETS F Oil 3PHB FE*B, not procuring places at tho last reprosontatlon oi KOXflillT-HOUDlW, arrrango-
ments navo boon made lor giving
y b* procured «a '•f pr*s(u;ai!on of Youchefi from tV,e foi'owtr.j

*CJJi o r B
Cor if
FOUR GRAND EXTRA
t u o r tdiTiK,
Anil Final Performances,
IHtWsM Of

Sf-UClUOfB..
Of V . A I B B V D R K
Caw
Coo
Cots
Cw~
til 0» WUTOV.

:-S\ OT Bn.1.!.,!'-
Uot O«ltf

»1 P«l"VF6«,
WEDNESDAY MORNING AW1UST ltith,
OF AlII»cr)lT.

LJPT Saruo
Ml B])¥Tt,

V t K o r s T t s s C*!*Jt»i».
V*»COTXTT» E6RI«CWI«.
Hov. i, nri N6KJ0J.. THURSDAY EVENING, Aug. 17
% - - £2 2>. MC*."
Additional Tut*u,for •tt-nmOrrkd Sons and Dauglurs oflU same Family, £ i I* tadi.
FRIDAY EVENING, AUG. 18. 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 SATURDAY EVENING, Aug 19.
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 Illustrations 424 and 428 - Bills for the last performances of
given under the auspices of the queen. 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

rapidly that I was quite astonished when I found child.'' Henriette was welcomed with much
myself performing my final trick. love in her new family, who raised her almost
Before leaving her seat, the Queen, although until she came of age. [4i]
she had several times evinced her satisfaction,
sent me her compliments through an aide-de- During Robert-Houdin's second season in
camp, who also expressed her Majesty's desire to London, in 1849, a young boy, whose parents
have a performance at Buckingham Palace at a were friends with John Mitchell, became the
later date. [19] playmate of Robert-Houdin's two sons, Emile
The very next day, Mitchell put the and Eugene. His name was William Manning
Queen's coat of arms on the tops of bills an-
nouncing Robert-Houdin's next performances,
and below, the following passage, as a sort of ST. JAMES'S THEATRE.
baptismal certificate: "Robert-Houdin, who
has had the honor of performing before her
Saturday Evening, Aug. 19.
POSITIVELY THE
most gracious Majesty the Queen, Prince
Albert, the Royal Family, and the Nobility of
the United Kingdom..." The popularity of LAST NIGHT
Robert-Houdin increased at Saint James's. The
last performance in London took place on OF THE SEASON,
BEING FOit Till:

August 19 and was followed as early as the 22nd BENEFIT OF

by the opening, at the Royal Theater of
Manchester, of Robert-Houdin's first tour
through the English provinces. Manchester,
EMILE HOUDIN
Liverpool, Birmingham, Worcester, Chelten-
ROBERT
ham, 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
nOJUDJN WILL POSITIVELY MAKE HIS

performances and gave his second Royal Last Appearance in London

Performance at Buckingham Palace before Saturday Evening, Aug. 19,
Queen Victoria. [*>] 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<?»tlit\ K w m t i g 11 '\f, \uu*u-4 2 2 .
THE I > H ( ) ( , IIA MM K
Olympe Robert-Houdin, never entirely reco-
EXPERIMENTS & ORIGINAL INVENTIONS OF M. HOUDIN.
vered from the death of Louise Marie, had be- til KIM! THE hAKNt.Nff.
E M I L I M I O U D l N irtff M A J W kit rxhut>,<tm<ir3 jwirrm <,/
come fond of Henriette Knight, the daughter of SECOND SIGHT,
a humble employee of the Saint James's " INVISIBILETE,"
Theater, Henry Knight. The latter, a widower ESCAMOTACE EXTRAORDINAIRE,
11V KMILK-IIOUOIN.
having difficulty raising his family, entrusted
Suspension Ethereenne,
his daughter, aged seven or eight, to the BY BUO EN KHOU DIM
Robert-Houdin couple for them to raise and BOXES, 4 s . PIT, 2 s . GAL. STAI.LS, Is. 6 d .
PIUVATK IIOXCS ^ 1 . .STALLS «*t »E tttoKKu AT
educate. An act lasting ten years was written Mr. MITCHELL'S ftOYAb LIBRARY, 0 3 , OLD BOND
4kl<> (MM 11 I t 1
on February 27, 1849 "confiding [the child] to
the care of Monsieur Robert-Houdin," who
promised to "house, feed, and clothe the

319
ROBLRT-HOUDIN

ROBERT IIOIIMV RECOLLECTIONS

ST. JAMES'S THEATRE.

ILLUSIONS.
ROBERT-HOUDIN
PRESTIGES.

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,
EXPERIMENTS and throughout the years he remained the pri-
\1VD HO.\Ul:US Ol
vileged correspondent and friend of Robert-
NATURAL MAGIC -< Km I. I'trc untlurflx tul. i,r
Houdin, whom he kept abreast of all the news
of the magic scene in London with great in-
SEANCES FANTASTIQUES, sight. In 1891, Manning published the text of
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 a lecture on Robert-Houdin that he presented

on Friday, December 7, 1890 before the mem-
bers of the scholarly society The Sette of
EVENING, Odd Volumes, of which he was a member.
At Hall p<ut Sight o Cluck.
This small volume, which bears the title
D.Ir i'isiePoKJ».i.^-cE Recollections of Robert-Houdin, is the enthral-
n i l B U T * SATURDAY JIOBIIPS Commniriii; nl Ilalfpatt TKO 6Clock
ling, moving, and precise testimony of one of
the master's few pupils. The author, through
«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 charming anecdotes of which he was the wit-
ness or the involuntary hero, sheds light on se-
Slalls,7> Boxes A' Pit2s Gallery,\*
BITORELL'B EOTAL LIBEARV 33, OLD
veral intimate aspects of Robert-Houdin's char-
Ths BOX OFFICE of th« Theatre wMch U opfln dally, from KLg7BH till FiTB o ol«k ming personality. Here is a brief extract from
the conclusion of his work:

Illustrations 429 and 431 - Robert-Houdin at the Saint I have endeavored, very rapidly, to give a
James's Theater in December 1848. uiany Ransom sketch of my good friend, who was one of the most
Humanities Research Center. University of Texas, Austin) interesting of men. He had an individuality pecu-

320
 ACT III

liarly his own. He had a geniality of manner posi-

tively magnetic, and exerting its influence upon all
who knew him. Robert-Houdin
His figure upon the stage was never to be for- ST. JAMES'S THEATRE,
gotten. His animation, his gesture, his ready wit, KING STREET, ST. JAMES'S.
Leoee, Mr JPHM MITCHELL. 38, OU Bor.d Street.
his quick transitions from fun to serious earnest
would have fitted himforthe highest forms of act-
CHJRISTMAS^ HOELDAYS.
U. ROBEvRT-HOUDIN will have the honour of repeating his Original
ing - COMEDY and TRAGEDY would both have and Extraordinary ^ - ^ ^ . ^^^^^J

claimed him as their own! SOIREES *sssz'

He never played twice alike, and never flagged FANTASTIQUES
for a moment; but an interruption from a member TUESDAY, THURSDAY,
of his audience invariably drew forth some bril-
liant but good-natured repartee, which was crush-
SATURDAY EVENING,
Until the End of tlie Christmas Vacations,
ing, for he was a fellow of infinite jest! He was no
PROGRAMME FOR THIS EVENING.
common entertainer surrounded with showy stage Le Verre de VIn
fOranger
The Glas« of Wine,
The Wonderful Orange Tree,
properties, for, as Garlyle said of Dickens's read- . 1'Eacre
••••>
The Va»e of lull) or, the Magic Filtration
T h e Miraculous Balance.
The Automaton Rope Dancer.
ings, "his face was the scenery!" ••• The Sportsman.
$art £5.
Lea Eoulets de Canon The Cannon Balls,
Les Plumeta The Plume of Feathers.
Manning, who was a manufacturer of optics La CorbelUe de Fleurs
La CORNS d'Abondance fouraiasant
Eventatl», Sonlioiii, Atbtutts, Jomnau •
The Basket of Flower*.
The C O S K U O O P I A , »appljlng
Fans, Bonbons, Albums, Jonrnals, Ac
material, confided the following in a letter dated L© Carton
Le Colibrl; ou, U Favorl d>s Baroea
Le Piiiisdev de> PaltUa Royal
The Portfolio.
The Ladles' Favonrite.
The Pastry Cook of ttto Palais Boyal.
July 22, 1898, addressed to H.J. Burlingame in Iia Bouteille Inepuisable -
THS INEXHAUSTIBLE BOTTLE.
Chicago, an author of many works on magic: "It
&ECOSrX>B VCTB, iu winch EMILS-HODKIK will Kcliihit his extraordinary powcis of
may interest you to know that at one period of SSCOND SIGHT;
3 T A O B OF BfflCII.B-ECOTjrDIfif.
my life the great master - Robert-Houdin - find- The Eveniua"s Entertainment will conclude with
SUSPENSION ETHEREENNE,
ing me an apt imitator and inventor, proposed BY EUGENE HOUDIN.

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 unin-
terrupted correspondence with Robert-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

makes one vividly regret that the guardian of 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,
the young man did not accept the master's offer g^ PUIKBOLTOVS SfiBENADERS will repeat their Popular

to enthrone William Manning as his successor. ETHIOPIAN EWTBRTAINMBNT

at this Theatre, on WEDNESDAY & FRIDAY EVENIKG, December 27 and 29.

The entente cordiale and magic could only BOXES, 4S. PIT, 28. AMPHITHEATRE. |8. «B

have benefited from this initiative.

Robert-Houdin started out on a new tour of and a journalist from the Morning Chronicle
the English provinces, apparently beginning at wrote:
Hereford and ending in Colchester. During this Robert-Houdin is leaving London without ha-
tour, he returned to the stage of the Saint ving worn out the curiosity of the English people.
James's Theater in alternance in March and He gave 180 performances at the Saint James's
April 1849. The French conjurer gave his third Theater and the room was still full yesterday for
his farewell performance! We believe that this skill-
Royal Performance on the 25Ih of April at
ful artist will keep a good memory of England and
Buckingham Palace. In a few months the artist that we will often be able to say, like today: Bon
had truly become the darling of Londoners, 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
DAT
EVENING,
PERFORMANCE

SATURDAY THURSDAY
EVENING, MORNING, ctcdb
II.Blil .*«>' UH'

Houdin's Original Delusions.

Houdin's Modern Miracles. 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 MIRACULOUS BALANCE, THE IHBSHAUSTIBI.E BOTTLE,
THE INEXHAUSTIBLE BOTTLE, SECOND SIGHT,
SECOND SIGHT, I:XYISIBIM;TE, SUSPENSION ETHERfiENNE.
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 BrHEHT
„ :• ,•„ .-. - Li- ••;? I. '• .

Illustrations 432 433 i34 and 436 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)

* ,"•• ' >*\ ' J M

ROBERT-HOUDIN, ST. JAMES'S THEATRE.

LAST THREE PERFORMANCES

DUCKIKQHAM PALACE,

SEiNOE
ft

R0 BERT-HOUOIN.

FROORAKHX.
ciirtuli- CibMliMiqno . The I nbtliitlf Clorfi.
pathl>iucM n»c S>iiip«ih!»inaTurtleDow».

1* V*«j A VBnew..

Thr WmidetAil Orange T

TUESDAY EVENING, MARCH 6, The Mnpn Hullrt».

Last Day Performance L o EvmuU.

l*» Uoui«i> >u Down Ilw I'tiuion UsiU.

WEDNESDAY MORNING, March 7 !,• Fkm

The riume of F*«(h«*.
LiuBukct orFlo»M>.
COJUSirXCr.YG AT HJLF-PAS-I- TWO O'CLOCK.
L M Ityuu* fli lc OlIMl The Trinket* and I'wKolio.

FAREAYELL REPRESENTATION, l-V •BROMUB V I E . 8KCOND SIOUT.

I iK DK FMIJ.B.HOVIJIN.

THURSDAY EVENING, MARCH 8

" " • . ' • I ' • • .
,
CLOCK
• 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 After his tour of the British Isles, Robert
public in Brussels at the Theatre Saint-Hubert, [42] Houdin was summoned as ''expert in cheat-
where he performed until the 10Ih. Here is how ing" by the Tribunal of the Seine in a trial
L'Independance beige of Saturday, May 5, 1849 where a defendant, with a "heavy" past, was
announced the conjurer's return to Brussels in its accused of using and selling decks of cards
column "Nouvettes des sciences, des arts et de la that were thought to be marked, although the
litterature": police had no proof of this. In the first vol-
ume of Memoirs of Robert-Houdin, on page
Next Sunday Robert-Houdin will give his first
213, the author describes his research and
performance at the theater of the galleries.
Robert-Houdin is to ordinary conjurers what
Galzolari is to provincial amateurs. In his tricks, ST. JAMES'S THEATRE
he shows the same agility and assurance that the L«!H,Mr JOB* MIT

much-missed primo tenore showed in his ca-

vatina; and the England that took Galzolari away ROBERT-HOUDIN'S
could not do any less than returning Robert-
Houdin to us.
LAST
The skillful magician will find in Brussels the Representation,
same audience and the same applause that her- SATURDAY EVENING,
alded his first appearance in our city. A tireless in- March 1O,
ventor, he has taken advantage of his time away to
MONSIEUR HOUDINTS
enrich his repertoire with new surprises, but for
the greater pleasure of the spectators we have re- Last Appearance
IN LONDON,
solved to be discreet. Let it suffice to say that the OWING TO HIS PROVINCIAL ENGAGEMENTS.

second-sight experiments are more incredible than mumm.Hi.

#nrt £•
hK. Pendule Cabalirtlque T h e Cabaliittc Clock,
ever, and surpass all that Robert-Houdin has pre- L'O
Le Val er a IT.nci-fj Thel
Wonderful Oraage Tree.
Eqnilfbre Rtimarquabie T h e /ase of Ink; or,
IQiracnloUB the Magic Ftitrattoo
Balance.
sented before. We do not believe we are wrong in LB OHAS sEtra ....-..^.T T h e Sportsman.
predicting that on Sunday, despite the pleasant L e 5 Bool eta de Canon
; %z.
T h e Cannon Bolls,
Lea T h e Plume of Feathers.
weather, thanks to its new host's magic wand, the La Gorfaellle T h e Btuket of Plovers,
L.. OORHB d'AboHdsiiice fonruiasant Th,- CORNUCOPIA, supplying
Ev entails, Qi tuboii3h Albums, Journam, as, Bonbons, albums. Journals, &c
theater of the galleries will conjure strollers away Le Carton ...._;
Fa
T h e Portfolio.
f • Coltbi-i: on, le Favorl des Dames T h e Ladles' Favourite.
T h e Pastry Cook of the PaUii Boya!
from their ordinary promenades. Le Pallssier des Palais Royal
La Bouteille Ine puisable;
THE INEXHAUSTIBLE BOTTLE,
After Belgium, Robert-Houdin would travel KB
S33CONDB V U E ,ra«!iich EsaL&-Hi)DBW 1ull exhibit bis eilraorduiiiry powe[= U
for four months for a long series of perfor- SECOND
E S CAMOTAOB OF
SIGHT;
IILB-HOUDIN,
mances in Ireland and Scotland. It was also Tl.e EvemGg'a Entertami utnt >vil] conclude with
SUSPENSION \ETHEREENNE,
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 Saint-
Solenne de Blois (during the time of Saint-
Louis) for the attractive sum of thirteen thou-
sand francs. 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 BOXES, 4S. PIT, 2S. AMPHITHEATRE, |8. 60-
PMVATE )3OXC^ OKC1IES1rRA STAI.IA AND TtCKLTS
of absence, Robert-Houdin reopened his theater ar^. MXTCMUZZS XOTAZ J.ZSI,'JWTt 33, sown s

at Palais-Royal and happily returned to his Amto t Office of Ihc Thcaf;v, wbich is occti •SS1
faithful Parisian public.

323
ROBERT-HOUDIN

the skillful way in which this "Greek" had the prosecuting attorney who was quite in love
marked his cards, 150 packs of which the po- with the Queen of Spades. To clarify things, the
lice had seized from his home. In Histoire president made a unique proposal to Robert-
anecdotique et psychologique des feux de Houdin: "Please play a game of ecarte with the
cartes, des, e'checs by Victor Du Bled prosecuting attorney, who will be so kind as to lend
himself for this test." Everyone laughed and
(Delagrave, Paris, 1919) we find the following
agreed; Robert-Houdin before the very attentive
anecdote on page 228. which gives evidence
audience, and without its knowing, performed his
of Robert-Houdin's participation in this trial
sleight-of-hand at the moment when they are at
or a similar one: four to four. "I won," he proclaimed in turning over
Robert-Houdin, summoned as an expert in a the king. - "Again!" cried the prosecuting attor-
trial of card cheating, revealed to the court the lit- ney, carried away in his excitement. There was
tle tricks of criminals of this kind. In the middle of again general laughter. Monsieur d'Arcosse, a witty
his demonstration, the defense attorney inter- magistrate, a refined man of letters, and charming
rupted him; there was then a short argument be- conversationalist, told me this story. He was advi-
tween the defense attorney, Robert-Houdin, and sor to the Court of Appeals in Paris.

Le Chasseur et la Colonne au gant.

LE CHASSEUR ET !•& COLONNE AU GANT.

ou les Pieces voyageuscs.

Je suis adroit chasseur; mon fusil c'est la foudre Ce tour avec un autre a quelque analogic.
Aussi, sans vanite, je pretends vous prouver Dans tous les temps
Que celui qui si bien sait employer la poudre Combien n'a-t-on pas vu de gens,
En cette vie,
Aurait fort bien pu 1'inventer.
Faire sauter For et l'argent
Tres lestement
Robert-Houdin.
Sans le secours de la niagie!

Illustrations 437 and 438 The Hunter and The Glove Column. Illustrations 439 and 440 - The Transparent Cashbox.
Engraving and poem from the Album des Soirees Engraving and poem from the Album des Soirees
Fantastiques de Robert-Houdin au Palais-Royal 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 pub-
lication 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 Flowers debuted in January 1850, fol-

whose president, elected on December 10. lowed by The Instantaneous Impression
1848 was named Louis Napoleon Bonaparte, in September. Like many dates in the
who reestablished the Empire following the Memoirs of Robert-Houdin. those of the
coup d'etat of December 2. 1851. creation of his routines must be taken
In the conjurer's repertoire was a new
with caution. In general, he prefered to
version of The Ethereal Suspension which
cite the years of favorable press reviews
left all the plagiarists' presentations far
praising a new effect rather than the ac-
behind, as well a revised version of
Second Sight...silent, in response to its tual time of its introduction into his pro-
exposure by a certain F. A. Gandon, [43] in gram. Therefore, quite often, the most fa-
La Seconde Vue Devoilee (Second Sight mous of the masters tricks are post-dated
Revealed) (Paris, 1849). The Garland of 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
1849.
(Dictionary of Second Sight) (circa 1855).

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 III

While continuing his research [a] and includ- Need I describe the delight with which I pre-
ing more novelties in his repertoire, Robert- sented myself once more before a Parisian audi-
Houdin began the preparation of the third part ence, whose kind patronage I had not forgotten?
Those professional men who, like myself, have been
of his career, which he planned with the same long absent from Paris, will understand it, for they
care as the preceding. He had not lost his pas- know nothing is so sweet to the heart as the ap-
sion for mechanism and science and wanted plause given by a man's fellow citizens.
to spend more time on them. Moreover, the Unfortunately, when I resumed my perfor-
mances, I noticed with sorrow the change that had
steady rhythm of his shows and tours took a
taken place in my health; the performances, which
toll on his health, as he candidly explained in I formerly went through with no fatigue, now
his memoirs: caused me a painful state of exhaustion.

La Guirlande de Roses. L'Impression instantanee.

LA GUIRLANJDE DE ROSES, X.'IMPRESSION INSTANTANEE.

on le Miroir des Dames.

A ma seance fantaslique,
L/impression cabalistique,
Le titre de ce tour doit paraitre etonnanl:
De miroir vous n'en voyez guere, Passant par un cordon magique,
Et puis pour refleter un tableau si brillant Touche la corde sympathique
Un miroir aurait fort a faire. De plus d'un spectateur sceptique,
J'enconviensdonc, Messieurs(je suis franc quelquefois), Et cet effet typographique
Ce mhoir, ce n'est qu'un mirage, Imprime un cachet diaboliquc
Qui montre quels moyens je puis metlre en usage A ma seance fantastique.
Pour faire remarquer quelques tours de mes doigts.

Illustrations 448 to 451 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 source is authenticated, though not necessarily
change - lack of sleep, fatigue, the incessant its content, is in his obituary in Paris-Journal
thought connected with my performances, and still of March 1, 1877:
more the foggy atmosphere of England, had ex-
hausted my strength. My life had been in some de- We have just learned of the death of Hamilton,
gree used up during my emigration. I should require the conjurer predecessor of M. Robert-Houdin
a lengthened rest to restore it, and I could not think [The son] and M. Brunnet. M. Hamilton (real name
of it at this period, the best part of the season. I Ghocat) was a true child of the theater; a mediocre
could only take precautions for the future, in case I actor, he quickly gave up theater to perform
should find myself suddenly compelled by my magic, in which he excelled, and by which he
health to stop; so I decided on educating a pupil to earned a very handsome fortune.
take my place in case of need and whose labor Hamilton-Chocat was 65 years old.
might assist me in the meanwhile. Robert-Houdin implies that he was looking for
A young man of pleasing exterior, and whose tal- a substitute capable of managing his theater dur-
ent I was acquainted with, seemed to offer the con- ing the rest periods he so needed. We can imag-
ditions I required. My proposals suited him, and he ine that there were talented young magicians in
immediately joined me. The future sleight-of-hand Paris who, once trained by the artist, could have
professor evinced great aptitude and zeal in learn-
easily waved the magic wand on the stage of
ing my lessons. I employed him in a short time to
Soirees Fantastiques. There is in fact one for
prepare my experiments, then he aided me in the
management of my theater, and when the summer whom Robert Houdin had particular affection:
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.
Considering his short period of study, my provi-
sional 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-sur-
Loire and was thirty-eight years old when he
began assisting Robert-Houdin in his perfor-
mances. Had he been a painter, actor, or mu-
sician? Did he already know the basics of
conjuring? History seems almost completely
silent about him, which is all the more frus-
trating because he is the successor that
Robert-Houdin chose himself; but did he re-
ally 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 III

Pierre Edouard Brunnet - born May 20, 1824 and this decision, dictated by reason, although also
perhaps considered too young or too capricious with emotion, was a good one.
- whom we will later have the opportunity to Toward the end of the year 1850, Olympe
discuss in depth - so why Hamilton? was pregnant again, and Robert-Houdin
This choice was essentially for family rea- wanted his wife's delivery to take place in the
sons, which perhaps prevailed over other con- most peaceful environment possible to provide
siderations. In fact, Robert-Houdin's sister-in- the best conditions for the future birth.
law, who was a widow and the mother of a Accompanied by her mother and young
little boy, had fallen in love with his pupil. For Henriette, Olympe moved into the calm and
the greatest happiness of Amelie Devillers, born comfort of The Priory while Hamilton replaced
Braconnier, Robert-Houdin, probably encour- her as administrator of the theater. Upon the
aged by his wife Olympe, was going to turn this birth of their first son, Georges, |>6] on May 29,
handsome young man, with neither wealth nor 1851 at Saint-Gervais, Robert-Houdin wrote a
recognized skill, into a very presentable succes- letter to his wife that is a unique and unpub-
sor in just a few months. However, although lished document because, to amuse her, he re-
Robert-Houdin had a more amused than critical lated the details of the little magical events of
view of Hamilton's ego and talent, he truly rec- the capital, the state of the theater's income,
ognized and appreciated his managerial and and the account of Hamilton's first perfor-
business skills. The future would confirm that mances:

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 weak-
ness. Eugene and my uncle were also present.
Now, you must have patience; take care of your-
self, no imprudence. Remember what you have al-
ready suffered and I count on you to be reason-
able. 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 fa-
mous 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
Illustration 453 - Olympe and Georges Robert-Houdin. his opening statement with the following words:

331
ROBFRT-HOUDIH

"Seriotis response to the challenge launched by end. Only a third of the room was filled. He cre-
M. Lassaigne"; it said his challenge was willingly ated a difficult situation for himself.
accepted but on the condition that it would not be Lacaze opens Saturday; I will be unable to at-
in a mechanized theater like his, that the chosen tend; Ghocat will not be ready to perform alone;
committee would not be a troupe of anonymous as soon I as can I will attend a performance wear-
confederates. Finally, that his challenge was noth- ing a beard. On Tuesday we earned 181 Fr.,
ing but an advertising stunt, etc. The next day at Wednesday 223 Fr., and yesterday 235 Fr. In this
the bottom of Lassaigne's poster giving the pro- good weather, it is extraordinary. Ghocat is not
gram of this famous performance was written in doing too badly in his performance. He cannot
large print the following strange response: "We change his voice; this will always be his weak-
will not answer the Orduriere [Resembling ness. He has begun to joke with the audience;
garbage] bill that was placed below ours, etc." yesterday he shone. M. Horace Vernet from
What do you think of this word orduriere? Never Versailles came and upon entering greeted
has anyone dared to put that on a bill; that really Ghocat, who was onstage; Ghocat was over-
says what kind of man he is. I sent my uncle to whelmed with joy for M. H. Vernet to see him per-
give me an account of what went on at the perfor- form. Let me make you laugh a bit by describing
mance, but he could not tell me anything; I do not Ghocat's presumptuousness. The day before yes-
know whether or not he fell asleep; he only told terday one of Auriol's cords broke; yesterday
me that he was so bored that he left before the morning he came and said to me, very seriously.

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 We cannot refrain from smiling w h e n we
laughing but could not convince him he would be imagine Robert-Houdin wearing a fake
incapable of doing so as it was hard enough for beard to secretly attend his colleagues'
me to do myself. I think that later Ghocat's
perfomances! In his public or private
biggest fault will be his lack of modesty; once he
has mastered my performance and takes over the sketches, the author precisely and clearly
show, he will think no one can surpass him. describes the qualities, defects, or little
I will do my best to try and come see you next faults of the "subjects" he portrays. This
week; I prefer to wait so I can spend a few days frank writing, through which humor and af-
with you. I will let Ghoeat perform three or four fection always shine, allows us today to
days before leaving him. see a vivid image of the great figures of the
Today I am going to write to a few friends in
past. It is a much less conventional view,
Paris to tell them of your delivery.
I warmly kiss you but it complements the most talented jour-
Your devoted nalistic reviews and the most scholarly his-
Robert-Houdin. [«] torical 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;.a<IH-KT^M tiJfujBJ P.lM*".f P e l ^ ,
KW IMPKtUAC itklV&TW {ilCBOLAS .f Rl'SaiA. K KrtUy In tHMel f.t lit Bmiib KIUM, «iiocd rtiv cat *f rt. .«-# 4I T U U I H »
P ( M « W J I » * « « toftnu rtiUitK^ in Pioft»-=i J a ANDERKO.I far i n P.tfeiaMW*, hi U.BJ li« h » i 8i.t«S Atiut «i"Uu<i I>M 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 Pfi<n&«|. la ill* PuJiKti ef !t» *V>i* 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!

fflSBIEn
r ifiK < •
B I

SCIENTIFIC « ti N D 1. K S I

SEOOHD 8 1 0 H T ; lls Fallacy ffluttiUd.

Srud HTDRAniJC KXPEWHEHT.
'fte HYSTIO VOUJME.
Tll> KASIC DANK, I Fishing cxlrMrdllmty.
SSA8D RECHAHI041 AMAtOA.
WT9AO80IHABY ELEC1RIC EIPEMMEIT,
Tit! «/ «»(iig SIX WiTCHES (hno|* •>•} Qiullf+t»-* ***}

The KT8TIC B S E A X F A 8 I .
Grand FOT?OGBRI of HAKBEERGHIEFS.
The learned Saves, the Broken Ring, Dissolving
Orsuge, sad Knchantftd Walnut.
OHtU) sf tie AST«^"J«k SUSPENSION" CHLOROFOREENE,

j>n ^IABI^ t U j . *itKfc fctTttflki Tie «M> ri ti» M-

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<i
. H ftHOESti'S-s IIAKD KOOK OE ifMiir. yrJCii O;.K ^tirn.i:
k-t- -- -

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 leagues, whom they repeatedly depict as ''in-
his presentation, and the originality of his in- significant imitators" or "pale copies." It is
ventions, far from stimulating the creativity of also revealing that none of the magicians
his colleagues, instead whetted their appetite, named, from Herrmann to Anderson, and in-
to the detriment of his repertoire. Several of cluding Jacobs and many others, ever re-
them unscrupulously plagiarized his routines
and some did not even hesitate to undertake NOTICE.
criminal procedures to appropriate the secrets ThU splendid pUce of public amusement is now complete ; the Reserved
Seats, lately erected, afford an accommodation which was much needed ; the
of his tricks. whole now forms four separate departments, viz., Upper Hall, Lower Hall,
Reserved Seats, and the Picture Gallery, containing Dr. FELIX THIBERTs
Indeed, the artist's stage equipment, appa- 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 de-
ratus, and automata were often equipped voted, viz. song, music, characteristic dancing, or any available novelty fleet-
ing on the wing of time. The vocalists comprise the celebrated M r s .
with complex mechanisms and this in and of STEPHENS. Messrs. WARDE, and FOX, in the comic
department, every evening; also the talented LAURIE FAMILY,
itself should have sufficed to protect them for CHARLES SLOMAN, the English Improvisators, &c.
Admission, 6d.; Reserved Seats, Is.
a certain time from the predatory instincts of Mr. DE BRENNER,
his less-scrupulous colleagues. Every magi- Tbe Olebratwi Paganiiii Violin and Bwijuist, will appear every Evening.
cian knows that there is a great difference On F r i d a y E v e n i n g Next—Experiments A Soirees Fantastique ala
between understanding the secret of a trick K O'DieU E R V II O I 1> I 1
Prugr.imire will include the following Betntiful Illusions: —

and being able to construct it: "It is a long

way from the cup to the lips." In the case of I
Robert-Houdin's works, the fruit of nearly fif-
teen years of research and trial and error, im-
itators would have had to have seasoned me-
chanicians build several models, thereby
incurring heavy costs and spending much PSPENSION ETHEREINCEi
time before even hoping to find a working
model. Although Robert-Houdin was copied The only English Improvisatorc, every Tuesday, Thursday, and Saturday.
by the majority of magicians of his time, or, Mr. W. FEARGE,
to be a bit more indulgent, although his art The Celebrated Tenor Singer, every Monday and .Saturday.

"inspired" several of his colleagues, their MR. W. WARDE'S NEW COMIC SONG BOOK,
"borrowings" from his magic rarely exceeded 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.
the acceptable limits except for certain magi- 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
cians performing in England who behaved Pumi-Fi.rtf, - Mr. W A « I K G .

like true plagiarists. It seems important to me

to again mention that the British press, Illustration 459 - Experiments & Soirees Fantastique [sic] a
whose articles on Robert-Houdin's perfor- la Robert-Houdin [!]. Bill for a plagiarist of the artist, w ho
mances in London have been included here, printed the engraving backward depicting the Suspension,
which had now become "Ethereince (sic)'' (jiany Ransom
strongly emphasize the actions of his col- Humanities Research Center, University of Texas, Austin)

335
ROBERT-HOUDIN

sponded to this very critical press, nor did

ASSEMBLY ROOMS, PHINCK SiltH-T HKIMOL they ever claim to have originated Robert-
The SEVENTH WEEK of the
Houdin's inventions. It was only sixty years
later that a •'well-meaning" historian gener-
BOTTLE II! LCKXOn LEDfcED HI i l l TO BE THE
ously attributed to them 'creations" they
never spoke of during their lifetime, and for
Wonder of the WorldS good reason.
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 ex-
amples of their lapses in later chapters.
J. M. BUCK This criminal network consisted of three peo-
ple: an English future consulate chief, magic
LEARNED HYDROHANCER'S enthusiast, and mineralogist named William

MAGNIFICENT Garrow Lettsom (1804-1887) who, under the

cover of his diplomatic post as an embassy
attache, carried out intelligence activities
MlRACULOUS^ECEPTIONS from 1831 to 1852 in legations of England in
the major European capitals, as well as in
Washington, Mexico, and Uruguay: a clock-
making worker named Omer Augustin
Legrand, an employee of Robert-Houdin; and
a French conjurer, Robin. [49] The latter intro-
duced 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

SISriiSIOr "BY ETHER!!!

Or A IICJIAN HOin i> MllhAlRU
functioned as well as the personnel did. For

PIANIST MR, C BUCK

Illustration 46O - The conjurer J.M. Buck.

This artist presented plagiarisms of experiments by Robert-
Houdin 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 dis-
honest colleague on his own
territory and in his own way.
For the time being, the pla-
giarism 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
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.

before the Cour d'assises de la

Seine on June 25, 1850
presided by M. Barbou:
:*>

An affair of a very special na-

ture attracted an uncommon
group of inquisitive people today.
This time, one must admit, cu-
riosity was totally justified. The
defendant Legrand was brought
before the court for having sold
to an Englishman some of the se-
crets of Robert-Houdin, the fa-
mous conjurer of Palais-Royal.
The public therefore hoped to
Fig. 89. — LI S PQISSONS D OR KT LA Mt-NAGSniK IMPROVlbfcK, public par IHluslrUts /eihch ift Stutlgard, le 33 octobrs
learn during these debates some
of the secrets that arouse its as-
tonishment and admiration
every day. Alas, the public had
THEATRE JR 0 YAL,
wOK MIX: :**«:•• Trsi
forgotten about article 81 of the
constitution and article 87 of the
civil penal code. M. Robert-
Houdin, and he was within his
rights, carried out an apparently m
very difficult trick: he conjured ®
away all public hearing of the ar-
guments.
o

Illustrations 462. 463. and 16 \ - Original

bill for Robert Houdin in 1845 and (A
plagiarisms of it by Robin and
S a v r e n . (t(>2 - L 'Almanach de Cagliostro dc
ID bis Splendid Temple of Enchantment
Bexcs Is. Gallery - • e*.
Robin; t64 - Magic, March 1905)

337
ROBI RT-HOUDIN

He sued for damages; Maltre

BAV.MARKGT
Mr, B. WMCTBft »*• L m tat Mutt", 01
Thureau represented him. HAY-MARKET.
The defendant was repre- FAREWEIA
WONDER OF THE WORLD! sented by Maitre Nogent St.
Laurens, attorney. The seat of
MORNING
I l l MMMt Two KifjhU! PERFORMANCE*
the public minister was occu-
Thursday,&Saturday, pied by prosecuting attorney
ApHt MH, aid SSd, WM8.
Suin. at Two o'clock.

ML HERRMANN. Here are the facts of the ac-

cusation:
WONDER Of THE WORLD!
THIS MORNING,
M. Robert-IIoudin runs a SATURUAY, Hay 6th,
theater at Palais-Royal known
under the name Soirees Fan-
Nl. HERRMANN.
FIHST P&OFESSGB OJ» rtAGlO IN THJJ WOBLO,
tastiques. He uses mechanical
instruments whose secrets be-
isi s t *m
ar L
r»«lUMljr tie ««ly occasions he c»m Morning Performance,
l « i w this Beanos. long to him. To manufacture
%h New Extraordinary Tricks,
these objects, for seven years
HERKMANN he employed Legrand, watch-
SFtiytfiittt tit union*!
. . . - T ir,-,I,,- P mil, | | H , M 1 I L making artisan, in whose in-
MH4I,
tegrity he had complete faith.
MADE. HERRMANN This worker earned approxi-
MADE. HERRMANN
mately 50 francs per week.
But in the month of November
1849, chance allowed M. Robert-
vni»B, ^ftur«dt»y, April *©tfc« Houdin to discover that Legrand
EGCTELUS iHSPo*i«Bi.sTnui n n u o n n i u JMOTJWU
£>belfcmit| MHMCnr
had perfectly forged a mechani-
cal piece called "The Trans-
parent 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 im-
mediately turn him in to the au-
thorities, but simply dismissed
him.
But Legrand had scarcely
left before it became apparent
that this worker had betrayed
him in an extreme manner. He LA DOUBLE VUEi
LE DOUBLE VUE! had copied and sold the major- Or, Sccourf « * r
Or, Second Sight, MADAME HERRMANN.
illustrations 465 and 466 - English bill
HERRMANN. vmraw TAIUIHM WBW
for Carl (Compars) Herrmann. ILLUSIONS WITH CARDS
Herrmann, then debuting, performed mAOMB BLANCHE!
in London in 18 18 with a program ex-
II tllMIOlI Oi YABIBBS BIRDS, clusively made up of plagiarisms of 11IB1T1TI0I 0 ! WB10DS BIBBS,
VOL. H E R R M A N N . Robert-Houdin's repertoire. Illustrations BE. HEKRMAWlf.
from The Unmasking of Robert-Houdin
bv Harrv Houdmi.

338
 ACT III

ity of his mechanical pieces. the Institute, showed that the

Robert-Houdin decided to file pieces confiscated and claimed
a complaint. A search of by M. Robert-Houdin were, for
Legrand's home revealed a the most part, completely in-
large number of objects be- vented by him or represented
longing to M. Robert-Houdin or such improvements on existing
reproduced from examples in- mechanisms that they should
vented by him. A correspon- be considered as his own pri-
dence from M. Lettson /SJC7 vate property.
was also confiscated and showed In consequence, Auguste-
that Legrand had sold to this Omer Legrand is accused of:
individual a large quantity of
= 1. Having in 1849 illegally EXCITEMENT EXTRAORDINARY I
mechanical pieces whose inven-
removed various mechanical """j-SEBAaTOPOLj
tion was the work of M. Robert-
pieces from the business and * In er4vtoami b « g iraoifto&rf. VuLan to tae-FmlSeua
Houdin.
to the detriment of Robert-
Legrand claimed that if ob- Houdin, for whom he worked. ISSOHIIERM,."'
jects belonging to M. Robert- = 2. In 1848 and 1849 as a I £fje Cost CSreoen Bogs of Wonfiers
I sw« xmbi, M D » U , ott. eoi^ t i l t HOJTT tit to
Houdin were found in his pos- factory worker informing for- .
WSMD.Y, O0T0»»R l « i , U 4 « M H ! I Birr »
TOaBHODiX, O0K4SSM Illi, t . i r »IO*P IDT B
:, oomm nth, t i n xrenr nra i
session, it is because they were eigners, notably M. Lettson OCTOsm 17til, LltT HXQJUC SITS 3
-Sfi o-rt:tir IBUi, Nonrffnuut, tl» Mull balm
>*T, ooxolaan liii, t « r w o n i n a
at his home when Robert- [sic], of secrets of Robert- •;fi' -JgK Au
•*
/ / <T I I I M I I E I >•• (mill I»V « » • Ml like *i
Houdin dismissed him and that Houdin's factory, where he was
he did not dare to give them employed.
t The Annlhllatioa Be Recnperation
back. But M. Robert-Houdin re-
Grimes provided for in the
futed this argument by assert-
articles 386 and 418 of the ^ , .
ing that he had never autho- O«at
penal Code.
rized Legrand to bring to his
home objects that belonged to
After the brief interrogation of \"i II >f S i '
the defendant, Maitre Thureaud,
him.
for the plaintiff, asked for the THATJOTTIE
E 3TEIB (CraDfe, or Jltcsmcric SCeep,
The defendant could not proceedings to be held in mTmrii, sr ren itMiTM,

deny that he had handed over camera because of the risk of

to M. Lettson [sic], a foreigner, revealing to the public M. Robert- !'.,'. Tb.HUuj>Ml n— inn la • m C l l V a U T I U B . i ' a l i a n l
the secrets of constructing the Iloudin's secrets, on which his ^ MechaniGdlatomatoi
mechanical pieces of M. Robert business is based. (pint Rapping Bell and Table:
Houdin and he admitted that he
This demand was opposed
had received from M. Lettson
by Maitre Nogent St. Laurents
[sic], a sum no less than 4,000 1
THE G_REAT WATCH WONDER,
and supported by prosecuting
to 5,000 francs. :
j^* , Magic Evaporation,
attorney Suin, who remarked
As a last resort, Legrand that if M. Robert-Houdin had ' SranJ J'asfjiomitifr Bai) performances
alleged that the mechanical taken the civil route, the Court
111 l i ^ ' Pt«tBe«U ai.,8ecandls>ts, li., Qanti?, «d
pieces manufactured by M. could have, in virtue of article
Robert-Houdin were public 87 of the code of civil proce-
property and did not have the dure, ordered the session to be
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 Robert-
M. Armand Seguier, member of Houdin's repertoire.

",59
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 sec-
ond. (468 - Many Ransom Humanities Research Center, University of Texas. Austin. 469 Author s collection, 470 - Magic. Decembet 190 1 )

held in camera, given the possibility of severe Considering that there is between the two
disadvantages that publicity would incur. charges a connection such that it is impossible to
The court rendered the following judgment on divide the arguments;
this new request: Orders that the debates be held in camera.
Given article 81 of the constitution, consider- After this decree, the curious left the court and
ing that the property of Robert-Houdin that was cast disappointed glances at the many crates
harmed, has for cause and principal elements se- placed nearby, which undoubtedly contain marvels
crets whose publication would cause a repeat of that the public will not have the opportunity to
the crime, which would be a true disruption of enjoy.
order; and if the arguments were published, the After the debates, the closing speech and the de-
intervention of justice, instead of bringing a fense plea, the summary was made publicly.
compensation would aggravate the loss that mo- The jury rendered, after a deliberation of a few
tivates the action; minutes, a negative verdict on the question of the

340
 ACT III

MAURICE SARDINA

Les « erreurs » de
Harry-Houdini
A V E C U N E P R E F A C E
EGYPTIAN HALL 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 affirma- vealed a large number of objects belonging to M.
tive verdict on the question of theft of merchandise Robert-Houdin, or reproduced from models in-
by an employee. vented by him: mechanical birds, two mechanical
It granted extenuating circumstances. cages, a trick cage, The Trapeze Artist, Le Petit
Legrand was condemned to two years of prison Savoyard, pieces for The Clock, The Prison, The
and the court ordered the restitution to Fish trick. He had counterfeited a great number of
M. Robert-Houdin of the pieces that were confis- [mechanical] pieces of M. Houdin. The objects he
cated. is accused of having delivered to Lettson [sic]
Legrand was ordered to reimburse all costs as are: Three mechanical tables, Diavolo, a hunter, a
damages, [so] crystal chest...
Le Moniteur universe! of June 26, 1850 speci- In the opinion of his colleagues, Robert-
fies a certain number of points omitted from the Houdin's effects must have had enough myste-
account in the Gazette des tribunaux, which rious elements for Lettsom to feel obliged to
give an idea of the extent of the theft of which bribe a worker to obtain the mechanician's se-
Robert-Houdin was victim: crets. Lettsom and the "artists" who unfairly
A search carried out at Legrand's home re- benefited from Robert-Houdin's work truly

341
ROBERI -HOUDIN

Illustrations 472. 473 and 474 — Anderson, Herrmann, and Jacobs.

showed their lack of scruples in pushing a for- called revelations in 1908.

merly honest employee into a betrayal that
would send him to rot in jail for two years and We can also notice that the verdict of this
ruin him forever. It is also instructive to note trial is symbolic of the mentality of the times,
that today, just as in the past, plagiarists use which more heavily condemned domestic
the same arguments before the law, as shown theft than infringements on intellectual and
by the great lawyer, academician, and court moral property. This account also shows
expert Maitre Maurice Garcon in the preface to how Robert-Houdin's inventions arrived in
the hands of plagiarists working in England
Maurice Sardina's work Les "Erreurs" de Harry
- Anderson, Herrmann, Jacobs, and Robin,
Houdini (Where Houdini was Wrong) (Paris,
among others. [51] We will return to the pro-
1947):
tagonists of this trial in the chapters on
Before the courts the usual technique of counter- Robin.
feiters is to deny the value of the inventions and come
up with prior examples that allow them to shame- At the end of volumes I and II of Album
lessly appropriate these inventions for themselves. Souvenir des Soirees Fantastiques de Robert-
Houdini followed this path when he published his so- Houdin au Palais-Royal, the text that con-

342
 ACT III

A M D C A B A L I S T I C L A U N D R Y !

MR. JACO
eludes the Programme general cles experi- Soirees Fantastiques is a school which other ma-
ences inventees par Robert-Houdin (General gicians constantly attend to find successful ele-
Catalogue of Experiments invented by Robert- ments for their own shows.
Houdin) shows a certain humor, or perhaps During this period, around the end of the
resignation, on this subject: month of May 1850, the conjurer Olivier (the son)
All these experiments were invented by Robert- was authorized to run "a small curiosity show" at
Houdin; the automata and mechanical pieces were 16, Rue de Bievre "consisting only of Physique
hand-made by him and earned him several awards amusante, mechanical exhibitions, Chinese shad-
from the Societe d'Encouragement and the juries ows, and phantasmagoria'' (see page 113).
of the 1839 and 1844 Expositions.
In Le Charivari of November 9, 1850, Louis
Although other artists have demonstrated a few
Huard praised Robert-Houdin's new season in
of these experiments, they were only more-or-less
slavishly accurate reproductions of his manner of the following terms:
performing. Robert-IIoudin, the prodigious mechanician,
It is a recognized fact that the Theatre des 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 lit- But a simple thought prevents me from worry-
tle theater in Palais-National. ing about him in advance: Once placed on the
This skillful artist has brought us new, even stake, Robert-Houdin would be capable of conjur-
ing himself away, and the entire crowd would be
more incomprehensible marvels beyond all that he
taken by surprise.
had performed until now.
I fear that Robert-Houdin does too much, and On November 25, 1850, Robert-Houdin pre-
that we will find ourselves obliged to burn him on sented his most recent creation for the program
the Estrapade square, a place historically reserved of Soirees Fantastiques: The Enchanted Vase or
for people who asked the devil for conjuring skills. The Genie of the Roses.

Theatre Robert-Houdin
jrt.

Repertoire du G6nie des Roses

Le Roi d'Yvetot.
Depuis longteihps,
Oadet-Roussel.
Le Genie des Roses (Automate).
Bon Voyage.
(Test 1'Amour ! j'Amour!
LE GENIE »ES ROSES (automate).

infant cheri des names.

Ce vase aux brillantes couieurs,
J'ai du bon tabac. Qui, selon vos desirs, de roses se couronne,
Du chant du colibri joyeusement resonne,
Marie trempe ton pain Doit avoir ses admirateurs,
Et peut-etre ses d6tracteuvs:
Quelque gate qu'il soit, l'auteur connait l'envie.
En avant Fanfan la Tulipe. On peut plus ou moins 1'applaudir;
Mais il faudra bien convenir
A la Monaco. 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<fue et W dlnslrumenls GakiedelaBourse,/

Illustration 479 - La Fantastique polka performed at Robert-Houdin's soirees, composed by Camille-Michel in 1845.
(Georges Proust collection)

346
 ACT III

Letter on Education; Shows and Children

The reader will recall the extent to which I know, my dear friend, that he performs plays there
have emphasized the exemplary style and con- as bad as the worst variety shows; this is everyone's
text that Robert-Houdin wished to convey in opinion. What can be worse than seeing these
dwarfs of acting telling obscene stories in the most
his memoirs, a civic mission crucial to the au-
incredibly self-assured manner? Many women
thor. The excerpts from the newspaper article would be embarrassed at this theater. I will let you
we will cite below confirm the strict morals of decide whether it is a good idea to bring children,
the times and the severe manner in which and I hasten to inform you I have never set foot
show-people were viewed, and allow a greater there; I am giving you the opinion of a few parents
appreciation of Robert-Houdin's conduct in his whom I trust greatly...
writings and onstage. This text was published As for the Hippodrome, I went once. If they lim-
in the form of a long letter [52] in the Revue ited themselves to racing horses, monkeys, or os-
catholique de la Jeunesse (Catholic Youth
Journal), (second year, 1851) and deals with
entertainment and shows approved or prohib-
ited for children. Although Robert-Houdin
emerges with the honors of this merciless req-
uisitory, it is not the case for all his colleagues
cited in the article:

...What is Seraphin? A little theater with talking RBVUE CATHOLIQUB

puppets, puppets that are pleasant in themselves BE

and that could give children useful and wise advice LA JEUNESSE
if the director had a sufficient dose of tact and com-
mon 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 be-
cause 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 stu-
pid and nothing more, but it stimulates the imagina-
tion 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 PARIS. RUE DE RICHELIEU, N° 60.
ask embarrassing questions and make unfortunate
remarks...
Illustration 48O — Revue catholique de la Jeunesse, 1851.
You miss Gomte's Theater! Then vou do not (Jacques Yoignier collection)

347
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 appropri-
ate 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 Robert-
Houdin; 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 III

Illustration 483 - The arrival of the vaccine at M. Robert-Houdin's 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 vacci-
nate 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

"Louis de Linski, physicien prestidigitateur, "

In 1851, two new short-lived shows fol- an associate of "Simeon Alexandre Devaux,
lowed each other in Philippe's former hall in mecanicien, " with whom he resided at 8, Rue
the Bazar Bonne-Nouvelle. The first artist Neuve-Coquenard, succeeded Roberti de
Brescia in the running of Philippe's hall dur-
was named Roberti de Brescia, lived at 39,
ing the last quarter of 1851. [54] Here is the
Rue de la Folie-Mericourt, and had already
tone of his advertisements published in the
performed some time before in Paris in the
newspapers:
Salle de la Redoute at 45, Rue de Grenelle-
The theater of Philippe at the Bazar Bonne-
Saint-Honore. His performance consisted of Nouvelle has just reopened with more splendor
Physique amusante, sleight-of-hand, feats of than ever. M. De Linski gives performances of
skill, and "everything of this sort," exhibi- magic and prestidigitation, which attract the high-
tions of "melting tableaux" and experiments est Parisian society every evening. The most diffi-
in mesmerism. Concerning the latter, it is in- cult tricks demand nothing of his prodigious skill;
teresting to note the precise orders imposed he thwarts difficulty and the impossible does not
by the chief of police: exist for him. His show is one of the most amusing
that Paris has to offer.
The mesmerism performances are only permit-
ted under the following conditions: The comparison of the posters of Roberti de
1. That the operator limit himself to experi- Brescia and Louis de Linski posters with those
ments known under the name of Double Sight; of Robert-Houdin show that these two "conti-
2. That he not generalize the effects of mes- nental" artists had no fewer scruples and no
merism and perform no scientific demonstrations. more imagination than their English colleagues.
3. That he not apply mesmerism to the knowl- In September 1851, a certain Berneuil, resid-
edge of hidden facts or to divination. ing at 62, Rue de Dunkerque, was authorized to
4. That he in no way relate the result of mese-
merism to the treatment of illnesses or for med-
ical consultations.
And 5. That, in a word, his experiments have
no unfortunate influence on the mind, and be al-
ways in harmony with morals and propriety... [53]
We know very little about Roberti de
Brescia, but the prints of his lovely litho-
graphs, illustrating several of Robert-
Houdin'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! La Bouteille mepuisable,

351
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 mers, barely comparable to those of yellow wax
street, a curiosity show made up of ''Physique candles placed in death chambers.
Amusante, Conjuring, Polyorama, Optical Then, concentrating his bright rays with the
help of a powerful lens, and directing them out-
Effects, and Juggling."
side, M. Robert-Houdin suddenly threw into his
During the summer of 1851, Robert- garden such a flash of light that one could walk
Houdin was finally able to enjoy a well-de- on the pathways as if in daylight, and at more
served rest at The Priory with his entire than forty paces away we were able to easily read
family and his newborn, little Georges. The a letter placed before us...
"word ''rest'' is, however, quite inappropri- ...Back in his living room, M. Robert-Houdin
ate for a man who could not imagine wanted to reveal his secret to us by explaining
spending a single day idle! Robert-Houdin the theory of the phenomenal light that he had
passed his time at Saint-Gervais working just obtained and that of electric telegraphy,
on new experiments with electric light. On which only differ because of the apparent ef-
fects, one being produced by a ray of light, the
Sunday, September 14, to entertain his
other by a movement transmitted to its furthest
friends, he performed during the course of
point with a magnetized seesaw-like device.
the evening a demonstration of the result These explanations - free of the technical terms
of his research. The account of this event that make science so abstract, and given with
was published in Le Journal du Loir-et- clarity by a man who is master of his subject -
Cher on September 16: were followed with great interest, even by the
ladies, who were the majority, [ss]
We owe it to the friendship of our famous
compatriot Robert-Houdin to have seen Sunday Soon, Robert-Houdin would be able to
evening in his charming retreat in Saint-Gervais, fully devote himself to his research, but for
a curious experiment in electric light. the time being, he had to set up a carefully
Nothing is more simple in appearance than planned program that would periodically dis-
the process by which one obtains this marvelous tance him from The Priory for the next two
result, but to get there, what studies were not
years.
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 LES SOIREES FANTAST1QLES DE ROBERT HOUDIN
OiudnlU bnllint
unexpected changes of the weather, M. Robert-
Houdin 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 gen-
eral cry of admiration rang out. The day had re-
turned in a certain fashion, the spectators' shad-
ows were clearly seen on the walls, the candles
had, so to speak, disappeared under the power of Att. LE CAIPENTIEfl
electricity, and only appeared as meager glim-
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 III

:
I •

"Farewell, My Dear Parisians"

In order to explain to his readers the rea- This is, in itself, a painful task, but, believe
sons for his upcoming retirement from the me, reader, it is not all; he must - and this is ap-
plicable to all artists in general - under penalty of
stage and to justify his overwhelming desire
ruin, enliven, animate, and excite the public, or.
for freedom, Robert-Houdin wrote a beautiful in other words, give them pleasure for their
passage on the condition of the artist who money.
must always give his public the best of himself Can this always be equally easy?
during his performances in spite of fatigue, In truth, the position artists hold would be in-
worries, or sufferings: tolerable, did not they find in the sympathy and
applause of the public a gentle recompense that
A man who has made a long journey never feels
makes them forget the minor miseries of life.
the fatigue so acutely as when he proposes to con-
tinue 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 ob-
ject is to astonish an audience, and the result to
gain honor and profit?"
DESTMLS
I find myself compelled to prove the justice of
the expression.
J3T
The reader will easily understand that the fa-
tigue, preoccupation, and responsibility attached
to a magical performance do not prevent the con-
PREDICTIONS
jurer from being subjected to the ordinary suffer-
ings of humanity. Now, whatever may be the na-
ture 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.

— II y a toujQurs une affluence considerable aux

soirees fantastiques de Robert Houdin, un public dis-
tingue appplaudit chaque soir les experiences vrai-
inent 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
{Archives naUonales) album distributed at Hamilton's performances at Palais-National.

355
ROBLRT-HOUDIN

I may say it with pride: to the last moment of my his artistic activities would be carried out in
artistic life I only met with sympathy and kindness; the future were specified in advance. It also
but the more I strove to render myself ever worthy safeguarded his children's possible aspira-
of them, the more I felt my strength failing me, and tions in this area. The document is in every
the more, too, increased my desire to live in retire- way similar to a modern contract for brand li-
ment and freedom.
censing, but also includes the ''sectors of ac-
At last, in January, 1852, judging Hamilton fit tivity" in which the seller would have exclu-
to succeed me, I decided on giving up my estab- sive rights;
lishment to him, and in order that my theatre, the
fruit of my labors, might remain in the family, two Between the undersigned:
contracts were signed; and on the same dav rav
M. Jean Eugene Robert-Houdin, mechanician
pupil became my brother-in-law and my .successor.
conjurer residing in Paris, 164, Galerie de Valois at
M the Palais-National
The following unpublished documents show D'une part.
the precision with which Robert-Houdin always
and M. Pierre Etienne Auguste Ghocat, known as
knew how to plan his career, a rare gift that we
Hamilton, conjurer, student of M. Robert-Houdin,
have already evoked, and his will to master cur-
residing in Paris, 9, Rue de Laval.
rent events and those to come. He left little to
chance and mastered his destiny, as much as is D'autre part.
humanly possible. Was carried out and agreed the following:
Here is the act by which Robert-Houdin
Sale by M. Robert-Houdin to M, Ghocat.
sold his theater and the partial use of his
name to Hamilton, an act in which the irrev-
ocable date of the end of the conjurer's the- M. Robert-Houdin hereby sells to M. Ghocat
ater performances and the context in which who accepts:

=156
 ACT III

-\

4***4yvts fa

Illustration 493 - First page of the sale contract of Soirees Fantastiques between Robert-Houdin and Hamilton on
January 3, 1852.

35"
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 lishment, either to remain personally owner of
fantastiques de Robert-Houdin, which M. Robert- or use gratuitously, or at a price for his children,
Houdin runs in Paris, 164, Galerie de Valois at the who in this case will have the right to do with it
Palais-National. what they wish.

Along with all objects serving for the decora- An inventory of the said objects is attached
tion and furnishing of the room currently des- after having being accepted as accurate and truth-
tined for performances, all the mechanical ful by the undersigned.
pieces, automata or other, and in general all the
In addition, M. Robert Houdin sells to M.
various objects making up the repertoire and
Ghocat
the operating material of the said establish-
ment. The right to keep the name of his establish-
ment, for as long as deemed appropriate, as
With the exception of the mechanical piece
Soirees Fantastiques de Robert-Houdin.
called The Vase, whose ownership will remain
M. Robert-Houdin's. And to announce and publish under the same
title all performances that he can give in France as
And under the condition by M. Robert- well as abroad with the right to take the title of M.
Houdin of conserving or having made the dupli- Robert-Houdin's student.
cate 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.

To indicate in all bills and publications by But he will not take possession of or enter
whom the performances will be executed. into ownership until the fifteenth January of the
present month.
And not to in any other way or manner use
the name of M. Robert-Houdin. Price.
The present sale is made for twenty thousand
M. Robert-Houdin making on this subject
francs, of which M. Ghocat has presently paid to
no concession to M. Ghocat other than that
M. Robert-Houdin, who recognizes this, in bills
resulting from the aforementioned stipula- from the Bank of France accepted in cash, the
tions and even conserving the right to use the sum of thirteen thousand six hundred francs.
title of Soirees fantastiques de Robert-Houdin Concerning the six thousand four hundred
for all performances that he could possibly francs owed, M. Ghocat has engaged to pay them
give in virtue of the conditions expressed to M. Robert-Houdin by next February first,
below. without interest until this time.

Conditions.
Ownership.
The said sale is also carried out at M. Ghocat's
M. Ghocat will be the owner of the said estab- cost who is obliged to:
lishment and of the objects included in the pre- Honor from next January fifteenth all con-
sent sale from this dav on. tracts entered into bv M. Robert-Houdin for in-

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)

surance against fire and for the gaslights and in Jean Baptiste Bertin, owner, residing in Paris, 13,
general all the operating and other costs of the Rue de Valois concerning the room and annexes
said establishment. situated at Palais-National, in 164, Galerie de
Specific Conditions. Valois following the private agreement dating
It is expressly agreed: from January 15, 1845 in Paris.
That M. Robert-Houdin will have the possi- This sale is carried out at the charge of M.
bility for a period of two years from January Ghocat who promises to:
fifteenth of the present month to exercise his Honor from the said day of January fifteenth all
profession as he sees fit, and to give any per- the conditions of the said lease, conditions of
formances that he deems appropriate, either which he declared the knowledge by the reading
in France (except in Paris and towns included of the lease.
in a radius of 120 kilometers around this city)
Then to pay M. Bertin the said rent of the
or abroad wherever he wishes.
premises from the said day of January of the pre-
But that beyond this period, M. Robert- sent month.
Houdin will no longer be able to give a single
All of this such that M. Robert is not disturbed
performance for his profit, either in the interest
or sought out concerning this.
of anyone else in France or abroad.
Letting it be agreed upon that he will always Reimbursement of rent in advance.
keep the right to work and teach his art and to M. Chocat has just reimbursed M. Houdin,
entertain himself gratuitously; to create or sell who recognizes this, an amount of two thousand
any new creation. four hundred francs that the latter paid to
M. Bertin for six months of rent in advance,
Lease transfer.
chargeable to the last six months of the said
By this present act.
lease.
M. Robert-Houdin transfers to M. Ghocat, who
accepts, Agreement relative to the reestablishment of
All his rights as of next January fifteenth, to the rented space and security deposit.
the lease expiring on April first eighteen hundred The cession of the lease is also subject to
fifty-four [57] that was concluded with M. Marie 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.

original state at the expiration of the said M. Ghoeat in the operating profits of the theater
lease. be withheld until the amount of five thousand
To this effect and to guarantee to M. Robert- francs is reached, this sum also to be allocated as
Houdin the execution of this engagement, collateral in favor of M. Robert-Houdin.
M. Ghoeat is obliged either to consecrate in the The party who is responsible for them will
next fifteen days until the appropriate time, and support the registration fees and other fees and
as a deposit, the sum of approximately five thou- payments to which the present conventions may
sand francs for M. Houdin, or to agree to his first give rise.
demand that two thirds of the income due to 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- We see with what care and with what econ-
t U i J omy of words Robert-Houdin wrote the agree-
ment of this sale, down to the smallest detail,
including the future careers of his children,
GAT, till HAMILTON , yre*lkit«iUi-
l«or, d<!tn«uraiit a Paris, rue d« La- and he allowed no one to choose the date of
t*J. IS, his retirement for him, especially the public.
Bt un fommanflltaire nomme et The financial clauses need explanation. Given
iW'tipufi audit acif,
On I form r. entreetn unr *ociet»\ its ticket sales, the price of the theater's busi-
dont la tlur£e f*t IVt6e a «{tia!r*« an- ness - even if there were only twenty-seven
!«?»•*. <iui coituiMiieeraiti le«|uitue months of lease remaining - seems fairly low
Janvier mil huH eifrt rintjuanie-
deux el flntront l<» quinze janvier if we add the value of the name Soirees
mil hull cent einquante-m, »V«J Fantastiques de Robert-Houdin and the me-
stipulation que iri, par «iiled*i*vA- chanical pieces in the list to follow. This price
nctnenft polUiqurtou autren «*v»'*m*-
HMSiii tie force majeure, »m nnmi* was justified above all by the fact that Robert-
par iulte de maladtf, M. Chocat r»t Houdin wanted, as he wrote, his work to re-
i«rc^ illnli»rrftm|>r« .<»'* s^ance^, lu main in the family, even if this caused him a
nocield *«ra j)rori>«/w peiulant uu
temps ^jjai ifa<lur»«»UitasH**pen- slight financial disadvantage. We may nonethe-
itori. less wonder how Hamilton paid Robert-
Cette >*)fieie a pour objel l'e\ploi- Houdin the 22,400 francs without having a
tation «lu cabttwt roiinu sous W
hoin «te *oir«V» fantanUffuttsrtt*KO- substantial personal fortune. In this case, deci-
sive for his future, Hamilton acted as a smart
Kile pur M. f)litwe businessman, and this must have pleased his
cat tetfl l future brother-in-law.
Vah»i.<, id4, c( »*Me c y U ' r a s«ms hi Hamilton had found a silent partner named
ntison H«Hi.il«t4lur,AT *•! t>, M. Belluot, who first advanced him the sum of
M. ChoCftl «p|nn!»' a tit noriele *
d i l UriuHiit«ur rt 10,000 francs and later added a complementary
sum of 6,000 francs. In exchange for these
inillc fraiiri. 16,000 francs, M. Belluot became the owner of
l.t* commanditair^ appnrte ;V'la
iAt^ (lit captUf «le <ltv millt* fifty percent of a limited partnership in which
i H vorjse en »*>p»•«*«:* a Hamilton included his conjuring business, his
M, industrial equipment, his lease, etc., evaluated
Pour «**Ji*aH at 20,000 francs. Once the costs and salaries of
j mil htttl
cent {*i»itjuaivt«'-ttt'u\. Hamilton were deducted, the income from the
. OHO«:AT H theater was allocated to the reimbursement of
M. Belluot's funds, and the remaining profits
were then equally distributed between the two
Illustration 501 Legal publication of the statutes of the
company created by Hamilton and his shareholder associates. The duration of this society was
M. Belluot. (Archives nationales) limited to four years, beginning on January 15,

362
 ACT III

Illustration 502 — First page of Hamilton and Amelie Charlotte Braconnier's wedding contract. (Archives national®

363
ROBFRT-HOUDIN

1852, date of the official ownership of the the- ity, at this time, of the majority of the assets of
ater by Hamilton, and ending January 15, 1856. Amelie Braconnier's dowry. With his wife's
At the end of the period, if M. Belluot had agreement, Hamilton could in this way free
been reimbursed, which was the case, himself from his debt to Robert-Houdin with-
Hamilton would assume full ownership of out having to outlay cash at the time of the
Soirees Fantastiques. Hamilton paid the re- wedding contract or during the sale of the the-
maining amount to Robert-Houdin by a docu- ater. [58]
ment of private agreement signed when he This is how Hamilton, therefore, thanks to a
married Amelie Braconnier. We may remember generous silent partner, a happy marriage,
that for the wedding contract of Olympe and the friendly complicity and wise advice of
Braconnier and Robert-Houdin, he had agreed his brother-in-law, became manager, operator,
to manage his wife's jointly held assets. and soon sole owner of the famous Soirees
Recognizing her son-in-law's managerial abili- Fantastiques de Robert-Houdin.
ties. Olympe's mother, and also her sister With the signing of the sale, a list was com-
Amelie, asked him to invest their assets. piled of the mechanical elements and other
Robert-Houdin therefore had the responsibil- 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 in-
cluded in his sale of this establishment to
M. Ghocat, known as Hamilton:
SOIREES FANTASTIQIES
1. The Chinese House.
2. The Transparent Gashbox.
3. The Horn of Plenty.
4. Cabalistic Drying.
5. Instantaneous Impression.
6. The Crystal Balls.
7. The Glove Column.
8. The Hunter.
9. The Birth of Flowers.
10. The Punch.
11. Diavolo Antonio.
12. Suspension.
13. Invisibility.
14. The Surprising Handkerchief.
15. The Miraculous Fishing.
16. The Turtledoves.
17. The Clock.
18. The Ball of Wool.
19. The Portfolio. Tous les soirs ahuit hexires seance deM- HAMILTON
20. The Inexhaustible Bottle.
21. The Light and Heavy Chest.
22. The Magnetic Ecstasy. Illustration 505 - Advertisement for Hamilton in 1852.
23. The Jewels. (Private collection)
24. The Complete Polyorama.
25. The Second Sight.
26. The Ethereal Suspension.
27. The Garland.
28. The Orange Tree.
29. Auriol.
Rue det Gres, 10 (place <lu Vaattiecs}. /
The last three pieces will be delivered in a time
limit that cannot exceed six months for the first , (tsneitnt,
two and one year for the last.
Executed in two copies in Paris
Approved by
GRANDE StANGE FANTASTIQIIE
B S ROBJESBW
Robert Houdin PAR HAMILTON,

Approved by ttvee intci'iiiidcs de masiqae;

Chocat Hamilton i<iim CEDVBE I I

In perusing this list, we realize that Robert-

Houdin did not sell the totality of his me- Ge Billet esl vaUble pour u a e personne, ou deus jeuneR Eievcs on Enfiti
l.ts persoonee qui condiment lei ^Ifevea aont aiimusi
chanical pieces to Hamilton. Besides The
Enchanted Vase or The Genie of the Roses, a
few other automata such as The Pastrycook Illustration 506 - Performance given by Hamilton in 1853
of Palais-Royal, Pierrot in the Egg, The Ladies' for a charity benefit. (BfbHotbSque de r.lrseiuil)

365
ROBFRT-HOUDIN

Favorite, The Fascinating Owl, etc. are not in- arrivals and departures between France and
cluded in the list. For his future tours, Robert- abroad, and depending on the programs estab-
Houdin made copies of all the apparatus, small lished for his tours, Robert-Houdin borrowed
and large, as well as duplicates of stage ele- for a time some of the mechanical pieces that
ments: tables, side tables, consoles, and certain were now a part of the repertoire sold to
automata whose working, for traveling shows, Hamilton. The theater had become a family
was not based on the exact principles used at business and the two men could always count
Palais-Royal. It is likely that, upon each of his on each other.

Lanteme magique! pitce curieuse!

Illustration 50" - Portrait of Hamilton.

366
ROBERT-HOUDIN

The Final Flames

In November 1851, after an eighteen-year ab- tricks dazzled everyone. We were therefore curi-
sence, Bosco returned to Paris, where he per- ous to compare the Bosco of 1852 to the Bosco of
formed at the Casino des Arts, 12, Boulevard 1832. Let us flatter ourselves by saying that, far
from having lost, Bosco has considerably gained
Montmartre, at the end of the month. In January
talent. The multitude of experiments carried out
1852 Le Charivari published the following ac- during the soiree that we have just attended truly
count of his performance: astounded the entire audience, and to speak of
It is under the impression of surprise caused by only one, which Bosco considers a prelude, we will
the marvelous skill of this artist that we write say that the disappearance of the invisible balls
these few lines. When he came to Paris for the first [sic] shows something so diabolical that if we lived
time eighteen years ago, Bosco already seemed to in another century, we would willingly believe in
be the most skillful of conjurers known and his wizards. [59]

This performer, whom journalists deemed

with a certain tenderness "the veteran of con-
juring," 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 per-
formance 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 soi-
rees 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.
Illustration 508 - Bosco the conjurer.
In a letter by Robert-Houdin addressed to an
unknown person, dated January 4, 1852, he
A portrait of Bosco published in the Nice newspaper
Passepartout. December 4. 1859 and reprinted in concluded in the following manner: "...I will
Auguste Driouxs Passez Muscade, March 1935 tell you that having sold my establishment I

368
 ACT III

Illustration 509 - Robert-Houdin's profile by Dantan. (Chateau de la Vllle de Blots)

369
ROBFRI-HOUDI\T

GALERIE DE VALOIS. 164. PALAIS-NATIONAL. RUE DE VALOIS. 13

ittttnmtx tmvrirtmt a 7 hrltrtt |i*jt. <tva>U $****(**, l*A*y*»s-'"—<
I'Wtrii, .1 ft". •—• A i m
i MewriMii Ok Janvier 185*2.

SOIREES FAKTASTIQUES
ROBERT HOUDIW ILLUSIONS, SUBTILITES, IWAGIE

AUTOMATES. PRESTIDIGITATION.
DIMANCHE PROCHAIN

DEUX SEANCES In prtwim a % hearts, In trwndt a H hmre* <Ui toir.

\, 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 fa-
mous inexhaustible bottle trick.

— Avant dc quitter definitivement son [tluVitro,

qu'i! acedia M. Hamilton, M. Robert Houdin don-
nera domain Jemh tine derniere representation des
experiences les plus iiiteressantes de son repertoire,
ff parmi Jesquelles sera le fameux true dc la lxmtei'.le
inepuisalile.
Illustration 512 - Letter by Robert-Houdin.
Letter b\ the artist to an unknown correspondent, inform- The historian Sam H. Sharpe writes in Salu-
ing him of the sale of the theater and his departure for tations to Robert-Houdin that he found no doc-
England.
uments testifying to performances of Robert-
Houdin in 1852. but he does not exclude the
possibility that he performed in the English
provinces. This supposition seems to be con-
firmed by a short article published in June 1852
in issue no. 166 of Le Charivari:
Robert-Houdin, the famous conjurer, is cur-
rently 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 perfor-
mances, but will remember them for a long time.

4972 — Robert Houdin , le ceUbre prestidigiuteur,

— Sites done, monsieur Boaco, votis quI^tesEt raalin ,
Setour da pbyBicien Boseo. Le^oas anx amatenis. cst-ce qua VQBSDC pouirios pascharpr ir.onligbit COU- Toj*ge en c« moment en Angleterrc. Le* journtux
»nt reraplu de details oblenus par cet artiste qui
Illustrations 514 and 515 - Bosco by Nadar. doit, dit-ou, k 1* suite de ce voyage se rctirer. Paris
ne verm plus set inervcillcuscs trances, niais en
Portraits by Nadar entitled Return of Bosco the Conjurer. conserve™ lougtemps le souvenir.
published in Petits Albums pour rire, no. 9.

371
ROBERT-HOUDIN

After these performances in England, we find This was perhaps the beginning of a new tour
Robert-Houdin in Scotland, where he gave a se- in the British Isles, where Robert-Houdin had
ries of performances in the Waterloo Rooms in already performed for a few months in 1849.
Edinburgh, starting on Monday, June 14, 1852. In Paris on the 17th, the annual closing of
Soirees Fantastiques was announced - for reno-
vation work - and the departure of Hamilton on
tour, "whom directors of theaters in the provinces
WATERLOO ROOWS, EDIMTR. have already monopolized." His series of perfor-
Tor sm i r 3K"l.gg:ia<.;ai mances in the provinces lasted the entire summer
UNDER THE imiTIEDIATE PATRONAGE OF of 1852. He debuted at the Theatre de Versailles
HER MAJESTY THE QUEEN on Thursday June 24, before performing in
H. K. H. PKIXCB ALBERT, * THE ROYAL % FAMILY,
AHtf as represented &J eoBlmanS at the PnUee of S4 James', sad
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; tloivpa-
ration. Les Uirccteurs ,|,-$ tlu'iUros uV prounte

HOUDIN!
French Conjuror
TS1 CSLBBIUTKD
out tlej.i acca\v»n> If c.-Ubrf |.rv9>tuti«i»atftir JHHI-
tUnl qu'on cmUMira sa oliannanto \H-HU- salU'. M.
Hamilton conunoncrra aujounl'liut jcutli par lc
tMAlre de Versailles, jmis Orleans Tours, Ljon,
Bordeaux.
Proprietor & Manigw of the Paiais-Rojal
WILL OITITheatre,
AflUUKtOF fclatoofStJinuis'"
Illustration 518 - Hamilton press release.

MAGIC SOIREES =,

Robert-Houdin returned to Saint-Gervais to

be with his wife, who gave birth to Rosalie
Monday, June 14, 1852. Eglantine on October 5, 1852. [63] The pres-
r«OH WHICH A SELECTION WILL UK GIVEN E4CII EVEHIKB ence at The Priory of the sculptor Jean-Pierre
To« HtlhvA of Flower* Dluals Inttnlo (leohule Fleet) The Transparent CjiiUt
Ttt Coarealsun of raUU-EojM
The lajlc Hopper
IntliiollUT, or DUipp taranee of the The IaeikuuUble Bottle
Thefilassor U'tue, or the Secret of Dantan, friend of Robert-Houdin, prolonged
ThetaMUneoui «etti«orp»»Il Tie Sjmpiihclle Torlle Dora • cmrnbaiullM
«ImpoMiWUiy reallied
Tke Iron CfBini
The IneliantHl Crsfftt. proiuelHR The atrscaini TSherj
Fulhen, «e,, te Me eraote, UmoB, Bjld Walnut the festivities of the happy event. The skillful
Tut airrelliu! Or«se Tree The S i i a r k i f The UntlHlteil Jlulllpliultei or
IlistelontEom
m
Tie »e«i4 Ssm, irillisit inj met- SoTerebjin
Die Eill-rtnscr (Mwtanlt Fleet)
caricaturist drew a humorous portrait in which
Toe hxltullnt t)»l IheHomrbiket
T nftM j (tcrl o si w
mtlMietUetau* Tke a « l e PotKollo
Tbc Ball of lambs' VTool
The !Ee«pollun HurietslB
The luatl n i l Cmmn Mil
he depicted himself in a scene with Eglantine
n B A O I l l l l
Aarlol (KeebMltJl Plt«) The treat beaaotagt
Th CinJtiU j g
. : I t e SporBmiB «na Cnpld The eitaaauie UcxfUe of m Aulo- The Kmprror SleSolt)
The Two LfiMon!
and Robert-Houdin, for whom he designed a
- lbe (niUnUoejM lmprelil«a
•3 * The CrnMl Halls
The Column MMUI
The Ariel Ctaek
ThcS
The Plianli FockM HMdkerehlef
The«>8leTaWe«u false nose, allowing him to add the following
t TfeeTonngSaTOjanlcaeehanlerieee) The aagBette Sssrt
caption to his drawing:
THE! WONDROUS PUNCH BOWL,
D w « <gMA <rf Ealf-fati Smtt; Performance to commence at a Qaarttr-patt Eight o'clock. What a singular adventure!!! /
Admission—Stalls, 3s; Reserved Seats, 2a; Back Seats, %B; Gallery, 6d,
Family Tickets, admitting Four to Stalls, 10s 6rt.
Oifinreo under ten years of age, to Stigma and UA Beats, Hnir-prlce,
I am so surprised / searching your face / for what
makes you a caricature / Ah! I see! It is a nouveau-
A GRAND MORNING PERFORMANCE ne [Newborn/new nose]. [<>*}
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.
The conjurer would not savor the calm of
The Priory for long because in February 1853,
Jl lUKOVJOt KWtCT
he returned to England.
In Robert-Houdin's archives, I have found
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
the preparatory draft of a summary of the chap-
Texas. Austnu ter concerning this tour, which was supposed
 ACT III

>

Illustration 519 - Dantan, Robert-Houdin, and Eglantine by Dantan.

to be part of the original structure of his mem- come great success, the Queen has asked for me,
oirs. This text, without being devoid of interest, obliged to leave.
also raises a few questions: London, customs. Letter from the Queen, formal-
ities - Preparation of the performance - 24 hours
Travels February 1853 without eating, the groping for dinner episode, the
Abbeville testing of the setting - Two very success- servant's fear. The servant with epaulettes (Colonel).
ful performances. Amiens, Robert Orville, cold hands, Performance at St. James's, success, Linsky - His
great success. misadventure, his bills, etc... fair, etc... the Zulu
Lille, the Scrives - Playbills in carriages, small in- Kafirs, the German troupe. Rachel. Goodbye to

373
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 III

Melchel, souvenirs. tion with my performance.

Travels in the provinces. Herfort [sic], the three You see, dear Dantan, that I speak with you as
spectators. Cambridge, my name usurped, great suc- to a good friend, telling you details that would bore
cess. anyone but you.
I will begin my performances at St. James's on
Easter Monday; Mitchell's French troupe will per-
form in Liverpool that week. Lafont is part of it.
</
all
0

J
"/
? "*;/ 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
/
'/*****
-^,.«/^
*. ^'~/^<. p
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
, y. and express my family's remembrance of friendship.
Yours,
... Ay
; : :: Robert-Houdin

The preparatory draft of the chapter summary

quoted earlier shows that the "groping for dinner''
Illustration 521 Draft of a chapter heading of Robert-
Houdin's memoirs. episode and the sen-ant in epaulettes, which
Robert-Houdin situated in December 1848 on
This is how we learn that the conjurer per- pages 223 to 225 of the second volume of his
formed in Abbeville and Amiens [65] prior to memoirs, actually took place in 1853- This seems
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 be-
fore Queen Victoria for the fifth birthday of Her r:"""
Royal Highness Princess Louise, the sovereign's
/
youngest daughter. [66] in a letter to his friend ' /
Dantan, Robert-Houdin describes the perfor-
mance and repeats the quatrain that he wrote 1 <&-
for the princess: ;:^
The month that gave you birth
/
Will return joyously to salute you one hundred
times f
And one hundred times in gratitude
(V
Will you welcome the most beautiful of your ^ :
months.

Robert-Houdin continues:
I
7T
The queen enjoyed reading this quatrain to /i

Prince Albert and thanked me with a gracious a.

smile. At the end of the performance she sent her

personal secretary to me to express her satisfac- Illustrations 522 and 523 - Letter from Robert-Houdin ad-
dressed to Dantan from London in 1853.

3-5
ROBIRI-HOI'DIN

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 Perfor-
mance 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 misad-
ventures 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 suc-
cess." 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 pre-
ceded 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.
DURING THE EASTER WEEK, As soon as a renowned conjurer performed in
London, Graham "took" his name and sometimes
THE CELEBRATED PRESTIDIGITATEUR, even his "accent" during his tours in England.
Thus, he passed for Anderson, Frikell, Philippe,
and apparently Robert-Houdin. [67]
The "real" Robert-Houdin started his London
WILL EXHIBIT HIS season at the Saint James's Theater at Easter. It
began on Monday March 28 and was to end on
EXTRAOBD1NABY 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 Robert-
EVERY EVENING, Houdin's performances on April 19- He wrote
AND ON
the following sentence in his diary: "I was en-
WEDNESDAY & SATURDAY MORNINGS.
chanted by him; he is, by the way, truly the best
magician that I have ever seen." M He an-
nounced his farewell to the stage, but the
Illustrations 524. 525 and 526 - Bills for Robert-Houdin at the
English public forced the artist to prolong his
Saint James's Theater, March and April 1853. performances until Saturday April 28, when he
(Harry Ransom Humanities Research Center, University of Texas, Austin) gave his last show on the stage of the Saint

376
 ACT III

James's Theater, which he was forced to leave in

spite of public demand. The manager, John
Mitchell, had previously signed a contract with
ST. JAMES'S THEATRE.
the great actress Rachel, who was to succeed TERMINATION OF
him onstage. Keeping his friend's best interests
in mind, so that he could continue to benefit SEANCES FANTASTIQUES,
from his successful run, John Mitchell arranged
an agreement for him at the Sadler's Wells HOrfSIEUR
Theatre, where the French conjurer performed ROBERT-HOUDIN.
until May 14. [69]
After having apparently completed a short THIS MARVELLOUS ENTERTAINMENT
Will Urmmatt i» Ikt fillming mitr .—
farewell tour in the English provinces, Robert-
TUESDAY EVENING - APRIL 2 6 t h ;
Houdin returned to France, where he gave,
among others, three performances in Strasbourg. LAST
Here is one of his announcements:
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.
BENEFIT OF MONSR HOUDIN,
DURING EASTER WEEK
AND rosrrmsLY

ms FABEV£LL APPEAEAHOK AT THI8 TEEATEE.

Door* »p*». EVENING *i EIGHT ; MORNING, ml TWO.

PREMI&RE P ARTIE.
t» SOLDAT amutram.

MTtTBWBPX.
BT EXPBKB8 C0MM4SB OF DM
LBS TQgKTBiatJ.»a.
HUE HOST GRACIOUS MAJESTY THE QUEEN, Ltt aarrm* am OMUTAJL.
AT B0CK1XGHAJI PALACE, L3B YASm OU LB QEHU D H XOtU.
On the occuj-iiiit of the BIBTHBAT of H.R.H. THE PBIXCWS LOUISA, DEUXI^ME PARTIE.
F E I D A Y , I H A S C H 18th, 1853, U N BODLBS DS OBZ8TAL.
WIU exhibit hia •'Wonderful IN-prcscntAtion* at the above Theatre, daring (1KAHDX I I R t l DB TOVSg S'AIUUWU.
Bt Wk LA If AltSAKOB DBS FLKOUL
LA TBAMIPOnTlOK IKSTAMTAXmm.
E V E R Y E V E N I N G ,
LA PLUIB D'OB-
At hatf-jvut Li i/it u'cloek, LA OUIKLAKDB BKOHAimAl
fCKFBUBI POOR U ! DAHBS,
A DAY PERFORMANCE, THOI61AHE PARTtE.
WEDNESDAY ASD SATrT!DA.Y MOBNINGS LB MEUVMtLBtTX BOWL DB
LX 0OKBAT DBS BIJUSBHTS,
Cominttii i'i'1 at hnJt*txnt TKU o'eloe'i
LB FBTIT TOK BHSOXOBLLH.

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
ROBERT-HOUDIN

ROBERT HOUDIN'S

LAST NIGHT IN ENGLAND.

POSITIVELY xan LAM* i n NIGHTS or
ML ROBERT

ST. JAMES'S THEATRE. mS

ttOBfcRT-IIOUDIN beg« to MmauBeni hii THIS
Farewell Seance OBOSWEra MORE atjOtafBESEWT PRICES
AT THE ABOVE THEATRE. 0"
SERIES of MAGICAL
SATURDAY EVENING. APRIL 28,
BEI-NG MOST POSITIVELY HIS , mHY »ft» 1053. and Even Ettnisg Daring the Week.

LAST REPRESENTATION
IN THIS COUNTRY,
O»ing in I»K cwnmrocmem <* I'U Ei>gag<ra*ni st U.s TbMrre Si. Hubert, flnu.llw.

Tbe Programme on this occasion will comprise, the Vtae Intrepid Soldt«r, TbeFredaetlenef Fiewera.
same Experiments as Performed before HER 1HAJE3TY. Vhe Animated CardM. The Knatantaneona Vrsupealtiam
H.K.II. PRINCE ALBERT, THE! ROYAL FAMILY, and Vhe naxrellou* Oranc* Vre*. The dolden Sheerer.
Vbe"aflpUBtopbelea"Tele«oop«. Tbe Knehafited alarland of riowerat
the COURT, at BUCKINGHAM PALACE. *he Travelling «nztl« Dovo*. » •JTemaerftU inrDrlae In •>• laalee.
«&e Transparent Oiyatol MeK.
i'j qwn a< £?#!< u'efock: the ErtttTtammtKl
*he floafcetlener. Tbe amasnanatlbte So wl or
I Malf-patl Elgkt f,rtnt''y.
«ECtl\D l'.4«T. EbobertnoHdln's rertroUo
Vne Crystal Balls, or ajreat Merles mstoalsblns Invisibility.
L'B BOYAL I.IStAKT, t«. OLD BO ef Slight ef Hand Vrloks.
Dress Cirtle, • 3*. Boxes, - 3s. **lt, # Is. tSallery - 6d.
FRIVATfl BOXES, - «l. Is. «»J «<• Hi. 6d

Illustration 527 - Bill for Robert-Houdin's last performance Illustration 528 — Bill for Robert-Houdin's performances at
at the Saint James's Theater, Saturday, April 28, Sadler's Wells, May 1853. From The Unmasking of Robert-
1 8 5 3 * (Harry Ransom Humanities Research Center, University of Texas. Houdin 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 bot-
tle 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 III

Jacques Voignier, who discovered the text of

this announcement, later published in L'Esca- fttoll'ft (ftabliffetnent.
moteur, reminded Robelly's readers that Robert- ©onntag ben 6. gm WnijJf.: (g>ed)flC S o l r C C
Houdin evoked his passage through Alsace on fantastique be$ #crrn SRobtxt
page 192 of The Secrets of Conjuring and Magic: £oubin, Prestidigitateurjjp
"I remember that on one occasion, when per-
Palais-Royal
a l a i s y au«$tt «,tn29lbt&,
forming in the theater at Strasbourg, I threw one g»<MHr: 3um eiRen Walt: ^ ^umOtifliftfee
ifliffe © b i
CulWel In 2 Sften »•» SrttAn. Gjnauf: Sluf
of the little sketch-books from my Horn of Plenty 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
right across the chandelier to the spectators in the «nfam): © t . (SonC«t uut. wtf. ««it b«S Untett Sntne
upper gallery and gained tremendous applause for in ben ©Sin. 10 fflt., Scan, u. nntere Sti6 15fet.,Bumnlrti
©IWiSSc 15 f«t.. Odew St». 20 for. Knf. b. &>««' 4 Uljt,
the boldness of the feat."
The artist went through Belgium and Germany anontofl b. 7.3m »msir.: <§ltbtntt Soiree
and performed in Liege on September 7. and in fantastique be0 ^crrn 9i.^ouMnift
Baden, Wiesbaden, Hamburg, Ems, Aix-La-
SeCtbe, aiptufteae mlt ®tl in 1 «ft, ». Sfltimann. ©ietauf:
Chapelle, and Spa in front of brilliant assemblies 3 e toiler le bcffcr! ®«i« *otpouni». a. ©onwbi 3u
honored by the presence of the reigning princes anfana- © r . ©OHCCtt unt. petf, «ttt. b. Unterj. Dwife wie
finb SiOetJ au refer©. SiWiHttn * 15 fflt. febiefe
of the German Confederation. The conjurer then
b« Wen gflberiS u.3
went to fill a six-week engagement in Berlin, con-
6 uw, b«t oort. 6 | tnt.
tracted with M. Engel, the popular manager of the ICtaffag b«n 8. 3m j «
Kroll Theater. These performances were so suc- fant. bcS J^rn. 05. $oubm in
cessful that they were extended for three months SBorterpm 1. Oak: ^ i ^ t e Ultb 2 ! a n
and ran from November 1853 to February 1854. i aft o. ®0tiur. 3u «nf. fflt. ©OUCCtt.

Here is an example of what the German press (ftobliffetnent.

Dem etenn an, ta§
wrote about Robert-Houdin: bd

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: ».3^. ©agntann,
o.gtau 8ub»lo. iOajn: ^ J
unb breije^nte Soiree fantastigjtie
beS ^ r ii. K. ^ o u b i n, Prestidigi fa-
teuroom 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.
Illustration 529 - The Marvelous Punch Bowl by Robert-
Houdin. Engra\ ing from Later Magic by Professor
3
Hoffmann
ae^nteSoiree fantast

3"9
ROBFRT-HOUDIN

The first announcements of the arrival of the ager Engel/angel], he is at any rate a kind spirit
famous conjurer HOUDIN from PARIS aroused ex- and as he is particularly gallant with the ladies, he
treme curiosity in Berlin of 1853. is definitely a gallant spirit...in a word, HOUDIN is
the man who enlightens us on everything, on reli-
The question "Who is HOUDIN?" temporarily
gion, morality, politics. Indeed, is it not absolutely
erased the Oriental question that had up until
natural that the magician from Palais-Royal be as-
then been preoccupying. The crowd headed to-
sociated with the man of the Tuileries, that the
wards KROLL [The Kroll theater] on foot, or in
sorcerer who performs with his cards incredible
long rows of carriages and coaches, and all were
tricks of passe-passe also imagined the charter
afraid there would be no more tickets. N. BAHN,
trick, that the conjurer who makes everything dis-
describing the grand event, says that the "royal
appear has also conjured away democrats, and fi-
hall" was full.
nally, is it not reasonable to think that HOUDIN,
Finally, the moment arrived and the curtain rose. who transforms everything he touches, has also
The public saw a charming and elegant "Boudoir transformed the Republic into an Empire?
fantastique" [70] brightly lit, which only showed
to the avid crowd three tables upon which there was Who is this HOUDIN? Is he a conjurer? You
nothing to see. Then, an elegant gentleman in a theater owners, come to Berlin and ask your col-
black suit appeared, addressed the tense, curious league ENGEL and you will exclaim: "This devil,
crowd, in French, "Commenga sa seance" [70] we need him!" [72]
[Begin the performance] and the puzzle was un-
The author, probably very moved by the wel-
scrambled; M. HOUDIN revealed he is a player of
tricks, a conjurer, "Voila tout" [That is all], [71]
come he received from the German public,
wrote in his memoirs: ''...I could not have taken
However, when the first feat ended to a thunder a more brilliant leave of the public: for, proba-
of applause, everyone realized this conjurer was bly, I had never seen greater crowds run to my
not a mountebank but an artist in the highest
performances. Thus the reception I obtained
sense of the word, full of elegance and a perfection
that has never been reached and who does not
from the Berliners will ever remain one of my
take advantage of a foreign name to arouse curios- pleasantest reminiscenses."'
ity, but who fully deserves the title of conjurer. A sad event darkened this farewell tour: the
Trick after trick, the applause increased. All premature death, ten days after his birth, of his
over, people whispered, "This is not a man, this is son Henri Louis, [73] born in Saint-Gervais on
a magician, a spirit." We believe this, too, but as November 2, whose brief godmother and godfa-
he only consorts with angels [Pun: theatre man- ther were Louise Martin and Hamilton.

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 from that of Robert-Houdin. but
the ground floor floor of 164. which closely resembled the
Galerie de Valois, there was a Aerial Clock used on the master's
watchmaking namesake of the stage, a feat the brilliant clock-
conjurer. His name was Henri maker had surely applauded in his
youth. 164, Galerie de Valois was
Robert - 1795-1874 - and he is
truly a fateful address!
recorded as having a five-year
patent "for new watches with sec- 2.
ond hands, for practical and scien- Memoirs of Robert-Houdin, op.
tific observations, and new dials dt., p. 237.
applicable to these watches and to
clocks sold in stores." Later, his 3.
son. also named Henri, made a The chief of the 2nd office of the
name for himself by manufactur- Prefecture de Police, the bureau
ing Mysterious Clocks whose prin- illustration 533 - Henri Robert's handling theaters, was at this time a
ciple was completely different Mysterious Clock. certain M. Simonnet. He probably

383
ROBERT-HOUDIN

never played the role attributed to performances of M. Alexandre. who 6.

him by Robert-Houdin in his mem- lasted only ten days! Finally, in Benjamin Delessert. representa-
oirs. 1847. Comte organized joint perfor- th e of the French people, born in
mances of his troupe from the Pans on November 15. 181 7 . died
4. Jeunes Eleves and those of the con- in Passy on January 25. 1868. He
Feuilleton du Cagliostro. Revue jurer Philippe, whose daughter
was the son of Francois Marie
critique, historique. chronologique. Henriette Marie Yictoire. not yet 17.
was among the intermittent •board- Delessert. member of the Institute.
et artistique des Prestidigitateurs.
ers" at his theater. The failure of born in Lyon on April 2. 1780. died
Escamoteurs, et Continuateurs de-
puis lew origine jusqud nos jours. these three attempts at "magic" on October 15. 1868.
Manuscript of Robert-Houdin. 30 competition convinced the old di-
pages, circa 1845-1850. rector to lea\ e Soirees Fantastiques 7.
As noted by Robert-Houdin. in peace and to continue with the I knew nothing about the
Comte's moral qualities did not type of show that had created his pro\ enance of this book when I
prevent The king's Conjurer from success and the theater's reputa- made its "costly" acquisition dur-
competing unfairly through an in- tion: children's theater. ing an auction at the Hotel
termediary, with his newly estab- Drouot. Jacques Voignier traced its
lished colleague. As early as 5. origin and communicated his find-
December 18^5 M. Comte an- Marie Joseph Charles. Count de ings to me. In fact, the book was
nounced at the Theatre des Jeunes l'Escalopier. born in Liancourt previously part of the sale of
Ele\ es "One hour of magic" pre- on April. 1812. died in Liancourt Benjamin Delessert's library. The
sented by the conjurer Casimir on October 11. 1861. He be- description of this work in the
Belmas - Lassaigne's magic profes- queathed his magnificent collec- catalogue specifically lists the in-
sor - who proposed a Magic tion of books to the library of herent characteristics of this copy
Orange Tree (!). The Aerial Flight. the city of Amiens, which also such as the coat of arms, binding,
The Magic Chest. The Three Fates. holds his family archives. His etc.
Gribouille s Umbrella, and The Fish mother was Caroline Jeanne de
(!). In May 1846. the King's Bailly. who died in Paris on 8.
Conjurer engaged the Second Sight April 18. 1848. Abraham Gabriel Marguerite
Delessert. French politician. Police
Chief. Born in Paris on March 17.
i MU « • op.. *«-4
1786. died in Passy on January 29.
1858. He was the uncle, not the
l l 01. Itntviuu omnronl a « hl'IIWH * f 4 iujonrd lull SliriiClli.DlTili-.-, brother, of Benjamin Delessert. as
SPICIAl.l.l- !Ht\I.r.OI'_
Robert-Houdin wrote in his mem-

HABIT
BI
IM HEURE MAGI f, nrraHj.ro(- pur "Wii
"W.i.epeintre jeun
j
Paris, March 8. 1845
To His Excellency the Minister
of the Interior.
Your Excellency
I II usions, SorJili-jjc. tVcnmiancii. e l c . i-ic. |>;u M. BCLMAS. fe^
; Your Excellency honored me by

^?REllRi^iM'»rjocRisi
ii HOt • Itf R * C O 1 I ¥. \ ^ Em , pt,W'"l.KMimK«i!llMIF.MIi
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
l l e i n a i n . ( » " rep- I.*
4
HUM?. (i7meili<' ci> 4 ai-lc».. n i s K de r h w l Palais-Royal.
ilnifss,a«a«i«ul, (I" re(ncscii(atiou) CHEIMIIV B E FEK D E P A R I S '•'" Lime, However, he expresses the de-
Pitee a grand Hpecuclg en » wlw ti M lalilcim.
».ril.- i |lo.lil,,lH>iiIlU«M"i rue at |» ! • , ( , , , Bjii, ,,ilii, «" .1. • JLI LllM sire that from now on I inform him
of this type of decree in advance, in
' •»rr.,. rt r iw»ion ^ t»*r'l I ' l i l f F
order to allow him to ratify or mod-
ify it before notification to the rel-
Illustration 534 - Bill for M. Comte's Theatre des Jeunes-Eleves, Wednesday, December 3, evant parties.
1845. This bill advertises an hour of magic, illusions, spells, necromancy, etc. by M. I have the honor of informing
Belmas. (Archives nationalesj Your Excellency with respect that

384
 NoresTO Ac i III

this measure would result in plac- 10. Louise Marie, born the seventh of
ing in his hands a responsibility We wrote earlier that Paul Royer. July of the same year, was baptized,
that, until now. has been that of know n as Seraphin. was used to daughter of Eugene Robert, me-
the Police Chief. In a letter of epistolary denunciation and he did chanician, and Marguerite Francoise
principle dated September 28. Olympe. his v\ ife. Galerie de Valois,
e\ erything in his power to obtain
1837, your predecessor had in 156 Palais Royal.
fact decided that the authoriza- the exclusivity for his Ombres
Chinoises and prevent any show "The godfather Michel Louis
tions for establishments called Martin, the godmother Marguerite
Curiosities would continue, as in that may have been a possible com-
petitor. One of the means he used Louise Martin who have signed..."
the past, to be delivered by me.
If. on the other hand, I look over was to systematically bombard the The parish church of Saint-Roch
the project of law relative to the offices of the theater commission, in Paris. Extract from the Register of
regulation of theaters presented the prefect, or the Minister of the Baptismal Acts.
by the Government and already Interior with letters. Here are a few
adopted by the Chamber of Paris, examples: 14.
I note that article 12 is as follows: Paris. June 23.1845
On May 14. 1852. in a letter from We Peer of France. Chief of
The Police Chief of Paris Seraphin to the Minister of the
and in the Communes under Police. In view of the decree of the
Interior, the artist denounced M. Council of Messidor 12. year VIII
his jurisdiction, and the Mayor Godillot. who supposedly slandered (12 January. 1824). In view of our
in other communes, will pro- him in writing and verbally and was decree of January 11. 1845. which
vide the necessary authoriza- authorizes M. Robert-Houdin, me-
also said to work with four mem-
tions for the opening and run- chanician, to run in Paris, 164,
ning of Curiosity Shows. bers of the Madouf family previ-
ously placed at his theater specifi- Galerie de Valois at Palais-Royal, a
However, sir, this formula, posi- cally to spy on him. This •bad small curiosity show made up of an
tively attributed to the municipal exhibition of automata and me-
example" had. according to him. chanical pieces and performances
authorities, will become illusory if encouraged one Lessyen. helped b\
it cannot be freely performed, ex- of Physique amusante and phan-
one Loyal, to perform with "pup- tasmagoria.
cept for reporting to you. as I do. pets known as Guignol" on the
all authorizations that deserve In view of the report of the the-
Champs-El) sees. Seraphin asked ater commission who, according to
your attention. our instructions, visited this site
the minister to revoke the privileges
There are small shows that on June 11":
open every day. most of which of these two establishments.
Consider that is necessary to
are unimportant and of precari- In another letter to the minister, establish several precautions in
ous existence, to such an extent undated. Seraphin asked that one of this room for public security.
that it is not always easy to dis- his competitors be prevented from As follows:
tinguish between the Curiosity performing at individual homes.
Show and the traveling gypsy's Finally, on January 26. I860. Article 1
booth. From this point of view, Seraphin denounced M. Lamazou M. Robert-Houdin is authorized
sir, it would be difficult to judge to immediately open to the public
who. so he said, wanted to "com- the small room of 164. Galerie de
where your intervention should
cease and I believe that, in all pete with him such that he will be Valois at Palais-Royal.
cases, these establishments arc ruined." To a\oid this, he wrote: "It
will surely suffice to inform Your Article 2
too small to be the subject of spe-
Excellency of this for him to render This authorization is subject to
cific attention before being given the following conditions:
an authorization by the higher justice."
1. Moving the candles that are
administration.
11. placed at the back of the theater
Given these considerations. I more than 20 cm. away from the
think it likely that Your Excellency Memoirs of Robert-Houdin. op. canvas.
will confirm the decision of his pre- cit.. pp. 234-236. 2. Placing in the room destined
decessor as described above, con- for the preparations of M. Robert-
cerning the authorizations to be 12. Iloudin a reservoir of at least 250
delivered to managers of Curiosity The Secrets of Conjuring and liters of water with buckets and
Shows. Magic, p. 303- sponges.
Please accept, sir, my respectful 3. Covering the floors and the vis-
tribute. 13. ible pipes near the audience by set-
Peer of France, Police Chief "In the year eighteen hundred ting up acceptable ventilation tor the
G. Delessert and forty-fi\e. the thirty-first of July. evacuation of gas.

385
ROBFRT-HOUDIN

Article 3 of the conjurer Lacaze's booth,

A certified copy of the decree rapidly expanded in the Theatre
will be established for the Police des Jeunes Eleves de M. Comte.
Chief of the Palais-Royal district,
who will notify M. Robert Iloudin, The seven years in which
with the injunction to conform to Offenbach managed the theater
its stipulations and to supervise were incontestably the best and
them himself. most profitable. In 1862, M. Varney
Paris, June 23, 1845 succeeded Offenbach as manager.
Peer of France, Chief of Police The room was demolished and re-
Signed G. Delessert built on the site. Until 1868 the the-
The Year eighteen hundred and ater was only moderately successful
forty-five June twenty-eighth. and on September 30, 1869 Charles
We, Alexandre Vassal, Police Comte and Jules Noriac jointly man-
Chief of the city of Paris, assigned aged the theater, returning it to suc-
to the Palais-Royal district, notify cess. Jules Noriac having retired in
to M. Robert-Houdin, in speaking 1873, Charles Comte managed the
to him directly, the aforemen-
tioned decree and order him to family establishment alone until his
respect it in all points. We also retirement in 1879.
inform him that he must submit The following is a fact rare
the bills for his show to the pre- enough to deserve attention. Since
fect beforehand and engage two
municipal guards to maintain 1826, when M. Comte. the King's
order and carry out the required Conjurer, had his theater built, it
orders. has been handed down from gen-
We undersigned, eration to generation to his suc-
Police Chief cessive heirs, who own it to this
Vassal day. Les Bouffes-Parisiens still be-
longs to the Comte-Offenbach
15. CHARGES ET BUSTES family.
We find a poetic evocation of
the figures of Robert-Houdin and 18.
Comte in the work of Dr. Prosper
Viro, Charges et Busies de Dantan
DANTAN JEUNE Although we do not know how
much Robert-Houdin was paid for
Jeune, Paris, Librairie Nomelle. ESQUISSE BIOGBAPHIQUE his performances in town, we
1863. know that M. Comte earned five
A MliRY
16. hundred francs for his shows
billed as Seance Extraordinaire de
See Comte's biographical article
M. Comte, which were performed
in Appendix II, in the episode enti- LE DOCTEUR PROSPER VIRO.
at the homes of wealthy individu-
tled "'The Mystifiers Mystified,"
als. We can reasonably imagine
which depicts a scene between
that Robert-Houdin's prices were
Comte and Robert-Houdin.
not less than those of Comte and
17. therefore equivalent to the mini-
Comte's son Charles became ad- mum income of a performance of
ministrator of the theater of the Soirees Fantastiques.
King's Conjurer. In 1855 he made
an agreement with the brilliant PARIS,
LIBRAIRIE NOUVELLE,
19.
composer Offenbach and the the- Weak, unstable, or superstitious
ater was renamed Les Bouffes- minds could not help but see a
Parisiens. Charles Comte, a cle\er real sorcerer in Robert-Houdin! In
businessman, anci reportedh very the second volume of his memoirs,
Illustrations 535 and 536 - Frontispiece engrav-
handsome, became Offenbach's ing depicting Dantan and title page of
from pages 15 to 21. the author
son-in-law and the operetta, which the work of Dr. Prosper Viro, Charges et tells an anecdote in which a fe-
was created in Marigny on the site bustes de Dantan jeune. male visitor threatened him with a

386
 NOTES TO ACT III

dagger to force him to cast a spell went from his house and landed
on the lover who had left her! on various parts of the village or
During Robert-Houdin's retreat at fields.
The Priory, men and women, des- - Moreover, mine workers had
perate about turns of fate and hop- twice tried to blow up the mine to
ing that the artist's "powers" could dig a path in the rocky part of the
provide a remedy, often came for a property, and the next day, upon
"consultation" with the conjurer. their arrival, Robert-IIoudin blew
Although he had to refuse to re- up the rock at a distance, on com-
ceive them, his wife Olympe. who mand, when they had not man-
was very pious, always listened to aged to do so the day before in
them and commiserated with their spite of all their efforts. The use of
sufferings and never let them leave electricity was totally unknown to
without a reassuring word and the rural people and they did not
moral, spiritual, and often financial know the role of the electric spark
help. Those who could not come that had blown up the mine,
which had been carefully and se-
to Saint-Gervais wrote to Robert-
cretly reloaded with explosives in
Houdin for consultations by corre- their absence.
spondence, which he obviously
did not answer. In his Tablettes The reputation of being a sor-
journalieres. the author makes cerer had its disadvantages. - As
note of these surprising letters; soon as my father arrived in
Illustration 53"" - Eglantine Robert-Houdin.
here is an example from the year Saint-Gervais in 1849, the cholera
epidemic threatened the popula-
1861: Stories and legends tion. - Later, there were no more
Juno 11 — I received a letter from events like this, but those who
Sirs, please excuse this dry and
came from near or far to have a
a crazy person, Morin scientific enumeration, which
spell lifted were many. My father
from Cherbourg, asking shows you a Robert-IIoudin very
never received them, but these
me for a consultation different from the one imagined
poor people seemed so lost that
and sending me one by a great number of his fellow
my mother felt sorry for them. A
hundred francs. citizens. For most of the farmers
very good Christian, she thought
from the region where he lived, he
June 12 — I am going to Blois to it was her duty not to send them
was purely and simply a sorcerer.
take M. Morin's letter away without hope, and she
Therefore, many excessively naive
to the imperial prose- never let them leave without pa-
legends, to say the least, circu-
cutor, who will take tiently listening to the story of
lated the countryside. They irri-
care of the rendering of their troubles, which was always
tated my father when he heard
the one hundred francs very long, and giving them some
them, first because they were
to their rightful owner. advice and, if possible, consola-
hardly truthful, secondly because
tion. These unfortunate people
he knew from experience that all
Around 1920, Eglantine Robert- only wanted some hope, and
denial would have been useless.
Houdin, the master's daughter, they always left uplifted and
gave a lecture about her illustrious We must, however, grant the more courageous. - Several
farmers extenuating circum- times she had unexpected suc-
father in Blois before an exclu-
stances because their imagination cess. Men and women, whom she
si\ ely male public made up of of- was sorely tried when Robert-
ficers from the American military did not even remember, came to
IIoudin moved to Saint-Gervais. thank her years later. Their un-
base in Blois. Eglantine was then Preceded by his reputation of successful plans were working
married to Henri Lemaitre. tax col- being a sorcerer, what they wit- well now following their visit to
lector in Blois. This lecture, whose nessed was unlikely to change this her, and they professed their
text has been presen ed in the view. At the baptism of his son gratitude with fanatical gestures
family archives, is full of unknown [Paul] in 1851, he threw a large of adoration. - There was a nega-
anecdotes about Robert-Houdin's party and lit up the house and tive side to this success. She be-
life, told by a privileged witness. grounds with a brilliant light, the came well known due to the indi-
Here is what Eglantine Lemaitre likes of which had never been viduals who thought she had
Robert-Houdin said: seen before. Rays of light even lifted a spell, and therefore was

38-
ROBFRl-HOUDIN

sought after by members of their have reason to believe that this borrowed and marked coin that T\ as
circle. In 1870 the number of same automaton, or its duplicate, found in the middle of a ball of
these persons had quite increased which was part of the Charliat col- wool isolated in a glass jar held by
and The Priory was at risk of be- lection partially dispersed on a member of the audience.
coming a place of pilgrimage for December 19. 1966 at the Hotel
all those whom destiny had disap- Drouot. was sold to an unidentified 22.
pointed. person. This lovely piece was ac- Echo de Bruxelles, no. 146.
companied by other creations of Tuesday, May 26. 1846. page 2:
20.
Robert-Houdin. See Jacques
The Tyrolean Hunter, having Theatre Royal. We will very
Voignier and Robert Albo's Magic of
later changed its costume in order soon have M. Robert-Houdin's per-
France on page 16 of the French
to become more modern, was re- formances. He is a skillful conjurer
text.
named The French Guardsman. We who has no equal. M. Robert-
Houdin is a true enchanter, who
21. performs miracles that are visible
In the second edition of his to the naked eye. The execution of
memoirs. Robert-Houdin described his main tricks is entrusted to au-
A Drouot, te so/r; the effects of some of his experi- tomata, as if he disdained work he
considered too easy. On his com-
ments. The Sympathetic Turtledoves:
US AUTOMATES Two of these charming little ani-
mand, little men, birds, etc. per-
form feats that no living and think-
mals were placed on each side of ing being can do.
ei a en cSaims myiMrteux M dtfacunt 6ei
Tom HgtuU 9Q'll v« ' e TMHI* tux enehere*, tout an lot a* the stage: one was wrapped into a M. Houdin is far ahead of Bosco.
eeux-el, e« Mir <a pjwtlr ft* 11 heiites) k lixtttl Drouot, L TuU,
rtiit, poor l* piupart, d tuteaitti daunt a« littl" dernier L tra
(oe»hle»otit 1 omvr* dti maltie de la naflc et da myittre,
HoSsit HouOin l enn De
BB«SB t n p«Bdal myrtirietua donnas*
sheet of paper until it vanished Comte, and Philippe; it is the finest
lei henrei it rotont/-.
Panat let autree I un * auto-
completely, the other disappeared combination of mechanism and
mate fumeur » : una pendule
turroontee d un perso-mage ai
Hi qui a cheque heure, se met
before the audiences eyes, and conjuring together. When we think
• divurer un plat de pornme*
d« ten* qu'll tlent aur M*
Kenoux; uu « chataeur > qui
Dernier refuge then both were found together in a of the enthusiasm produced by
*jmiile ion fusil et lire au
tommande-.un (voir photo) ;
Una illation d'ou «>rt — tou-
its sertitn box that had been seen empty a Philippe in Brussels, we cannot
Joun au com ma a dement
pattuier purteur de bonbone
ou de tntcrerlet. qua vou* lul
un A rfpoque ot Sobert Uoutliu
rcpafAlt bon iiornbra tl 3Mto few instants before. even imagine what will happen
matas du liecie precedent Pt
avex demand** d'sutrea en
man. Tout tint non aeulemant an fabiiqualt egeiement heau
coup — on lui dolt ] invention
when M. Robert-IIoudin performs.
trea •musanto, mala pleini d una
cert sine forme de ittva.
— Lent* prfx, m a dlt le
de I automate • qul fume » ~~
!a XIX* *lec)K v t lea automatei
quitter le domsfne dee coDec-
" The Contraband Secret or The
eonuniaealn-priMur. Paul Paa- tlona particullferee et dei
ehetesu. devralent oicluei as
t o n da lf!( it IJSH r pltee I
champ* tic foire pour entrer.
dnm lea vitrines dee boutiqtiea
Journey of a Glass of Wine' is a Echo de Bruxelles. no. 154.
Mult pevt-on Mvvlr avee dei et dei mageilm Ce sont beau-
icaitt tsut d'ailleuo dea p!i-
coup d* eeux-'A que Ion vend
ca aolr A Drouot, trick in which a glass of wine in- Wednesday, June 3. 1846, page 3.
d'sllleun. on visibly passes from one side of the Xouielles des arts, des sciences, et
stage to the other." de la Htterature column:
The Safety Casket or The Light On Monday the first fantastic
and Hea\ > Chest was a little box performance of M. Robert-Houdin
that a child could easily pick up. took place at the Theatre du Pare.
but at the conjurer's command the The skillful conjurer obtained a
strongest man in the audience could complete, well-deserved success.
not lift it. The Ladies' Looking-Glass Page 4. Theatre du Pare.
was a trick that M. Comte. the Wednesday June 3, Robert-Houdin's
... 'wane'de bafa'ver^He*
Jacques Dam ot lantiqatre King s Conjurer, had named, and third soiree fantastique.
.jnnu du Tout FsrlK poneda
une dea plus betlei collection.
Ivies deutomatei II e» a
ithetii. pour lee re-
whose effect Robert-Houdin de-
— Mate, expllque t II Jf sun
scribed and explained in The Secrets Echo de Bruxelles. no. 155.
ttaqae fols pri* i mon proprp
en dei que Jen athete DM
Jan, Je l'ftppwtc che» mot of Conjuring and Magic. The Thursday June 4. 1846. page 2:
et 11 y test* u m jamals pren-
dre le chemln de uu bontlqne
Lfi automate! ancleni. re sont
' " "--iniate whifM do» wr«
Vanishing of a Child under a Cup Theatre du Pare. M. Robert-
(or The Disappearance of Robert- Houdin's Soirees Fantastiques (en-
Houdin's son) was the vanish of tire review of. page 4.) Page 4.
Robert-Houdin's son on a table Thursday the 41':
(through a procedure quite similar Fourth soiree fantastique of
to that of the sofa used a few Robert-Houdin. Sleight-of-hand
decades later by Sen ais Le Roy for tricks and conjuring previously
Asrah) followed by his reappear- unseen: interlude of second-sight
Illustration 538 - Press article describing by M. Robert-Houdin and his son:
ance in the theater. The Ball of chromatropic polyorama. comico-
the Charliat sale at the Hotel Drouot.
(Jacques Yoignier collectionJ
Wool was the disappearance of a rama.

388
 NOTES 10 Aci III

Echo de Bruxelles. no. 156. Echo de Bruxelles. no. 160. One of these days we will return to
Friday. June 5. 1846. page 4: Tuesday. June 9. I846. page 4: crown Auriol and Debureau.
Theatre du Pare. Friday. June Theatre du Pare. Tuesday June
9. 1846. Ninth Soiree fantastique of Page 4 :
5lh 1846. fifth soiree fantastique of
Robert-IIoudin. Tricks and conjur- M. Robert-Houdin. Sleight-of-hand Theatre du Pare, Thursday June
ing previously unseen: interlude of tricks, supernatural conjuring; sec- 11, 1846: - Closing of Soirees
second sight by M. Robert-Houdin ond-sight interlude by M. Robert- Fantastiques de M. Robert-Houdin.
and his son; chromatropic poly- Houdin and his son; entirely new Tricks, supernatural conjuring,
orama, comicorama. phantasmagoria. second-sight interlude by
M. Robert-Houdin and his son: en-
M. Robert-Houdin's performances Echo de Bruxelles. no. 161. tirely new phantasmagoria.
are good fortune for the Theatre du The announcement of the clos-
Wednesday. June 10. 1846. page 4:
Pare; we could not find a more bril- ing of M. Robert-Houdin's perfor-
liant way to remedy the season's Theatre du Pare. Wednesday
June 10. 1846. Tenth Soiree fan- mances, though causing great sor-
misfortune. row for admirers of this genre, will
tastique of M. Robert-IIoudin.
Tricks, supernatural conjuring, nonetheless be sure to have a pos-
Echo de Bruxelles. no. 157. second-sight interlude by M. itive influence on the show's ticket
Saturday. June 6. 1846, page 4: Robert-Houdin and his son; en- sales. The perfect and entirely de-
tirely new phantasmagoria. served reputation of M. Robert-
Theatre du Pare. Saturday June
Houdin is an irresistible incentive
6, 1846. 6"' Soiree Fantastique of
Echo de Bruxelles. no. 162. for all those who have not yet ap-
M. Robert-Houdin. Sleight-of-hand
Thursday. June 11. 1846. page 4: plauded the conjurer.
tricks, supernatural conjuring; sec-
ond sight interlude by M. Robert- Soiree fantastique of M. Robert- Echo de Bruxelles. no. 163.
Houdin and his son, entirely new Houdin Friday. June 12. 1846. page 4:
phantasmagoria. Everyone does not appreciate
the beauties of a tragedy, everyone Theatre du Pare. Friday. June
is not sensitive to the charms of 12, 1846. Soiree Fantastique of
Echo de Bruxelles. no. 158.
music; but everyone understands M. Robert-Houdin.
Sunday. June 7. 1846. page 4:
perfectly realized sleight-of-hand
Theatre du Pare. Sunday June tricks and everyone has fun. Both Echo de Bruxelles. no. 164.
7, 1846. seventh Soiree fantas- young and old children eagerly fol- Saturday. June 13. 1846, page 4:
tique of M. Robert-Houdin. Tricks; low the magic operations of a skill- Theatre du Pare. Saturday June
supernatural conjuring: second- ful conjurer. As for dexterity, 13, 1846. Soiree Fantastique of
sight interlude by M. Robert- M. Houdin surpasses all past and M. Robert-Houdin. Giving in to
Houdin and his son; entirely new present conjurers. Incredulous numerous demands, the adminis-
phantasmagoria. spectators who have no faith in tration has just asked M. Robert-
magic, pay close attention to try to Houdin for additional perfor-
Echo de Bruxelles. no. 159. understand the experimenter's se- mances.
Monday, June 8. 1846. page 4: crets — there is no hope. Look
closely and you will only see what Echo de Bruxelles. no. 165.
Theatre du Pare. Monday June he wants you to see. The second- Sunday. June 14. 1846: no. 166.
8, 1846. eighth Soiree fantastique sight experiment with M. Robert- Monday. June 15: no. 167. Tuesday,
of M. Robert-Houdin. Tricks, su- Houdin's son is the subject of vain June 16. the same announcement.
pernatural conjuring; second-sight curiosity. Some people believe in Page 4:
interlude by M. Robert-Houdin and second sight, others pretend that
his son: entirely new phantas- Theatre du Pare.
no matter what he says, M. Robert-
magoria. IIoudin is resorting to mesmerism Soiree Fantastique of M. Robert-
After having seen M. Robert- and could not possibly succeed Houdin. Giving in to numerous de-
IIoudin several times, we recog- without this mysterious help. mands, the administration has just
nize the impossibility of adequately Some believe in a sort of telegra- asked M. Robert-Houdin for addi-
praising his skill, dexterity, and phy by way of wires they cannot tional performances.
the working of his admirable au- see.
tomata. We can only repeat our- M. Robert-Houdin's ingenious Echo de Bruxelles. no. 169.
selves: go and see it. but the mechanisms perfectly complete Thursday. June 18. 1846. page 4:
rush of the public to see the the Soirees fantastiques, which is Theatre du Pare. Thursday June
show renders this invitation su- overflowing with crowds that con- 18, 1846, definitive closing, with
perfluous. tinue to attend despite the heat. no possible exceptions, of Soirees

389
ROBERT-HOUDIN

Fantastiques de M. Robert-Houdin. Magic, Sleight-of-Hand, Tricks, Experiments in White Magic,

Sleight-of-hand tricks; supernat- Complex Conjuring, Second Sight Sleight-of-Hand, Tricks, Complex
ural conjuring, interlude of second by Messrs. HOUDIN father and son. Conjuring, Second Sight by Messrs.
sight with M. Robert-Houdin and USUAL PRICES. HOUDIN father and son.
his son, entirely new phantasmago- The performance will begin at
ria. La Tribune de Liege, no. 164, 8 o'clock. Usual prices.
Monday July 13, 1846, page 3: The ticket window at the grand
23. theater will be open on Sunday
THEATRE DU GYMNASE. from 9 o'clock to 1 o'clock in the
See Memoirs of Robert-Houdin, M. Robert-Houdin's first soiree
chapter XV. afternoon and from 3 to 6 o'clock
fantastique. Experiments in White in the evening.
Magic, Sleight-of-Hand, Tricks,
24. Complex Conjuring, Second Sight La Tribune de Liege, no. 169.
Le Liberal liegeois. no. 164. by Messrs. IIOUDIN father and son.
USUAL PRICES. Saturday and Sunday 18"' and 19"'
Saturday and Sunday, July 11 and
July, page 3:
12, 1846;
La Tribune de Liege, no. 165, Theatre du Gymnase — Sunday
Theatre du Gymnase — The first and Monday the 19"1 and 20th of
Soiree Fantastique of M. Robert- Tuesday July 14, 1846, bottom
of page 3: July 1846, M. Robert-IIoudin's sec-
Houdin. Experiments in White Magic, ond and third soiree fantastique.
Sleight-of-hand, Tricks, Complex THEATRE DU GYMNASE. Experiments in White Magic,
Conjuring, SECOND SIGHT by father Thursday, July 16, 1846, first Sleight-of-Hand, Tricks, Complex
and son. performance by M. Robert-Houdin. Conjuring, Second Sight by Messrs.
USUAL PRICES. Experiments in White Magic, IIOUDIN father and son.
Sleight-of-IIand, Tricks, Complex
Conjuring, Second Sight by Messrs. The performance will begin at
Le Liberal liegeois, no. 166, 8 o'clock. Usual prices.
HOUDIN father and son. USUAL
Monday, July 14, 1846. page 3: PRICES. The ticket window at the grand
Theatre du Gymnase — theater will be open on Sunday
Thursday, July 16, 1846, first per- La Tribune de Liege, no. 166, from 9 o'clock to 1 o'clock in the
formance of M. Robert-Houdin. afternoon and from 3 to 6 o'clock
Wednesday, July 15, 1846, page 3: in the evening.
Experiments in White Magic, THEATRE DU GYMNASE.
Sleight-of-hand, Tricks, Complex Thursday, July 16, 1846, first
Conjuring, Second Sight by father La Tribune de Liege, no. 170,
performance by M. Robert-Houdin. Monday, July 20, page 3:
and son. 8 o'clock sharp. USUAL Experiments in White Magic,
PRICES. Sleight-of-Hand, Tricks, Complex Theatre du Gymnase - Today,
Conjuring, Second Sight by Messrs. Monday, July 20, 1846, M. Robert-
Le Liberal liegeois, no. 168, HOUDIN father and son' USUAL Houdin's third soiree fantastique.
Thursday. July 16. 1846: PRICES. New experiments in White Magic,
Slcight-of-Hand, Tricks, Complex
Theatre du Gymnase — Sunday Conjuring, Second Sight by Messrs.
and Monday 191" and 20"' July La Tribune de Liege, no. 167, IIOUDIN, father and son.
1846, second and third SOIREE Thursday. July 16, 1846: The performance will begin at
FANTASTIQUE of M. Robert THEATRE DU GYMNASE. 8 o'clock. Usual prices.
HOUDIN. Experiments in White Thursday July 16, 1846, first The ticket window at the grand
Magic, Sleight-of-hand, Tricks, performance by M. Robert-IIoudin. theater will be open on Sunday
Complex Conjuring, Second Sight Experiments in White Magic, from 9 o'clock to 1 o'clock in the
by father and son. 8 o'clock sharp. Sleight-of-IIand, Tricks, Complex afternoon and from 3 to 6 o'clock
USUAL PRICES. Conjuring, Second Sight by Messrs. in the evening.
The ticket office at the Grand HOUDIN father and son. The per-
Theatre will be open on Sunday formance will begin at 8 o'clock. La Tribune de Liege, no. 171,
from 9 o'clock to 1 o'clock in the USUAL PRICES. Tuesday, July 21. page 3:
afternoon and from 3 to 6 o'clock
in the evening. Theatre du Gymnase-Thursday
La Tribune de Liege, no. 168, July 23, 1846, M. Robert-Houdin's
Friday, July 17, 1846. bottom of page fourth soiree fantastique. New ex-
La Tribune de Liege, no. 163. 3: periments in White Magic, Sleight-
Saturday and Sunday II'1' and 12* THEATRE DU GYMNASE. of-Hand, Tricks, Complex Con-
July. 1846, page 2: Theatre du Gymnase — Sunday juring, Second Sight by Messrs.
THEATRE DU GYMNASE and Monday the 19'" and 20"' of HOUDIN father and son.
M. Robert-Houdin's first soiree July 1846, M. Robert-Houdin's sec- The performance will begin at
fantastique. Experiments in White ond and third soiree fantastique. 8 o'clock. Usual prices.

390
 NOTES TO ACT III

The ticket window at the grand mand of the public for the defini-
theater will be open on Sunday tive closing with no possible excep-
from 9 o'clock to 1 o'clock in the tions of his Soirees Fantastiques,
afternoon and from 3 to 6 o'clock M. Robert Houdin will perform his MfiMOIRES
in the evening. most extraordinary experiments.
The performance will begin at 8
La Tribune de Liege, no. 173, o'clock sharp. Usual prices.
Thursday. July 23, page 3: MAGNETISEUR
Theatre du Gymnase - Thursday, 25.
July 23, 1846, M. Robert-Houdin's Louis Courtois, Belgian conjurer CH. LfiFONTSINE
fourth soiree fantascique. New ex- da MM de Ha&Utiitr, du Kclairciisimentt mr le tf

periments in White Magic, Sleight-of- known as Courtois or Papa des Cures magndllqati A Geneve,
Uirecltur et r&Ueleur do Journal It Xngndttieur.

Hand, Tricks, Complex Conjuring, Courtois. born in Wacomunster on

Second Sight by Messrs. HOUDIN fa- October 28, 1785. died in Paris in DE L'EXMEii PllliffiOLOCIQO BE L'AfflR
ther and son. USUAL PRICES. 1866.
The performance will begin at 8
o'clock. Usual prices. 26.
The ticket window at the grand This letter was reproduced in
theater will be open on Sunday the work by Michel Seldow, op. cit.
from 9 o'clock to 1 o'clock in the This form of advertising, consisting
afternoon and from 3 to 6 o'clock of exhibiting in the windows of PARIS
QEBMER-IJAJLLI^RE, I.IBUAIRK-1&DITSUR
in the evening. fashionable shops small plaster 17. RttS DC r/EMLE-PE-HlfUECr.Se

statues depicting artists, was rela- GENEVE

CHKZ 1,'AUTRUH, RUB DU HONT-nf-ANU. 0
La Tribune de Liege, no. 175, tively inexpensive and widely used
Ih
Saturday and Sunday. July 25 and in the nineteenth century. Only a 1866

26th, page 3: few of these small statues of vari-

Theatre du Gymnase - Sunday ous artists, composers, actors, and
and Monday 27"' and 28th July, singers have survived.
1846, for the closing of M. Robert-
Iloudin's soirees fantastiques. New 27.
experiments in White Magic,
More information on the Didier
Sleight-of-Hand, Tricks, Complex
Conjuring, Second Sight by Messrs, brothers can be found in Henri
Delage's work Le Sommeil Magne- MtiMOIRES
HOUDIN father and son.
The performance will begin at tique explique par le Somnambule
8 o'clock. Usual prices. Alexis en etat de lucidite. Paris,
The ticket window at the grand E. Dentu. 1856, and in that of MAGNETISEUR
theater will be open on Sunday Ch. Lafontaine. Memoires d'un Ma-
from 9 o'clock to 1 o'clock in the gnetiseur. two volumes, Paris, CH. LflFONTAINE
afternoon and from 3 to 6 o'clock Germer-Baillere. 1866. A»lwr delMrt de HagMtiier, dss Kclairciasemtnfs sur le Xagn/ttit
des Cunt magntltqttei A Geneve,
in the evening. direcleur et rfcheteor du jcariul le SCignilUtvr,

28.
M. Andre Keime Robert-Houdin DE VtUMH PIIIIESOLOGIOCB IIE L'AlfflillH
La Tribune de Liege, no. 178, r-.ii' Ic Doclenr c.*fc«i,f.-
Wednesday, July 29. 1846, page 3: confided to me that as a young man
Theatre du Gymnase - Thursday he met a certain M. Marcillet who
31" [Error in the date] at the de- was from the same generation as his
mand of the public for the defini- father. General Keime. He asked
tive closing with no possible excep-him if he was a relative of the mes-
tions of his Soirees Fantastiques, merist. The answer was yes — he PARIS
M. Robert Houdin will perform his was his grandfather or great-grand- EE, JJIBUAIRK-&I>ITEUR

most extraordinary experiments. father - and in response to his ques- GENtVE

The performance will begin at tion about the true powers of his an- CHBZ 1,'AUTKUH, HUB DU HONT-BI.ANC. 0

8 o'clock sharp. Usual prices. cestor he answered that he had •1866

never had any sort of powers as a

La Tribune de Liege, no. 179, mesmerist - which is hardly surpris-
Thursday, July 30, 1846. page 3: ing - and that he only succeeded Illustrations 539 and 540 - Title pages of
Theatre du Gymnase — thanks to his "skill"...which was Volumes I and II of Memoires d'un
Thursday, July 30, 1846, at the de- never doubted by Robert-Houdin! magnetiseur by Charles Lafontaine.

391
ROBFR r-HOUDIN

29. The chapter of this work con-

The reader will better under- secrated to Andre Voism confirms
stand the reaction, or more pre- that, as a wise historian, Jean
cisely, the absence of reaction of Chavigny was right to urge his
Robert-Houdin with respect to friend Robelly to be cautious be-
these publications once he compre- cause the ambiguity of the arti-
hends that M. de Mirville was one cles he published caused some
of the conjurer's long-standing ac- compilers looking for sensation
quaintances. The conjurer's daily jour- to fall into this trap and to assert,
nals confirm their ties because as a fait accompli, without the
Robert-Houdin sent him each of his slightest proof, what the director
books and invited him se\ eral of L'Escamoteur had only "in-
times to The Prior) in Saint- ferred."
Gervais. Here are two quotes as ex- The dates of the opening of
amples: Andre Voisins store and the erro-
September 8, 1860 — At 2 o'clock, neous assumptions as to his so-
visit of M. de Mirville and the called business relationship with
Buisseray family. Robert-Houdin, published in Magic
January 18, 1861 — I wrote to De of France, op. cit. by Jacques
Mirville and sent him the 2"'1 edi- Yoignier and Robert Albo and in
tion of my work. Hjalmar's article on page 29 of no.
105 of the magazine Magicus. are
30. completely false.
See Robert-Houdin's Tablettes On Andre Voisin, see also Act
journalieres of June 28. 1868. IV, chapters "Robert-Houdin and
Illustration 541 - Alfred de Caston.
Magic Amateurs'' and ''1863-1864:
31. C\e\ erman."
Theodore Francois Sainti, born stood the modus operandi used
in Paris on February 25. 1799, died Much of the new information in
by the couple. Alfred de Caston the chapter on Andre Voisin of this
in Paris on March 31. I860. concludes: biography has just been mista-
32. But upon his return to Paris, kenly published in Robert Albo's
Alfred de Caston, who tells of our traveler hurried to relate work History and Mystery of Magic
the existence of this circle in his work what he had seen to his friends with credit to Jacques Voignier. It
Les Yendeurs de bonne aventure, of the Philomagique society and seems that a "computer error" de-
also discusses the Philomagique this is how, two months later [!], prived me - temporarily - of the
show that v\e refer to here, but M. Robert-Houdin announced to credit for discoveries on which I
clearly implies that it never Parisians his first performance spent months of painstaking re-
opened. Alfred de Caston narrates of his anti-mesmeric second search in order to finally extin-
an anecdote that, according to sight. guish legends and falsehoods that
him, is supposedly the source of have lasted for more than a cen-
Robert-Houdin's Second Sight. An 33. tury.
eminent member of the Cercle In a letter dated December 2,
Philomagique allegedly attended 1968. addressed to Robelly by 34.
an experiment in "telepathy" in a Jean Chavigny, Robert-Houdin's
Le Charivari, no. 77, March 17,
barber shop in Tolede. The bar- biographer from Blois, he ami-
ber's spouse was on the second 1848.
ably reproached his friend for
floor, which was completely iso- having doubts concerning the il-
lated from the ground floor of the lustrious artist's relationship with 35.
shop and her husband, thanks to Andre Voisin, and he concluded Le Charivari, no. 82, March 22,
an agreed-upon verbal code, com- the paragraph in these terms: "For 1848.
municated information on the Andre Voisin, do you not think
clients and admirers who came to that one should be cautious? Did 36.
watch this surprising feat. The he not manufacture pieces based Charles Dominique Devillers
conjuring enthusiast, after se\ eral ne\ er saw Robert-Houdin again.
on those of Robert-Houdin and
visits to the barber, finally under-
not for Robert-Houdin?" He died in Paris on June 12. 1849.

392
 NOTES TO ACT III

the walls of the St. James's Theatre.

ROBERT HOXJDIN.—ST. JAMES'S THEATRE.—This celebrated pro- Robert-IIoudin has long been an ob-
fessor of blanc magic, whose extraordinary and marvellous represents. ject of awe and wonder even to the
Irons have, for the last four years attracted all Paris to the Galerie des sceptical gamins of Paris, for his
Valois in the Palais Royal, is annouaced to appear at the St. James's
Theatre, on Tuesday evening next. The great success and renown proficiency in prestidigitation,
which this gentleman's performances have attained to, have given riBeto transmutation, escamotage, second
hort-s of imitators, who base their pretensions to success on being a . sight, mesmerism, and every other
to copy more or less closely the inventions of his genius. Mr. Houdin. species of diablerie in and out of the
is as eminent as a mechanician as he is adroit and skilful as an black art, and now promises fair to
mateur. We predict for him a great success. /*# transport us sober Londoners back
to the Middle Ages, when a firm be-
Illustration 5*i2 — {Harry Ransom Humanities Research Center. University of Texas. Austin) lief in the connection between
magic and the arts and practices of
37. - the first part being tricks of sleight-
The first London address of of-hand, the second part mechanical
tricks, and the third part exhibiting
Robert-Houdin in 1848 was 30, the marvels of second sight and of ST. JAMES'S THEATRE,
KING STREET. ST JAMDSS
Blury Street, Saint-James. His sec- aerial suspension. The eldest son of The surprising »nd Interesting Performances ot
ond address in 1849 after his re-
turn from his tour of the English
Robert-Houdin exhibits the wonders
of second sight. He is placed by his fa-
ROBERT-HOUDIN
Continuing to excite the most enthtis.utie Admiration and Astonlihinent.
provinces was at no. 35 on the ther in a state of mesmeric trance, HIS EXTRAORDINARY

same street. and then by second sight describes SOIHEES

the various objects, which different FANTASTIQUES,
38. persons put into a closely locked box. AUTOMATES, PRESIIDIGITA.TION. «• MAGIE,

I have reprinted here all the The ethereal suspension is still more AS VBM BT. JMIES'B THMTBB,

English reviews (that I have found) wonderful. The younger son of T U E S D A Y , " T I I U B S I D AY
of Robert-Houdin's first perfor- Robert-Houdin is the exhibitor of this SATURDAY EVENINGS, r i> 111u_ i£ Ktltput Eigbi odoci.

mances at the Saint James"s Theater. wonderful phenomenon. The child is

Between Harry Houdini - who had supported in a resting position, his I N V E N T E D BY M R O B E R T - H O U D I N ,
head resting on his hand, and his And exhibited by tiini in Para with the roo« unpiecedentcd Suwcs
them in his archives, but who delib-
elbow supported on the end of a prop
erately obscured them in his writ- somewhat resembling a walking stick
ings - and magic literature in which and placed upright on the ground.
they have strangely remained un- The father causes the child to inhale
published, the reader wishing to un- a few sniffs of ether; the child be-
derstand Robert-Houdin's true im- comes apparently insensible; all sup-
pact on his contemporaries v\ ould ports are removed from his legs and
otherwise have difficulty developing body, and the child remains resting
an opinion consistent with the his- only by his elbows on a walking stick,
torical, professional, and artistic re- suspended in mid-air in a reclining
position, literally lying on nothing,
ality of the time. I hope the follow-
and remains thus until the curtain DliTACHEi) SC£N£S
ing accounts will make this possible: SECONDE VUE;
falls. This is certainly the most extra-
ordinary illusion - if it be an illusion; ESCAMOTAGE EXTRAORDINAIRE,
The reign of Philippe among DE ROBtRT HOUDIN F.li

French magicians has ceased almost if not an illusion, then it is the most SUSPENSION ETHEREENNE.
simultaneously with that of Louis extraordinary tour deforce ever per-
Philippe among French politicians - formed. Verily, Robert-Houdin is the
chief of all the magicians. The house
and what Lamartinc is to political
was well attended, and the applause
France, Robert-IIoudin is to magical
was enthusiastic.
France. He is the very chief of sor-
cerers, in comparison with whom Sun, May 3.
Dobler is a bungler, and even Philippe
YtSVAtS BOXES, ^ f f i E f f f t i ^ f S . i N D T1C1 ' eW
must hide his diminished head. He Robert-Houdin, the famed magi- XtB MJrCEXCIB KOVA1, ZIBXAal, 93, DID BOUD OTSJ7»T ^
;
*• " • ' . : ; ' „ . ' • ' . " . . ' , • • ' . • ' . • ; . • ; . , . . • , • : . • ••

commenced a short series of Soirees cian of the Palais-Royal, has for a

Fantastiques at this theatre last while moved the sphere of necro-
evening, and for upwards of three mantic influences from the banks of
hours kept a delighted and aston- the Seine to the shores of the Illustration 543 - Bill for Robert-Houdin at
ished audience on the qui vive. The Thames, and last night drew his the Saint James's Theater. From Magic.
entertainment consists of three parts magic circle for the first time within Ma\ 1901.

393
ROBERT -HOLTHN

FRENCH P14YS, LAST NIGHT BUT ONE FINAL ARRANGEMENTS

OF THE SEASON.
ST. JAMES'S THEATRE. KING STREET. THE ATTRACTIVE ENTERTAINMENTS

FOSrTIVELY
KONS*
THE LAST WEEK Ktgt*tevr du ThtatT ROBERT-HOUDIN.
OF THE SEASON.
AND LAST AIM'EARA.SCES OF
Moms' LEVASSOR, HIS BENEFIT THE EXTRAORDINARY
M. A L C I D E TOTJSEZ, SEANCES FANTASTIQUES
M, LtTGWET, M. TiHKRmER, Oil UEDjrESDAY NEXT. AUGUST 2BI7,
Wad>i« SCRIV4KE0K,
M0NSB HOUDIN
XCSI ^KAVOIDiBLY T£Sltl.tATB AT THE EHI> OP HKXT W Q ]

Mad"' DDRAND, & Mad° LEMENII.. TWO ENTIRELY NEW PIECES

ON MOHDAV EVBNINO, J u « 81ST, 1848,
KB ROMAN DE LA PENSION, THCttSDAT EVZNXNO, „ 3,

Henxiette et Chariot LB UON ET I.E BAT,

EVENINO, ,, 6,

WKDJOC8DAY MOUWINO, „ 3,
« h, ( • « " <n»««* • MOKS* AfeoiDB TOWSBH
MOKS« AI.O1DE 90VBXZ
n t , , ^ fofl "re «ftsr r/yp rsi! eiiso.v.
i s THE FAVOBTTE VAL'BE«LLE 0 ?

LA SOEBR DE JOCRISSE; SIX REPRESENTATIONS,

BR
VES¥|IS1 M. VIVIEB
MONDAY,
8AT1THSAY
TOES DAY,
UVEMIWOB,
THURSDAY,

Auautti* 7, 8, i o , * z a ,
l* D « d. ow««". oeuwi wifHUlm WOKS" 1UOO7BT * *( b« FAVOBrrE 90LO3« lit £nMb « « * i i * b i kmSJ BUOJ^C
NEW FFFLCTS OP HABMO>fV. TWO KEOSNINO I'JCIU'ORHANOKS,
WITH OTHER ENT EfiT A! N M E N T S . WEDKEHDAV UORSIHO, A U O U B T O,

POSITIVELY miDAY MOEMINQ, AXJ»IT(iT 2 2,

THE LAST NIGHT BY A ORAN0

M0N8" LEVASSOIl OF THE SEASON, Farewell Horning Performance,
aomta o
HtlDAV JfBXT, AUGUST i. On Monday, August I4tk.
IW. ALCIDE TOUSBZ
THE CONCLUDING STANCES

LE LAIT D'ANESSE THE tAST NIQHT OF THE SEASON, ALL TUB MOST SUCCESSFUL EXPERIMENTS,

FRIDAY NEXT, AUGUST 4, THE SAFETY CASKET, THE CABALISTIC CLOCK,

Smmtoll
THE INEXHAUSTIBLE DOTTLE,
* 0 * TBM UkfX TTWa,
SECONDE VUE, **» " INVtStSILET^"
THBSB FOFULAfi CIIARACTE11S
jJj.pW.lio. ESOAMOTAGE EXTflAORDINAIBE,

ADMISSION BY THR NK.HT tUTi<WAl. ANTHE

C *. ABt;M&Mt» i or CtaOur *»»•>. **• MB*
si I A . t V«i. ma lit f r f n ™ c——« * B<#**tS'
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 con- dovecote of eooing turtles, which he causing rings, watches, poultry, and
sidered an indispensable article of passed from one place to another cards to fly to all parts of the house,
an Englishman's creed. His first feat with as much ease as if they had without any apparent mortal agency
was extremely neat, drawing from a been passed through the electric are, however, the least wonderful
hat casually handed to him some telegraph. The self-motive powers of parts of M. Houdin's performances,
dozen of elegant fans, which he gal- two very cleverly constructed au- for after the company were treated
lantly distributed among the ladies tomats excited general wonder; al- to seance de clairvoyance, the ma-
around him, and immediately after though scarce six inches in length gician causing his son to read and
converting it into an arsenal, by they performed feats which we declare objects at any distance,
rolling out of it as many good-sized should almost have thought would with his eyes securely blindfolded,
cannon balls as would do good suit have required a ton weight of ma- finished by clapping him into a large
and service to the Danes against chinery — such as dancing, smok- box, placed on a table, and "pass-
their invaders. From a flattened and ing, whistling, and breaking out of ing" him to the other side of the
seemingly empty portfolio. M. prison. The wonderful orange-tree, stage. The performance concluded
Houdin next presented an elegant which blossoms and bears fruit in with the display of what may be
bonnet of the most fashionable cut, about half a minute, is also an ex- termed a suspension of the laws of
a perfect garden of bouquets, a traordinary object. The feats of gravitation, by the aid, according to

394
 NOTES TO ACT III

The celebrated Robert-IIoudin

FINAL ARRANGEMENTS X T OIBItTa FAREWELL.—This Day.—St.
(of the Palais-Royal) commenced • T L James's Theatre —ROBERT HOtjnIN wUl giro life L18T
SBiNOH PANTASTIQUi, THIS S10RNJNG (Monday) Augu'tM.
THE ATTRACTIVE ENTERTAINMENTS his extraordinary illustrations on commondne (it lialf ]xwt 2, beln^ positively his last appeitanoo In
London. Tne programme will Include several noveltl&s in addition t>
<heen Kith ir.:h unprectdcnted Swans Tuesday, the 2"'1 instant, and the 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. /&&£>
whole of his performance were
ROBERT-HOUDIX. completely successful. As may be
Mr. BOTOKILL iwititfuny uueaoo** Uul, gn(ar (a PioriBMaJ imagined, the theatre was densely Illustration 546 - (Harry Ransom Humanities
Research Center. University of Texas. Austin)
THE EXTRAORDINARY
crowded on this occasion — a trib-
SEANCES FANTASTIQUES ute well earned by the proprietor's
MONSH HOUDIN anterior popularity. The miraculous Mr. Robert-Houdin, the cele-
MUST CfJATOfDABLY TEBHItfATE AT THE END OF SEST WEES
production of pigeons and gold fish, brated "prestidigitateur," has been
IK ram wtxownta omiurai tricks by sleight-of-hand, and intri- engaged. To this gentleman most of
TUKSDAT EVENING, AVOWS? 1,
THUHSDAY EfVENTNCr, ,, 3,
cate pieces of machinery, form the the professors of legerdemain are
SATmtDAY EVENING „ S, substance of exhibition. The inex- indebted for the several seeming
WXDKXfiDAY MORNING, „ 3, haustible bottle, which contained wonders they exhibit. lie is the rec-
£)urtng the ensuing Week I anything and everything in the way ognized inventor of some of the
of spirits and liqueurs, which was most inexplicable tricks ever yet at-
handed in glasses to the spectators, tempted. The fish trick, the inex-
SIX REPRESENTATIONS,
and the gifts presented from an haustible bottle, the multiplication
MONDAY, IUIBOAT, THDR8DAY,
empty hat and flat portfolio, had of flowers, toys, etc. are amongst
SATURDAY E V E N I N Q S , the results of his ingenuity. His
AUOT7BT 7, 8, 1O, * 12 j the effect of exciting intense sur-
prise. The feats of "second sight' style of manipulations is peculiarly
TWO MOKNINOt PEBFORHANOES,
were astonishing; but the greatest neat and finished, and his mode of
WEDNESDAY B O K H I K O , AT7OSST 0,
novelties were those of suspending cheating the senses are especially
FRIDAY mORNINO, AUOtfRT II, felicitous. The marvels of the "sec-
his child in the air, poised on an up-
BY A GRAND right stick; and placing a large hol- ond sight" are also gone through by
Farewell Morning Performance, low cylinder over his son (a youth) his son. whose "guesses" would as-
On Monday, August 141*.
and making him appear instantly tound the veriest Yankee, and the
suspension in the air is also ad-
on the opposite side of the stage.
THE C0KCLUD1NQ STANCES mirably effected. The most surpris-
This was the crowning endeavour of
4LI. T i l l MOST SUCCESSFUL EXFEIUMENTS. ing tour of the performance is the
this true magician, whose easiness
placing of an extinguisher over his
THE SAFETY CASKET, ™ E CABALISTIC CLOCK, of address, ready manner of speak-
THE INEXHAUSTIBLE BOTTLE, son's head, and commanding him to
SECONDS VUE, »«• " IMVISIBILETE,"
ing, and absence of all apparent ef- appear at different parts of the
ESCAMOTAQE EXTRAORDINAIRE. fort, are not among the least ad- stage. This was perfectly astound-
6 . aOBEBTHOODIN, P n *
mirable of his gifts. ing, and very naturally set all the
PRIVATE KOXES, ORCHESTRA STALLS, AH» TICKETS,
brains in the theatre industriously
Lady's Newspaper.

M. Houdin's explanation, of the ad-

ministration of ether to his
ST. JAMES'S THEATRE.
Robert-Houdin.
youngest son. the speeific gravity of rTIHE'extraordinary SOIREES FANTASTIQUES Riven by ROBERT HOUDIN,
the latter is rendered so nearly I continuing to be witnessed with Increased astonishment and gratification;
they wiU be REPEATED every TUESDAY, THURSDAY, and SATURDAY
equal to that of air that he floats EVENING. Doors open at Eight o'clock.—In consequence of the demand for
suspended without any terrestrial places, a DA.Y PERFORMANCE will be given on WEDNESDAY MORNING
NEXT, July 5. —Doors Open at Two o'clock.
support save that of a thin staff, on Boxes, 4«.; Pit, 2s—A few reserved Stalls and Pri<rate Boxes may be secured at
which, however, he merely rests his Mitchell's Royal Library, 33, Old Bond-street; and at the box-office.
elbow. M. Houdin performs all his
tricks with wonderful dexterity and / / • /ty o ST. JAMES'S THEATRE.
precision, and. if we may judge from 6>./S*% Last Week but One of Robert-Houdin.
IE remaining SEANCES FANTASTIUUES, on MONDAY, TUESDAY,
his first performance, well deserves THURSDAY, and SATURDAY EVENINGS, commencing at half-past
the renown he possesses. He was eht o'Clock. And a DAY PERFORMANCB on WEDNESDAY and FRIDAY
MORNING NEXT, August 9th ard 11th, commencing at half-past Two o'clock.
warmly applauded throughout, and The Programme will include THE SAFETY C.\SKBT, LA BOUTKILLE INBPtTt-
at the fall of the curtain was com- SABLE; or, THE INEXHAUSTIBLE BOTTLE, and SUSPENSIONETHEREENE,
presented before the Queen and Royal Family.
pelled to re-appear by a crowded Private Boxes, Stalls, and tickets, may be secured at Mitchell's Royal Library, 33,
house. Old Bond-street; and at the box-office.
Morning Adviser, May 3.
1848. Illustrations 5^t" and 548 — (Harry Ransom Humanities Research Center. University of Texas, Austin)

395
ROBERT-HODDIN

to work to discover the means by bottle" from which, after having

which it is managed. Robert- emptied it. M. Houdin produced
Houdin succeeds perfectly in mak- every description of liqueur asked
ing the eyes the fools of the other for by a large number of the com-
senses.. pany present. Altogether the per-
Morning Post, May 4, 1848. formance may be pronounced to be
perfect. The theatre was well filled
T> OBERI^IOUPIN.—ST. JAMES'S
Robert-Houdin. the celebrated by a fashionable audience, and we
professor of the magic art. com- cannot doubt that Robert-Houdin's
menced here his series of Soirees Soirees Fantastiques will be ex-
*N EASTKU MONDAY, at the
T U M r O M t . U i . Mr MIOM\s* MILIEU, Author, will .IP- tremely popular.
Fantastiques on Tuesday, and from tlw 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
the success which attended his v) lit of (he I rise t «v lu v (! I itct of i t * >irit l^etwra •— Court Journal.
first night, we should say he is
likely to continue his entertain- The most wonderful of all the
ment every Tuesday. Thursday, conjurors now occupies the off-
and Saturday for many weeks to nights of the French Plays. M.
Illustration 549 - (Harry Ransom Humanities
come. Although Herr Dobler and Research Center. University of Texas. Austin)
Robert-Houdin is the great original,
M. Philippe have gone before whereof, for the most part, we have
Robert-Houdin, still this takes hitherto seen but feeble copies; and
those times. He gave the first or his
nothing from the merit of Robert- his sleight-of-hand, his vivacity of
Soirees Fantastiques at the St.
Houdin. as he. nearly in every ex- address, and his untiring accompani-
James's Theatre on Tuesday
ploit, goes beyond them. He claims ments of easy talk pleasantly occu-
evening, and it was the very perfec-
applause, too. from being the in- pying the attention of the audience
tion of illusion. His programme
ventor of all his experiments, all of while he fools them most egre-
comprised a great number of exper-
which are performed with an ease giously. are marvellous indeed. We
iments, from which he selected
and audacity which are truly sur- have seen no "prestidigitation" to
some ten or a dozen, he exhibited a
prising. Perhaps his most marvel- compare with this. There is a care-
scientific skill, a grace, and an easy
lous essays are the Portfolio, from less elegance about it which com-
charm far transcending even that
w hich he produces everything from pletes its charm. M. Houdin has also
which we had previously regarded
a lady's bonnet to a cage of ca- two sons whom he has, no doubt by
as perfection in Dobler. It is impos-
naries; and the act of placing his the same supernatural compact in
sible to give an idea of the extraor-
son on an uncovered table, there which he is himself bound, enslaved
dinary complications of his perfor-
extinguishing him, and the next to the art diabolic.
mances, which, to be beyond those
moment causing him to appear at a afforded by Herr Dobler, is the ''es- Examiner. May 7 . 1848.
side door. This last feat does away camotage" of his son, who exhibits M. Robert-Houdin is now the at-
altogether with the old-fashioned a proficiency in second sight which traction here. It would be a poor
notion of seeing is believing. The will certainly bring a large assem- compliment to call so clever a
Cabalistic Clock, which strikes blage of Highlander to his Clair- Frenchman a king of conjurors -
any given hour, and the Little voyance Society. There is, besides, sure we are that many a king, our
Automaton who plays the flageolet, what is called a "suspension own James the Peaceful among the
smokes his pipe, opens his prison e'there'ene'' - young Robert-Houdin number, would have burnt him for a
door, suffers decapitation, and then suspended in equilibrium, by. as
regains his head, are the most per- the bill tells us. "'atmospheric air.
fect pieces of mechanism we ever through the action of concentrated inBntuUM
witnessed. The evening concludes ether." We know not how this may Arbuii, Ctoffl,
WitUoct'ittoiii,
Crwaiur, fa
with the suspension of Robert- be, but the exhibition is a most re- Godfrey. n..«ri,Ji.
Prlacb. Humon J . m , Yin lkdln^tiam.
Houdin's son on a single stick, markable one. You see the boy ab- 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 ...., ,
through the action of concentrated solutely lying on thin air, supported Mliiuskl; Mr Godfrey, Bum! nnitor of tlu Cold.treonl (JtutnU.
ond tlui wholu of the Uanil Hr CiiUint, Btutd-nuutar of 111* Koyei
ether. by nothing but a walking stick, on Artillery, uLd the whole of the Uand._H JABBBTT, PeereuiT, SOL
Hogeul-alrwt
which his right arm rests. Amongst •ROBERT-IIOUDIN.—ST. JAltKS'S
Satirist. May 6, 1848. the most striking and puzzling X l < THSATliE -MONDAY NEXT, - nd iluiim, l l i X u s ' l E K
W*.EK, tliu colebrMod rreelidldWteur, ItOBERTllOllDieW K».tra-
ordluiiry SEANLES PANTA.V1 itjUKS. Every Evening, at HfOf.rat.it
things of the evening's perfor- Eight. »u.l . DAY 1 Mtrim>IA\CE on Wndiieadiy inil SatuiUy
Honiiiigft, Half past Two. Iituwe may be eecund fit UITCIIBLL 8
Robert-Houdin is, beyond all mances were the ''wonderful or- Ubtui; UJ Uoud-itneti aud atths lloi-offlM
doubt, the very prince of necro- ange-tree," "the cabalistic clock,"
mancers. It is fortunate for him ''Robert-IIoudin's portfolio.'1 ''the
that he did not live a century or two fans and cannon-balls" produced
ago. He would assuredly have been from a hat, and the "inexhaustible Illustration 550 - (Hairy Ransom Humanities
put to death, had he failed upon Research Center. L'niuersity of Texas. AustinJ

396
 NOTES TO ACT III

wizard - but he certainly is unsur-

passed. He will fold you a turtledove
AFIW. 2,1353.]
in paper, crush the creature in the
palms of his hand to the dimension AMUSEMENTS, £e*
of a wren — to nothing — and, lo! It T>OYAt. PRINCESS' THEATRE.—Monftay,
re-appears in a box previously M K. JOHN
JOHNaf I'MOU
LIM1 H V \
S rOETbOLIO
PORTFOLIO for
-U A t-S 'if J \ , i ^ r r y li e > v u
Cu|>M; or. lk-» hj * Putt nc Thurt-Uf, Th« CornlMiIl Brother*, «u4
11M now drama of M*n» S^iJ* orary «vFDlnf.
empty! M. Houdin's son is extin-
~ ....... . . . - . . . _ . . ' i r i l l ' l l L l f .1 • / . i i n I'n lit I 'I
-IKIHAIXM

I, 4iU
"JTt It MGH VIAYS.-ST. JAMES'S
guished in a huge cylinder, as he yn-nrii Ittiy* w>!! ' - r ^ u m & l on MONDAY KKXT, AVHH< W I , »>y
t l w ^ . W ^ n - n U f^f Mltl- 1 - A ^ . nf thn TWA«ro ites Y M K M , JtirU,
stands on a four-legged table, with x n d M JuiUii «rf t l u r rflimiu ViuJeviHi), A nd Mate Lobr>-<* KM

no perceptible outlet; the necro-

ST. JAMKS'S THE.YTftE. — Diuing
KAS'lfcK Wl-IKK. UW &-l-l r .i|ol Vrr.ili<iit!'t--<CI1'\ KOBFlT-
tlie
w is i.
llrwt H|ttM<.ir«liJn*tti Iinwlon),— •' '
Mr Miwlw I 0,d

mancer knocks the extinguisher off I an' ,1 i l«. U r i..x. ,>• * Bwll-v 7s Itov.
IT. JAMES'S THEATRE—KOB1UIT
the table, and the boy quietly walks 1* iiw H . I . \ U t f l A \ S w l l be renur.i
April i _ i vH(,.. l. ; x,.^ n i-.l StHiU mfty be s
a, H'jyal Uljrary, i l . Old lk.r.d-street, and
)\()lvlt4 f W l l l i A L M\Oi( un ier tM ttilo „.
\PA-.riQL:.'*. *t thi :.U.*O ThtMr*, TMW KVKXINU- B «
ry in *,t*y « rt Tl, n-!uj HI Hair p u t klgl-t ••laOc!t. A 1>AV
in at an opposite door. The same ' ••Tiutlc. Uix J uwiSt II* «t MuciikLI i UUMU-T, iwd at UM

youth, blindfolded, and, if required, T HE NATIONAL INSTIT0XION o

A l t l y . r O U i l . V M ) O.M i-Kliy, 316. Rp.gtnt-Mi-.et. <*m
t t e T Bl 1 lyl'el o ( t. I-'1 iti a Kxl. Litioii of Mo<Uf..
u
SICAL UNION.
with his back to the pit, tells any let- tur.n is now ul'LN 1 \ I I V fro
<:-t»lotp.o. M .
I. .10 till Dusk Admlsiiu
UKM. SMITH. Sccrrta
A N -TCKSDAY.
L k
AP-Ut,
Ut
ter pointed to in any bill, or indi- r i 1HE EOYAL POLYTECHNIC INSTITU-
cates any hour by any watch which X T l O S , 3 n n w CIOSE1) un 1 EASTFU MONDAY, far the pur-
pose of Kn^fiw N. w Uiiana for a Photox-rBiil.io School. &c Moot!i
of Mnct nury WO'ka of Art. &c , lire received for Elhibiticn ttm of
he could not perceive from the dis- expense to llie Dty;sitora.

tance, if not blindfolded, or tells

what coin may be exposed, and even Illustration 551 - (Many Ransom Humanities Illustration 552 — fHany Ransom Humanities
those in the immediate vicinity can- Research Center. University of Texas. Austin) Research Center. Vniversity of Texas Austin)
not possibly distinguish a franc from
a shilling! Another son. a boy of
eight or ten, sleeps from the applica- art, however, he certainly is; as there of diableries has long made him an
tion of ether, or seems to sleep, lean- is a neatness and dexterity about his object of awe and wonder to the
ing, in recumbent posture, a single tricks that have never been sur- Parisians, and in whose presence
elbow on a single pole, his body passed; and he has, at the same time, Dobler, Philippe. Anderson, and the
being two or three feet from the the reputation of being the inventor rest of the wizards, are mere in-
ground. M. Houdin. during all his and manufacturer of all the inge- fants, gave his first Soiree on
performances, keeps up an amusing nious mechanical tricks that are Tuesday evening to a crowded audi-
and often witty commentary. The used by the previous conjurors who ence. We are inclined to think this
conjurer of conjurors. have appeared: so that, in that re- mysterious gentleman has entered
spect, we come to the fountain-head into a compact with "somebody
Douglas Jerrod, Weekly News-
of legerdemain. M, Houdin is easy downstairs", for the feats he per-
paper.
and fluent in his address, and there forms are too extraordinary for be-
Mr. Mitchell has engaged M. is a finish about his performances lief in the ordinary way, and we are
Robert-Houdin. whose illusions that reminds us much of Dobler; and now satisfied of the existence of the
gain an additional charm from the we have in his performances all the "black art," and that M. Houdin
knowledge of the fact that he is the mechanical feats of pigeons, gold and practices it. All the most difficult
real inventor of the marvels he ex- silver fish produced from seemingly tricks to which we have been accus-
hibits. His manner is very agree- impossible places, a flat portfolio tomed are treated as mere child's
able; and he has a certain ease that produces all sorts of extraordi- play, and performed with a dexter-
about him, which distinguishes nary and bulky articles, together ity and finish truly astonishing.
him from his imitators in magical with the feat of second-sight, and Hats are made to contain the most
science. suspending his son in the air on a impossible collection of monstrosi-
stick, and causing him to disappear ties - a thin and empty portfolio be-
Spectator.
through a hollow tube and a variety comes in turn a miller's, florist's,
of other marvels too numerous to and bird-fancier's shop, for bonnets,
Conjurors delight so much in ab-
mention. The audience were throu- bouquets, and birds are brought
struse and far-fetched names, in de-
ghout most lavish in their applause, from it in reckless profusions -
scribing themselves and their mani-
and M. Houdin will be fully as popu- whilst watches, rings, cards, etc. are
fold deception, that we are almost
lar as any that have yet appeared at made to fly in all directions without
afraid they will in time be quite lost
this theatre. any apparent agency beyond the
amidst a chaos of confused sounds,
News of the World, May 7. 1848. will of the professor. There are two
and M. Robert-IIoudin. who ap-
little figures, about six inches high,
peared here for the first time on
which do the most extraordinary
Tuesday evening, is not unlike his Robert-Houdin, the mighty
things. M. Houdin calls them au-
brethren of the craft in this respect. necromancer of the Palais-Royal,
tomatons; zee believe thev are two
A most skillful professor of the black whose proficiency in every species

39"
ROBERT-HOUDIN

of t h e small people whom h e h a s amend the omission. Certainly, this narrow bottle. The drinkers
caught, and holds in d u r a n c e by his his tricks and transformations are begin to grow unsteady, under the
spells. He h a s a n orange tree that wonderful; and, at the same time, conviction that ''there's magic in
would b e a fortune to any horticul- appeal to something higher than it." George Gruikshank had better
turist, for it blossoms a n d bears the mere sentiment of wonder. To look to it - his "Bottle" has found
fruit in half a m i n u t e . But t h e be chief in any department of a rival. V\'hat is the secret of that
Wizard m u s t b e seen to b e appreci- human effort is a point of ambi- clock and pendulum worn upon
ated, for we c a n n o t a t t e m p t to de- tion - and amongst conjurers the sleeve! We have seen most of
scribe half of what h e accomplishes. Robert-Houdin unquestionably the mechanical wonders of the
He h a s a son (a little devil, we sup- bears away the palm. As a profes- day — machines which could make
pose), who possesses t h e faculty of sor of the dark art - or the light machines, for example; but we
clairvoyance to perfection, w h o , one. according to the humour of never before saw instruments en-
after t h e exhibition of it, is placed in the perplexed spectator - we have dowed with so much of seeming
a box on a table, and is t h e n passed seen no one to rival him. He beats volition, intelligence, and obedi-
from o n e side of t h e stage to t h e the mesmerists, clairvoyants, aeri- ence as M. Iloudin's appear to be.
other as easily as a n ordinary con- alists. and all other scientific in- His powers would have made him
j u r o r passes small articles from novators hollow, and in his partic- a mighty priest in Egypt, a god in
h a n d to h a n d . T h e p e r f o r m a n c e ular art, after him, anything may Greece, a wizard in the Middle
concluded w ith a display of ethereal be believed - or doubted. He de- Ages. Alas, if the age of chivalry be
suspension that sets the law of grav- fies the gravity of the earth gone - so is the age of easy faith.
itation a t defiance. M. Houdin was equally with the gravity of his au- Men seek the subterfuge now
loudly applauded, a n d called before dience. To us, many of his perfor- where our fathers would have seen
t h e curtain on t h e termination of mances are far more mysterious truth. The mind now resists where
the performance. than anything that we have seen the sense is certain - and is amused
at scientific soirees. How that rather than awed at results to
Era. May 7. 1848.
wonderful bottle, out of which which it cannot take the process.
Robert-IIoudin's Soirees flow as many kinds of wines and Athenaeum. May 13, 1848.
Fantastiques commenced with liqueurs as the fertility of the au-
dience can suggest, should con- The celebrated Robert-Houdin.
eclat at the St. James's Theatre on
tinue to pour out dozens upon whose fame as a magician pre-
Tuesday, and won great applause
dozens of glass-fulls, each individ- ceded his arrival in this country,
throughout from a well-filled
ual's tastes being instantly grati- made his first appearance before
house. It is not easy to make our
fied out of the self-same flask, sci- an English audience at the St.
readers understand what, even
ence must fail to explain. It is James's Theatre last night. From
when witnessed, seems to be im-
clear that M. Iloudin can "call the high praises which his admir-
possible; and the more so from the
spirits from a vast deep" within ers had lavished upon him. we
ease and neatness with which the
the apparently narrow limits of were prepared to expect some-
delusion of the senses are exe-
cuted. Of the performances we
were most astonished and enter- APRIL 16, 1853.]
tained by tricks from a flat portfo-
lio, producing a dozen of cumbrous
AMUSEMENTS, &c. I)IS'OT'S II.iSKNTATION
' will t<i!iO| i»iv i MOM \ t JI \ \ Slid
CONCERT
IA&3. To cofliuteuce

M USICAL UNION.—H. K. H. PRINCE TJ

articles; the marvellous fishing: ALBEUT. P«tron. TUE8»A», APRIL 19th. WILLIS'S
HOOHB —(juarlett D fl*t. So 3. Moiart Trio. C minor. Pianoforte, M ALKXANDKR THOMAS,
. HC'SSS. VI [ \ X t n S - M AlexanderTl.nmHwill hHvs
WILLIS'S
t l » iMMjur of B .tiit> ' it'll I U M I l ! i - M i k f l 8 L l t L m 3 T C j n t R D K
the inexhaustible bottle, the van- ii:.\hty. At il»- -U.ru U.H.U.1 i,i it u fiilloW.ig ohlor. a t Three
p ' t l o t k j . n c i * e . j t - . i i . r * l ( i y , Aj.-l .'li; I-i-itUy Aj n l V.I; TIHMU)'.
ishing of a big lad from under an WHJ 1 7 : 1-rl'uy Vi'« i« H I*- |-ilo:.nii tii« Hurh*. Two Culnmu.
'J'hhrt*. iiroci'-rtt-iM m i l full ]»<ni u1uri> nutj• \*t hud of Mr. J t f k ,
extinguisher; second sight of a QIGNOU and MADAME FERRARI beg Jonifc-i. l a i k M i i r lu I I . Kojol I nniil>. I j , llurl mtuti Arcada
O 10 •nuouLica that their ANINLAL CONCEKT will Uke plftca at
marvellous kind; and the balance o:HANO\FK 3QUAKK ROOMS o i TUK9UAY EVKV1NG 6IAV
«t. to conmKBoi ot Klgl.t oClocK
on W. lUntArd. nnd Signor Ferrari.
VocalUtt I H I M Bwuno,
l u lUihlrsn KlUwlllam. md Madame Furrari; HeMd. Bea-
InflmmetUallsta | PUno.
M l?. ALBKRT S m T H ' S MONT
m f Bvenlan ot Eight o clock (exospt Salurdav). aulU. 31.,
wlnt.hc.iii UoifCum! KtltwBdx-omeesvpryiUy from Etvrea to r«ur.
BLANC

of a boy in air, with only one out- Ir W. SUrndato Hannoit Mr W. Dorrell I t l u Ootti, MKI H.ir
Axaa. 3e.i Gulluy. i*. AM-rDli.u i'lrformauoo every—
entbHlnj. HI II iwoclwk ~tgji.il i li»II. H«»dilly.
•
atter; Cuntertlns Slgimr Giuilo IKgondi; Violin. Mr. Watson: Via.
stretched arm resting on a stick. onetl o .Sjiiior litiili ConduUurs Metir Frank Mori and VT
orrdL-Tkket* 7t etch W )« hud at U» prtudptf U f e t f e >Olil.KT HOI'DIN.—ST. JAMES'S
tcu-rxvi fr-Bin IDt tid . lobe hail only mSlsi.orFmuiA
f RO1IBUT
These things must be seen to be 9, Upper Nortot -itrast, IVtlaml pitux

believed. MRhih
ALBERT SMITH'S MQNT BLANC
• rery Evening mt E(slit o'clock (except Sttardajr). 81till, 3i.,
Literary Gazette. can be KOir«cf at tha Box-ofHfo every day from file Ten to

• p O B E U T H O U D I N . - S T . JAMES'S
G
1l
of GKHMAN PAINTINGS.—
NM .l.i'.Mliltl'lUA. « it
lM
Should any of our readers be XI; TIIEATUE -THIS f \ . M \ G
Tuesday Evening. Itltl
SAT UK DAY, APRIL Ifitl,
\VH- t«.»j Mxmlng, SOtti; 'Lhurt&mj Evan
Ing, Vlit: Saturdny Won ii j - £(rd Ihior* open—Morning «t Two
still unacquainted with the "con- Even! t at Bight Stall*. ?a ; HOK s 4*.; Pit Ks Gallery, lr

jurations" and "the mighty magic" NEW SOCIETV of PAINTERS in

of Robert-Houdin - "membre de
plusieurs Societes savantes" — we Illustration ~>53 - (Harry Ransom Humanities Illustration 55^ — (Harry Ransom Humanities
would advise them at once to Research Center. I niversity of Texas, Austin) Research Center. University of Texas. Austinj

398
 NOTES TO ACT III

thing wonderful, but the perfor- ing the present century, exercised into insignificance. So long as
mances of last night surpassed his birch to some purpose. Com- mankind are not all philosophers,
all that we anticipated or could paratively, a very short period has the art of working wonders will con-
have conceived. The whole race elapsed when such a man as tinue to astonish and delight. The
of English, Scotch, Irish, and M. Houdin would have been con- feats done by Monsieur Houdin
American wizards sink into utter signed to the faggots and the eclipse a thousand-fold those re-
insignificance when compared flames, and offered up as a peace lated by Dion Gassius. The never-
with Houdin - their tricks are offering to the powers of darkness. drained bottle, the inexhaustible
clumsy, gross, and palpable when At an early period of the world's orange-tree, the first trick, the
compared with the neatness, ra- history he would have been either a etherised self-supported child, the
pidity, and invisibility with which high priest of the Eleusinian mys- cylinder-covered boy. and the sec-
the French artist performs his teries, or a prophet. For, compared ond sight, though they have been
truly magical feats. With him with the doings of this gentleman, imitated by others, lost a moiety of
there is no cloaking, screening, or which painfully puzzle all inquiry their charm from the manner in
dodging: all is open and above- into the relation of cause to effect, which they were effected. With M.
board: he challenges the closest those of the Delphinian Pythoness, Houdin, everything is done with the
inspection; he invites the minut- or the wonders achieved by the cel- hand of a true professor of his art.
est scrutiny; and yet, when the ebrated Mademoiselle Julie, sink Grace and aplomb, and witty con-
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 perfor-
mance is a physical impossibility, FRENCH PLAYS, Tilt ENGAGEMENTS OF

all his calculation and conceptions .ST. JAMES'S THSAT&U, KING STHEKT. ST. JAMGifS- M A D U E PAGE,
are overturned. The orange tree CONTINUATION OF MONSIEUR LAFONT,
blossoms and yields its fruit in the • AD l «

twinkling of an eye, the empty hat

IKONS" LArONT'S MONSIEUR JtJWAK
{<% ,U TWtn
BESTIN,
Frtfn,}
MONSIEUR. ROI.AND
manufactures and drops cannon MAD PAGE'S MADEMOISELLE LOBBY,
balls, the empty bottle is made to KNO AOBMKNTK.
yield wine, rum. gin. whisky, and Wednesday Evenings April SOth,
mmvx* ffozaox r

brandy and then air is mysteri- LA PBZHSA DONNA, THE EXTRA NJQHT ON SATURDAY EVENINGS
M i 1^ ntmttnve! .Ut"H3 -Ke prtinit Mtr*£ll*n, tke Fn'St'x num'i

ously converted into winged fowls P>W» (Ah rk ittrr«U=)

La ...;iv'. 4a B. U T
and swimming fishes; and inani- f-'rUlatf nr-tt, April 22.
mate matter obeys the potent ma- (Owing: to tbe great Success which attended its production
1 H K C E L E B K A T r . D n i l ( I T
oa Friday lost'
gician's spell and moves at his JUDAS!*: ANCRLOTS I W t - I .
CHEVALIER DE ST. GEORGES
command. But his most astonish-
ing feat was that of suspending his MARGUERITE,
UN B10BIT OH FAHU,I.E, MONS" LAFONT
son in air without any visible sup- BS TROIS A 01F «
port except a slight cane, on DISTRIBUTION! MAD" 1 PAGE,
MB COMETB ALBSB.T DM ST. M»EY M JftTIJAK EXNO THK LAST NIGHT BUT
which he rested his elbow. To an- UOHMARD (*,.C-rt - K aOLMTO
JUfcBB XHB 8 * A U B * J O t m - • X £BOH.
other of his sons he gives the TOHHTMH ( ^ 4 w W > )
UK DOKBBTZQUB .
- -
-
X J-AKtCBVAL
• K . JFAOTfSB THE AMUSING CoM tDIB
seer's faculty of foreseeing and Marguerite de Senaeville - - ro&dile PAOS.
LA DBiioixiigi on ST aamx KASUH BKKTIS A N D It K
foretelling the future. Upon the J l M H i U i BXAUVAL • K 4 D ' ICAHIJIDXT

whole, the performances were sur-

passingly wonderful, and the audi- UNE FEMME QUI SE JETTE
ence, a highly respectable and nu- PAR LA FENETRE,
merous one, gave frequent tokens
of their wonder and delight at the
surprising feats of Robert-Houdin.
who will, we have no doubt what- D*trt will t, ef-*f ai S~m i-iUt 1< f n / n w a n w w ii h ^ w i n .
ptim af atHHBian i
ever, be as successful here as he BOXES, 8 * PIT, fl* AMPHITHEATRE

has been in his own country.

Globe. .AST MORNING ENTKK1AIN MENT,
But MM* wt tM t W l N , «

It is well for some persons that wmwswn BOESVa, amtt svth

the march of intellect has been
made with seven-leagued boots,
and that the schoolmaster has, dur- Illustration 555 - Bill for Robert-Houdin at the Saint James's Theater, 1853-

399
ROBKRr-HOUDIN

verse, are handmaids of his opera- with the most searching gaze - all tices a number of gymnastic feats.
tions. He is no common conjuror, to no purpose. He deceives you so and finally sets himself down to
but the poet of prestidigitation, the completely, as absolutely to make smoke a cigar, with all the gust of
monarch of mystery, the Genghis you doubt the evidence of your a South American gaucho or a
Khan of jugglery, the lawgiver of sense. The ease with which he Spanish matador. We have not
legerdemain. A very erudite author- makes cannon balls and ladies' space to enumerate one-tenth
ity. Eusebe Salvate [sic: Salverte], fans, bonbons, and flowers come part of M. Houdin's surprising
in his amusing book on the philoso- out of empty hats is quite surpris- tricks. We cannot, however, pass
phy of Magic, observes "...that man ing. As for handkerchiefs, they by the ''Inexhaustible Bottle"
is credulous from the cradle to the appear to contain anything and without saying a few words about
grave, that speech is more fre- everything he leases; how the it. An ordinary-sized claret bottle
quently deceptive than gesticula- things get into the handkerchiefs is washed inside and outside, and
tion, that everything is a prodigy in is quite impossible to perceive, it is held with the mouth down-
the eyes of an ignorant man, and but there they are, sure enough, wards, to all intents and purposes,
that the philosopher behold no whenever he wishes them to be one would say, empty; yet out
prodigies." This may be all very there. His "cabalistic clock" which, of this apparently empty bottle.
true, but we doubt whether the wis- ''in mid-air suspended," strikes M. Houdin serves out innumerable
est man would not fail to discover any hours anybody pleases, and glasses of every known liquor.
the "why and wherefore" of half of goes fast or slow, just as it is de-
the miracles produced by M. sired, is not the least astonishing
Houdin; he literally realizes the of his ''original experiments." as
Shakespearian line — "The eyes are the playbills designate his perfor- ST. JAMES'S THJEATBE,
made the fools of the other senses" mance. How ladies' trinkets, KIKG STREET. ST. JAMES S, __

Sunday Times.
snugly placed in a little box. find
their way thence into the middle ROBERT-HOUDIN
of oranges, lemons, eggs, and so
Robert-Houdin, who is aston- forth, it is rather difficult to con- MORNING PERFORMANCE
BY PARTICULAR DESIRE,
ishing the lieges just now at ceive, but a wave of Robert-
Mr. Mitchell's theatre on Tuesday, Houdin's wand is potent, and the
trinkets go just where he pleases,
MONDAY NEXT,
Thursday and Saturday evening, JUNE 19, /&JtS_
is certainly a very wonderful man. at his bidding. If any sane person MORNING RBaTf-pasl
E P Tim R Eo'C.odt
S Eprerficfj,
NTATION
A century or two ago he would were asked if he deemed it possi- WEDNESDAY, J I N E 21.
most assuredly have been burnt ble that from out of a flat portfo- EVENING PERFORMANCES,
in Smithfield as a wizard. Those lio, a number of French prints, a TUESDAY,* THURSDAY,
who have seen Herr Dobler he lady's bonnet of the most fashion-
out-Doblers quite, and puts the able make, a large-sized basket of SATURDAY EVENINGS,
oranges, four turtle doves, and a THE PROGRAMME
sprightly M. Philippe altogether in
INVENTED BY M. ROBERT-HOUDiN.
the shade. Such good citizens as bulky cage full of canaries could
Lea Toarfureliei SympatMquej The Sympathl.log Tnrlledoves.
have seen none of these mighty be produced, he would most as- The Wond'.rfu* Orange-Tree.
IiG Ooffro de Surete The Saftety Casket.
magicians should take an early suredly answer in the negative. La Fec&e H a g i q a e — — — —

opportunity of paying a visit to Robert-Houdin, however, finds no &c. &c. &<s.

Vatt X.Z
Mr. Houdin. We do not hesitate to difficulty whatever in effecting
Ui Poniard nn* Drageca — . — . . - - The SI
assure them that they will be the apparent impossibility. In the
highly amused, perplexed, and course of the evening, M. Iloudin Le CUltoa de Robert Houdia Robert-Honain'H Portfolio,
La Bouteille Xnepuisable -. The isezhaustible Bottle |
amazed. Like the witch in entertains his audience with one JTjIqaariste Impromptu, Iiiquormonger Extempore
Macbeth, Robert-Houdin "does of the most ingenious pieces __J<^_&c:_&*-

and he does, and he does." He of mechanism we have ever BBOOWDE VXJK,

does a number of the most extra- seen. Supported on a chair by a

ordinary tricks in the most extra- most grave-looking automaton,
ordinary manner; and certainly whom M. Houdin has christened
completely does his audience too. "Debureau," a sprightly little fig-
And he is such a quiet, good-hu- ure called "Auriol,' dressed in
moured, unassuming little person similar attire to that worn by his .fmc^fcttio Jit, (iioogh tin MUBH

that he manages to ingratiate amusing namesake at Drury-lane,

himself in your favour all the performs all sorts of vagaries,
while he is cheating you. His feats much to the astonishment and de-
of legerdemain defy detection. light of the audience. Amongst Illustration 556 - Bill for Robert-Houdin at
other things, he keeps time with the Saint James's Theater, June 1848.
You may wateh him with the
(Harry Ransom Humanities Research Center.
acutest attention, observe him the band upon the flageolet, prac-
University of Texas. Austin)

400
 NOTFS TO ACT III

Dantzic water, maraschino, Curacao, lady sitting immediately behind us. most complete delight to the audi-
whiskey, gin. nova, et it genus who, as the curtain fell, remarked ence, particularly those in the pit,
omne, is most generously handed with emphasis, "Well, I never!" We was the "Bottle inepuisable," a
round to the audience. We sup- shall certainly advise all our common green bottle from which he
pose we must ascribe to our na- friends to pay Moris. Houdin a visit. poured out for the company end-
tional taste the circumstance that Telegraph, May 15, 1848. less glasses of any liquor they like
petits verres of gin were in great to call for. Cognac, Maraschino,
demand in the pit. Yesterday, M. Robert-Houdin Curacao, Kirsch-water. eau de vie
The "Soiree Fantastique" of gave his first Matinee Fantastique vanilla, gin, and innumerable
Saturday concluded with the sus- to a numerous audience. M. Houdin other liquors were called for by the
pension of Robert-Houdin's son "in is certainly the prince of conjurers, audience — supplied as quick as the
equilibrium by atmospheric air. and well deserves the success he light, and evidently relished by the
through the action of concentrated has met with. His tricks are per- recipients.
ether," to adopt the phraseology of formed with a quietness and ease But the most surprising parts of
the bills. And a most astounding/i- that are really astonishing, while the performance were the feats of
nale most decidedly it was. Not at the good humour and intelligence, second sight of M. Houdin's son.
all astonishing, under the circum- which he manifests during the per- With his eyes bandaged, seated on
stances, was the exclamation of a formance, tend to keep up the spir- the stage, he described, without an
its of his audience, and to render instant's hesitation, any article
the entertainment one of the most which was put into his father's
R O B E R T HOtXDIN,
ST. JAMES'S THEATRE. agreeable we have witnessed. One hand by anyone in the body of the
chief characteristic of M. Houdin is house. However this may have
want of that display which is the been managed, the rapidity and
ROBERT-HOUDIN, general prelude to a trick in other neatness with which it was accom-
performers. With him all is done as plished were such as deservedly to
FRENCH CONJURER, if it were a matter of course, and in elicit the applause of the audience.
K X P EHIMBKTS consequence the deception is the The concluding ''effect" was the
more complete. We have already suspension in the air, on the end of
NATURAL™ MAGIC, noticed several of the tricks of a stick, of the younger son of
Ok>. K«i.S, P M * u^Jtr DM B
M. Houdin. whom as the inventor M. Houdin.
"SSANCES FANTASTIQUIS,"
of most of those which have so The house was fully attended,
AT THt: ABOVf: TWATR*:.
often been exhibited, has all the and the audience appeared de-
merit of originality, besides his su-
TUESDAY AND THURSDAY EVENIN6, perior dexterity. Yesterday, his au-
lighted not least with the tricks
themselves, than the agreeable
dience testified their delight by re-
DAY PERFORMANCE peated plaudits, the real children
manner of Mr. Houdin during the
performance.
WEDNESDAY & SATURDAY MORNINGS vying with those of ''a larger Chronicle. June 2, 1848.
ntOOBAKK growth' in manifesting their joy.
!• It £. M I F R I [• 4 The success which attended the Robert-Houdin, who. we are
I.OBJLNC1EQ W¥STHX«OX.
performance yesterday will, no told not unwarrantably, advertises
doubt, call for a repetition of this himself as membre de plusieurs
Matinee Fantastique. socie'tes savantcs, and is. we be-
D It OX I KM L PA R T I I
LBS tiOULUB O * CrftttYAL Morning Post, May 25. 1848 lieve, the discoverer of some of the
OIUKDt Si;ilIB D* TCIVJUB DADBXUS

illusions which Herr Dobler and

We at evening paid a visit to others have exhibited, gave the
T B O I h l t ME PART r M. Robert-IIoudin. the new miracle first of his soirees at the St. James's
worker at the St. James's Theatre. Theatre last evening. He developed
L* PVTIT TOM IKIOaOIUii
We have seen many conjurors in these and many new deceptions
our time, but we certainly never with a scientific skill, a grace, and
saw one who can hold up to this easy charm far transcending even
one. One of his most remarkable that which we had previously re-
scenes was called ''Le carton de garded as perfection in Herr
Robert-Houdin" - a plain, flat port- Dobler. It is impossible to detail on
folio, out of which he brought four paper complications which, to be
doves, a lady's bonnet, and several appreciated, we will not say under-
other things, ending with a good- stood, must be seen. A feature in
Illustration 5 y - Bill for Robert-Houdin at sized bird-cage containing ca- the performance beyond those af-
the Saint James's Theater, June 1853. naries. Another, which afforded the forded by Herr Dobler, is the es-

401
ROBERT-HOUDIN

camotage of Robert-Houdin's son. wishes to expose the horrors of lowing narrative: the Queen
who exhibits a proficiency in sec- drinking, and not to prove the having lent her glove to Robert-
ond sight, which will certainly pleasures of it; and that his Houdin. he immediately made a
bring a very large assemblage of "Bottle" was drawn, not to go to bouquet of flowers come out of it,
Highlanders to all future represen- men's lips, but to their hearts. We which soon became too large to be
tations, and affords an infinity of implore Monsieur Houdin. how- held in two hands: finally, this
new papers for the Clairvoyance ever, to be careful, or else some bouquet, placed in a vase and wa-
Society. There is. besides, what is night, if he does not put a timely tered with magic water, changed
called a suspension cthereenne: "'stopper" on his liberality, his au- into a garland whose flowers
young Robert-Houdin suspended in dience may be carried off to the formed the name of VICTORIA.
equilibrium by. as the bill tells us. station-house and locked up on But what even more impressed
the dreadful charge of inebriety.
"atmospheric air, through the ac- The scenes, too. that might occur Her Majesty was the marvelous lu-
tion of concentrated ether." We do at this theatre would be rather un- cidity of the son of Robert-Houdin
not know how this may be, but the pleasant for the liberal conjuror, if in the experiment of Second
fact before us is a most remarkable he had a number of young men Sight. The most complicated ob-
one. You see the boy absolutely rushing up to him for "just one jects had been prepared in ad-
lying on thin air. supported by glass more." We advise him to vance, in order to embarrass the
nothing whatever but a walking limit every lady to two glasses, father and the son and lead their
stick, on which his right arm rests. and every gentleman to four, un- sagacity into error. However, both
There was a full house, and we ven- less they have been dining, when came out victorious from this in-
ture to predict a still fuller on each the best thing to give them - we tellectual combat and thwarted all
of the twelve representations an- mean the gentlemen - will be a of the plots.
nounced. bottle of soda-water. The drink
should be varied, also, in this After many objects, named im-
Daily Neiz-s and Bell's Life. mediately as soon as they were
warm weather, and be made to
consist of some of Soyer's presented, a ring on which a small
We do not know what Mr. "Nectar, or Sainsbury's summer medallion the size of a lentil was
George Gruikshank would be likely beverages. given to Robert-IIoudin: his son
to say to \1. Houdin's "Bottle." The immediately identified it. But
former inculcates temperance in a Punch, July 13. 1848. what was the audience's surprise
pictorial poem that is the best ser- when continuing the designation,
mon we ever read: the latter makes 39- he said: "On the medal is the
drinking so pleasant that we won- Memoirs of Robert-Houdin. op. portrait of H.M. the Queen,
der no tee-totaller has yet risen cit.. pp. 34-1-345. around which are engraved two
and protested against the danger of Latin words: VICTORIA REGINA!"
putting such a "Bottle" into the 40. (This engraving was so micro-
hands of the Public. Why, it is in- ROBERT-HOUDIN'S PERFOR- scopic that a good magnifying
exhaustible! The more liquids he glass would have been needed to
pours from it. the more there are MANCE BEFORE THE QUEEN.
At the occasion of the party for decipher it.) Medallions of Trajan,
concealed at the bottom. It is a bot- of Septimus Severius. of George II
tled ocean of champagne, port, the Prince of Wales. Robert-
brandy, and Curacao. It is the Houdin. the famous conjurer, per- were identified with extraordi-
whole London Docks, apparently, formed one of his fantastic shows nary precision. Finally, the
corked down into a quart bottle - in Buckingham Palace before H.M. Duchess of Kent, wanting to con-
nay. more than that; for we really the Queen. II.R.II. Prince Albert, vince herself of this marvelous
believe if Horace happened to drop their royal family and all of the power of description of the
in at the St. James's and called for court. A charming theater had Second Sight addressed Robert-
a poculum of his old Falernian. been built for him in the grand Houdin and said to him: "Your
that M. Iloudin would pour it out portrait gallery. The gathering son. could he also name this ob-
for him. and then ask him if he was noble and large. For two ject, and describe it, if I interro-
would have a little magnum of hours the august spectators were gated him myself?" - Certainly,
Cyprus! amazed. The queen was extremely said the conjurer immediately.
pleased by these experiments but "The object that you are hiding in
There are many good things in your hands is a gold watch with
Mr. Cruikshank's "Bottle." but we those that seemed to impress her
the most were The Aerial Clock, blue enamel with the portrait of
doubt if its greatest admirer could George IV, surrounded by 96 dia-
squeeze a bumper of Burgundy, or The Safety Casket. The Portfolio,
monds." This time, and against
the smallest glass of Maraschino and mainly The Queen's Surprise,
etiquette, applause, to which Her
out of it. In fact, our moral Callot a well-planned trick that reunited Majesty participated, rang out
would not be very well pleased if what is most gracious and appro- from all over, and did not stop
anyone could, considering he priate. You can judge by the fol-

402
 NOTES TO ACT III

until the curtain had completely Flower Basket — The Traveling number of experiments and the
dropped. Jewelry - Robert-IIoudin's Portfolio choice of people arc sufficient guar-
After the performance, the - The Inexhaustible Bottle - The antees as to this effect. M. Gandon
queen sent her compliments to Second Sight Experiment by is to give a few performances next
Robert-Houdin. and had him sent a M. Robert-Houdin and his son - week.
souvenir of her royal munificence. Invisibility - Disappearance of Alexandre Francois Antoine
The Court Journal. M. Robert-IIoudin's son.
Gandon was born in Paris (12'
arrondissement) on July 26. 1812,
41. Independance beige, no. 130.
where he died on November 11.
At the beginning of 1859, Olympe Thursday. May 10. 1849. page 4:
1864. In his Souvenirs dun Mon-
Robert-Houdin went to London to re- Theatre Royal Saint Hubert (8
turn Henriette Knight to her family. treur de Marion nettes, (Paris.
o'clock). Thursday May 10. last Maurice Blanche. Publisher. 1911)
Soiree fantastique of M. Robert-
42. Houdin. Lemercier de Neuville dedicates a
Independance beige, no. 126. Part 1 - The Aerial Clock - The long portrait (pages 125 to 131)
Sunday. May 6. 1849 (bottom of Mysterious Orange Tree - The to his friend Antoine Gandon,
page 2): Sympathetic Turtledoves - The Ink \\ hose activities were apparently
Theatre Royal Saint Hubert. Vase or Instant Clarification — more linked to journalism and lit-
Sunday 6"', Soiree fantastique of Impossible Equilibrium - The erature in general rather than the
M. Robert-IIoudin. Traveling Bird - The Hunter (me-
chanical piece) — The Trapeze.
Part 2 - The Crystal Balls - The
Independance beige, no. 128. Fans - The Cannonballs - The
Tuesday, May 8. 1849. page 3: Flower Basket - The Traveling
Theatre Royal Saint Hubert (S Jewelry - Robert-IIoudin's Portfolio
o'clock) Tuesday 8, Soiree fantas- - The Inexhaustible Bottle - The
tique of M. Robert-Houdin. Second Sight Experiment by
Part 1 - The Aerial Clock - The M. Robert-Houdin and his son —
Mysterious Orange Tree - The Invisibility - Disappearance of
Sympathetic Turtledoves - The Ink M. Robert-Houdin's son.
Vase or Instant Clarification -
Impossible Equilibrium - The 43.
Traveling Bird - The Hunter (me- F.A. Gandon notably performed
chanical piece) — The Trapeze. in Second Sight experiments in
Part 2 - The Crystal Balls - The Februan 1848 at the Theatre de
Fans - The Cannonballs - The
Flower Basket - The Traveling Lille and during the month of May
Jewelry - Robert-IIoudin's Portfolio at the Theatre Royal of Brussels. He
- The Inexhaustible Bottle - The was apparently helped by his
Second Sight Experiment by nephew. the young Goumenaud (or
M. Robert-Houdin and his son — Gondenaut depending on the ad-
Invisibility - Disappearance of \ ertisement). Here is the account of
M. Robert-IIoudin's son. his performances published in
I'Abeille lilloise
Independance beige, no. 129.
Wednesday. May 9. 1849. page 3: This week we had two perfor-
Theatre Royal Saint Hubert (8 mances of M. Gandon's second
o'clock). Wednesday May 9. sight, which are far better than
Soiree fantastique of M. Robert- other previous, similar perfor-
Houdin. mances. Despite all our efforts, we
Part 1 -The Aerial Clock - The could not manage to understand
Mysterious Orange Tree - The how. placed thirty steps away and
Sympathetic Turtledoves - The Ink blindfolded, this young Gondenaut
Vase or Instant Clarification - guesses the age, first name, and
Impossible Equilibrium - The profession of those who honor him
Traveling Bird — The Hunter (me- with their trust. Readers, do not ANTOINE GANDON
chanical piece) - The Trapeze. believe that confederates are in-
Part 2 - The Crystal Balls - The volved, as used before by M. Laurent Illustration 558 - Portrait of Antoine
Fans - The Cannonballs — The and his famous Prudence. The Gandon by Leinercier de Neuville.

403
ROBERT-HOUDIN

stage. The famous puppeteer con- used, and I might say used up. to
S01RE I S PAHTAS cludes Gandon's biography with create a modest situation that too
ES
this anecdote tinged with black much tax or too many costs could
humor: easily make him lose.
HOKMT-HOLDn
I hope I can count on you, sir,
Gandon died in 1864. Did he to render justice to my claim, and
foresee his death? Was it real dou- please believe that I am your hum-
ble sight? I do not know, but one ble and obedient servant.
day he said to Dinochau,
Robert-Houdin
— ''Send me your bill. I want all
•flOtr,
my business to be taken care of be- That this letter softened the
fore November 10"." heart of the honorable civil ser-
And on November 10, Gandon vant, we do not doubt; however.
died of sudden brain paralysis. the correspondence of Robert-
Houdin at this time is often lighter,
44. as show n by the letter written on
While continuing his work. the stationary of Soirees Fantas-
Robert-Houdin also had to defend tiques and addressed to Aristide
•71-*- his position as theater manager. In Le Carpentier:
fact. Robert-Houdin defended his
position in the capital in every Paris. April 27. 1850
sense, as shown by this letter My dear sir,
. 4 cyOefZ dated January 19. 1850, addressed I laughed a lot and am still
to a M, Mantoux, who was influen- laughing about the great argu-
tial in the tax administration of the ment engaged between your
time: nephew and yourself about our
unfortunate third verse destined,
Sir:
if may say so, to be a stillbirth,
You have recently taxed me at though meant to be the hope of
11%. I would certainly not go his family.
against this decision if business
was good, but this huge tax comes I admit candidly that even
at a moment when theater in- though the four verses already per-
come is so poor that all in this do- formed are fine in themselves,
main, except for me. are taxed at they are not entirely appropriate
6°o. I thought that I deserved the for my public. Your nephew's cou-
same consideration as all others, plet seems to lean towards politics
given my work and my constant "and when I see that one un-
efforts for the prosperity of my leashes disharmony in my coun-
theater. try" that can only pass for the pre-
tension "Democ — Soc — "; perhaps
You arc aware, sir, that when
we could merge all these nuances
income decreases, costs in-
of opinion and style (because it is
crease, because advertisement
now or never) and therefore create
then becomes necessary and this
a perfect verse.
type of expenditure is also very
costly. This year I spent four I have just placed myself in the
times more than all other years saddle. I do not need to preface
put together, through my bills, with a profession of faith - I only
.^J&CJTZ? >
extras, and advertisements, and have one thing to say, that is that
in addition, the theater commis- the end of the couplet be the one I
sion, whose decision I respect, wished. Poetry is not my strong
forced me to spend 500 francs for point and this idea could be turned
my theater and pay the daily in another way. Look and judge, I
wages of a city sergeant obvi- leave it to you!!!
ously useless to my theater.
The rigors of the law do not af- 45.
Illustrations 559. 560. and 561 - Letter from fect a theater businessman; they Memoirs of Robert-Houdin. op.
Robert-Houdin to Aristide Le Carpentier. affect an artist whose life has been cit.. pp. 366-367.

40 1
 NOTES TO ACT III

46. the same De Linski who acciden- 59.

Georges Emile Robert-Houdin, tally killed his wife in Arnstadt in Le Charivari, no. 24. January 1852.
born at Saint-Gervais on May 29. November 1820 during "The Bullet
1851, died at Saint-Gervais-la-Foret Catch" feat. We also know of an- 60.
on October 31. 1925. other magician with the same This letter by Alexandrine Bosco
name: Chretien Jean-Baptiste de is taken from Francois Voignier's
47. Linski. born in Muller, USA in 1827. lecture before the Club des Magi-
Auguste Lassaigne. born in Tou- died in Charenton, Seine. February ciens Collectionneurs on January
louse (Haute-Garonne) on November 16. 1882. If it is the same artist, we 29. 1996. Commentaire. analyse, et
30, 1819. died in Montpellier (Herault) briefly find him on the stage of datation de quelques documents
on November 4, 1885. Robert-Houdin's theater in the raves ou inconnus (Commentary,
1880s. Analysis and Dating of a Few rare
48. or Unknown Documents).
This letter includes little notes, 55.
wishes, and advice written by Emile 61.
Jean Chavigny. op. cit . pp. 91- In a letter sent to an unknown
and Eugene to their stepmother as 93 Based on the excerpt from
well as by her sister Amelie. addressee and dated January 13,
Eglantine Lemaitre Robert-Houdin's 1852, Robert-Houdin announced to
lecture, which we have reprinted his correspondent the date of his
49. in note 19. the conjurer had al- departure from Soirees Fantastiques:
Henri Joseph Donckele. known ready carried out a similar experi- "...tomorrow Wednesday, this will
as Robin, born in Hazebrouck ment several months earlier for his be my last performance; it will be
(Nord) on July 12. 1811. died in son George's baptism. over forever; farewell, my dear
Paris on February 24, 1874. Parisians..." On a poster dated
50. 56. Wednesday. January 14. 1852, the
Memoirs of Robert-Houdin. op conjurer noted: "Next to last perfor-
Gazette des Tribunaux, June 26. mance; I am leaving on January 15.
1850. cit.. pp. 367-368.
1852."
51. 57. 62.
See also Robert-Houdin's foot- Cha\ igny mentions an erro- On the subject of Hamilton's
note at the end of the appendix of neous date for the end of the lease passage through Lyon in August
the second volume of his memoirs and does not give the name Bertin 1852. see the list of press releases
regarding the Legrand trial. but the family Rohan-Chabot as heralding his performances and
the seller. This attribution is inac- commented upon by Hjalmar in
52. curate and the result of a confu- issue 156 of Le Magicien.
Jacques Voignier kindly gave me sion between the Palais-Royal
this newspaper article, unknown to
Robert-Houdin's biographers.
lease and that of Georges Melies at 63.
the Boulevard des Italiens. whose Rosalie Eglantine Robert-Houdin,
building belonged at this time to born in Saint-Gervais on October 5.
53. the Rohan-Chabot family and was 1852. Died in Blois on December
Police department decree of March passed between the parties thirty- 26. 1926. See genealogical chart.
1, 1851. four years later. I also perpetuated
54. these same mistakes in a footnote 64.
for the reprint with Stock of Dantan drew two nearly identi-
The name Louis, the name De cal watercolors on this occasion.
Linski, without the y. like that of Robert-Houdin's Memoirs in 1994,
mistakes that others recopied. as He gave the first one to Robert-
Devaux without the e, are spelled Houdin and kept the second for
this way in the decree of the police well as other incorrect deductions
I had made. himself. One of the drawings is
department granting the authoriza- found today at the Chateau de
tion. For Devaux, we believe that Blois, the second in Dantan's Le
his name was really spelled 58. Litre d Or. which I acquired at a
"Deveaux" because this is how he The wedding contract between public sale, and which contained in
signed the mechanical pieces from Hamilton and Amelie Braconnier. addition to the drawing of other
his workshop. Concerning De widow of Devillers, was signed on humorous portraits of Robert-
Linski, we cannot confirm that it is January 13, 1852. Houdin. autographed rhymed pas-

405
ROBERT-HOUDIN

sages that the master wrote, and marvelous orange tree, the Hunter,
the caricatures of his son Emile in the crystal chest, the invisible
the Second Sight routine. hand, the unexpected metamor-
phosis, the philosophical stone, the
65. two contrasts [?], the crystal ball,
Here are the texts of a few an- cabalistic drying, the mysterious
clock, Auriol (mechanical piece), SxS:,
nouncements and accounts pub-
the enchanted mirror, here and
lished in the newspapers of the there, great subtlety, the sympa-
Nord-Somme region during Robert- thetic turtle doves, the birth of
Houdin's travels to Abbeville, Amiens flowers, the horn of plenty, the
and Lille in 1853: cannon ball, the infernal punch,
L'Ami de I'ordre, no. 1527, the flower garland, infinite multi-
new spaper of the Somme region, plication, the genie of roses, the
published in Amiens, Wednesday, ball of wool, the plumes, fishing, di-
February 23, 1853: abolical conjuring, the mysterious
dahlia, wishes granted.
Somme column: THE PRICE OF TICKETS RE-
Abbeville. Les Soirees fantas- MAINS THE SAME
tiques de M. Robert-Houdin will First stalls 2.5 francs, second
begin next Friday the 25th of this and pit with seats 1.5 francs, pit
month. 1 franc, third level, 75 centimes.
Ticket windows will open at
L'Ami de I'ordre, no. 1528,
7:30 and the show will begin at 8
Thursday, February 24, 1853: o'clock. "OLTICE DU TBAP E Z t

The "Pilote de la Somme" of M. Robert-Houdin will give only

Abbeville will publish this morning two performances because he is ex-
a detailed account of M. Robert- pected in England.
Iloudin's Soirees Fantastiques of
Sunday and Monday for the inhab- L'Ami de I'ordre, no. 1331.
itants of this town. [Sunday 20th, Sundav. Februarv 27. 1853:
Monday 21SI \ M. Robert-Houdin's perfor-
Our colleague, who is still mar- mance last night attracted a large
veling over the feats he witnessed, and brilliant audience. The skillful
warmly praised the skillful con- conjurer amply justified this en-
jurer, whose talent created amaze- thusiasm through the prodigious
ment and astonishment and whom skill with which he performed a
we foresee will be just as success- great number of truly marvelous
ful among yourselves. tricks and which the astonished
M. Robert-Houdin will perform and charmed audience heartily ap-
twice in Amiens on Friday and plauded.
Saturday because he has perfor- What gives particular merit to
mances scheduled in Lille, Calais, M. Robert-Houdin's tricks is first
and England. and foremost their superiority to
the likes of anything of this kind
L'Ami de I'ordre, no. 1130, seen before, and then the rapidity
Friday, February 25, 1853: and grace of their execution.
Theatre d'AMIENS Very well placed with respect
Today Friday the 25th and to- to high society, M. Robert-Houdin
morrow Saturday the 26th of knows how to please them, not
February 1853 only with his dexterity but also by
Soirees Fantastiques de the distinction and courtesy of his
Robert-Houdin speech and manners. We will
not try to analyze the tricks
M. Robert-Houdin will perform that charmed us last night and
the most interesting experiments that M. Robert-Houdin performs
in his repertoire such as the inex- much better than we can relate. Illustrations 562, 563. and 564-Advertisements
haustible bottle, the portfolio, the The tricks must be seen to be ap- for Robett-Houdin in L'Abeille UUoise.

406
 NOTES TO ACT III

preciated and known, but one But we must not keep silent about prince of darkness will not come
must give up all possibility of our pleasure in attending his complaining to Robert-Houdin
comprehending them. So, we tell soirees. about stepping on his toes, because
our readers to go and see M. Robert-Houdin is not an ordi- he usually does not like to deal
Robert-Houdin. Take advantage of nary conjurer; he is witty, gay, with those of equal strength.
this last soiree that this en- lively, and especially sophisticated. Moreover, he could end up being
chanter dedicates to us, and We would enjoy listening to him conjured away...and all humanity
under whose fingers fans, or- even if he was not performing. His would laugh!
anges, bouquets for the ladies, glance expresses gentleness and What can we say about the sur-
and punch for the gentlemen ma- liveliness; his voice is pleasant, he prises he reserves for the audi-
terialize. Cakes, candy, and toys jokes only in perfect taste. His stage ence? Nothing!.. .because we would
for children. These are charms is not cluttered with magic horns, have to describe the skill of each of
which M. Robert-Houdin does not trapdoor tables, strangely shaped his tricks, the marvel of each me-
need to conjure up because they vases, and all the paraphernalia of chanical piece, and this would take
are due to his generosity and tal- ordinary magicians. This is another us far from the limits of our article.
ent. sign of his good taste. Suffice it to say to our readers: go
E.Y. [Eugene Yvert] lie does not need to dazzle with see Robert-Houdin and you will
a display of his tools; he does not proclaim him to be the prince of
LL'Abeille lilloise, no. 20 Thursday, need to wear a magician's cape to magic, as we do, and especially
March 10. 1853: do magic of the most incredible when right before one's eyes he
ROBERT HOUDIN AGAIN kind! He knows that if the devil pulls out of a three- or four-cen-
In our last issue we published himself came to earth, he would timeter-thick portfolio, two new,
an extract from M. Robert-IIoudin's wear the black cape and round hat. perfectly shaped women's hats, two
biography; we will therefore add But let us speak no more of the copper pots - one full of water, the
nothing to this realistic portrait in devil, as it has not been proven other full of fire - a fifty-centimeter
which M. Hatin depicts the skill. that he had nothing to do with the cage, four turtledoves, several ob-
wit, and vivacity and immense ge- education of the prince of magic, jects, and...but let us stop here; we
nius of the skillful mechanician M. Robert-Houdin. If the latter's promised to remain silent, and we
and surprising conjurer who has science does not come from Satan, are about to break our promise.
possessed our town for a few days. then Satan must be jealous; but the F. BRACKE
L'Abeille lilloise. no. 21 of
Sunday, March 13, 1853:
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 in-
vented 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 ex-
periment is of his own invention.
THE DIABOLICAL PORTFOLIO
The impossible becomes possible.
From a thin portfolio the follow-
ing come out in profusion: ladies'
hats, pots filled with water and
fire, beans, living turtledoves, and

407
ROBESO -HOUDIN

a huge cage filled with birds. very strange album. We will say a
few words about it, reader, in our
THE HORN OF PLENTY next issue. In the meantime we
Producing an avalanche of candy, advise you to go see, at the
flowers, albums, comical newspa- Association Musicale, this mod-
pers, fans, horoscopes, surprises, ern wizard who proves through his
etc. surprising experiments that all im-
THE MYSTERIOUS ORANGE TREE possibility can become reality.
Instantaneous blossoming of fra- F. BRACKE
grant flowers and delicious fruits.
66.
Sam H. Sharpe, Salutations to
One of the reprinted posters has
Robert-Houdin. Micky Hades, 1983.
engravings at the top and bottom; p. 30.
in the other the bottom engraving
is replaced by this text: 67.
All of Robert-Houdin's per- Sidney W. Clarke. The Annals of
formed experiments were invented Conjuring, chapter "The Wizard of
by him. Although a few have been the North and The Mechanical
performed by other artists, they Conjurers," fop cit).
are nothing more than an imper-
fect imitation of his way of pre- 68.
senting them. Sidney W. Clarke (op. cit).

Concluding an article reprinting 69.

extracts from Robert-Houdin's biog- Ricky Jay kindly sent me copies
raphy by Eugene Hatin, one can read of the English bills of Robert-
the following lines by F. Bracke: Houdin that are today kept at the
Robert-Houdin has yet another SALUTATIONS Harry Ransom Humanities Research
Center at the University of Texas,
talent that is less generally known, TO Austin. These bills have allowed
and which I must tell you about in
order to complete the portrait of ROBERT-HOUDIN me to determine the specific dates
this artist. of the beginning and end of Robert-
by Houdin's engagement at the Saint-
In leaving these soirees fantas- Sam H. Sharpe James's Theater in 1853.
tiques, one wonders how a man His life magic and automata.
can resist such repeated fatigue Illustrated with sketches, photographs,
All these posters were part of
day after day, non-stop. Well, do and collected artworks from the the collection of Harry Houdini,
author's collection and the collections who did not reveal their existence
you know how Robert-Houdin of other famous historians.
rests? Working in his home, he al- to his readers, to whom he as-
ternatively picks up the file and serted, on the contrary, in The
pen, preparing new inventions or Unmasking of Robert-Houdin. that
rhyming the description of old in that particular year, Robert-
ones. The little books that he pro- Houdin had been "'squeezed out"
duces among other objects from of the Saint James's Theater by the
19 8 3
his horn of plenty, and which he magician Anderson and that conse-
MICKY HADES INTERNATIONAL
so generously distributes to his quently, the French conjurer had
audience, can give an idea of the no other choice than to perform in
manner in which he writes. a second-rate hall!
But he excels in sharpening a
point, creating a pun, placing the 70.
most bizarre names in a few verses. In French in the text.
His relatives, friends, and acquain-
tances, the furniture of his home, 71.
the paths of his garden, all that he Illustrations 565, 566 and 56 - Portrait and In French in the text.
touches or approaches with his epi- signature of Sam H. Sharpe framing
gram, his quatrain. the title page of his remarkable study 72.
In this way he has made up a of Robert-Houdin. Translation of Escamoteurs etPhy-

408
 NOTES TO ACT III

siciens (Conjurers and professors), To end this trick in a dazzling THE MIRACULOUS FISHING
1853-1855, Robert-Houdin, 1853. fashion, and to prove the inex-
haustible liberality of my bottle, One will recall the Chinese
73. I take a large drinking glass that trick called The Basin of
Name already given to one of can hold at least half of the bot- Neptune by Philippe. I have
his sons, who also died at a very tle, and I fill it to the brim with mentioned that the conjurer of
young age, from his first marriage any liquor asked for by a mem- the Bazar Bonne-Nouvelle, fol-
to Cecile Eglantine Houdin. ber of the audience. lowing the example of inhabi-
The Inexhaustible Bottle was tants of the Celestial Empire,
74. performed for the first time in had worn a robe necessary for
The descriptions of Robert- my theater on December 1, 1847. the performance of the trick. I
Houdin's feats which follow are have also stated my repulsion for
taken from the appendix of the any clothing not normally worn.
first Blois and Paris editions of THE FANTASTIC ORANGE TREE It should then have seemed im-
Confidences d'un prestidigita- [or The Marvelous Orange Tree] possible for me to have per-
teur: formed this marvelous experi-
This mechanical piece was pre- ment. One day, however, my bills
ceded by several conjuring tricks announced a trick entitled The
THE INEXHAUSTIBLE BOTTLE
which motivated its introduction Miraculous Fishing. It was none
[or The Impromptu Liquor Merchant]
onto the stage. other than the Chinese trick that
I borrowed a lady's handker- I planned to perform, but in
This trick is one of the most much more difficult conditions.
brilliant that I have ever per- chief; I rolled it into a ball and
placed it next to an egg, a lemon, I arrived on stage with a
formed. It is always very warmly pointed table leg in my hand. I
applauded. and an orange placed on my table.
I then magically placed these set it in front of me, near the
I enter the stage with a little audience.
bottle filled with bordeaux wine. objects inside each other and
I empty it completely by pouring when they were all finally in the "Gentlemen," I said, "if you
its content into glasses and I orange, I used this fruit to make please, I am going to give you a
then rinse it with a bit of water, a fantastic liquor. lesson in fishing with a net.
taking care to drain it. To do so, I squeezed the or- Since the real principles have
ange and reduced its size, show- not been given in various trea-
This preamble finished, I ad-
ing it in different shapes from tises on fishing, I wish to correct
vance amongst the audience
time to time, and I ended up this omission."
and, still holding the bottle up-
side down, I propose to make making a powder that I put into I took a shawl, which I spread
any liquor they wish come out. a bottle with essence of wine in out and shook forcefully to prove
My proposition is generally it. that there was nothing inside.
greeted with great interest. I was then brought an orange "First, here is how one must
Demands ring out from all sides tree with no fruit or flowers. I take and cast one's net." I gath-
by people wanting to make sure poured the bit of liquor that I had ered up the shawl and threw it
of the reality of the trick and the just prepared into a vase; I set it over my shoulder. "Now, gentle-
quality of the liquors. on fire; I placed it above the tree, men, imagine that the point of
These liquors are supplied im- and no sooner had the vapor this table leg is a pond; I know
mediately upon demand. There is reached the foliage, than it was that one must stretch one's
not one, spirit or aromatic, and seen to be covered with flowers. imagination for that, but let us
from any country whatsoever, With a wave of the magic admit that it is so for a moment.
that is not poured out with the wand, these flowers were trans- In this case, one approaches the
greatest generosity. formed into oranges, which I pond silently, one casts his net
The distribution ends only gave out to the audience. like this over the spot where the
fish are thought to be, one picks
when the audience decides to stop One single orange remained
it up and obtains, as I have just
ordering, in the fear that they on the tree; I commanded it to
done, a great catch."
could not drink everything that open into four sections, and one
comes out of the bottle, and, find- could see the borrowed hand- At this moment, a much big-
ing that it will not do to prolong kerchief inside. Two butterflies ger bowl than Philippe's, con-
the experiment, lest their reason flapping their wings picked it taining huge goldfish, appeared
fail them, decide to cease making up by the corners and unfolded balanced on the point of the
requests. it while flying in the air. table leg and it was impossible to

409
ROBERI HOUDIN

remove it without spilling water attached the bell to it and it wise, one produces large objects
everywhere struck upon his command out of small ones
Indeed, what is surprising
about making objects that can fit
THE AERIAL CLOCK SECOND SIGHT into a double-bottomed box come
[or The Cabalistic Clock] or the Mysterious Hand Bell out of one? The difficulty lies only
in the ingenuity of the apparatus,
Among the experiments that I The experiment performed in and all the credit goes to the cabi-
presented to the public in 1847, the engraving opposite is an im- net-maker or tinsmith who made
my clock was one of those which provement to Second Sight, which the box
produced the greatest effect, and I described at the beginning of this But the Surprising Silk
even now, when one correctly or volume The results are exactly Handkerchief is an effect that
incorrectly assumes that electric- the same, only the principle has seems innocent of mechanical
ity played a part, one cannot help changed trickery, because the apparatus
admiring the trick Instead of asking my son the which yields such large objects
There are some spectators who question "Tell me what I am hold- has been reduced to such small
go to conjuring performances less ing in my hand?" concerning proportions
to enjoy the illusions than to show every object I was given, I rang a This handkerchief was given to
that they have great perspicacity, little bell and in spite of this uni- me by a member of the audience
which is often not the case For form signal, my son described the As soon as it was in my hands, I
those, The Aerial Clock experi- object as if he were looking right squeezed it, stretched it, and
ment is quickly explained it is at it turned it over to prove that it held
electricity But what intrigued the intrepid nothing, then, holding it by the
That is a bit too brief investigators of my secrets even center, I shook it and made a
But for the conscientious ob- more is that a few moments later, plume emerge from it I turned it
server, for the savant, for the I put the bell aside, and although I over and produced a second,
connoisseur, it is very difficult remained completely silent, the third, and fourth plume and even
to decide, because they know child identified every single ob- a drum major's plume Finally, a
that for an electromagnetic ef- ject veritable avalanche of plumes cov-
fect to take place, electricity is I also imitated certain phe- ered the stage
not enough, large apparatus is nomena produced by mesmer- These subtleties were the pre-
also needed Therefore, in even ized subjects I covered his eyes amble to a much more surprising
the most simple telegraph, there with a thick blindfold and, with- trick, one could call it the bouquet
are also grooved wheels, mag- out saying a word, I gave him a of the experiment in more than
nets, a pallet, levers, supports, glass full of water, the taste of one respect
etc the liquid became that of any liq- I approached the audience and
In my Aerial Clock, nothing uid thought of by a member of after having shaken and turned
of the sort could be seen, there the audience, no matter how over the scarf one last time, I pro-
was only a transparent crystal strange duced a huge basket of flowers,
dial, with a hand in the mid- Still without speaking, I had which I distributed to the ladies
dle him carry a bouquet to a lady that This trick was among the ex-
This dial was suspended from a member of the audience had se- periments advertised on my first
thin cords and completely iso- cretly designated, or he carried bill
lated, with the hand still free to out an order that had been whis-
turn right and left, and stop or pered to me, such as this Go re-
start again according to the re- move a snuffbox from someone's THE ETHEREAL SUSPENSION
quests of the audience pocket, open it, take out a pinch
A crystal bell suspended un- of snuff, and put it in someone We recall that in 1847 ether
derneath also chimed the hour else's wallet and its marvelous applications
on the clock, or even any hour were the talk of the day I then
one wished These two objects, had the idea of turning the pub-
before and after the experiment, THE SURPRISING SILK lic's enthusiasm to my advantage
were presented to the public for HANDKERCHIEF to create a topical trick, which
examination was hugely successful
In conclusion, I gave a mem- A fundamental principle of "Gentlemen," I said, with the se-
ber of the audience a cord to conjuring is producing great ef- riousness of a professor at La
which was fastened a hook, he fects with small things, put other- Sorbonne, "I have just discovered

410
 NOIES 10 Aci III

ether in a new, truly marvelous land of flowers was brought out 1 A collection of engravings,
form and hung by ribbons in the middle
"If one makes a living being of the stage 2 Two charming ladies' hats
breathe this substance when it is at I announced that these flow- garnished with flowers and rib-
maximum concentration, the body ers would serve as a target and bons, as new as if they had just
of the person becomes as light as a when fired in this direction, the come out of my dressmaker's bou-
balloon in a few moments " watches, the handkerchiefs, and tique,
This explanation finished, I the cards would gather together 3 Three live turtledoves,
proceeded to carry out the exper- around them
iment I put three stools on a So when the shot rang out the 4 Three huge brass pots filled
wooden bench My son stood on cards appeared on the garland, the respectively with beans, fire, and
the one in the middle, I had him watches below, and the handker- boiling water
hold out his arms, which I sup- chiefs hung off at the side
ported in the air with two canes, (There is a mistake on the 5 A large cage filled with birds
each placed on a stool drawing opposite, the engraver hopping from perch to perch (1)
I then carefully opened an forgot to add the handkerchiefs )
empty bottle and placed it under 6 Finally, after the portfolio
At the beginning of the trick, was closed one last time, my
the child's nose, while backstage although I needed only two hand-
the assistant poured ether onto a youngest son, the hero of the
kerchiefs, I borrowed three be- Ethereal Suspension, raised the
hot iron shovel so that the steam cause I kept one to perform an-
spread throughout the theater My cover, showed his smiling head to
other effect as an interlude in the audience, and emerged from
son immediately fell asleep and order to prolong this little scene,
his feet, having become light, his narrow prison
which would have otherwise been
began to rise from the stool too short
Then, judging the experiment to
I poured essence of wine onto
be a success, I took away the stool (1) One of my good friends,
this handkerchief, lit it, and
in such a manner that the child M Bouly, of Gambrai, a distin-
showed the ravages of the fire by
was supported only by the two guished lawyer, author of several
passing my arm through a huge
canes This strange equilibrium al- renowned archeological works,
hole Then, using the principle of
ready created great surprise among impassioned art amateur, and es-
homeopathy — similia similibus
the audience They became even pecially interested in conjuring, is
curantur — I poured even more
more astonished when I took away the creator of this ingenious trick
essence of wine on the burnt
one of the two canes and the stool He invented the cage which came
cloth, lit it again, and merely by
it was resting upon, and finally out of the portfolio The other
they were utterly amazed when, crushing the burning handker-
chief in my hand, I restored it to tricks that I added to this experi-
after having raised my son to a hor- ment take nothing away from the
izontal position with my little fin- its original form
merit of the original idea
ger, I left him asleep in space and, The garland trick was per-
in order to defy the laws of gravity, formed for the first time on
took away the feet from the bench January 18, 1850
which was under this impossible
THE INSTANTANEOUS
edifice, as illustrated in the engrav-
IMPRESSION
ing opposite
ROBERT-HOUDIN'S PORTFOLIO or The Communication
The first performance took
place on October 10, 1847 [or The Magic Portfolio] of Colors by will

THE GARLAND OF FLOWERS The most simple of nature's I showed the audience sev-
[or The Garland of Roses] laws states that the container must eral bottles filled with various
be larger than the contents, here it colors and I announced that,
This trick was very compli- is the opposite One can therefore through a new procedure, I
cated and its denouement formed call this trick an impossibility be- could make colored liquids
a very pleasant tableau coming possible travel through a simple silk rib-
I borrowed two handkerchiefs I brought out a flat portfolio no bon of any length
and three watches, I made them more than one centimeter thick I then placed a little desk
into a bundle that I put into a sort and set it on light trestles placed in amongst the spectators on which I
of blunderbuss, and I added three complete isolation in the middle of spread out a cloth
cards chosen from a pack by the the stage, I then took out the fol- "Gentlemen," I said, "here is a
audience During this time, a gar- lowing, in succession stamp that is linked to this bottle

411
ROBERI HOLJDIN

full of red liquor by way of a thin into the other vase, and one now in shooting these objects at
cord, please try to make an im- could hear the silvery sound the target " I showed him a crys-
pression by pressing on the Instead of making the eighth tal column on another table
cloth " One of the spectators pass like the others, I took it out The automaton aimed, with
tried, but in vain, the cloth re- of the vase and gave it to a lady, his finger on the trigger, and, at
mained white asking her to hold it tightly in my signal, fired The objects con-
"In order to make the liquid order to prevent it from escap- tained in the rifle were projected
travel to the stamp," I added with ing onto the column, and the glove,
great seriousness, "there is some- But as soon as I struck the blown up as if it were worn by an
thing else to do, I must give the vase, I said, "Go1" The impris- invisible hand, appeared on top of
order I am doing it now Please oned coin left the hand and the crystal, wearing on each fin-
try again " joined its companions ger the rings that had been given
Indeed, the name engraved on In order to conclusively end to me
the stamp printed itself in nice the experiment, I hung a trans- Sometimes I varied the exper-
red letters, but as soon as I gave parent crystal cashbox from the iment I put into the rifle a ring
an order to the contrary, no mat- ceiling by thin silk cords I made and two cards chosen secretly by
ter how hard one applied the it sway to and fro and when it members of the audience The au-
stamp, nothing happened tomaton pointed his weapon to-
was at its furthest point from the
I then took another bottle with ward a vase of flowers that I indi-
stage, I threw the coins, which
blue in it, I tied the ribbon to one cated and when he fired, a cherub
were clearly seen to arrive in-
end, and in order to show that came out of the middle of the
side
there was absolutely no prepara- roses flapping its wings and car-
tion in the stamp, I asked a spec- During each of these effects,
the identity of the coins was rying a lit torch from which the
tator to tie a key to the end of the
confirmed ring hung As for the two cards,
ribbon These conditions fulfilled
Performed for the first time on they had gone astray and at-
and the command given, one
September 4, 1849 tached themselves to my chest
could write on the cloth with the
key as easily as with a paint-
brush
I ended this trick by making a THE FRENCH-GUARDSMAN
or The Glove Column THE PASTRYCOOK OF
bouquet of white roses suddenly
change into very bright red [or The Tyrolean Hunter] PALAIS-ROYAL
ones [or The Inexhaustible Pastrycook]
Performed in September 1850 A little automaton clothed in
the French Guard's costume was See this charming little au-
set on a table, he had a musket tomaton, at its master's call it
and was ready to receive an comes to the doorstep, and, as
THE TRANSPARENT CASHBOX order polite as it is skilled, it greets
or The Traveling Coins As a well-trained automaton, the audience and waits for or-
he started by respectfully salut- ders Hot buns from the oven, all
This trick was meant to show ing the assembly and, after hav- sorts of cookies, syrups, liquors,
how easily I could make coins ing set down his weapon, he ice cream, etc are immediately
travel invisibly from one place to blew a few kisses to the children brought out as soon as they are
another in the room with his right hand, ordered, and when he has ful-
I borrowed eight five-franc then he let his arm fall, keeping filled all requests, he helps his
coins, which I asked the audience his little finger on the trigger, master with his conjuring tricks
to carefully mark, then I put and remained straight and still A lady, for example, secretly
them into a crystal vase I was awaiting new orders places a ring in a little locked
holding I borrowed several rings and a box held in her hand, at that very
I placed another vase on a white glove irom ladies in the au- instant the pastrycook brings out
table at the end of the stage and dience, I made a package of them a brioche in which he finds the
announced that, in tapping the and placed it in the little rifle ring that has just disappeared
one with the coins in it with my that I had previously loaded from the box
wand, one of them would go into "Here," I said to my French Here is more proof of his intel-
the empty vase with each tap Guardsman, "I am returning your ligence
With each strike of the wand weapon to you with one glove and A gold coin is given to him in a
on the crystal, a coin traveled four rings, please show your skill little basket by a member of the

412
 Noits TO ACT III

audience, who tells him that he with his hands, hung by his feet kiosk in which an Indian did ac-
must make change in francs and and soon completely left the robatic dances on a tightrope
centimes He goes into his shop, trapeze with exceptional perfection
and no matter how complicated This automaton appeared for This piece was performed for
the calculation, brings back the the first time in my theater on the first time in my theater on
sum in change October 1, 1849 November 25, 1850
Finally a comical lottery is
drawn, and the pastrycook dis-
tributes the prizes THE ENCHANTED VASE THE HORN OF PLENTY
This piece was the best-loved [or The Genie of the Roses, sophisti-
of my experiments because it was cated version of The Ladies' Among the changes that I had
as interesting as it was delightful, Favorite] brought to my predecessors' con-
and always brilliantly ended my juring performances, as I have
performances At the beginning of this little mentioned during the course of
The Pastrycook of Palais-Royal fairyhke scene, there was, on a this book, were the type of gifts I
was performed for the first time at table in the middle of the stage, offered to the audience as sou-
the opening of my theater an Etruscan vase decorated with venirs of my performances
precious stones, of exquisite and Comte and his followers dis-
tasteful workmanship It was tributed toys and candy, which al-
DIAVOLO ANTONIO topped with branches and rose ways came out of hats I thought
THE TRAPEZE ACROBAT leaves it unseemly to offer fans, flowers,
[Trapeze Acrobatics] I asked a lady to choose a card and candy by producing them
from a pack and to lock it into a from a place that was not always
I had named this automaton box I gave her Immediately, the clean, and in order to overcome
card emerged from the box, re- this difficulty, I invented the Horn
Diavolo Antonio after the famous
turned to my hands, and was re- of Plenty
acrobat whose dangerous exer-
cises I tried to reproduce placed by a charming canary I presented a sort of large cone
that opened into two parts to
However, the original was a man, I locked the little bird into a
allow one to better see inside,
and the copy was the size of and cage
then, as soon as it was closed, I
had the features of a child "Ladies," I then said, "this took out candy and flowers
I carried on my young wooden bird is so obedient that when I
I also made comic newspapers,
artist, as if he were a living being, give the order, he will come out albums, and illustrated quadril-
I set him on the trapeze and I through the bars of his cage to sit les come out of this cone
asked him a few questions to on the bouquet on top of the I had practiced throwing these
which he responded in nodding vase In order to make it more at- objects on target so they reached
"Are you afraid of falling9" tractive, I am going to make the people quite far away from the
No flowers on its foliage blossom " stage every time
"Are you willing to do your ex- I then waved my magic wand This distribution, as well as
ercises 9 " over the leaves and one could see that of the Inexhaustible Bottle,
Yes little buds appear that grew in created a most pleasant atmos-
Thus, as soon as the music full view, blossomed, and became phere in the theater Everyone
began, he graciously bowed to the magnificent roses wanted a gift and I was telegraph-
audience on all sides, then, hang- As soon as this trick was ac- ically solicited from all sides, and
ing by one arm and following the complished, the bird disappeared made it my duty to comply
rhythm of the music, he swung from its cage and reappeared on
energetically top of the roses singing as loud as I regret that I cannot continue
He then rested for a moment, it could to give details of my other exper-
during which he smoked his pipe, Following the audience's wishes, iments, I do not have enough
then performed tricks on the it sung any tune asked When space, I am therefore forced to
trapeze such as raising himself everyone had heard the tune they give just the titles, and to in-
with his arms and doing head- wished, the musician flew away clude the details and engravings
stands, while his legs moved in all and, like an actor who has finished in an upcoming work
directions performing, went backstage I also hope to compensate for
In order to prove that his me- To end this charming scene, not mentioning several renowned
chanical life was self-contained, the vase opened up into several conjurers for this same reason
my little Diavolo let go of the rope sections and formed an elegant

413
ROBtRl HOLDIN

The Birth of Flowers Vanishing my Son [Vanishing a sheet of paper until it disappeared
The Ladies' Favorite child under a giant cup] (See vol- completely, the other also disap-
The Infernal Punch ume II, page 61) peared under the eyes of the spec-
The Bell-ringer tators and both of them were found
The Crystal Balls After showing
Vanishing my Son reunited in a box seen empty a few
my hands completely empty, a crys-
The Instantaneous Impression tal ball suddenly appeared Splitting moments earlier
The Crystal Balls it in two with one hand, I produced
A Contraband Secret a second one of the same size, then The Jail was a mechanical piece
The Magnetized Cards I produced a little ball from one of that followed Auriol This clown,
The Safety Casket them, only to make it pass into the after having been locked up, put
Drying other, finally, I ended by coloring
his head through the prison bars,
The Queen's Bouquet the balls by making them pass
he was decapitated and the head
A Remarkable Equilibrium through a bottle filled with wine
placed on a tray on a side table,
Caghostro's Chest The Magnetized Cards A little which did not stop him from reap-
The Fascinating Owl card-box kiosk decorated with 12 pearing a moment later on top of
The Ball of Destiny columns was set on a table In the the house, completely restored
The Jail middle was a deck of cards One of
The Shower of Gold the four jacks chosen by the spec-
tators came out of the pack straight A Contraband Secret [or the
The Little Savoyard
up, then came off the card, jumped Journey of a Glass of Wine] is a
A Prodigy of Magic
onto a rope and swung there in trick in which a glass of wine invis-
Auriol and Debureau rhythm while the twelve other fig- ibly moves from one end of the
Wishes Granted ures stood up on each column
The Sympathetic Turtledoves stage to the other
Steam Photography The Cabalistic Drying A hand-
kerchief borrowed from a lady, The Queen's Bouquet (see vol-
after having been soaked in wine ume II, page 181)
Under t h e title Suite des ex- and stuffed into a pistol, was sent
periences que j at imaginees pen- into several bound and sealed Cagliostro's Chest (see volume
dant le cours de mes representa- boxes, and was discovered clean,
tions (Continuation of the II, page 78)
ironed, and scented with a perfume
experiments I created during my chosen by the audience
performances), Robert-Houdm Invulnerability (see volume II,
described the effects of a few The Fascinating Owl This bird, pp 221 and 253)
other tricks at the end of the ap- perched on a bush, directed the
pendix to the second Parisian edi- cards to be at a certain height, the
cards flew into the air and in its The Ball of Destiny is a per-
tion of his memoirs
beak caught the one chosen by the fectly isolated ball in the middle of
The Birth of Flowers Seeds, audience a room, from which answers to
placed in a crystal vase, which was questions asked by the audience
entirely closed, produced a rose, Auriol and Debureau Mechanical emerge in rhymed verses
then this rose transformed itself piece
into a magnificent bouquet
The Shower of Gold This is an
The Sympathetic Turtledoves.
The Punch Bowl [Inexhaustible] Two of these charming little ani- infinite production of gold coins
(See volume II, page 264 for the mals were placed on each side of and bank notes in such profusion
changes to this) the stage one was squeezed into a that they must be raked up

414
 INDPX

INDEX

B BERNARD Rene [commander] BOTTE [puppeteer] p 160

A BOUGEARD GERMONIERE
p 20, 39
ABRANTES Duchess d' p 113 BAHN N p 380 BERNEUIL [conjurer] p 351 [Mayor of Blois] p 60
ACROYD Peter (see DICKENS) BAILLY Caroline Jeanne de BERQUIN [playwright] p 94, BOUGEAT Emile [tightrope
p 61 [mother of M de VEscalopier] 202 walker] p 160
ADAM RUELLE Charles Jules p 384 BERRI Duke de p 98 BOULY [lawyer, inventor and
Auguste [notary] p 183, 185 BAILLY Elisabeth Aimee BERRY Duchess de p 106, 202 friend of Robert-Houdin] p 411
ADAM Victor [engraver] p 26, [Robert Houdm's godmother] BERT Guy [trick manufacturer] BOURDILLIAT Achille [Robert-
62, 71 p 61 p 88 Houdin's publisher] p 6l
ADENIS Jules p 176 BALDWIN David M [collector BERTHOUD [watchmaker] BOURGEAT Raymond p 10
ADRIEN Victor [conjurer] of magic art] p 10, 145, VIII, p 30, 31, 61 BRACKE F [journalist] p 407,
p 90, 92, 281, 283, 360 IX BERTIN Mane Jean Baptiste 408
AFFRE Msgr [archbishop] BALLU [entrepreneur of Theatre [owner of the space of "Soirees BRACONNIER Amelie Charlotte
p 156, 209 des "Soirees Fantastiques de Fantastiques de Robert-Houdin'] [Robert-Houdin's sister-in-law
ALBERT Prince p 319, 375, 402 Robert-Houdin 1 p 219, 226, 227, 360, 405 and Hamilton's wife] p 183,
ALBO Robert [historian, col- BALSAMO (see Cagliostro) BIENVENU [conjurer] p 97, 185, 308, 331, 363, 364, 405
lector] p 197, 388, 392 BAMBERG David (Fu-Manchu) 199, 200, 201 BRACONNIER Charles Albert
ALEXANDRE [mesmerist] [conjurer] p 69 BILLING baroness of [client of Samuel [Robert-Houdin's father-
p 384 BAMBERG Eliaser [conjurer] M Comte] p 247 in-law] p 183, 185, 215
ALEXANDRE [ventriloquist]
p 69 BILLON Mane Francoise BRACONNIER Charles Michel
p 198 BAMBERG Tobias (Papa [Robert-Houdin's relative] p 17, [general, Robert-Houdin's bro-
ALEXIS (see Didier Alexis) Bamberg) [conjurer] p 69 60 ther-in-law] p 183, 185, 215
BANCHE Maurice [publisher] BILLON Nicolas Laurent BRACONNIER Marguerite
ALLONCLE Silvme [Robert-
p 403 [Robert-Houdin's relative] p 17 Francoise Olympe [Robert-
Houdm's aunt] p 17, 60
BARBOU [president of the BIROT [Robert-Houdin's Latin Houdin 's second wife] p 182,
ALMERAS Henri d' [historian]
Seme Court] p 337 professor] p 21 183, 184, 207, 215, 319, 331,
p 113
BARIC [draftsman] p 155 BLANCHARD E L [drama critic] 364, 385, 386, 387, 403, 405
AMELIE Princess p 316
BARNUM Phmeas Taylor p 376 BRANGER [court officer] p 138
ANDERSON John Henry
[showman] p 179, 186, 187, BLAU [watchmaker from Blois, BRASI (see BRASY)
[conjurer] p 75, 312, 334, 336,
192, 193, 215 Robert-Houdin's employer] p 52, BRASY [conjurer] p 49, 89, 90
339, 340, 341, 342, 376, 397,
BASCHET [doctor] p 349 71 BRAUNJohn p 11
408 BASCHET [vicar] p 6l BLIND Adolphe "Le professeur BREGUET [watchmaker] p 55,
ANGOULEME Duke d' p 98, BASTARD [tightrope walker, Magicus" [inventor, conjurer 61
202 juggler] p 160 and magic art collector from BRESCIA Roberti de [conjurer]
ANGOULEME Duchess d' p 98 BASTOR [watchmakerfrom Geneva] p 47, 212 p 350, 351, 352
ANNE Princess p 316 Blois] p 71 BLISMON [author of works on BREWSTER [author of scientific
ANTONIO [Tornni's brother- BAULLIER [watchmaker and the magic art] p 38 and magic works] p 173
in-law] p 41, 42, 43, 45 first Parisian employer of BLITZ Antonio [conjurer] BROSSARD [publisher] p 47
ARCOSSE d' [counselor to the Robert-Houdin] p 77, 79, 120, p 75, 304 BRUNETEAU [cafe owner]
Court of Appeals in Pans] 144 BLONDEAU Jeanne Adelaide p 197
p 324 BEARD Frank [illustrator of [wife offacques Frangois
ARNOULD Dr [Robert BRUNNET Pierre Edouard
one of the American editions of Houdm] p 71, 138
Houdm 's doctor] p 208 [conjurer] p 330, 331
Robert-Houdin's memoirs] p 56 BONIN Tama p 10
ARTOIS Count d' p 98 BUCK J M [conjurer] p 336
BEAUHARNAIS Eugene de BORDEAUX Duke de p 106
AUBERT [trick manufacturer] BUISSERAY [family] p 392
p 213, 214 BOREL [ventriloquist] p 97,
p 88, 298, 301 BURLINGAMEHJ [author of
BEAUMARCHAIS Pierre Auguste 198, 199
AUCLERC [shadow artist] works on the magic art] p 321
Caron de p 134, 263 BOSCH Hieronymus [painter]
p 160 BUSONI Philippe [journalist]
BEBE the Sisters [phenomena] p 62, 63
AUGIER Victor p 103 p 207, 249
p 106 BOSCO Bartolomeo [conjurer]
AUGUSTE p 177
AUMONT Duke of p 98
BEBE Mrs [phenomenon]
p 100
p 49, 75, 93, 96, 111, 128,
129, 130, 131, 132, 133, 134,
c
AUPRE (see OPRE) BELLACHINI [conjurer] p 75 135, 163, 187, 204, 205, 207, CAGLIOSTRO Count de
AUSTRIA Emperor of p 100 BELLUOT [Hamilton's share- 235, 249, 261, 273, 291, 368, p 264, 265, 291
AUSTRIA Mane Therese of holder] p 362, 364 371, 388 CAL2OLARI [tenor] p 323
p 213 BELMAS Casimir [conjurer] BOSCO Alexandrine [daughter CAMBRIDGE Duke and
AVARAY Duke d' p 28, 65 p 384 of Bartolomeo Bosco] p 368, 405 Duchess de p 316

417
ROBhRf-HOUDIN

CAMILLE-MICHEL [composer] 273, 281, 347, 384, 386, 388, DELAGRAVE [publisher] p 324 [son of Amelie Braconnier and
p 346 413 DELARUE [author bookseller- of Charles Dominique Devillers]
CAMORS Claudme p 10 COMTE Charles [son of Louis publisher] p 38 p 308
CARJAT Etienne [draftsman, Comte, director of the theater DELESSERT Benjamin [banker DHOTEL Doctor Jules [presi-
caricaturist] p 289 Les Bouffes Pansiens and and friend of Robert-Houdin] dent of A FA P] p 18
CARLO SB ACH doctor [conju- Offenbach's son-in-law] p 101, p 220, 223, 251, 384 DICKENS Charles [writer]
rer] p 23, 24, 6l, 64 386 DELESSERT Francois Mane p 22, 61, 321
CARLYLE (see DICKENS) COMTE-OFFENBACH Gerard p 384 DICKMANN [trick manufactu-
CAROLY Jean [conjurer, trick p 10, 386 DELESSERT Gabriel [police rer] p 88
manufacturer, publisher of COMUS [conjurer] p 37, 45, chief of Pans, friend and pro- DIDIER Adolphe [medium]
L Illusionniste] p 11, 88 49, 69 tector of Robert-Houdin] p 287, 391
CARRANDI Mario [antique CONSTANTIN Grand Duke de p 223, 225, 226, 228, 229, 230, DIDIER Alexis [medium]
dealer and collector] p 10 p 100 251, 384, 385, 386 p 261, 287, 288, 289, 391
CASTELLI [charlatan] p 45, CONUS [conjurer] p 90 DELION [trick manufacturer] DIETTENNBERGER Armand
47, 69 CORBIERE Count de p 202 p 47, 88, 268, 278, 293, 301, [trick manufacturer] p 301
CASTELLI Guieseppe [conju- COUDRAY Julien [watchmaker 302 DIETZ Georges p 211
rer] p 70, 71 from Blois] p 60 DENTU J G [publisher] p 97, DIF Max [historian] p 11, 66,
CASTELLI d ORINO [exhibitor COURTOIS Louis [conjurer] 198, 391 98, 174
ofMunito the dog] p 69 p 49, 271, 275, 277, 278, 281, DEMANCE [artisan from Blois] DINOCHAU p 403
CASTON Alfred of [conjurer] 360, 391 p 78 DISDERI [photographer]
p 289, 392 COUTHIER [tinsmith, trick DEMMENY p 112 p 289, 326
CAVILLIER [Robert-Houdm s manufacturer] p 301 DENIERE [judge commissioner] DOBLER Ludwig [conjurer]
relative] p 183 CROISIC [theater inspector and p 138 p 75, 153, 227, 311, 393, 396,
CAZENEUVE Commander playwright] p 105 DESAGULIER [man of science] 397, 400, 401
Manus [conjurer] p 96, 204 CRONIER Alexandre [mecha- p 151 DOBLER Professor p 211
CHAIONS DE MASSEY nician, trick manufacturer] DESAUGIERS [song writer] DONCKELE (see Robin)
[conjurer] p 49, 90 p 175, 176, 214 p 113, 203 DORE Gustave [painter and
CHAM [caricaturist] p 268 CRUIKSHANK Georges p 398, DESCHAMPS Julien [publisher] engraver] p 222, 267, 358
CHAMPOLLET L de p 100 402 p 198 DOYON Andre [historian]
CHAPUIS Alfred [historian] DESCHESNES maitre [notary] p 212
p 171, 211, 212, 213 D p 117, 203 DRIOT citoyen [conjurer] p 66
CHARLES X p 13, 119 DAGUERRE Jacques [inventor DESFONTAINES abbe p 169 DRIOUX Auguste [publisher of
CHARLIAT [automaton collec- ofphotography] p 273 DESFRAY Dr [doctor from Passez Muscade] p 368
tor] p 388 DALEMBERTp 151 Blois] p 117, 195 DROUAS Jacques de p 10
CHARTIER Albert [wax sculp- DALLET Charles Claude p 117 DESFRAY Elisabeth Josephine DROZ Edmond [historian]
tor] p 71 DANNAUX Marguerite p 117 p 211, 213
CHAVIGNY Jean [historian, Francoise [wife of Alexandre DESLOGES [publisher] p 198 DU BLED Victor [historian]
biographer of Robert-Houdin] Roujol] p 91 DESMADRIL Mrs [relative of p 324
p 11, 12, 13, 48, 55, 61, 65, DANTAN Jean-Pierre [sculptor] Robert-Houdin] p 183 DUBERNES [animal trainer]
68, 71, 205, 392, 405 p 94, 95, 98, 183, 218, 219, DESRONDINGH p 117 p 160
CHAVIGNY Richard p 10 258, 283, 284, 285, 313, 315, DESTOUCHE [watchmaker, DUMANOIR [playwright] p 193
CHESNEAU abbe 1 [biogra- 316, 325, 349, 369, 372, 373, mechanician] p 139 DUMONT DE LONGPONT
pher ofRobert-Houdin] p 11 375, 386, 405 DEVALETTE [diverse curiosities] p 215
CHEVALLIER [mechanician DAVENPORT Brothers [me p 160 DUVAL Georges [playwright]
and trick manufacturer] p 88, diums] p 289 DEVAUX Alexandre [mechani- p 105
303, 304 DAVID de Bordeaux [magic cian, trick manufacture}]
CHOCAT (see HAMILTON) enthusiast, collector and p 212, 301, 351, 368, 404
CLAIRVILLE [playwright] p 193 friend of Robert-Houdin] p 34, DEVAUX Pierre [historian] ECHINARD Jacques [journalist,
CLARKE Sidney W [historian] 35, 36, 37, 39, 48, 66, 67, 68, p 171, 211 historian] p 10
p 66, 408 69, 96, 181, 199, 205 DEVEAUX (see DEVAUX) EGGIMANN Ch [publisher]
CLEVERMAN [conjurer] p 91, DAVY [watchmaker from Blois] DEVEILLE E p 60 p 47
392 P 71 DE VERE Charles [conjurer EGRET Miss [relative of Robert-
COMTE Louis Apollmaire DECREMPS [author of works and trick manufacturer] p 88, Houdin s family] p 78
[Kings Conjurer] p 13, 36, 49, on the magic art] p 31, 39, 67, 212 ENGEL [manager of the
66, 61, 75, 87, 93, 94, 95, 96, 68, 93, 151, 205 DE VERLI [conjurer] p 212 Krolltheater of Berlin] p 379,
97, 98, 99, 100, 101, 102, 103, DEHARGUE [baker, Robert- DEVILLERS Charles Dominique 380
104, 105, 106, 107, 108, 109, Houdin s sponsor] p 60, 6l [first husband of Amelie ESCALOPIER Count de 1' [friend
111, 127, 129, 160, 163, 197, DELAGE Henri [author] p 287, Braconnier, Robert-Houdin s and sponsor of Robert-Houdin]
198, 199, 202, 203, 221, 235, 391 sister-in-law] p 308, 392 p 156, 193, 209, 221, 251, 384
245, 247, 249, 251, 261, 266, DELAGRANGE p 6\ DEVILLERS Paul Michel Louis EUGENIE Empress p 368

418
 I\DI X

EVANS Geo G [American pu facturer] p 301 GUILLON Jean Francois [Robert- p 54, 55, 56, 71, 117, 118,
bhsher of Robert Houdm s me- GALLON [man of letters] p 151 Houdm s uncle] p 17,52 120, 136, 137, 138, 139, 145,
moirs] p 61, 207 GAMAIN [navalorama] p 160 GUILLON Mane Catherine 147, 195, 208
GANDON Antome [journalist, [daughter of Jacques Guillon HOUDIN Josephe Cecile
mesmerist] p 327, 403, 404 and mother of Robert-Houdm] Eglantine [Robert-Houdin s
FAKIR OF AVA the [conjurer] GARANCE Jean [magician] p 10 p 17, 18, 19, 60, 61 wife] p 13, 50, 53, 55, 56, 71,
GAR^ON maitre Maurice GUYOT [author of works on 79, 116, 117, 118, 120, 126,
P 75
[lawyer, academician and the magic art] p 31, 39, 151 137, 138, 139, 147, 150, 178,
FALAISE Jacques de [polypha-
conjuring enthusiast^ p 342 181, 183, 205, 408, 409
gist] p 100
FALCONI [conjurer] p 37
GARNIER [optics] p 160 H HOUDIN Josephe Madeleine
GASTINEAU Octave p 176 p 195
FALOCI Roger p 11 HACHETTE L [author book-
GAUGHAN John [mechani- seller] p 348 HOUDIN Louis Francois [son
FATH Georges [writer] p 348
cian, illusion-maker, histo- HADES Micky [publisher] of Jacques Frangois Houdm]
FECHNER Alexandra p 11
rian, and collector] p 10, 174, p 408 p 117, 120, 138, 207
FECHNER Christian p 11, 12,
212, XXXV HOUDINI Harry [escape artist,
13, II, IV, VI, VII, XIII, XVI, HALANZIER [manager of the
GAUTIER Theophile [writer] historian and collector] p 12,
XVII, XX, XXIX, XXXI, XXXIII, Theatre de Strasbourg] p 378
p 261, 263 68, 69, 212, 213, 317, 338, 341,
XXXVII, XXXIX, XL HAMILTON [conjurer, student,
GAULTIER Camille [author of 342, 393, 408
FECHNER Jean-Guy p 10 successor, and brother-in-law
works on the magic art] p 11, 68 HUART Louis [journalist]
FECHNER Maxime p 11 of Robert-Houdm] p 13, 91,
GELIS Edouard [historian] p 249, 343
FECHNER Solange p 11 215, 289, 326, 327, 330, 331,
FELIX Le Sieur [conjurer] p 25 p 208, 211 332, 333, 354, 355, 356, 357, HUBER Volker [historian and
FERAUD [Robert Houdm s GERARD-SEGUIN p 23 358, 359, 360, 361, 362, 363, collector] p 10, 207, III, V,
Latin professor] p 21 GERMER-BAILLERE [publisher] 364, 365, 366, 371, 372, 380, XXVIII, XXXII, XXXVI
FILLON [watchmakerfrom p 391 405 HUGARD Jean [magician and
Blots] p 71 GERVAL [animal trainer] HARRINGTON [conjurer] author of works on the magic
FINDLAY J B [historian and p 160 p 160, art] p 11, 68
collector] p 132, 174 GHERBRANT Jean Laurent HATIN Eugene [journalist and
FIT2-JAMES [ventriloquist [lawyer] p 117, 138, 207 biographer of Robert-Houdm]
I
p 97, 198, 199 GIROUX Alphonse [shopkee- p 65, 66, 155, 228, 281, 283, IMBERT A [author, bookseller]
FLANC [mechanician] p 160 per] p 147, 177, 179, 193, 301 408 p 74
FLERS Marquis de [friend and GODET Francoise Hennette HEIMBURGER Alexander INDIENS Les p 100
neighbor of Robert-Houdm] [mother of Alexandre Roujol] [conjurer] p 75
p 36, 66
FLUDE Mrs p 10
p 91
GODILLOT Sieur [puppeteer]
HELLER [conjurer] p 75 J
HENRI [exercises of the savage]
FONTENEY and PELTIER [au- p 385 JACOBS [conjurer] p 336, 342,
p 160
thors, booksellers, publishers] 343
GOTTLIEB de WINDISCH HENRI IV p 202
p 167 JACQUET-DRO2 [mechanician]
[author] p 176 HENRY doctor Guy p 11
FOREST [engraver] p 250 p 177, 213
GOUAUT [experiments in phy HERRMANN Carl (Compars)
FOURNAY Paul [trick manu- sics] p 160 JAPY brothers [watchmakers]
[conjurer] p 75, 311, 312, 336,
facturer] p 301 p 147
GOUMENAUD [nephew of 338, 341, 342
FRANCOEUR [member of the Gandon] p 403 JAY Ricky [magician, historian,
HESNARD [juggler] p 160
Society for the Encouragement] GOUPIL Frederic p 23 and collector] p 10, 207, 408
HESSE Prince Frederick
p 147 GRAHAM Henry [clown, JEANTET Florence p 10
William of p 316
FRANgOIS P p 60 conjurer] p 376 HILLIARD John Northern [ma- JERROD, Douglas [journalist]
FRANCONI [circus manager] GRASSOT p 840 gician and author of works on p 397
p 100 GRISY Antonia de [wife of the magic art] p 75 JORES Se [wax figures] p 160
FREDERIC p 77 Tornni/de Gnsy] p 42, 43 HJALMAR [magician, histo JOSEPH-RENAUD J [conjuring
FRIAUT Pascal [magician and GRISY de (see TORRINI) nan, collector] p 392, 405 enthusiast and author of works
collector] p 10 GRISY Giovani de [son of HOF2INSER [conjurer] p 75 on the magic art] p 51
FRIKELL Wiljalba [conjurer] Tornni/de Gnsy] p 43 HOME Daniel Dunglas [me- JOULIN Frangois [wood worker]
p 75, 376 GRIVOLAS [conjuring enthu- dium] p 289 p 60
FROGER-DESCHESNES ame siast] p 209 JOZON maitre [Robert-
HOMME INCOMBUSTIBLE 1
[notary] p 203 Houdin s notary] p 118, 183
GUILLEMIN [architect ofH [phenomenon] p 107
FUGERES Henri [decorator] JULIE Miss [medium] p 399
Bertm] p 226 HOMME-MOUCHE 1 [pheno-
p 249 JUVIGNY Albertine de
GUILLON Francoise Mane menon] p 100, 106
HOUDIN Jacques [watchma- [woman of letters] p 167
[Robert-Houdm s relative]
G p 17, 52, 60 ker from Blots] p 55, 117
GABILLARD Jane-Louise p 10 GUILLON Jacques [grandfa- HOUDIN Jacques Francois
GALLES Prince of p 402 ther of Robert-Houdm] p 17, [watchmaker-mechanician, fa- KALUSH Bill [magician, histo
GALLET widow [trick manu- 18, 51, 52, 60, 117, 205 ther-in law of Robert-Houdin] nan and collector] p 11, 207

419
ROBhRT-HoUDIN

KARR Todd [Editor] p 11 tique dealer, writer of fables] 143, 187, 188, 189, 190, 191, MAYER Pierre [magician and
KAUFMAN Richard [Editor] p 240, 241, 260, 404 263, 265, 307, 393 collector] p 10, 147, 207, XIV,
P 11 LECESNE p 66 LOYAL [puppeteer] p 385 XV
KEIME General p 391 LEFEBVRE [painter] p 175 LOYER Francoise p 17 MAYETTE Andre [trick manu-
KEIME ROBERT-HOUDIN LEGRAND Omer Augustm LURAT [Robert-Houdin's Greek facturer] p 88
Andre [Robert-Houdin 's great- [watch-making worker] p 154, professor] p 21 MELCHEL p 375
grandson] p 10, 65 215, 391 181, 335, 336, 337, 338, 339, MELIES Georges [pioneer of ci-
KEMPELEN Wolfang, Baron 341, 405 M nema, inventor of "the cinemato-
von [creator of the Chess LEMAIRE [entrepreneur of re- MACALISTER [conjurer] p 163 graphic show," draftsman, direc-
Player] p 75, 124, 169, 171, novations on the Theatre MADOUF [puppeteer] p 385 tor, magician and last manager
172, 173, 174, 175, 176, 179, Robert-Houdin] p 226 MAELZEL Johann Nepomuc of the Theatre Robert-Houdin]
213 LEMAITRE Henri [husband of [mechanician] p 123, 174, p 11, 215, 405
KENT Duchess de p 316, 402 Eglantine Robert-Houdin] 175, 213, 214, 228, 249 MENGEN Baron de [ventrilo-
KIPLING Rudyard [writer] p 260 p 387 MAGEUX Gilles [magician] quist] p 198
KLOSTERMAN Ken [historian LEMERCIER DE NEUVILLE p 10 MERCIER [diverse curiosities]
and collector] p 10, XXXIV [journalist, puppeteer, writer] MAGNIERE [conjurer] p 37 p 160
KNIGHT Hennette [ward of p 121, 403 MALTHETE-MELIES Madeleine MERCIER [puppets] p 160
Olympe andfean Eugene LEPAUTE [watchmaker] p 55 p 10, XXX MERLIN L'enchanteur p 291
Robert-Houdin] p 319, 331, L'ERCULE [conjurer] p 37 MESMER p 261
MAILLARDET [mechanician]
403 LEROUXp 185 METIVIE Jacques Claude
p 177, 213
KNIGHT Henry [employee of LEROY Jean p 17 [Robert-Houdin's surrogate
MANNING Sissy and Betty
The Saint fames's Theater] LEROY Mane p 17 tutor] p 19, 52, 61
[daughters of William Manning}
p 319 LE ROY Servais p 388 METIVIE Marguerite Rosalie
p 318
KUNIAN Gerard [magician, LESSYEN [puppeteer, writer] [Robert-Houdin's stepmother]
MANNING William [student
comedian] p 10 p 385 and friend of Robert-Houdin] p 19, 55, 61, 183, 205
LETTSOM William Garrow [di- p 11, 146, 178, 318, 320, 321 METIVIE Pierre Rene p 19
L plomat] p 336, 338, 339, 341 MANTOUX [Parisian tax office MEVILLON p 55
LABBE p 185 LEUCHTENBERG Duke de employee] p 404 MEZANGE Joseph p 6l
LACAZE [conjurer] p 297, p 214 MAOUS [juggler, podiatrist MIETTE [conjurer] p 74
332, 386 LEVIE Francoise [historian] and conjurer from Blots] p 33, MILLET Madeleine Catherine
LA CHATRE Duke of p 99, 100 p 202 48, 65, 66 [Robert-Houdin's maternal
LA FONTAINE [writer] p 52, 202 LEVY Michel [publisher] p 385 MARCHAL & BUFFARD [trick aunt] p 61
LAFONTAINE [mesmerist] LIAIGRE Lucien [historian] manufacturer] p 88, 304, 305
p 212 MILLET Mane Anne p 17, 59
p 289, 391 MARCILLET [mesmerist] p 287,
LIBRAIRIE NOUVELLE [publi- MIRVILLE Marquis Eude de
LAMARTINE p 393 288, 289, 391
sher] p 386 [author, occult science enthu-
LAMAZOU [puppeteer] p 385 MARMONTEL [Robert-Houdin's
LINNE [man of science] p 28 siast and friend of Robert-
LAMBERT [mechanician] Greek professor] p 21
LINSKI de [conjurer] p 351, Houdin] p 287, 288, 392
p 299 MARSHALL Jay [magician and
352, 368, 405 MITCHELL John [manager of
LANDAIS Napoleon p 151 collector] p 10
LINSKY de [conjurer] p 49, the Saint fames's Theater in
LANDON Jean-Claude p 10 MARTELIERE Agnes Josephe
373, 376, 404, 405 London] p 308, 315, 319, 375,
LANGLOIS [panorama] p 160 p 117
LIOTE [conjurer] p 160, l6l 377, 397, 400
LANGLOIS [conjurer] p 299 MARTERET Antoinette [magi-
LANGLUMEJ p 24 LIVRAN Mathieu de [collector MOINETp 151
cian, collector] p 10, XII
LANGOLF Georges [son-in-law of'musical instruments] p 125 MOREAU "MORAX" Christine
MARTIN Felix [architect of
of Alexandre Roujol] p 197 LORAMUS [conjurer] p 281, Soirees Fantastiques de Robert- and Didier [magicians and
LARESCHE p 55 360 Houdin] p 226, 227, 251 collectors] p 10, 78, 127, 152,
LAROUSSE Pierre [writer, pu- LOREDAN-LARCHEY [man of MARTIN Louis Michel [Robert 187, 220, 260, 304
blisher] p 36, 199, 202 letters] p 83 Houdm's uncle by marriage] MOREAU-SAINTI [lyric artist,
LARY Dam [illusionnist] p 10 LORMEAU Juliette [journalist] p 183, 385 conjurer and friend of Robert-
LASSAIGNE Auguste [mesme- p 245, 253 MARTIN Marguerite Louise Houdin] p 289, 296, 297, 299,
rist] p 289, 331, 332, 384, 405 LORMIER [scientific populan- [Robert-Houdin's mother-in- 392
LAUREAU Marcel [magician zer/wnter] p 299 law] p 183, 215, 380, 385 MORIN [puppets] p 160
and collector] p 10 LOUIS Le Sieur [conjurer] MARTINET [publisher] p 268 MORIN [mechanician] p 160
LAURENT [medium] p 403 p 25 MARTINET Jeanne p 17 59 MORIN [correspondant of
LAWENSTEIN Prince of p 316 LOUIS XII p 59, 60 MASSE or MASSEY [mechani- Robert-Houdin] p 387
LE CARPENTIER Adnen [com- LOUIS XIII p 13 cal show] p 160, 197 MOTEL [watchmaker] p 55
poser of the music for Soirees LOUIS XV p 235, 245, 251 MASSON Louise Victoire [wife MULLER Jean-Luc [cinemato-
Fantastiques] p 234, 240, 253, LOUIS XVIII p 13, 98, 201, 202 of Philippe] p 209 graph es] p 10
255, 263, 281 LOUISE Princess p 375 MAULNY Mane Francoise MUNITO [calculating dog, see
LE CARPENTIER Anstide [an- LOUIS-PHILIPPE p 13, 119, p 17, 60 also Castelh d'Onno] p 69

420
 INDEX

N PELLETIER p 62 ROBERT-HOUDIN Auguste

PERDRIZET & RICHARD [ex-
Q Adolphe [son of Eglantine and
NADARp 371 traordinary horse] p 160 QUEVAL [tightrope walker, fean Eugene Robert-Houdin]
NAPLES Prince Leopold de PERRELET [watchmaker] p 55 juggler] p 160 p 205
p 316 PERRIN [mechanician, conju- QUINEL [diverse curiosities] ROBERT-HOUDIN Georges
NAPOLEON ICI p 215 rer] p 39, 66 p 160 Emile [son of Olympe and fean
NAPOLEON III p 289, 316, PHILADELPHIA [conjurer] Eugene Robert-Houdin] p 205,
327, 368 p 95, 204 R 207, 331, 349, 353, 386, 405
NARMAU Mane Jeanne de PHILIPPE [conjurer] p 75, 93, ROBERT-HOUDIN Henri Louis
RABATEL Mane Madeleine
p 117 95, 153, 162, 163, 164, 165, [son of Olympe and fean
[wife of Comte] p 96
NEMER Monique p 10 166, 167, 209, 210, 227, 235, Eugene Robert-Houdin] p 205,
RACHEL [comedian] p 375
NERVAL Gerard de [wnter] 249, 251, 253, 261, 266, 273, 380, 381
RANSOM Harry Humanities
p 251 281, 311, 312, 351, 376, 384, ROBERT-HOUDIN Jean Jacques
Research Center [University of
NEWTON Sir Isaac p 313 388, 393, 396, 397, 400, 410 Emile [son of Eglantine and
Texas, Austin] p 10, XX, XXII,
NICOLAI Chnstophe Frederic PHILIPPE Hennette Mane fean Eugene Robert-Houdin]
XXIII, XXIV, XXV, XXVI, 290,
[historian] p 212 Victoire [the artist's daughter] p 120, 121, 141, 181, 203, 205,
310, 311, 312, 313, 317, 320,
NOEL Leon [engraver and li- p 384 241, 258, 259, 283, 284, 319,
322, 335, 340, 372, 376, 393,
thographer] p 168, 218, 283 PIERRE [mechanician] p 100, 331, 389, 390, 391, 394, 395,
394, 395, 396, 397, 398, 400
NOGENT ST LAURENS 251 396, 397, 398, 399, 401, 402,
RATEL [clown] p 106
[lawyer] p 338, 339 PIERRE-LENTIN p 67 403, 406
RAVEL p 375
NORIAC Jules [manager of the PIGEAIRE Miss [medium] ROBERT-HOUDIN Joseph
RAYNALY Edouard [magician,
theater Les Bouffes Pansiens] p 261 Prosper Eugene [son of
author of works on the magic
p 386 Eglantine and fean Eugene
PILFERER [charlatan] p 38 art] p 11
NORIET [watchmaker in Tours PIN Bernard p 10 Robert-Houdin] p 141, 181,
READ Bob [magician, histo-
and employer of Robert-Houdin] PINAULT-METIVIE [depart- 208, 241, 291, 319, 331, 393,
rian and collector] p 207
p 40, 41, 47, 49 394, 395, 396, 397, 398, 399,
mental architect] p 55 RECHSTEINER [mechanician]
o PINETTI chevalier [conjurer]
p 36, 37, 42, 43, 45, 46, 67,
p 212
REGIL Jean [illusionnist] p 10
400, 401, 404
ROBERT-HOUDIN Louis Henri
OFFENBACH [composer] 68, 69, 71, 88, 93, 95, 97, 197, RENOU Therese Justine p 65, p 205
p 386 199, 204, 205 77, 79 ROBERT-HOUDIN Louise
OKITO [conjurer] p 69 PIPELET p 177 REILLE Baroness p 10 Mane [daughter of Olympe and
OLIVIER Son [conjurer] p 113, POLO F [publisher] p 83 RENOU DESFRAY p 78 fean Eugene Robert-Houdin]
115, 203, 343 PONSIN [author of works on RIFFAULT [notary] p 117 p 241, 242, 273, 319, 385
OLIVIER Pierre Joseph [conju- the magic art] p 301 RIDGELY EVANS Henry [histo- ROBERT-HOUDIN Marie Rosalie
rer] p 37, 45, 49, 69, 90, 97, PORCELET [wax figures] p 160 rian] p 11, 49 [daughter of Eglantine and fean
100, 110, 111, 112, 113, 198, PORCHER Laure Mane RIGLET [policeman] p 138 Eugene Robert-Houdin] p 139,
199 [Robert-Houdin's relative] ROBBE [conjurer] p 37 141, 181, 205, 208
OLIVIO [conjurer] p 37 p 183 ROBELLY [historian] p 11, 67, ROBERT-HOUDIN Olympe
OPRE [conjurer] p 43, 68, 69, PRADEL [objets of curiosities] 300, 379, 392 (see BRACONNIER Olympe)
71 p 160 ROBERT [optics] p 160 ROBERT-HOUDIN Paul p 205
ORLEANS Duchess d' p 188, PREJEAN [conjurer-mechani- ROBERT le sieur [conjurer] ROBERT-HOUDIN Rosalie
265 cian] p 88, 90 p 66 Eglantine [daughter of Olympe
ORLEANS Gaston d' p 59 PREVEL Jules [journalist] ROBERT Henri [watchmaker] and fean Eugene Robert-
ORLOFF D p 174, 175 p 197 p 383 Houdin] p 205, 372, 373, 387,
ORVILLE Robert p 373 PREVOSTJ [author of the first ROBERT Jean Toussamt 404, 405
OZANAM [author of works on book published on the magic art] [Robert-Houdin's uncle] p 17, ROBERTI DE BRESCIA (see
the magic art] p 31, 151 p 223 37, 39, 59, 65, 215 BRESCIA)
PROUST Georges [magician, ROBERT Louis p 17, 59 ROBERT RENOU Jean Martin
historian, collector, trick ma- ROBERT Louis (son) p 17 ["Cousin Robert'] p 17, 28, 29,
PALATINY [conjurer] p 39, 66, nufacturer, and creator of the ROBERT Mane Celine [Robert- 30, 31, 33, 40, 60, 65, 71, 76,
61 Museum of Magic and Houdin's sister] p 18, 19, 51, 77, 78, 117
PAPIN Denis [inventor of the Curiosities] p 5, 10, 88, 171, 52, 60, 117, 126, 205 ROBERTSON Etienne Gaspard
steam machine] p 59 187, 207, 222, 286, 298, 300, ROBERT Prosper [Robert- [conjurer] p 100, 111, 113,
PARACELSE p 291 346, 360 Houdin's father] p 17, 18, 19, 199, 202, 203
PARDESSUS maitre [notary PRUCHE [engraver and litho- 20, 25, 26, 28, 29, 37, 39, 51, ROBIN Henri [conjurer] p 12,
from Blots who was Robert- grapher] p 232, 244, 283, 313 52, 55, 59, 60, 61, 64, 65, 117, 75, 154, 289, 336, 337, 340,
Houdin's first employer] p 23, PRUDENCE Miss [medium] 181, 183, 205 342, 405
25, 26, 30 p 273, 289, 403 ROBERT Prosper (son) ROGER p 315
PARIS Count de p 188, 190, PRUSSIA King of p 100 [Robert-Houdin's brother] p 18 ROGER Charles Michel maitre
191 PUYSEGURp 261 ROBERT Toussamt p 17, 59 [notary] p 28, 29, 30, 65

421
ROBERT-HOLDIN

ROHAN-CHABOT p. 405 SAXE-WEIMAR Duchess of VEUILLOT E. [journalist]

ROUET "ROGELLO" Eva and Bernhard of p. 316
T p. 348
Roger [magicians and collec- SAXE-WEIMAR Prince Edouard TALON (see PHILIPPE) VICTORIA Queen p. 319, 375,
tors] p. 10 of p. 316 TARLIER [author, bookseller, 402, 403
ROUGEOLE [trick manufactu- SAXON A. H. [historian] p. 10, publisher] p. 195 VILA1N cure p. 6l
rer] p. 88, 197 p. 215 TERRANOVA Anne-Marie [pho- VIRGINIE Miss [medium] p. 26l
ROUJOL Alexandre [trick ma- SCHLEMIL Pierre p. 263 tographer] p. 10 VIRO Prosper [writer] p. 386
nufacturer] p. 86, 87, 88, 89, SCRIBE p. 109 THAYER p. 103 VOIGNIER Francois [historian
90, 91, 92, 93, 98, 120, 127, SCRIVE les p. 373 THIEMET [ventriloquist] p. 95, and collector] p. 10, 86, 106,
154, 165, 175, 196, 197, 228, SEEMAN Baron [conjurer] 198 405
266 p. 75 THIOUT p. 151 VOIGNIER Jacques [historian
ROUJOL Alexandre Francois SEGUIER Baron Armand THUREAU [lawyer] p. 338. 339 and collector] p. 10, 12, 13,
Adolphe p. 91, 197 [member of the Institute] TOM THUMB General p. 192, 46, 66, 68, 69, 71, 86, 87, 197,
ROUJOL Louis Julien p. 91, 197 p. 191, 251, 339 193 207, XVIII, 232, 294, 347, 352,
ROUJOL Marie Victoire p. 91, SELDOW Michel [magician, TORRINI [conjurer] p. 40, 41, 360, 379, 384, 388, 392, 405
197 actor, journalist, author, and 42, 43, 44, 45, 47, 48, 49, 50, VOISIN Andre [mechanician
ROUJOL Pierre p. 91 biographer of Robert-Houdin] 51, 52, 65, 66, 67, 68, 69, 71, and trick manufacturer] p. 12,
ROUSSEAU Jean-Jacques [wri- p. 11, 214, 215, 391 235. 87, 88, 283, 297, 299, 300, 301,
ter] p. 151 SERAPHIN [shadow artist] TRICARD [notary] p. 197 303, 304, 305, 360, 392
ROVERE Jules de [conjurer] p. 100, 160, 202, 223, 228, 229, TROUSSEL [gas microscope] VOISIN Emile [mechanician
p. 49, 90, 91, 165, 266 230, 251, 262, 347, 348, 385 p. 160 and trick manufacturer]
ROYER Paul (see SERAPHIN) SEXE [lightrope walker, juggler] p. 208, 300, 392
RUEL Aine [author, bookseller, p. 160 V VOISIN Mrs veuve p. 300
publisher] p. 167 SHAKESPEARE William [play- VAILLAT [photographer] p. 180, VOLLMER Richard [magician,
RUSSIA emperor of p. 100 wright] p. 310, 400 182 author of works on the magic
RUSSIA great Duke Paul of SHARPE Sam H. [historian, VAL [conjurer] p. 49 art] p. 10
p. 213 author, and biographer of VALENTIN [ventriloquist] VRESSE Arnaud de [publisher]
Robert-Houdin] p. 11, 68, 205, p. 299 p.155
371, 408 VANDERBURCH Emile [play-
SAINT-GILLES [ventriloquist]
p. 198
SHELTON MAKENZIE R.
[American translator of Confi-
wright] p. 105, 106
VAN TIGGELEN Philippe John
w
SAINT-LAURENT Philippe dences of Robert-Houdin] p. 71 [historian] p. 10, 122, 123, WAGNER [watchmaker] p. 55
[magician, historian] p. 10 SHERER L. p. 24 124, 125, 203, 205 WEBSTER Sir Arthur p. 316
SAINT LOUIS p. 323 SIMONNET [Head of the 2nd VARNEY [manager of the thea- WELLINGTON Duke of p. 316
SALABERI [Savant horse] bureau of the Prefecture of ter Les Bouffes Parisiens] WINKEL Diederich Nicolaus
p. 160 Paris] p. 383 p. 386 [inventor, manufacturer of
SALTARINO signor p. 192 SOUDRY [bookseller] p. 30 VASSAL Alexandre [commissio- automatic instruments] p. 123,
SALVERTE Eusebe [writer] STANLEY [journalist and ex- ner of the police of the Palais- 124, 203
p. 400 plorer] p. 215 Royal area] p. 226, 386 WOROUSKY p. 173, 174, 175
SANTO-DOMINGO [writer] STEUB [tightrope ivalker, jug- VAUCANSON Jacques de [me- WYMAN [conjurer] p. 75
p. 195 gler] p. 160 chanician] p. 75, 169, 170,
SARDINA Maurice [magic en- STEVENARD [mechanician] 171, 179, 211, 212, 228, 249, Y
thusiast, author, historian and p. 249 263
YVERT Eugene [journalist]
collector] p. 11, 68, 341, 342 STOCK editions 215, 405 VERGNAUD A.D. [author and
p. 407
SAUBERT [conjurer for whom STRATTON Charles (see TOM publisher of works on magic]
Robert-Houdin served as THUMB) p. 173
confederate] p. 82, 84, 85 SUIN [lawyer'general] p. 340 VERNET Horace [painter]
SAVREN [conjurer and collec- SWEDENBORG p. 291 p. 332 ZILBERMAN [cheater] p. 45
tor] p. 337 SYLVESTER [conjurer] p. 75 VEUDREILLE [tinsmith] p. 39 ZULU KAFIRS p. 375

422
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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 Robert-
Houdin 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 COPYRIGHT BERNARD

FAU 2002

N° ISBN : 2-907584-05-7
 '•' : m
The celebrated ROBERT-HOUDIN wiU repeat his
Original a n d Extraordinary

EVERT
-

Tuesday, Thursday
Saturday Evenings,
w\> » u.r \i s»i lift i \

DAY
PERFORMANCE
Wednesday
• • ij
Morning*,
< O.HHI:.V( IM. . / / ' / / . ; / . / / ' i v y y i r o ix jut h

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