Christian Fechner - Magic of Robert-Houdin an Artist's Life Vol. 2

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Illustrations 4l4. 415 and 416 - Admission request by Robert-Houdin to the Societe des Gens de Lettres (Society of Men of Letters).

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Illustration 417 - Letter confirming Robert-Houdin's admission into the Societe des Gens de Lettres.

Robert-Houdin's two sponsors who signed this request were G. de Landelle and Jules Adenis.

well, the associates seemed neither to refuse nor accept and the author had to wait for sixteen months before hearing the verdict! This episode once again illustrated the fight led by Robert-Houdin to position his art next to other disciplines and to overcome prejudices in all forms, including that of literary figures of his time. He triumphed over each of these setbacks and small humiliations with an infinite patience linked to an unwavering determination. In this particular case, it was thanks to the intervention of his colleague and friend Jules Adenis that he finally received confirmation of his admission into the venerable society on November 9, 1869. Here are a few extracts from the letter sent by Jules Adenis to announce this belated but good news:

My dear colleague and friend I learned on Monday evening that at 4 o'clock on that same day you had been unanimously accepted. I am pleased about this unanimity and I gave cards to the main members. You could send some to the Society's headquarters to Leo Lespes (Timothy Trimm) who I was told was very enthusiastic about your admission. Finally, it is done. I had no other merit than conquering a ridiculous prejudice and (which especially motivated me) obliging you...

Following the success of the play at the Ambigu, Robert-Houdin received the proposition from a drama agent named Kuschnick to do a tour of La Czarine in the provinces. He also noted his appointments with the press in Tablettes journalieres-. 290

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Illustration 418 - The facade of the Theatre de l'Ambigu in June 1868.

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well, irritated Cleverman. who picked a fight with Hamilton, then with Robert-Houdin over this book: July 3 ul

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Illustration 419 — Letter from Robert-Houdin to the drama agent Kuschnick.

— I received a letter from Ghocat [Hamilton] about a letter that Cleverman wrote to him about our sale of the theater. I was at M. Vallon's [lawyer] to ask him about Hamilton's letter. th July 4 — I wrote to Hamilton to calm him down on my position with respect to Cleverman. th August 11 —I received a letter from Cleverman about my new book Secrets de la prestidigitation. It bothered me for the rest of the day. th August 12 — I wrote to Cleverman saying that I had the right to do my book through a clause in the sale contract. I showed my letter to M. Vallon. August 26"' — I received a letter from Cleverman telling me that he had not received my last letter. I sent him a copy with a second letter, which I sent with a receipt.

This letter set the rental conditions for the automaton Chess Cleverman's recriminations Player during the tour in the provinces of Zfl Czarine as well as royalties due to Robert-Houdin. (Jacques Voigniercollec- appoint Hamilton, who had tion)

June 15dl — I dined at Vallee's with Tony Revillon, Montselet, Labedoliere and other journalists. A man's dinner. Labedoliere did an impromptu song about me. Monselet recited poetry. I could not avoid doing something.

On June 16th, Robert-Houdin, back at The Priory, wrote to Engel in Berlin and to the impresario Wolghemuth, as an answer to their request for information on La Czarine. Strangely, the publication of Les Secrets de la prestidigitation et de la magie, which sold 292

could only disoffered him a great opportunity, and also Robert-Houdin, to whom he owed so much. Robert-Houdin, after this new pettiness, broke off contact with him. In July, Robert-Houdin was back in Paris where he welcomed Herr Engel from Berlin, and they both went to see the play at the Ambigu. The two men agreed upon the financial terms of La Czarine for Germany: 1,500 francs for the rental of the automaton and royalties. The war between the two countries ended the project. The last performance of the play took place on July 19th. Robert-Houdin packed up his ma-

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terial, said his farewells to everyone and returned to The Priory on the 25th.

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the promoter, Mr. Kuschnick. Robert-Houdin attended the performance given in Orleans before a "full house" and the premier in Blois before a "bursting house''. The author added: "The automaton was highly applauded." It would seem that Robert-Houdin had planned to build a second Chess Player for the tour in the provinces, but, for lack of time, he used the one from the Ambigu theater. His collaborator Jules Adenis, who had just asked for the automaton in "forty-eight hours" for a possible replaying of La Czarine in Paris, gently berated him for this. On November 19th. facing the possibilities offered for performances in the capital as well as abroad, Robert-Houdin began the manufacture of another Chess Player and, at the end of December 1868, we see the traditional resume of the year:

During the month of August, his son Emile, now living on boulevard des Italiens, sent him an assistant to help him in his work. This Mr. Gamier took care of various tasks, among which fixing the mechanisms of The Genie of the Roses whose large dancer Robert-Houdin had dismantled. On August 26th, the happy grandfather learned that his daughter-in-law had that evening given birth to a boy, Joseph Eugene Henri, whose godfather was his younger son Eugene. On the 17th, 18th, and 19Ih of September, Robert-Houdin had the young actor Carpentier rehearse with the Chess Player as he played the part of Christian during the tour and, on September 20Ih, he did his first session of posing for Mieusement for the different portraits accompanying the future Blois and Parisian editions of Confidences et Revelations. On the 11th and 12th of October, Mieusement came to photograph the exterior of The Priory. The tour in the provinces of La Czarine, which had begun in Dieppe on September 24th, seemed to be destined for success in terms of audience, but given the costs, it was only a modest financial success [19] for

December 31"— This year, except for a few fatigues that I endured for my chess player in Paris, was very happy for us. We had fairly good health for our age and no serious worries - we can only hope for the continuation of this situation.

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The Grand Affair, The Odometer, and Dr. Epstein Robert-Houdin dedicated the beginning of the year 1869 to finishing Chess Player no. 2. In January he also began to set up his little Theatre des Spectres (Ghost Theater) in the old dairy of The Priory. At the end of the month, he went to Paris and on January 22 met a German artist whose identity he did not reveal: "At the hotel I met a conjurer I had seen in Berlin." He visited Charles Comte at Les Bouffes-Parisiens probably for a biographical passage on the King's Conjurer - and on January 27 accompanied by Emile, he went to see the conjurer Epstein at the Salle Hertz. In fact, this journey to Paris was only a pretext to establish the first contacts concerning what Robert-Houdin called in his Tablettes journalieres "my Grand Affair.'' This ''Grand Affair" was the request for the Legion d'Honneur. Robert-Houdin, encouraged by his entourage and scientist friends, had been thinking about it for several months already, and this legitimate ambition occupied his thoughts and made him take certain steps in the weeks to follow. On February 1, Robert-Houdin was back at The Priory, where a letter from M. Martorell from Montevideo was awaiting him. He worked on the finishing touches of The Chess Player no. 2 and wrote in his Tablettes journalieres: February 7th— I worked on automaton no. 2. In the evening we tried the automaton with the children. Eglantine played the Gzarine; Georges, Christian; and myself, M. Yon Kempelen. February 8"'—I worked on automaton no. 2, which I finally finished. It worked out well. M. Ranc arrived at five o'clock. At dinner were 294

M. and lime. Lescene, Marie Lecesne, M. Jollois, Dufay, Father Ranc, and the Roberts (me and my wife, Georges, and Eglantine). It was served by M. Morand and Alexandre. After dinner we did the scene of the Chess Player automaton and it was a great success. Eglantine and Georges played their parts well. We played a bit of music afterwards. We played ecarte until 11:30. Amateurs from around the world, as we have already noted, corresponded with RobertHoudin and the master made it his duty to answer them. The next person to come onstage could boast of having made a particularly long trip in order to talk to him: February 11*— I received a letter from Emile announcing the visit of M. Martorell from Montevideo...At 3 o'clock M. Martorell came and stayed until 6 o'clock - we talked about conjuring. He is a young man very impassioned about conjuring and traveled to Paris to speak with me. February 14th— M. Martorell from Montevideo came in the afternoon. He had dinner with us. He is a very intelligent and skillful young man and wants to be a conjurer. He said he was sent to France by his government to perfect himself in physique. We can assume that these few days spent in the company of Robert-Houdin were valuable to this young M. Martorell, whose

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Illustration 420 - Robert-Houdin by Mieusement.

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Illustrations 421 to 424 and 42 to 430 - Draft of the request for admission to the Legion d'Honneur by Robert-Houdin.

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PABIS. — S&mca donnie aux Tuileries, devant U u n M&jestfa et le Prince Imperial, par le doeteur Ejtfteto.

destiny may one day be related by a South American historian. In Paris on February 26, Dr. Epstein announced the prolongation of his magic and conjuring soirees at the •theater at 26 [6?], Boulevard des Italiens." where he performed until mid-March, and was invited to perform before the Emperor at the Tuileries palace. On April 22 at a performance given at the Cirque Napoleon (today Cirque d'Hiver), the conjurer was the victim of a serious accident during the bullet-catching trick. Every evening Dr. Epstein invited a member of the audience onstage to help him with this effect, asked him to examine a rifle, and after the weapon was loaded in the usual fashion, asked him to point it at his heart. The operator was negligent in a way that could have been fatal because he forgot to remove

LL DOCTEl'R KPSTEIX, Illustrations 425 and 426 - Engravings of Dr. Epstein.

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paper, which forced the candidates for this high distinction to be extremely selective in the choice of their supporters, who had to be very brief. For months, Robert-Houdin had to arrange visits to those whose approbation he did not doubt, and little by little, the essential document began to be covered with the tributes rendered to his talent by some of the most learned and influential men of the time. Here is the text of their testimony:

from the rifle the ramrod used to pack in the gunpowder. When the shot rang out. Dr. Epstein fell in a heap. The ramrod had gone through the left side of his chest. [20] Healed from his wounds, he was able to resume his performances as of June 1. In March and April, while continuing his work on optics, Robert-Houdin installed his Hermit in one of the caves of the property and provided it with a mechanism that allowed its head and body to move. The learned mechanician also spent time on the terrace of The Priory in his camera obscura, whose long view he perfected. Several years after his death, this earned him credit for the invention of the periscope, which his ascending and pivoting telescope uncannily resembled. In his Tablettes journalieres of March th 15 , Robert-Houdin wrote: "Robert came to dine with us to sign the request for the Grand Affair." A written request to the Minister established by members of the family was the first step in the procedure to obtain the Legion d'Honneur. The co-signers were RobertHoudin's cousin, Jean Martin Robert: his relative Adam Ruelle, the former notary: and his two sons Emile and Eugene. The contents of this carefully written document emphasized Robert-Houdin's mechanical creations, his research and success in the field of watchmaking and electricity, and his numerous scientific and literary works, and also stressed the political importance of his mission in Algeria serving France. For this step to have the best chance of succeeding, it needed to be accompanied by the testimony of persons who supported it. Administrative protocol undoubtedly attempting to avoid each candidate flooding them with long letters, the recommendations had to fit onto a single sheet of ministerial-format

Having been able to appreciate the merits of inventions and the utility of M. Robert-Houdin's works for a long time, I support with insistence the request made in his favor Edmond Becquerel I join my son in recommending to the Minister of Public Instruction the request of M. RobertHoudin's family. His work, through its originality and usefulness, deserves the reward that has been solicited in his favor. Paris, March 23, 1869 Becquerel I do not know anyone more deserving of the honor than M. Robert-Houdin Babinet I join my testimony to that of my honorable colleagues in recognizing M. Robert-Houdin's merits in his application of mechanics and optics to the use of [Illegible word] and his scientific research. Baron Jules Gloquet I have been particularly able to appreciate the tools of physiological optics conceived by M. Robert-Houdin. I certify that by his talents in mechanics and his studies of physics and optical phenomena, M. Robert-Houdin has rendered great services to industry and science. J. Gavarret As a member of the jury of expositions of industry products, I have been able to directly assess the merit of the mechanical and scientific works of M. Robert-Houdin and I am happy to

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join my colleagues of the academy to call upon the benevolence of His Excellency concerning this skillful artist deserving of the favor solicited for him. Baron Seguier of the Institute, Vice President of the Societe d'Encouragement de l'lndustrie National.

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Illustrations 431 and 432 - Drawings by Robert-Houdin of his optical illusions.

With this precious asset and confident of the benevolence of the Minister of Public Instruction, Robert-Houdin's steps would have been able to begin but he did not file his request because one of the co-signers warned him of ministerial changes. Robert-Houdin then wisely decided to wait, but serious political events in France long prevented the filing of his request. In June 1869, riots and barricades in Paris forced the government to step down and the following year, war was declared against Prussia. Robert-Houdin would probably have pursued his "Grand Affair" after the end of this conflict. Unfortunately he did not have the chance. At the beginning of 1869, Emile RobertHoudin was again about to launch into a new business venture. A large part of Parisian horse-drawn carriages and coaches belonged to a very powerful company, La Compagnie des Petites Voitures, and this company, wanting to reduce the negative reputation of drivers and the arbitrary price of rides, decided to launch a call for proposals to any manufacturer or inventor capable of creating reliable and solid odometers and furnishing them in great quantities. This opportunity literally bewitched Emile, who saw the possibility of making a fortune, and he decided to enter this competition by investing everything he could and beyond. Robert-Houdin, faithful to his ways, helped him as much as possible in the mechanical domain but disapproved of the excessive financial risks his son was taking. 300

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On the 14th, Robert-Houdin went to Paris to Emile's shop. He worked there all day with an assistant on the transmission of his son's odometers, which were very difficult to adapt to the shapes of the carriages and their jolts. Confronted with these problems, he finished a note about his son with these words: "I do not know if I can help him manage this." After a week entirely dedicated to this mechanical problem, Robert-Houdin wrote in his Tablettes journalieres:

Emile had already begun manufacturing a prototype but, facing certain difficulties he encountered, which he expressed to his father, Robert-Houdin also decided to ponder a design for an odometer. [21] As of the beginning of April, Robert-Houdin worked every day on a first model and presented the result of his work to Emile at The Priory on June 1: Emile arrived at five o'clock; together, we tried the odometer I made for his project and to facilitate the work he was undertaking with La Gompagnie de Petites Voitures. Emile left this evening

September 20th—[Paris] I finished the transmission for the odometers and we tried it in the evening; it is fine and fulfills all the desired conditions. September 21s1— [Paris] I worked a bit on the transmission. At noon one of the administrators [0/ the company] came to see it and

Robert-Houdin resumed his activity in optics for a few weeks, took care of the printing of his scientific booklets, and pursued various activities he had put aside. In midJuly, he went to Paris and wrote on the 18th in his Tablettes journalieres: "I went to chez Emile, who was finishing his first odometer. I went with him to Petites Voitures; it went poorly and we stayed with M. Jenissieux until 6 o'clock." Luckily on the 27th, back in Paris, he wrote this sentence: "I went to chez Emile, who gave his first odometer to La Compagnie de Petites Voitures. They are very pleased with it." However, on the 29th of the month, Robert-Houdin resumed work on his own odometer, which he intended to improve. He wrote on August 2: "I worked on the car odometer; this invention is quite difficult." While the mechanician worked daily on the odometer and also on his little Theatre des Spectres and his camera obscura, in which he obtained "very strange views," he received a letter from Emile saying that he was ready to sign a deal for his odometers with La Compagnie des Petites Voitures. On September 9, another letter announced the sad news of the death of his friend Dantan, victim of a stroke on the promenade of Bade on September 6.

Illustration 433 - Small model of a camera obscura

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ROBERT-HOUDIN

we went to the carriage at the depot, where two other administrators complimented me.

In November, while he was working daily on this invention, Robert-Houdin wrote; November 27th — I have been waiting for Emile's letter for a month about his great affair with the carriages and I am very worried.

One may imagine that Robert-Houdin was far from being satisfied with this result, because as soon as he got back to The Priory, he immediately began fervently working on the creation of his own model and did so for the entire month of October and November. In his Tablettes journalieres of November 11, he gave a short description of the progress of his work:

At the end of the year, a few rheumatisms forced him to stay indoors, w h e r e he spent most of his time writing his second volume of Les Secrets de la prestidigitation et de la magie, or working on the definition of certain words requested by Pierre Larousse and, as usual, on December 31st he wrote an optimistic commentary on the year 1869:

I worked on the carriage odometer and went with my wife to Blois to try it out; it works well although it is just in a rough stage now. I attached it to the front of my carriage; it is a square plate - at the top is a clock face for the time and on the bottom a kilometer dial divided into 100 decameters - when the hand has gone around once, a kilometer appears in the window - tens of kilometers are in another window. Inside, on a piece of paper, the kilometers are marked with their speed - as well as stops and slowdowns.

[22]

The year that has just ended was happy enough for us except for a few passing indispositions. I am fine. We have had nothing very bad happen and we can only hope that the year beginning will be likewise.

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THEATRE FAURE-NICOLAY Boulevard tics llaliens, ( 2 , Passage dc l'Opera, Galerie tin Baromttrc ANCIENNK SAIXE BEETHOVEN, NOUVEf.LEMENT DECOHEE

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Lo Bureau da Location est ouvert de deux heures a oinq heures, LEQONS PARTlCULlfiRES ET SfiAT^CES EN VILLE. Illustration 434 - Cover of the program of the Theatre Faure-Nicolay, which opened its doors in October 1869 at 12, Boulevard des Italiens, Passage de l'Opera.

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The Year of All Sorrows The year 1870, during which Robert-Houdin would extensively suffer in his body and soul, began with a long litany of problems for Emile, who, in these circumstances as in others, accepted the common-sense advice dictated by his father's business experience. I have already presented Emile as having unlimited admiration for his father, and it is probably this excess of eagerness to resemble him in every way that made him oppose him so often. Curiously, until the death of the master, Emile Robert-Houdin accumulated every possible mistake imaginable. The brilliant position that his

father desired for him, and for which he was probably not prepared, tore this bitter comment from him, in a letter of January 25, 1870 addressed to Robert-Houdin: "...and it is certain that I am more of an artisan than a businessman, having been the apprentice of one and not the other." There is much truth and sincerity in this simple sentence and we must not judge Emile too severely. As soon as the tutelary shadow of his father no longer weighed on his shoulders, he showed unsuspected artistic and business qualities. For the time being, the Tablettes journalieres of 1870 enlighten us about Robert-Houdin's state of depression. For months his son's situation was his sole obsession, his sole worry, to such an extent that he neglected most of his other activities. January 2nd— I received a letter from Emile telling me that his business was not finished. January 28th— I received a letter from Emile telling me that he has just signed an agreement with the company for the odometers and telling me of the problematic position that he finds himself in. It made me ill and I did nothing all day. I wrote to M. Adam asking him to see Emile. th January 29 — I wrote a long letter to Emile on his business position and advising him to file bankruptcy. All this makes me sad and sick and I can do nothing. dl January 30 — Up at eight o'clock. I slept very badly. I am too depressed and very sad. I have decided to send Emile part of what he is asking me for

Illustration 435 - Emile Robert-Houdin by Disderi.

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Illustration 436 - Profiles of Robert-Houdin and his wife by Dantan accompanied by a quatrain by Robert-Houdin.

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THEATRE FAURE-NICOLAY Passage de l'Opfta.

IMMENSE SUCCftS

TOUS LES DIMANCHES & JEUDIS Deux Seances

la Premiere 4 2 h. 1(4, la seconde u 8 h. 1/2.

SPECTACLE EXCEPTIONAL, NOLYEAli REPERTOIRE Offeit par

FAURE-NXGOLAY

Phtjsicien-Prttttdigitateur, agrei des cours de Fiance, du Nordet d'Oneni. La premiere partie comprendr.i la science modernp cr&e detois Comte, liosco, Robert-Hondm jusqu'a nos jours. Les experiences de Haute Magie Humoristique, de PUysHfne, d'Hiusion, de M
SfaflCE DE PRESTIDIGITATION SIR UN BILLARD A la troisieme partie

LES TABLEAUX ANIHIES DU POLY6OSGOPE PRIX DES PLACES : Loges, 5 fr.; Avant- Scene, 3 fr. statics, 2 fr.; Galerie, 1 fr. 5 0 . Le Burenn de Location est ouvert lous les jours de 2 h. S 5 h.

SEANCES EN V1LLE Illustrations 437 and 438 - Small bill and photograph of Faure-Nicolay in 1869.

and to send Robert [The cousin] to him to advise liquidation. I am going to Blois to the telegraph office to ask M. Adam if he is in Paris - at two o'clock I received a letter from M. Adam informing me that Emile received him rudely, saying that he does not want his family to get involved in his business. That changed my mind; Robert did not go. January 31"— I am ill and sad. I have a sort of spleen that I am having trouble fighting. The weather is gloomy and rainy. I am not working. February 1st — I am a little less ill but still a little sad. I am working on the electric door and in the yard. I am going to bed earlv.

February 2'"' — I worked on the kilometerodometer. I walk a bit to relax. Nevertheless I am not well. February 3lJ— I am sick and sad abot;t Emile's business. I am working very little. From this date on, Robert-Houdin tried to move things forward, at least for his son. He composed business papers for him and went to Paris on February 9 to meet M. Adam to try to find a solution to his problems. That evening, Robert-Houdin went to the conjurer Faure-Nicolay's performance at Passage de POpera and wrote this comment: "His conjuring performance is very mediocre, but he is very good at billiards." The Theatre FaureNicolay, 12, Boulevard des Italiens, Passage de i'Opera, opened on October 5, 1869 with the title: "Soirees of Humoristic Magic and 306

ACTV

M. FAORE-NICOLAY (Voir page 38).

Illustration 439 - Performance by Faure-Nicolay before Napoleon III. (Georges Promt collection)

Conjuring by Professor Faure-Nicolay." In December, this artist "humbly" presented himself in his publications as "Robert-Houdin's gifted rival."

plunged him again into the stress that he had just chased away. Luckily, he kept busy with his daily tasks and continued to perfect his odometer. On July 10 he received a visit from Mme. Ballet [23] (or Bailee), who began as an usher in his theater and had the same position with Cleverman after having faithfully served Hamilton. (This lady, who must have been very old by then, was one of the guests at the Theatre Robert-Houdin for the hundredth anniversary of the master's birth in December 1905.) On July 15*, Robert-Houdin learned at the same time as his compatriots that France had just declared war on Prussia. This terrible news was particularly worrisome to this family because one of their children was in the army. The next day, Robert-Houdin wrote to Emile to thank him for the kind traditional birthday wishes:

The savant mechanician took advantage of this journey to consult patents on his optical illusions: February 12th— [Paris] At the patent office for the Pepper tricks. th February 17 — [Paris] At the patent office, where I spent the whole day. Life temporarily seemed to take a turn for the better upon his return to The Priory on the 22nd. Robert-Houdin resumed his project, worked on a Domino article for Pierre Larousse, and led Eugenie, the daughter of one of his neighbors in Saint-Gervais, Mathurin Limard, to the altar. Her dress was given to her by Robert-Houdin's wife. On March 30, another very sad letter from Emile 307

ROBFRT-HOUDIN

Saint-Gervais, near Blois, July 16, 1870 Dear Emile, I thank you and your wife for having thought of my birthday and the wishes that you sent for my happiness. Please let this happiness come to me in knowing that you are prosperous and out of difficulty! A-

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Mme. Bonard is always very kind to us and doubtlessly exaggerated the pleasure that my presence at his dinner had given him. I was a little bit ill that day but felt a bit better in the evening. I related my meeting with Bou-Allem at Mme. Bonard's request. Since then and without being able to attribute anything to the cause of this indisposition, unless it is the heat and brief storms, I have been greatly suffering from stomach cramps and general uneasiness that leaves me little rest. I have great difficulty working even a little and I have no appetite. Sometimes I cannot even stand on my two legs.

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What you tell me about the odometers and the failure of their transmission greatly surprises me. I thought that during their first trial, you had put them on several carriages and that you were satisfied. Whatever the case may be, and on further consideration, I think that you should not hastily condemn them as you are doing. Only the part that is placed on the hub is exposed to jolts; as for the rest, and this is the most sensitive part, the suspended box covers it. So in the first case, one must only make strong enough pieces to resist unforeseen jolts, which does not seem impossible to me. When we have strength and speed on our side in mechanics, we can struggle against many difficulties and I am sure that your imagination will not stop here. I can say no more on this subject, not really knowing exactly what it is about.

I

f

f

Illustrations 440 to 443

I took apart my odometer three months ago to have a box made from varnished zinc, which was very successfully done in Blois. The new shape that I chose for my clock face in enlarging the kilometric face and in diminishing the other completely changed the caliber and caused me a lot of work considering the little that I do and the diverse disruptions from other occupations. Still, I am busy finishing it and I think it will take me one more week.

/

Letter from Robert-Houdin to his son

Emile. (Private collection)

308

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Georges is preparing his baccalaureat with much effort because he is a bit behind [with his studies]. [24] On August 8 I will take him to Poitiers, where we will spend eight days for this important affair. Eglantine continues to take lessons three times per week in Blois. We recently had a fanfare contest; we are now going to have the high court, which greatly helps business in Blois and hurts people with private income. Everything is quite expensive due to the dry spell.

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Ghocat [Hamilton] announced his upcoming visit and if the war does not prevent it Paul [Amelie's son -Hamilton's wife] and his cousin Carlo [Son of Charles Braconnier, Olympe Robert-Houdin's brother] will visit us later. About the war: here is another worry for Eugene. Luckily for him he will be able to face the expenditures of his travels and his campaign costs. I promised a long time ago that when he was of marrying age, I would give him the income from his dowry, and this will begin in the first quarter. Our foreseen and unforeseen expenditures are high this year and this is why we have deprived ourselves of going to Paris. We hope to be able to save this winter.

,

In learning about the burning of Constantinople we feared an instant that M. Munier [Emile's father-in-law] was a victim but since you did not mention it we figured that this misfortune did not occur. Your children must have grown a lot since we saw them last. We dearly wish to kiss you all. Your father and friend Robert-Houdin

Captain Eugene Robert-Houdin, of the I"1 Zouave regiment, which was stationed in Algiers, left the country on the 16th of July, arriving on the 19th in Marseilles, and then traveling immediately to Strasbourg. On July 26. Eugene Robert-Houdin sent news to his family, who were living in worry. In a letter to his father, in which he sent reassuring words to his mother and his affectionate feelings to his brother and sister, Eugene Robert-Houdin wrote this sentence: "Do not worry. I will be 309

ROBFRr-HOUDIN

Illustration 444 - Captain Eugene Robert-Houdin. (Prioate collection)

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careful and will only risk my life if necessary. But you know I am happy.'' The next letter from Eugene Robert-Houdin was mailed from Reichshoffen on August 2; here is its conclusion: One says that at this very instant we have just chased away a Prussian reconnaissance team, without a single rifle shot. Do not worry, we will most likely do nothing for the next 15 days; the Emperor wants to give a little ball for his celebration but it will still not be too much I think. I kiss the entire family Your affectionate son E. Robert-Houdin

On August 5, the battle of Reichshoffen began and on the 6'h the battle of Forbach. News arrived late to Blois and Robert-Houdin tried to find out what was actually happening on the "stage of war." He learned of the taking of Wissembourg by the Prussians on the 6th and the defeat of the French army. On the 7"' there was only mention of a new disastrous defeat whose details were not yet known. The enemy was near Nancy, where Marshal MacMahon retreated, and Paris was already besieged. On August 8, Robert-Houdin learned that his son was part of the corps that was one of the hardest attacked. On the 9th of August, he wrote in his Tablettes journalieres: "Up at 6:30. I read the newspaper. There is no news. I am sick with worry. I do nothing all day." Then August 10th arrived with the feared news: "I received a letter from one of my son's lieutenants informing me that my son was seriously wounded at the battle of Frischivillier and was placed in an ambulance in the hands of the Prussians." Robert-Houdin was crucified with pain. Emile wrote to his father and told him of his numerous steps to find Eugene's whereabouts. He had gone to the Val-de-Grace, visited the hospitals where the injured were sent, contacted the War ministry, and mobilized all his

Illustration 445 - Letter from Georges Robert-Houdin to Emile Robert-Houdin announcing his brother Eugene's injury. (Private collection)

contacts to learn what had happened to his brother. Robert-Houdin answered him by return letter on August 12: My dear Emile, From the moment I received the fatal news I have been gripped by a terrible illness. I have fever with a headache which continually leads me into a painful sleep and a sort of congestion. I am making efforts today to write to you. It is really good, my friend, that you took all these steps for your poor brother. I am doing the same on

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my end and we will perhaps manage to contact him. Your mother wrote to her brother [Olympe RobertHoudin's brother Charles Braconnier was an officer in the Belgian army] and we are greatly counting on this neutral channel. Your mother wanted to write to you and although in a poor state I read the newspaper Le Gaulois. Here is the fact: Lecesne put in his newspaper an article full of emotion on the event concerning my son. I cut out part of the article (to shorten it) and sent it to Villemessant in the hope that he would put it in his Figaro, because these gentlemen have a lot to say at the moment and it could be that this little note, which I sent in an envelope without adding anything else that could reveal the source, was put aside. This is why I am asking you to personally go to the editorial office of Le Gaulois, a rival of Le Figaro, and to take this attached note. If you can do more for the honor of our captain, do it. We owe him at least that much. Poor boy: if these articles could reach him, if he were in a state to read them, they would make him feel so good. I have closed my door to everyone, even the closest friends, mainly because I am too tired to receive anyone and the solitude suits and calms me. I am stopping because I admit that I have been fatigued by this little letter. We tenderly kiss you Robert-Houdin On August 16, Robert-Houdin received the first letter from Eugene since his injury in combat, and he wrote in his Tablettes journalieres: I have just received a note in an envelope from poor Eugene, which caused us great and painful emotion. His chest was pierced by a bullet and the doctor can promise nothing. We do not know where he is in Germany. I wrote to several people to tell them the sad news. Our door is closed and we see no one. On August 21, Robert-Houdin wrote to Emile: Saint-Gervais, August 21, 1870 Dear Emile

Illustrations 446. -w~ and 448 - Letter from Robert-Houdin to his s o n Emile. (Private collection)

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Illustration 449 - Short note from a wounded Eugene Robert-Houdin to his father.

Illustrations 450 to 453 - Letter from Robert-Houdin to his s o n Emile. (Private collection)

313

ROBI RT-HOUDIN

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We have just received a letter from your poor brother dated from Reischoffen August 9th (it is a 12-day journey). He told us that the Doctor cannot yet say anything about his situation and he is not well cared for because there are a lot of wounded. He could not write to us himself because one of his lungs is wounded and he is forbidden all movement. He is lodged in Reischoffen [sic] at the hotel l'Ange d'Or. We would like to be in immediate contact with this poor boy and it is not impossible that your mother and I will try to go to him if it is possible. But we must hurry because he has been hurt for two weeks and his last letter dates from 11 days ago. I am asking you to get information on the possibility of going to Reischoffen [sic] and how to get there. Please go to the Chemin defer de I'Est and ask M. Guignard at the title office with whom I am very close and who has always been charming to me. You will ask him (1), if the tracks are free from here to Reischoffen, which I doubt, and (2), what is the closest city that we could get to by train to then take a carriage to the destination. (3) Finally, ask him his advice in order to fulfill our goal. You could inform him that a letter written on August 9th in Reischoffen [sic] by my son did not get to Forbach until the 20th and that it arrived on the 21 s ' in SaintGervais; this would therefore prove the difficulties of communication between Forbach and Reischoffen [sic]. If M. Guignard cannot give you the information, he will perhaps indicate someone in the administration who could - I see in the business almanac that a M. De Dietrich, owner of a large construction workshop in Reischoffen [SJC], also has an office in Paris at 32, Rue Taitbout. It is certain that he has information. You could go see him. Try to answer us by return letter.

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We kiss you all tenderly. Robert-Houdin

Trying everything possible, Robert-Houdin, in spite of his poor health, went to Paris, where he contacted all his acquaintances and 314

ACTV

f-uso<*^ , J
Illustrations 454 to 456

Letter from Robert-Houdin to his

s o n Emile. (Private collection) JL/iJG

learned that the Prussians were less than thirty leagues from the capital. In the office of the International Society of Help to the Wounded, he wrote this new letter to his son Eugene: Paris, August 24, 1870 Dear Eugene I sent you five or six letters by different means; I do not know if they arrived because I have had no answer. The letter you had written to me and that you signed on the 9th at l'Ange d'Or arrived on the 22nd. In all my letters I asked you if you need money and the way in which to get it to you if so. I thought I would go to Paris and happily I am in contact with the International Society of Help to the Wounded. I am taking a chance and sending you one hundred francs through them. Give an answer to the person who will give you this money and tell me what you need. I will send it in the same fashion. I am hastily writing to you in the office of the administration and I cannot write much; the main thing is to get well. How are you? What does the doctor say now? Should it be diffi-

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cult to send you money, contact a banker and with your name I think you will get some. I was told that the Prussians are very humane with their injured prisoners and I have every reason to believe that nothing should preoccupy you except getting well: follow the doctor's orders. I tenderly kiss you, Your father and friend, Robert-Houdin Send your answer to Saint-Gervais

11 f

Although the entire family had faith in a happy outcome, the priest of Saint-Gervais received - through one of his parish members, a friend of the wife of Colonel Gramont, who was also injured and who shared the same ambulance as Captain Robert-Houdin - the confirmation of Eugene's death on the day of August 10th. Olympe Robert-Houdin came to the station in Blois on August 25th in the evening to meet her husband, who was coming back from Paris, and announced to him the terrible news. After weeks of cruel suspense during which Robert-Houdin and his entire family had fought and hoped, the confirmation of Eugene's death in his thirty-third year was a sort of relief and allowed everyone to truly grieve. Perhaps Robert-Houdin's pain was softened by the narrative of his son's heroic death, recounted by the men he had under his command and which several newspapers printed.

g.

Robert-Houdin sent a letter to London to tell his friend Manning of the circumstances of the death of his boyhood playmate. This lovely and touching letter was reproduced in the English paper The Daily News:

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Saint-Gervais near Blois, September 2, 1870 Dear Sir, I thank you and your family for the sympathy that you have shown me about the misfortune with which I have been struck.

Illustrations ID and 458 - Letter from Robert-Houdin to his s o n Emile. (Private collection)

316

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u.v EPISODE DE REISCIIOFPEN

V

d4p!oie ma compagnie en tirailleurs. Seuts snr le champ (id bataiile «t sans arrilierie, nous devious soutenir la retraite. loi cowmenoe un (Spisode de Waterloo. Sur, 1'ordre do 11. Robart-Houdin , M, (Jtlard, mon soua-lieutenant, s'av»tice avac deux homines pour reconnaitro i'ennemi. II fait trois pas et toaabe en disant: — N abatidonnez pas le coucou I... Kxpression (atniliere par laqaelle il (14signait le drafwau. Nous l'emportons ct la capitaine oria : « Feu I > mam i'ordro de retrograder nous arrive sans qua nous I'entendsoas. Je raliie la section da M. Gri*rd qui repart en avant, eUe capitaine tombe en me disant: — Dttes-leur... que je tombe le dernier en faisant face a 1'ennemi, Quatre homines remportent. A *oa tour, M. Malaga, mou liautenaat, est contusionne'. Ja me retourne at m'apwcois que le regiment s'eloignait. Nous raculons, puis la souneris da drapo^u iasontjaiit, nous courons le rejoibdre. OU! aiors ce fut beau : les sections m reforment et s'alignent; les soiis-ofdoiefs prenufint la place des otfloiers morts; ua caoitaine, M. Oharvnnat. se d^oouvre, (
Nona extwyons d'wne lettra parliculidra les p»8saa;<38 snivants, relatlfs a U baUille da Rei»eh(jffftn et & l'h(5roiiua retratte
L« 4 aout, vers cinq heures du matin, ie 1" zouanes pariit pour Lemb&ch oil il f.rciva i iflWi. A peine campes, nous '•elevens 1'ordre da partir, et nous shoos Jsscju'a la t'routiere. Nous fsusons une nalte. et !e cauoa se faisant entenlre du edte de Wissembourg nous y volons. Nous y ftpiicons Is soir pour recueillif les '.lorieux debris da 1" tirailleurs, qui ven&itde se fnire forger pUildt quo de se

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Illustration 459 - Article recounting the heroic death of Captain Eugene Robert-Houdin. From Le Figaro, September 3, 1870.

Since the death of my poor child I have been sick, discouraged, and completely absorbed by my pain; this is to explain the delay with which I answer you.

tain since 1866. He had had this rank for four years. He was part of the I s ' Zouaves and he was cited as one of the brave ones in this brave corps. You will judge yourself by the following narrative taken from an article in the Figaro of September 3"' under the title "An episode of Reichshoffen taken from an individual letter"; this letter un-

You could, my dear friend, judge the extent of my regrets by the details that I am going to give you; my son was 33 years old; he had been a cap317

ROBERT-HOUDIN

Monsiem et Madame BOBERT-HOTJDIN , Monsieur et Madame Emde ROBERTHOTTOIH et leura Enfants, Monsieur Georges ROBERT-HOUDIN; Mademoiselle Eglantine ROBERT-HOUDIN: Madame veuve ROBERT; Monsieur ROBERTRENOTJ: Madame veuve DE LA MARLIER: Monsieur et Madame TOTT^AINAMYOT, Ont l'honneur de

3 faire part de la perte douloureuse qu'ils ont eproiw

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Monsieur Josepri-Eugene ROBERT-HOXJUIlSr, Capitarae au 1" regiment de Zouaves (0 Leur Pils, Frere, Petit-Fils, Onele et Cousm, deeede lo 10 aoftt dernier, dans la 33 annee de son age.

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Illustration 46O - Death notice for Eugene Robert-Houdin.

Illustration 461 - Monument erected in the memory of the French soldiers wounded at the battle of Froeschwiller and deceased in the Reichshoffen field hospitals.

doubtedly comes from a soldier in my son's company; it is signed with an X. I will skip the unbearable details that preceded the unfortunate retreat. "The line had received the order to break up and we were conquered, 35,000 against 140,000! My company (1 st Zouave) was again called to the battlefield and the soldiers were deployed, alone without artillery; we had to support the retreat." Now comes an episode of Waterloo. "On the order of Captain Robert-Houdin, Lieutenant Girard advances with two men to recognize the enemy. He takes three steps and falls, saying, 'Do not abandon the coucou,' a familiar expression meaning the Flag. We pick him up and the captain cries Fire. "The order to fall back arrives, but we do not hear it and continue to fight against a wall of fire 318

that lights up the ranks. Soon the Captain falls in turn, saying 'Tell them that I fell last facing the enemy.' A bullet had pierced his chest. Transported to the field hospital of Reischhoffen [sic], he died four days later from his wounds." Well! My dear Manning, would you believe that this brave son, right when he had been hit, had the heroic courage, in the middle of gunfire, to pull a card and pencil out of his pocket and write on the back these words: "Dear father, I am hurt, but do not worry, it is just a scrape." He could not finish his signature. The envelope containing it is stained with his blood. This precious relic was sent to me from Reichshoffen after my son's death. Well, here is a lot said, dear sir, on this subject. But I thought these details would interest vou.

ACT

Please always believe me to be, Your devoted Robert-Houdin.

V

large jars of preserved meat and butter in case of a siege. On September 4, Robert-Houdin wrote in his Tablettes journalieres:

Robert-Houdin also received a letter from one of Eugene's soldiers who, as soon as his captain had been wounded, took him to shelter away from the gunfire. This letter told him about his son's last moments, when he had been taken to an inn called L'Ange d'Or, managed by the Kremer family. This soldier, named J. Morain, who was then a prisoner of war, told how Eugene, in spite of all the care given to him, passed away after three days, in his arms and in those of the charitable young lady of the house. Morain adds:

I read the newspapers and learned of the rerouting and destruction of the army corps of Marshal MacMahon, who was hurt and taken prisoner with the Emperor; and forty thousand men have capitulated. According to the newspaper, Paris is in an indescribable emotion. A resistance commission has been established; a national guard is being organized at Saint-Gervais. There will be about 80 men. I was offered the command. I refused because of my age and health. On September 4, the inhabitants of Blois learned that the Republic had been proclaimed at the Hotel de Ville in Paris. The Chamber had been invaded by the people and the Deputies dispersed. A government of national defense was formed: Arago. Cremieux, Ferry, Gambetta, Garnier-Pages, Glais-Bizoin, Pelletan, Picard, and Rochefort. General Trochu became governor of Paris and Minister of War. The national guard began its defense service day and night in Saint-Gervais because it was necessary to protect oneself from the "bad elements" that Paris had ejected from its limits and who were running to the provinces. Blois was very agitated and a permanent committee was established. The mayor and prefect resigned. In his Tablettes journalieres Robert-Houdin wrote these sad sentences:

His last words were: "You can say that I died as a brave soldier in supporting the retreat"; then, taking off a ring that he had on his right hand, he gave it to the young lady and said, "Send my watch to my father," as well as a second ring that he had on his left hand... The people of Blois learned that the Prussians had passed Chalons and were heading toward Paris, where active preparations for defense of the capital were being made. On August 30, Robert-Houdin was told that Paul Devillers, the son of Amelie (Hamilton's wife), who was also a soldier, was prisoner in the fortress of Magdeburg thirty leagues from Berlin. Robert-Houdin was also taking care of the education of Georges, who had just failed the baccalaureate, and took him to Poitiers to M. Doussaint, head of the institution, who enrolled him in classes for two months to attend the next semester beginning November 1. Robert-Houdin raged against the newspapers, which said nothing of "the stage of war" but discussed the success obtained when Prussia announced victories. With the advancing of the enemy army toward Paris, the entourage was now worried about Emile and his family. Diverse provisions were sent to him:

September 7"1 — I received a letter from Emile and the newspaper, which are not very reassuring abot;t the tranquility of Paris - At 9 o'clock we went to a family mass for my son. All my friends from Blois were there. Olympe Robert-Houdin continued to send supplies to Emile and his wife, who now could not leave the capital. She sent baskets of fruit and ten bushels of potatoes. The National Guard of Saint-Gervais now had one 319

ROBERT-HOUDIN

September 14— I sent Emile my plan for extinguishing bombs so he could present it to the defense committee.

hundred men who were starting to maneuver but for weapons they only had a few hunting rifles and 12 ammunition rifles. In Paris, the police chief decided that as of September 10, 1870 all theaters would be closed. (They would only receive the authorization to reopen as of June 22, 1871.) Robert-Houdin's creative genius was working to find solutions to support the defense of Paris. He wrote in his Tablettes journalieres:

On September 15, Robert-Houdin organized his weapons; he had resolved to stay in the country, "except in the event of large-scale massacres and fires by the enemy." The city of Blois gave up defending itself because it was unable to. The author resumed writing his second volume of Les Secrets de la prestidigitation, although his heart was not in it, because, as he wrote, "...I would fall ill if I continued to do nothing." The general council of Blois voted 500,000 francs for the purchase of twenty thousand rifles. Resistance was in preparation throughout the entire region. Olympe came back from the city with very bad news: "Everyone is being advised to hide and take grains and precious objects.'' The Saint-Gervais town council was considering blowing up the bridge. Aided by his servant Baptiste, RobertHoudin prepared an initial hiding place in the little cave on the property. During the weeks after September 20, the learned mechanician equipped The Priory with hiding places for food, wine, and valuable objects. He built an imposing secret reserve in one of his large caves with the help of the stonemason Dupuis. The only news from Paris, delayed, arrived thanks to courageous balloon pilots. RobertHoudin, who could no longer communicate with Emile, in this way received three of his letters in the coming months by way of balloon. Robert-Houdin put precious objects that he treasured, such as elements of his performances, in hiding places until Sunday, November 5. He let his neighbors benefit from the shelter of his caves, and they deposited their dearest treasures there. His Tablettes journalieres made a daily account of the war, with both true and false news frequently spread by

September 13— I finalized a plan to prevent bomb explosions.

Illustration 462 - Georges Robert-Houdin.

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termasters who slept in the parlor. On the 7th, Robert-Houdin decided to dismantle his Chess Player in order to hide it. The population was expecting the arrival of the Prussians at any moment. The next day Robert-Houdin went to Blois to organize the transport of two wounded soldiers who had to be cared for at The Priory, and during the rest of the day, he hid the remaining valuables, then wrote his artistic will, which testified to his desire to control the content of his works during his lifetime and afterwards.

propaganda from both sides. Although everyone hoped for an armistice, they also feared a new decisive battle. Robert-Houdin participated, as did all the inhabitants of SaintGervais, in the little national guard, and sent 20 pounds of bread, a pound of preserved meat, and brandy. He established electric communications with each hiding place in order to be immediately notified if someone found them. In these nonetheless troubled times, he received a letter from Mr. Robert Dreyfus in London, who asked for his Chess Player, [25] and Georges returned to Saint-Gervais on November 11 without having passed his baccalaureat. There was talk in Blois about the battle of Orleans, which cost the lives of thousands of soldiers on both sides. Robert-Houdin wrote the preface of his second volume of Les Secrets de la prestidigitation and had Georges study for his exam for a new session in January. Several troops on their way to Orleans went through Blois, and soldiers were camped out on the Loire. Robert-Houdin continued his writing activities, had his son study every day, and corrected his work. On November 21st, Robert-Houdin had the idea of a "light telegraph" and went to Blois to discuss it with the deputy Jollois. Upon his return he immediately went to work, established the blueprint for the telegraph, and prepared a document on a new design for "an electric telegraph for illuminated signals." In December, Blois was living in fear, no one knew anything about the outcome of the new fighting in Orleans, and there was no news of the situation in Tours. On the 6th, the taking of Orleans by the Prussians was announced, followed by the retreat of the French troops and the arrival of several fleeing soldiers in Blois. In Saint-Gervais, the mayor's office sent to The Priory two officers who shared the family meals, and four quar-

Illustration 463 - Eglantine Robert-Houdin.

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On December 9Ih, facing the seriousness of the situation, he had his carriage loaded and, accompanied by Baptiste, drove his two children to Pontlevoy. Robert-Houdin placed Eglantine in a religious boarding school and Georges in the town junior high school. On December 10, 1870 the Prussians entered Blois and Saint-Gervais. The author recorded the occupation of his hometown and his village day after day in his Tablettes journalieres. We have chosen to reproduce this unpublished document, fascinating and often dramatic, in its entirety here, not only because of its obvious historical importance, but also because it admirably completes the portrait of the old master.

My last wishes Today December 8th, the Prussians are 40 kilometers from Blois; everything leads us to believe that they will be here very soon - I am safeguarding my manuscript of the 2'"1 volume of Magic of which the majority is already hidden in several places. If I myself do not unearth this work, which could be precious for future conjurers, I want this introduction to be printed in indicating that although notes were taken to continue it, death surprised me. This will be that much taken away from the enemy. Preface these explanations with details of the author's death. The cannon is rumbling all around me; I hurry to close my hiding place. Robert-Houdin

323

1870-1871 The Occupation of Saint-Gervais and Blois during the War of 1870 Described Daily by Robert-Houdin

1870 Saturday, December 10"1

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The public carriages are no longer going to Blois, so I rented a horse and buggy and Georges took me home. Once we arrived in Blois, Baptiste, fearing he would be taken prisoner, returned to Pontlevoy with the wagon and a full trunk. I barely had time to make a hiding place in the cave for the money that Lecesne left with me. (We blew up the bridge of Blois this morning.) There is fighting in Vineuil and Blois is under attack. I have opened all my doors so that they do not break them down. At 3:10 the Prussians brusquely entered through the

service entrance, searched the woods, and left by the front gate. At four o 'clock the town was bombarded for half an hour: we soon capitulated. But the Prussians, unable to enter the city, have remained in Saint-Gervais. We were very worried and went to sleep fully clothed. At eleven o'clock someone struck the door with a rifle butt. I hurried downstairs. A young lieutenant announced in good French that I had to house 65 men (from Hesse). In an instant, all the rooms were invaded and the soldiers moved into the billiard room, the fruit room, and the second-floor rooms. A sergeant major took the bedroom no. 1 - two sergeants in the parlor 24 corporals in the dining

room. Large piles of straw were placed in all the bedrooms. All the closet doors were knocked in and the soldiers, starving from two days of fasting, raided all the provisions, killed the fowl and rabbits, pillaged the fruitier, destroyed the cellar, took the bottles of wine, and opened the wine in every room. They ate for part of the night and got drunk and made a terrible noise. All night long they knocked at our door to ask for things. Our bedroom, was taken at first but I protested so they left it to us, and this is where we sleep with our maid Julie. All the clothing they found was taken. It was a veritable pillage. They are burning masses of wood in the fire-

Illustrations 465 to 477 - Robert-Houdin by Mieusement and engravings illustrating the war of 1870 taken from various works, on this period. rfics Pious: colh'.

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places; it is cold. Sunday, December 11"'

The Prussians from Hesse continue their stay and pillage. I saw the captain and the lieutenant residing at M. Vallon's and who are very nice; I showed them the curiosities of the house and the electricity in my workshop. Wine was distributed to the soldiers twice a day. During the day, the entire house was searched for weapons. We are very worried. We did not eat during the day because they have taken everything and it is impossible to go out to buy anything. However, at night, I managed to get a handful of rice from the kitchen. We cooked it in our room and ate it without butter or salt; this was our only meal for three people. We were on alert all night long. They went up and down the stairs making a lot of noise and knocked on our door constantly to ask for things. We were exhausted with fatigue and needs. We did not sleep at night. It was a little bit less cold. But they filled the fireplace up with wood at the risk of burning the wood floors. Monday, December 12"'

The captain gave us a piece of a chicken that had just been killed and we immediately made stew - In the morning the Prussians left us to get closer to Blois; they left guards posted at Touvien's and at Marquet's who came all day to prowl through the house. We hur-

ried to remove the rug from the living room and clean it a bit, which tired us greatly. For lunch, since we had no bread, we drank broth and ate stewed cabbage. For dinner we ate beef without bread with our fingers because all our forks have been taken - We were again tormented in the evening by marauders from the posted guards. Tuesday, December 13th

The Prussians who remained in the village came to stroll through the property and ended up breaking the train tracks. They destroyed everything they saw except for the Hermit, which they respected. Around 5 o'clock the Prussians from Mecklemburg sent two lieutenants who are quite insolent and a very likeable captain with whom I talked for part of the evening. The captain is staying in no.l. The lieutenants live in the parlor. The living room, the small rooms, and the three rooms on the top floor have been taken by soldiers. These people are not as dirty as the others but they pillage more. The night was a little bit better - In the daytime we had a great scare; several batteries of cannons were set in the valley right before us and next to the town in preparation for bombing. Blois capitulated. All the artillery paraded right under the terrace. If the city had resisted and fired back, our house would have probably been blown up.

Wednesday, December 14"' The men from Mecklemburg continue their ravaging of the property; they have lots of their comrades come and visit from the village. All the curiosities are ruined except for the Hermit. Wine is distributed to the soldiers. I went to Blois for cigars (for the captain) as well as for various provisions. I left at 3 o'clock with three armed men and a pass. We crossed in a boat. There were no more cigars in Blois - To Rousselet's for provisions. We came back at 9 o'clock after great difficulties crossing in the pouring rain. I arrived extenuated with fatigue. My wife was mortally worried. We repaired the bridge all night long. Thursday, December 15"' Stay of the men from Mecklemburg. I took a walk with the captain and another captain from his ranks. I explained my electric tools to them. In the evening two lieutenants got drunk with six of their friends, whom they invited (20 bottles of wine). The weather was nice. Friday, December 16"' The men from Mecklemburg left at 7 o'clock this morning. I went to see the priest and Nelly gave several poor people the meat that the Prussians had left. I went to see all the neighboring houses whose owners are absent. I extinguished the beginning of a fire at Metivier's. We are cleaning up everywhere.

Baptiste is back from, his home and came to sleep at the house and the next day he returned to Pontlevoy to get the horse. Saturday, December 17"' I went to Blois to mother's house; she is doing well. Six Prussians were sent to her whom M. Rousseau had lodged with his own on the ground floor. I went to Lecesne's and Rousselet's. Once hack I put away and hid various things. Sunday, December 18"' My wife went to low mass. I cleaned the wine cellar -200 Prussians are occupying the village - Baptiste is back: he left the horse and carriage in Cellettes. Monday, December 19"' I went to Blois to look for bread - To Lecesne's - I learned that Chabault's wife was taken away by drunk Prussians and that M. Rousset the mayor of Blois incurred some danger to get her back. There was a big rumor among the people about this. Requisitions were made in the land - They steal everything they find - They have not come to my house yet - (I am hiding 3,000 francs in bills and 1,200 francs in gold in Lecesne's hiding place and some silverware) - We are quite sad. Tuesday, December 20"' I am taking care of hiding things well - A visit from M. Vallon - There was a requisition at his place.

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Mme. Vallon went to the captain housed at the chateau to protest. There was a sort of restitution. Baptiste went to Cellettes to get the horse, the car, and a trunk - We went to bed to save light, which is scarce. Wednesday, December 21st

I hid oats in several places. Baptiste went to take the horse to the forest with the neighbor's animals that are hidden there - The peasants are sleeping in a hut and the animals stay outside (Baptiste went to Blois for provisions). We were so worried to see the Uhlans and marauders that I did not leave the house. (I buried two trunks of linen - Victor has been sending us meat for several days). Thursday, December 22nd

I hid oats, I cleaned up the cellar. Pointal brought meat and a duck. I fixed up the living room, which is still full of straw. Visit from Mme. Vallon - Visit from the priest and Bodin the baker. It froze last night. I made my horse in the woods run. We still fear requisitions at home. Friday, December 23rd

I hid the harnesses - It was 10 below zero - / went to thank Victor, who again gave me some chops from several requisitions made in the surrounding areas for officers of the chateau - at 3 o 'clock troops arrived in the village; a guard post was set up at Touvin's; we are very worried.

Saturday, December 24th

We are still very worried because of marauders - I luckily had none all day M. Vallon had some; he went to complain at the chateau. I went to see him. The Jollois boys and Dulin came to bring me news of their parents - It is freezing - Victor sent us a piece of beef and a duck from the requisitions. (The entire Bergevin family is still absent. M. Surateau and Victor are running the house.) We received a letter from Georges. I answered him. Sunday, December 25th

I brought in the Hermit and the picture. My wife went to low mass with Julie. There were only six people. Victor sent us beef. We are worried about the requisitions and the patrols that are going on in the countryside. Yesterday M. Vallon had a serious dispute; they threatened to beat him (they wanted to take his chickens - ours were taken and eaten the first days). There is a 10-man guard at Touvin's that is renewed every day. The last two were mean imps. Monday, December 26"'

I hid meat and potatoes in different places because the marauders would not hesitate to take them in their searches. We are very worried - Visit from Mme. Vallon who had marauders. I did not leave the house.

Tuesday, December 27th

I went to Blois (To mother's, where there are no Prussians - To see Lecesne, who has eight to feed - To see Rousselet, who gave me 1,000 francs toward his rent) - Blois is in turmoil; the supplies, the food, and the wood is almost gone and we do not know how we will be able to feed the garrison of at least 12,000 men. For each man we need coffee in the morning, at noon a pound of meat, a vegetable dish, and a liter of wine; in the evening 200 grams of meat and cheese - back home at 11 o'clock. In my absence two Prussians from the guard post came. We gave them two bottles of wine. In the evening another bottle - An officer came to get information on the electric wires. We have no news of the war. Around 3 o'clock we heard the cannons in the direction of Vendome. Wednesday, December 28"'

Around 10 o'clock the guard of ten men which was at Touvin's suddenly left, as did the Saint-Gervais gamson. We think that they are heading to Vendome. We were fairly calm for the rest of the day except for a few marauders who came to ask for wine. (I went to M. Vallon's. Victor sent us six chops.) We are fairly worried because we see many Uhlans circulating with requisitionary wagons. It is ten degrees below zero.

Thursday, December 29"'

At 6:30 in the morning two Uhlans came to Metivier for wine; he brought them to our home; we gave them two bottles - A seven-man guard post was set up at Marquet's - / went to see Victor - To Touvin's - It is 8 degrees below zero Friday, December 30"'

The guard is still at Marquet's. I tried to work. 1 wrote on oculistics. At 2 o'clock I went to Blois to see Jollois, who has eight men to feed - At Robert's three men to feed

- (At Godefroy's a thermometer). There are many Prussians in Blois. It is a place of depot and passage for the troops. In my absence the guards came to ask for wine and candles - They broke the hedge to get in - It is 6 degrees below zero. Saturday, December 31s'

The guards are still at Marquet's - All day they asked for wine; we gave them fifteen bottles. Three marauders asked us for four bottles. I complained to the captain who is in the chateau; he sent a lieu-

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tenant to reprimand the guards and tell us that six bottles a day were enough. Still, in the evening, they got drunk with brandy that they stole somewhere and they came carousing in order to get more; we had a hard time getting rid of them. (Georges arrived from Pontlevoy on foot at 4 o'clock -10 degrees below zero. How many unfortunate days in the year that has just ended? And on top of it all the loss of our dear Eugene!)

1871 Sunday, January 1st

Yesterday's guard, before being relieved, asked for two bottles of wine. I went to see no one and we had no visits. I worked a little bit on the oculistic study, which distracted me from my troubles - (My wife gave 3 francs to mother Rose. Mathurin and his wife came to tell us of the birth of a boy to their daughter Eugenie) - After a modest dinner, we went to bed at 8 o'clock. Today's post was reasonable: six bottles -

We have no news from the outside -10 degrees below zero - (We have decided to keep Georges with us.)

doubling their sentinels Marauders came to ask for a lot of things; we gave them four bottles of wine not including the eight bottles given to the post - We have heard that snipers are meeting a kilometer from here in the Russy forest ~ (Since the beginning of the occupation people from Vienne and the city have come to get their wood in the forest; they cut green trees and do much damage; they take as much wood for furniture as for heating.) 10 degrees below zero.

Monday, January 2nd I took my memoirs to Victor and I gave him 20 francs; he accepted the book and refused the money. I worked a bit. I went to M. Vallon's - We are still worried -10 degrees below zero. Tuesday, January 3rd

The guard is still at Marquet's (at the little house). I took apart the electric door. We fear events because the Prussians are

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Wednesday, January 4"' As of 7 o 'clock in the morning, the Marquet guard (little house) placed a sentinel on the open corner of our terrace and one on the road at the end of the vegetable garden - All the doors remained open to let the patrols pass through. Around 10 o'clock we heard about fifty rifle shots and we hear that snipers, having met the Uhlans in Clenord, killed one and wounded three - Visit from Mme. Vallon. We are greatly worried - eight bottles to the men of the guard post -10 degrees below zero. Thursday, January 5"' In the morning we learned that all the Prussians of Saint-Gervais fell back to Vienne. Sentinels were placed in this 10,000 square meter suburb. The post of the city gate lets people go through to enter the city but doesn't let anyone leave without a pass - We saw Uhlans going in several directions with carriages to make requisitions / am going to the Municipal Council to vote for the requisitioning of one sack of wheat per day - The rest of the day was fairly calm - We have no news of what is going on. Friday, January 6th Georges and Baptiste went to Cellettes to get bread. Around nine o'clock in the morning we heard the cannons in the direction of Vendome and this went on until nightfall; there must

have been a battle over there. I sought out news all day in the village - 2 degrees below zero - Since all our provisions have been raided and we know that in the neighborhood the Uhlans took all the foodstuffs they could find, we are hiding all our provisions. We took the precaution of cutting bread in four parts and hiding it in four different places; this is what they are looking for most. Saturday, January 7th I worked a little bit in the morning. We could still hear the cannons near Vendome, but less now. I was around in the area looking for news. Uhlans are going through the countryside looking for snipers, whom they seem to fear. There are very few Prussians in Blois. No news gets to us Everything that is announced is contradictory. It is one degree above zero. Sunday, January 8th My wife went to low mass with Georges - We can still hear the cannons around Vendome and also near Orleans. It is said that there is fighting in Jones - Visit from the priest - Horses and cars were requisitioned in Saint-Gervais to transport wounded Prussians - Since the Prussian occupation we have gone to bed early and gotten up late to pass the time. We live soberly because supplies are scarce. 1 degree. 333

Monday, January 9"' It snowed from noon until the evening and there are 10 centimeters on the ground - Baptiste went to take the horse to the forest because of requisitions, but is now forced to go back and get it - I am working on physiological optics Georges is working in my office next to me - In the morning I again heard cannon fire far away near Vendome. I am going to get news at the chateau from Victor - M. Bergevin is in Saumur and Mme. Donnet is in Blois at Dr. Arnoult's - 1 degree Tuesday, January 10th Snow is covering the ground - I am working on optics. Baptiste is going to town to get provisions with a pass. It is said in Blois that we are winning against the Prussians near Vendome, which is doubtful; there are 300 French prisoners heading to Orleans. I went to M. Vallon's around 5 o'clock - After dinner we read and went to bed early to save the candles that we have a hard time finding at this time. Although the ground was already covered with 7 to 8 centimeters of snow, it still snowed during the night. 2 degrees. Wednesday, January 11"' There are fifteen centimeters of snow on the ground. We got up late. (We worked with Georges in my office: he is preparing for his baccalau-

reat, and I am pursuing my physiological optics work.) Around 11 o'clock two Uhlans came to ask for wine; we gave them two bottles. Georges went to town at 1 o 'clock with a pass in Baptiste's name; he brought us news that fighting was going on near Vendome and that we had the advantage - An army is supposedly spread out from Mans to Orleans and another one is said to be in Vierzon Nothing is certain. It is 10 degrees below zero. Thursday, January 12"' The ground is covered with snow and it was 10 below zero last night - I wrote to M. Bourgeois, head of a juniorhigh school in Pontlevoy. Georges and his mother wrote to Eglantine and we sent these three letters by way of one of Jollois's roadmen. I worked on pseudoscopy (physiological optics). Visit from M. Vallon The only news that reaches us is contradictory. Friday, January 13"' The ground is covered with snow. It was 3 below zero last night. I worked on physiological optics. I did pseudoscopy drawings. I went to Blois at three o'clock. (To see mother, who is doing fairly well although she is quite worried. To Lecesne's.) The city is agitated with emotion - a worker killed a Prussian in the street. The Commandant is asking the city for two hundred thousand francs in damages or the punishment will be two hours of pillaging. The Municipal

Council has assembled to send a protest, so it is said, to King Guillaume. Uhlans come to requisition every day in the countryside. Eight degrees this evening - We learned that Le Mans was taken by Prussians and that there were a great number of prisoners. Saturday, January 14"' The ground is covered with at least 20 centimeters of snow. I am making an instrument to trace pathways in the garden. It is a sort of conical box, which makes grooves in the snow on each side. It can be pulled fairly quickly - I worked on pseudoscopy the rest of the day Baptiste went to town for provisions - It was said that the damages were dropped from 200,000 francs to 100,000 francs. It is 10 degrees below zero. Sunday, January 15lk The ground still covered with snow, I drew a path with my instrument up to M. Bergevin's door in fifteen minutes - My wife was able to go to mass this way. We learned of the death of M. Moessard who died suddenly last night, choked by his illness. Baptiste went to town and tells us that there is serious talk of an armistice. I worked on Pseudoscopy all Monday, January 16"' It is warmer now - 5 degrees. The snow is starting to melt and there is much wind. I worked on pseudoscopy all 334- ,:..

day. Contradictory news on the war. Tuesday, January 17"' A lot of wind, 6 degrees, and the snow has almost melted Baptiste went to Blois for supplies - There are very few Prussians in Blois - At 9:301 went to M. Moessard's funeral until 11 o'clock. I worked on Pseudoscopy images. I went to visit the priest, who came to the house at that same moment. I went to M. Vallon's. It has been raining for part of the day and there is much wind. There is talk of a congress that will take place in England around the 21s' about the Orient issue and in which the idea of an annistice will be discussed. Wednesday, January 18'h It is rainy and windy. There is no more snow on the ground. I am working on my Pseudoscopy images. Visit from Mme. Vallon - We received a letter from Eglantine - We can hear the cannons in the direction of Beaugency and this noise was said to be heard for a good part of the night. Thursday, January 19th It was 1 degree below zero but there is no more snow on the ground. We could still hear the cannons this morning from the direction of Beaugency. - I worked on pseudoscopy images. I went with Georges to Blois (to Jollois's and for diverse items at the stationery shop) - I heard of the defeat of the Loire army of General Chanzy and

the taking of Mans. Paris was strongly bombarded on the left bank of the Seine. General Bourbaky has had a few successes in the East - The weather is nice - There are few Prussians in Blois - It is said that the city of Blois has been exempted from its 200,000 francs in damages. Friday, January 20"' It is thawing little by little. I worked on pseudoscopic images. We have no news of the war. Georges is preparing for his baccalaureat as best he can - I worked a bit on fixing the camera obscura. My wife had a few rooms cleaned which had been dirtied by the Prussians. However, we are leaving the living room as they did with the straw and their garbage - I went to Tauvin's. Saturday, January 21s' I get up every day at eight o'clock even though I have trouble sleeping. I rest as well - I worked on pseudoscopic images - Julie went to the market in Blois. We have no news. It continues to thaw. Sunday, January 22nd I worked on pseudoscopic images - At 2 o'clock I went to Blois with my wife - I went to see Mieusement, Gervais, and mother. They are still talking about blowing up the bridge - I read two newspapers that Tlieophile Tauvin brought News from Pans is not very good. It is being violently bombarded. Tlie weather is very nice. Monday, January 23rd Up at 8 o'clock- I worked

with the stonemason Dupuis to put a new cowl on the chimney of the little house - I worked a little on pseudoscopy - I went to Tauvin s - We have started to eat in the dining room since yesterday Madame Donnet sent someone to find out if we would take her as a boarder - We gave a non-committal answer. The weather is fairly nice. Tuesday, January 24"' Up at 6 o'clock. We went with Georges and Baptiste to Pontlevay. We arrived at the hotel at 10 o'clock and had lunch. I went to the convent to tell Eglantine that I was taking her back to Saint-Gervais - I paid for her boarding for six weeks - 75 francs. I went to the junior high school where I paid 112 francs for three weelcs and Georges's boarding. M. Bourgeois made me visit his museum. The people in Pontlevay are rising up against the Prussiaris, whose occupation they did not experience. We left at 3 o'clock and anived in Saint-Gervais at 6 o'clock. It froze a little bit during the day. Wednesday, January 25"' I am a little bit tired from my journey. I am fixing my battery - I am going to Blois at 2 o 'clock for news. I met M. Legendre, who tells me that the Prussian government is asking the city of Blois for 30 francs per head for war tax, therefore 1 million. The municipal council is addressing a reclamation to Prince Frederick Charles - We must, people say, ask for 25 francs

per inhabitant in the countryside. Everyone is upset - I went to Lecesne's. In the evening there is a lot of snow covering the ground. Thursday, January 26"' The ground is covered with snow - I am working on my pseudoscopy images. I went to Mme. Vallon's - In the evening I had a violent headache, which forced me to go to bed at 7 o'clock. News of the war is not very positive. Friday, January 27"' I got up at 8:30 because of the great cold - The Tauvin woman brought me newspapers from Romorantin; I have found out that there are 10 thousand of our men in this town - The newspapers are full of bad or contradictory news. An exit attempted by General Trochu was unsuccessful - The delegate government is in Bordeaux. They are looking to recruit men - The ground is covered with snow The Prussians do not let anyone enter Blois - They put kindling under the wood bridge that links the arches and placed three mines in the arch on this side. Saturday, January 28"' Fighting in Saint-Gervais. Up at 8 o'clock. The ground is covered with snow. I am working on my physiological studies (Punctum corcum) all day - Around 3:30 we heard the French bugle and fifteen minutes later we saw the troops of the 25'1' battalion of

the army heading towards Blois near the Saint-Gervais bridge. Heavy gunfire took place with the Prussian guard set up at the city gate. I saw the action from all the way down the road - a few of our men fell (on the ice) - Several troops launched themselves at great speed and pushed back the Prussians, who ran from house to house, hiding. The artillery placed first at the top of the hill and later near the bridge sent cannonballs (that do not travel well because of the foggy skies). After two hours of shooting, the Piiissians crossed the bridge protected by their barricades and we immediately heard a triple detonation; it was the three mines from the bridge that exploded without damaging the bridge, but the wood parts burned The French were forced to stop in Vienne; if they had been able to cross the bridge, the city would have been evacuated - (This fight had no effect except to cut off the bridge - Tlie general claims that the desired goal was fulfilled. It is also believed that it was a distraction for another operation.) Sunday, January 29"' According to the large number of rifle shots (perhaps about forty thousand and fifty cannonballs or bombs), we could have feared a massacre on either side. There were scarcely one hundred men wounded or killed on both sides. In the morning I went with the mayor and M.

Vallon to organize a service to look for the dead, and group together the wounded in various houses (M. Bergevin). We buried sixteen dead and brought back ten wounded. The army hospital now has only 17. All the wounded who could be transported followed the anny that went back towards Cour Cheverny - We do not know where they are going. My wife spent the day and night taking care of the wounded with Mine. Vallon and Mile. Dusserre. There was a young army doctor and two assistants. The priest quickly dined with us. In the evening I went to Blois; there were a few more rifle shots from one bank to the next. During the day we heard the cannons in the direction of Vendome or Marchenoir. I am very tired from my very difficult day. Monday, January 30"' Up at 7 o'clock. I worked on my batteries, which are in a bad state. My wife came back from the army hospital at 9 o'clock; she was tired. I went to Vienne with Baptiste for news. The bridge was cut off and there were very few Prussians in the city. To Cajun's for copper sulfate. We learned that a 21-day armistice was concluded between the opposing parties and the elections for the constituents would take place in eight days as of January 31- noon. I went to our hospital in the chateau

Julie spent the night there. We only have 10 wounded left. Snow is still covering the ground. Tuesday, January 31" Up at 7:30. I have a cold. I was going to find out in the area if the news of the armistice is accurate; it is true. We opened the hiding place (near the dairy); we removed the objects that are less valuable. Georges went to Vienne for news; the bridge has not yet been rebuilt; a French colonel and a Prussian are meeting at the Lion d'Or for the local conditions of the armistice. I worked a little bit on physiological optics - Eglantine

went to spend the night at the chateau hospital. The thawing seems to be underway. It is not as cold and the snow is starting to melt. Wednesday, February 1st

Up at 8 o'clock. The thawing continues. I worked on physiological optics. I found Leonie's hiding place, which is in a very good state - At 4 o'clock I went to the municipal council to establish a list of indigents to give them bread. We put 25 names down. I went to the army hospital. There I met M. Vallon, who was coming back from Blois in a fishing boat; the bridge has still not been rebuilt. He told me with cer-

tainty that the walls of Paris were in the hands of the enemy; that we fought for two days in Paris against the democrats of Belleville, who had taken the Hotel de Ville, and that these troubles, although repressed, were the cause of our defeat - this is what the armistice is bringing. Thursday, February 2'"' Up at eight o'clock. It was very nice weather. I took all my books out of the Lecesne hiding place and a few clothes. We also opened the large hiding place, which is in very good shape and we aired it out - We also unearthed two cases of white wine. (The two Thauvins helped us -

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Visit from the teacher - I am working on oculistics a little bit - My wife and daughter went to help at the army hospital. We are working on the passerelle of the Blois bridge. They say that the inhabitants are quite tormented - another Prussian was killed; 200,000 francs are being asked. Two civilians were killed by them but they do not want to pay compensation Friday, February 3rd

Up at 8 o 'clock - I worked on my pseudoscopy images We learned that during the armistice the Prussian garrison will be lodged by the inhabitants and nourished by them - which will not prevent

requisitions in the countryside. The weather is very nice. Saturday, February 4th Up at 7:30. I worked on my pseudoscopic images. The bridge rebuilt with wood, my wife went to the market in Blois with her daughter and her maid. The weather is nice enough. Sunday, February 5"' Up at 7 o'clock. I worked on my pseudoscopic images - I went to Blois with Georges To Lecesne's. To see Jollois, whose foot is hurt - To Robert's. We had the priest to dinner - In the evening the army doctor came to see me with his assistant. The weather is quite nice.

Monday, February 6"' Up at 7 o'clock. I went to Blois with Georges for the clock face of the city hall, which does not work. To see Robert, who is suffering much from a sciatic. I went to the mayor's, where I fixed the battery - We brought back bulletins and two posters for the elections of the constituents that are to take place on Wednesday. These eirands tired me greatly and I did not work much during the rest of the day. I went to my neighbor's to bring bulletins - There are three lists: Ultra democrats: Ducoux, Dufay, Germain SaiTut, etc.; Independents:Tassin. Emile Couteau, Basserien, etc.; Moderates: Riffault, Thiers

Bouvilliers de Sers, etc. Tuesday, February 7"' Up at 8 o'clock - I put a plank in my main office for my books - Visit of Chabault mayor about the elections - I cleaned up my office and did not do much else. It is raining a little bit. Wednesday, February 8"' Up at 6:30. I went (with Georges and Baptiste) to Blois - (I am fixing the battery at city hall) - / went to the chateau to cast my vote to the state room: Thiers. De la Panouge. Boinvilliers. Riffault. De Sers. I found out that Gambetta resigned - Back at noon - I worked on my pseudoscopic images and on a new regulator for my clock faces. It rained all day. Thursday, February 9"' Up at 7 o'clock. I worked on my new electric regulator. I closed hiding place no. 1, which I had opened and put several objects inside. In the evening I went to the hospital to see the doctor, who is a very educated young man. It was nice all day long. Friday, February 10"' Up at 7:30. I worked on my pseudoscopic images. At 2 o'clock the army doctor and his aide came to see me - In the evening I worked on my electric regulator - It rained all day. Saturday, February 11"' Up at 7 o'clock - I worked on physiological optics - / was a little bit ill during the

day. In the evening I worked on my electric regulator. It is a little bit cold. We found out a few details in the newspapers on the deprivations endured by the Parisians during the siege. We also got a few details on the surrender of Paris due only to famine. The Prussians are not entering; we are paying 200 million in war taxes - The entire garrison is prisoner The forts are occupied by the enemy. Sunday, February 12"' Up at 7:30. I worked on my electric regulator - I received a letter from Leonie dated from January 3O'h; she is complaining about not receiving letters from us but we did write to her. They are all doing very well - I went to Blois with Georges - To see Jollois, whose foot is still hurt - To Lecesne's (To the mayor's for the clock face) Three Uhlans came to St. Gervais to bring the mayor the order to pay from now until February 15"', as contribution of war, 12,500 francs - We had the priest to dinner - It rained a little bit in the evening Monday, February 13"' Up at 6:30. I went to see Mayor Chabault about the tax - He wrote a letter to M. Bergevin to ask him to speed up the funds for the commune. M. Surateau left to take the letter. (In Sologne where M. Bergevin retired.) I worked on entoptic images and on my elec340

trie regulator - / was somnolent for part of the day and this tired me - It is quite nice weather.

If •V

i

Tuesday, February 14"' Up at 7 o'clock. I worked on my electric regulator. At four o 'clock I went to the council to see how we would face our war tax of 12,500 M. Bergevin is giving 3,000 francs. The municipal council managed to do the same through contributions - We do not know what we can do about the rest. The weather is nice. Wednesday, February 15th Up at 7 o 'clock - I went to the Mayor Chabault's to come to a decision about the 12,500 franc war tax. We went to Blois with M. Vallon and the deputy to the Prussian commander, who was stubborn and hard. The only concession granted was the paying of 3,000 francs tomorrow and giving guarantees for the rest - We went to a Prussian prefect who had just been set up in Blois to conciliate the interests of the inhabitants with the demands of war; he was very kind and has promised to speak for us. Scarcely back from SaintGervais at 1 o'clock. 235 men from Hesse passed through the village and had to be housed and fed at individuals' homes. We had four who were very demanding; in addition to a snack upon their arrival with bread and wine, we gave them dinner. Meaty soup, beef a la mode, fried Vl I

pork, potatoes, butter-apples, and walnuts - Visit from the army doctor who, in German, helped me to get along with my soldiers. The weather is nice. Thursday, February 16"' My teeth caused me great suffering until three o'clock in the morning, so I did not get up until 8 o'clock - Our four men from Hesse left at 7:30 after having had coffee with milk and butter; we filled up their jug of wine and even with all that they were unhappy or pretended to be. At 4 o'clock three Prussian officers arrived with eight soldiers, who had dinner and spent the night. Friday, February 17"' Up at 6 o'clock - The Prussian soldiers and their officers left at 7 o'clock. At 8 o'clock deputy Boucher fetched me to help him to collect money to complete the 3,000 francs that had to be given on Sunday - We had scarcely been to a few homes when we were warned that 1,000 Prussians were coming. (I went to the mayor's for the lodging tickets that we had made.) - We had the commander and two officers and 14 soldiers to feed and house - (Victor luckily came to help us: He gave us a chicken and some chops). We had a very agitated evening. (The weather is very nice.)

Saturday, February 18"'

Up at 6 o'clock. The Prussian soldiers and the officers left at 8 o'clock after breakfast - At noon we had a colonel with two officers and six soldiers - We dined with them and everything went well. They even spoke French - There were 150 in the village. Baptiste and Georges went on foot to Cellettes to get supplies - We are all very tired - We have been told that the armistice that was to end tomorrow has been extended for five days and will end on the 25th - (Prussians and French believing in the possibility of a peace agreement. It is wonderful weather. We received a letter from Mine. Dantan announcing the death of Doctor Phillips.) Sunday, February 19"'

Up at 6 o'clock. The colonel, officers, and soldiers left at 9 o'clock - At each departure they always find a way to steal some linen or clothing that they sneak out. We hastily put everything back in order and awaited new arrivals all day long. Luckily for us, the 200 new arrivals only occupied the part of the village near the road; they are Polish Prussians. They are said to be good. They set up guard posts and sentinels as in wartime and are ready for the Chamber's decision on peace or war These Polish men are going

to stay in Saint-Gervais until the end of the armistice. The weather is wonderful. Monday, February 20"'

Up at 6 o'clock. We went to Blois with Georges at 9 o'clock - to diverse suppliers and to see mother, who is doing well and has not had any Prussians, although there were many in Blois. After dinner I went to see our horse with Baptiste; we had placed it in Charles Thauvin's care with other animals for several days. Baptiste went back to get it because the Prussians had a battle in the forest and took several cows. I went to see the army doctor. In the evening I worked on the electric regulator. It was very nice weather. s

Tuesday, February 21 '

I am a little bit tired and only got up at 8 o'clock. I worked on the electric regulator. My wife went to Blois with Julie for provisions because Prussians are announced for tomorrow - We have no news on what was decided on the war but we hope for a peaceful conclusion - The weather is very nice. Wednesday, February 22"d

Up at 7 o'clock. I worked on my electric regulator. Fifty Prussians have arrived; they are housed in the suburbs; we haven't had any - We are quite anxious;

will there be peace before the end of the armistice that expires on Friday? Mile. Thiers and J. Faure left for Versailles; we have some hope for their intervention. There is some trouble, which is easily repressed - Georges went to Blois for news. There is none - Visit from, the army doctor. It is rainy and cold. Thursday, February 23rd

Up at 7 o'clock. I am working on my electric regulator. We have fifty Prussians in the village lodged at individuals' homes. They are Polish and kinder than the others. We do not have any. The weather is very nice. The armistice was prolonged until Sunday at midnight. Friday, February 24"'

Up at 7 o'clock. I worked all day on my electric regulator, which will set the time on all of my clocks. At four o'clock we went to Blois with Georges and Eglantine - To mother's - To Lecesne's, where we learned that peace has been concluded; although unofficial, it is almost certain - The town is full of Prussians still lodged in homes - It is very nice weather Saturday, February 25"'

Up at 7 o'clock. I worked on my electric regulator all day. My wife went to Blois with Julie. She brought back news that there was no

longer any hope for peace. The Prussian prefect sent his servant to ask me if he could come and pay me a visit. I answered yes. The weather is very nice. Sunday, February 26th

Up at 7 o'clock. I worked on my electric regulator At 9 o'clock I went to Blois (to the Prussian prefect to agree upon a day he could come so that I would be at home. It will be tomorrow or the day after.) We have no news of the decision of the Chambers about peace. Blois is very worried and the Prussians are starting to put inflammable

substances under the bridge again and there are many troops heading toward Sologne. The town is traumatized by its 500.000 francs tax. We had the priest to dinner. The weather is very nice. Monday, February 27"' (Up at 7 o'clock. I fixed the train tracks with Georges) - We learned that the preliminaries of peace were agreed upon and signed. We saw a large number of Prussian troops coming back from Sologne - At 2 o'clock a lieutenant and his aide-de-camp came; he slept in the parlor

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Im

and dined with us. He is a very decent young man. The weather is very nice. Tuesday, February 28"' Up at 7 o'clock. I worked a little on the electric regulator. I fixed the ghosts and the camera obscura. I am having the garden alleys cleaned by the Marquet woman. The army hospital evacuated M. Bergevin's chateau. The doctor came to say goodbye yesterday. We know nothing yet of the peace conditions. The weather was very nice. The lieutenant had lunch and dinner with us.

s

Wednesday, March I ' Up at 7 o'clock. I worked on my electric regulator. I learned of the conditions of peace: five billion in damages. One fifth of Lorraine. All of Alsace except for Belfort and Metz. Around four o'clock I had the visit of the Prussian prefect and his general secretary. The lieutenant dined with us and his aidede-camp dined in the kitchen. It is very nice weather. Thursday, March 2"d Up at 7 o 'clock. I worked on my new electric regulator At 9 o'clock three Prussian doctors including an oculist

\

.

came to visit me. They told me that the Chamber had agreed on the conditions for peace At 1 o'clock the captain of the company came with two other Prussians until 4:30 - Our lieutenant left after lunch to go to Paris for the entrance of the Prussians into the capital - The weather was wonderful - Marquet came to clip the trees. Friday, March 3"' Up at 7 o'clock. I worked on my electric regulator - At 10 o'clock I had the visit of several officers. At 2 o'clock I went to Blois to visit Sanesau of the Comedie Francaise. I took my memoirs to the Prefect

«i w&:

as he had asked - To Jollois's ~ Upon arrival I learned that we will have one captain and two aides-de-camp from the 59"' squadron tomorrow - The 58"', which is leaving, will return to Germany. The weather is very nice Saturday, March 4'h Up at 7 o'clock. Instead of a captain, it was a sergeant major accountant who arrived at eight o'clock with two Polish aides-de-camp - They are all very nice and polite The first ate with us and the others in the kitchen - All day I had Prussian officers visiting the property - At 1 o 'clock in the morning a courier came

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to announce departure the next day at 8 o'clock - The weather was beautiful.

Hif

Sunday, March 5"' Up at 7 o'clock. I fixed the Hermit's head - My sergeant major and his two aides-decamp left at eight o'clock for Prussia. At 2 o'clock I went to Blois to the city hall for the clock face - To see Robert and Mieusement - The city is almost completely evacuated; there is only one unit but we await troops that will be passing through - The priest dined with us. At eight o'clock Entile came by surprise; he has grown a full beard - The weather was very nice and waim. Monday, March 6"' Up at 7 o'clock. I went for a walk with Entile; then we went together to Blois to see mother and Cousin Robert - / saw Lecesne - I met some mobile units who were returning home. The weather is wonderful. Tuesday, March 7th Up at 7 o'clock. We talked business with Entile on his brother's succession. I gave up 900 francs that were for me front my poor son and gave Emile 500 francs which remained from the sale of a

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horse, which had been sent to me by one of his friends. At one o'clock two Uhlan officers and two aides-de-camp came to lunch - Our mayor Chabault could not provide hay for the horses and was hit in the face and put in jail - I intervened for him with the colonel and he was released at 6 o'clock - Several officers came to stroll on my property - My two officers had dinner with us - There are 9,000 men in Blois - The weather is wonderful. I opened the hiding place of the greenhouse where papers and silver were hidden. Wednesday, March 8"' Up at 6:30. My two officers and their aides-de-camp left at 8 o'clock. I put the Hermit back in place. We went with Emile to Blois to Cousin Robert's - There were many troops in the city - We had a sergeant major and two aides-de-camp in the evening. The weather is very nice. Thursday, March 9"' Up at 6:30. The sergeant major and the aides-de-camp left at 8 o'clock. I put the picture back in place - Emile left for Paris at 1 o'clock. Georges went with him. At 3 o 'clock we had two corporals and two soldiers from the army hospital. ,

,

-

.

;

:

.

•

The weather is very nice. I went to Blois with Eglantine We opened the hiding place under the cellar stairs where my deeds and some jewelry were. Metivier's son is back from the mobile service. Friday, March 10"' Up at 6:30.1 have a very bad cold and my chest hurts. I did not work much in the morning but I put my books and papers away in my workshop. I went to bed early. It rained a bit. Our four Prussians stayed and they will be in Saint-Gervais for one day. Saturday, March 11"' Up at 7:30. I am very tired from my cold; I have a little bit of fever. I spent the whole day cleaning up my workshop and organizing my papers. Our four Prussians left in the morning - The weather is fairly nice. Sunday, March 12th

Up at 7:30. I am very tired from my cold. I started to reorganize the electric door The Prussians have definitively evacuated Blois. French troops coming to stay in Vienne could not cross the badge before the payment of the first billion. The priest had dinner with us -

ROBFR'I-HOL'DIN

Illustration 478 — Robert-Houdin by Mieusement.

ACT V

The Master's Last Days The day after the Prussians left, RobertHoudin got up late at 10 o'clock in the morning, after having spent a feverish night disturbed with a terrible cough. He immediately had the large hiding place opened in the cave, 'which contained furniture and bags of wheat belonging to his neighbors. At 2 o'clock, ill, he was forced to return to bed. For three days Robert-Houdin remained partially bedridden, going out only to have different hiding places cleared out. On March 16, feeling a little better, he took many objects out of their crates and organized his library, but was still very tired. On the 17th, in better condition, Robert-Houdin cleaned up his workshop and unpacked several pieces. He dedicated the 18th and 19th to various technical repairs, organized his workshop, worked on the reorganization of the electric door, and found the time to sort his mail. Robert-Houdin wrote on the 20th in his Tablettes journal ieres, in the midst of other notes of his daily tasks, these underlined sentences:

on the odometer in the company of his worker. Until April 5, the learned mechanician spent his time supervising various repairs inside and outside The Priory and his work on the odometer with M. Roucault. On April 6, Robert-Houdin completed a figurine of a gardener that was placed in the large cave. News from Paris was bad and greatly worried him. In addition to stonemasons, he hired a carpenter to work on the box for the electric regulator. Robert-Houdin repaired

8- subdivide

GARDE RATIONALE LIE PAUIS.

2C BtTAlLLOI.

OBDKE DE SERVICE /7

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heurcsyj»tr6s pr&ises da

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ci-apreh designte, av hen ordinaire de la reutxon de la Compagme, pour faire te Service qui iui seia commande.

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We heard that Paris was in the midst of civil war and that the revolutionary committee had taken over all the administrations. It is said that they shot two generals. Tout g.irde national command^ pour an sEitice doit ob*ir. Sont con>iiJ*i*ei coniroe tetviccieoinmaoJei loulcs les priiwd'stmts, quci quesoil le modeie convucJiHin.

This was the beginning of the Commune. Robert-Houdin awaited an assistant named Roucault, whom he asked Emile to send to help reorganize his work. He arrived at The Priory on March 23"'. In his Tablettes journalieres, the author complained about what he called his "cold" and wrote that his chest was burning. He immediately went to work 349

I'heure indiquee ptr 1'ordre de urticc , Is manquenieut a c»l BBMI (WralnWi le r*moi au Cuuscil de discipline. Lf i c Kfiiptions ii cmr cflu^^ tin in ^ lid If s fLdcid^ntp]lc£ soni coiiil3l££& p&t tin cctlificit dc livrt' griluiiement par un d « Gbiturgiens ilu bataillonPrtvcoir, par fettretffranihie, leStrgent-H*jor. pour absence qm devra *trejusli5«. Lepfeietiitegjltnienlauretour. H- THOUAS, armuner de la Garde nationalc, paswgs Delorm, %tt sent Ctimnui\twn4 pttT l& V\llt Touts rfelscnaiiOQ on eieute at sera odmiM par le SngiDi-^ajor nue d u i le* Zl teutei

Illustration 479 — Service order of Emile Robert-Houdin, drafted into the National Guard of Paris.

ROBFR 1-HOUDIN

Illustrations 480. 481, and 482 - Alice, Henri, and Valentine Robert-Houdin. Valentine, the youngest of Leome and Emile Robert-Houdins children, was born in 1876.

From the 21st to the 30th of April, he continued the same activities and his health seemed to improve. Georges was considering studying for a scientific baccalaureat, and RobertHoudin sent him to school. He received the list of the municipal elections on May Is' and wrote with no further commentary: "I am the first in the number of votes." Robert-Houdin remained in epistolary contact with Mile. Anna Kremer, the young hostess of the inn L'Anged'Or where his son had passed away in her arms, and sent her a picture of Eugene which she had asked for. Mile. Kremer informed him in her latest letter of the result of her research. Eugene's watch and ring as well as the hun-

his vertical regulator and pursued the advancement of the odometer. On April 12, he consulted his family doctor, M. Arnoult, who prescribed quinine sulfate, and this medication seemed to relieve him and allow him to spend better nights. For several days, he felt very weak and feverish and once again had to resort to the medicine. M. Roucault worked on the odometer or the electric regulator with him. News from the capital was worse but, to his great relief, Robert-Houdin learned that Emile was able to escape forced enrollment in the troops of the Commune de Paris by joining the medical corps, to avoid fighting against the troops of Versailles.

350

ACT

V

mayor and deputy - After my refusal to be mayor, M. Dusserre was named and M. Louis Nay deputy.

dred francs that he had sent him were safe in the castle of Reichshoffen and would soon be returned. Robert-Houdin was still very worried about Emile's condition — because he sent no news or simply could not because circumstances prevented letters from the capital from circulating freely - and he tried to calm his fears by attending to his usual tasks. On May 18, Robert-Houdin finally received good news: the arrival the next day of Leonie, Emile, and their two children. On Sunday, May 21, he wrote in his Tablettes journalieres: At eight o'clock I went to the Counsel for the naming of new counselors and the election of a

As of May 23. Robert-Houdin resumed work with Emile on The Writing and Drawing Automaton. They were informed on the evening of the 24lh that the capital was in flames and that water pumps were demanded between Paris and Orleans. The rebels were said to have burned the main monuments of Paris. Robert-Houdin seemed very absorbed by his work on The Writing and Drawing Automaton. He wrote notes on this subject every day, unfortunately punctuated by bad news from the capital. The Tuileries, Hotel de Ville, a quantity of monuments, and private properties were prey to flames, and the firemen of Blois were obliged to head to Paris. While everyone was saying prayers in churches on May 28Ih for the salvation of France, Robert-Houdin was working on his Writing and Drawing Automaton with a happiness finally regained. In his Tablettes journalieres, the author no longer alluded to health problems and had been getting up at 6 o'clock in the morning again for several weeks. On May 31, with Emile and Roucault, he made plans for the automaton's cams and, the next day worked on the "design of the Cherub.'" The day of the 2nd of June was again dedicated to The Writing and Drawing Automaton and he interrupted his work only to take his carriage to be repaired in Blois. The day of the 3rd was dedicated to the automaton and the pursuit of the design of the little Cherub. On Sunday, June 4, Robert-Houdin wrote these sole sentences in his Tablettes journalieres: Up at 6 o'clock. I worked on new arrangements to fit the cams of my writer. Those were the last words that the artist wrote in his diary. Below them, his wife Olympe wrote this sentence: Fell ill on June 5 and died on June 13, 1871.

351

ROBFRI -HOUDIN

Illustration 483 - The final two pages of Robert-Houdin's Tablettes journalieres

352

dated June 3rd and 4th, 1871.

ACT

Robert-Houdin passed away at 10 o'clock in the evening, succumbing to pneumonia, [27] in the room of the second floor of his dear Priory from which he had admired the magnificent panorama of his hometown every day with the same pleasure. Eglantine Robert-Houdin was present during her father's last moments, which she recounted during a conference dedicated to his memory:

V

the entire village. At the precise moment when my father, surrounded by his family, breathed his last breath, the bells, clocks, the large bell, everything...everything...in impressive unison all rang out the ten chimes of the hour. There are times when one feels the souls of objects; this was their last goodbye to the man who had given them life and whom they were to follow in death. The Priory could not live without its creator. The property was sold following conflicting family interests and today time has done its deed. Fifty years have gone by and of the entire mechanical systems of the house, of all the attractions of the garden, nothing is left...only the memory.

To the great sadness of this moment is added a painful memory that you will allow me to recall. At The Priory were many clocks and bells; a large bell placed on the front of the house gave the time to

353

ROBERT-HOUDIN

r, Last Farewell Performance haps even evils, and by sacrificing his own tranquility he managed to ensure that of others... [29]

If the importance and popularity of a person is judged by the space that the press de\ otes to his death announcement, the veritable avalanche set off in the press by the news of Robert-Houdin's death says much more than the present work about his national and international aura. From the most humble little regional newspaper in the remotest region to the large daily papers of the provinces and the capital, the) all published this sad information in kind and warm terms. Paragraphs, articles, and complete biographies were published immediately after his death, and several newspapers paid tribute to the artist by relating the greatest moments of his career in the form of episodes that went on for several days. |>s] Daily newspapers in foreign capitals also wanted to herald the memory of Robert-Houdin and the watchmaker, mechanician, conjurer, and scientist was again honored. In contrast to these practically official homages, the very first articles published in the press of the region were among the most touching in their sobriety because they spoke of the man and the compatriot, whose memory they saluted with modesty, tact, and also sincere sadness:

Yesterday M. Robert-Houdin died at his property of Saint-Gervais. Leaving to others the privilege of discussing his scientific works, we are happy to be the interpreter of all those who knew him to pay tribute to the qualities that made a gentleman and a good citizen. During the occupation, through his courage and cautiousness, he knew more than once how to foresee great misfortune, and during the battle that took place in the suburb of Vienne and the commune of Saint-Gervais, he took all goodhearted

Madame veuve ROBERT-HOUDIN; Nlomiem el Mudarna KJIIIE ROBERTHOUDIN et leur» enfant*; Monsieur OEOIIOBS ROliEHT-HOUMN; Mademoiselle EOLAKTIBE ROBERT-HOI) DIN; Madame veuve PROSPER-ROHERT; Mumium BRACONMEB, colonel an 1" regiment de elmsseurs beiges; Madame BRACONNIER et loure enfanls; Monsieur et Madame CHOCAT-HAM1LT0N et leui ills; Monsieur ROBERT-RENOU; Madame veuve DE LA MARLIER; Monnieur et Madame TOUTTAIN-AMIOT, Ont Thoniieur de vous faire part de la nerte doulouieuse qu'ils viennent de faire en ia personne de

Although Robert-Houdin's death must sadden those who regret the disappearance of an immense genius, the commune of Saint-Gervais will especially feel hard hit, because M. RobertHoudin, through the kindness of his character and the multitude of his good deeds, had won not only the admiration but also the gratefulness of all.

monsieur

JEMH-FI'GGKK

nOBEHT

linilM*,

leur epoux, pere, beau-pere, grand-pere, beau-fils, beau-freve et cousin, decede en sa propriety du Prieure Sainl-Gervais, pres Blois, dans sa 66" annee, muni des SacrementsriePEglise.

ftiw Situ (raw lui

The community will remember that, during the Prussian occupation, M. Robert-Houdin's courage and presence of mind spared it many woes, per-

Illustration 18 t

354

Death notice for Robert-Houdin.

ACTV

Illustration 485

Robert-Houdin by Mieusement.

ROBFRi-HOUDIN

people with him to help the wounded and retrieve the dead.

mass, assisted by the former vicar of SaintGervais, the family's friend Father Ranc.

lie was so universally admired that at the last municipal elections, he won all the votes of his fellow citizens... [30]

Robert-Houdin's coffin was temporarily buried in the Saint-Gervais cemetery, as Olympe had bought a plot in the cemetery of Blois and had a mausoleum built, adorned with a white marble medallion with the master's profile, a work by their friend Dantan. It is in these shady, peaceful surroundings that Robert-Houdin rests for eternity.

Robert-Houdin's funeral took place on Friday, June 16 at 10:30 in the church of Saint-Gervais. Parents, friends, neighbors, and municipal, political, religious, and artistic figures gathered in the church of Saint-Gervais, which was too small to contain the crowd during the ceremony, and some were thus forced to observe

Here ends the narrative of Robert-Houdin's life, and this biography. His departure for a

from the square. Father Victor Colin said the

OL'S ctes pries d'nssislor aux Convoi. Service el liiiterremenl de

Monsieur

JEAN-EUGENE

ROBERT-HOUDIN,

Deeede au Prieure de Sainl-(k'nais, le K! juin 1871, dans sa 00" annee, muni des Saeremenls do 1'Eiilise, qui am'onf lieu lo \endredi 10 eourant.a 10 heures 1|2 du malm, on I'E^lise de Sainl-Oerwus, sa paroisse; De la port dc Madame voino ftOBERT-HOTOK ; de Monsieur el Madame Ii>m-t BOBER'i'-HOUOIN el de lews enliiiils ; de Moiisiem- GBOHBIB Il()I!KHT-IIOi;i)l> ;
I'riez Dieu pour le repos de son Ami1. \-e Teuil sc rtimiHi & ia SJaisoii motiuaire, au Prieu*£ lie SainKiervais

Illustration 486 - Announcement of Robert-Houdin's funeral service. This large-format document was posted in churches, city halls, administrations, etc.

356

ACT

Illustration 487 - Robert-Houdin's tomb in the cemetery of Blois.

357

V

ROBERT-HOUDIN

play La Czarine at the Theatre Montparnasse in December 1878, then at Grenelle and Les Gobelins. In 1887, following a proposal by Henri Lemaitre, his son-in-law, and in the name of the family, the municipal council of Blois [27] decided to rename the Rue Madeleine as Rue Robert-Houdin on May 26.

world said to be better marked his entry into posterity. He occupies a unique place in the pantheon of magicians, that of a founding father of a regenerated art which, thanks to him, gained respectability. The artistic, mechanical, and scientific heritage of RobertHoudin is enormous and merits respect. During his entire career, he was honored by prestigious awards and adored by the public. For fifty years after his death, his name continued to shine every evening on the marquee of his theater, and his effects and mechanical pieces enchanted new generations. His posthumous work Magie et Physique amusante was published in 1877 and his literary work was from then on regularly reprinted. The Chess Player automaton was seen again in Paris, where it ensured the success of the

The hundredth anniversary of his birth, celebrated by the elite of French and international magicians on December 6, 1905 at an extraordinary gala in the Theatre des Soirees Fantastiques with David Devant as guest of honor, and in the presence of the Parisian press and conjuring enthusiasts, set forth a new flood of journalists who saluted the artist's memory. The impact of this event proved Robert-Houdin correct

(KUYRE PUSTHUME

MAGIE PHYSIQUE

A toi Robert-Houdin, dont la main si savante, Au temps jadis a su provoquer notre emoi, Nous venons exprimer, l'&me reconnaissante, La veneration que nous avons pour toi.

AMUSANTE

ROBERT H0UD1N OltKfi I ) ' U S KT

D E

PORTRAIT

DE

En celebrant ici ta valeur triomphante. Avec la vive ardeur que nous donne la foi, Nous venons evoquer ta memoire puissante, Comme un cher souvenir que chacun garde en soi.

L'AUTEUH

V1GHI

Ta gloire te survit, et, toujours d'age en Age, Tu resteras lc seul et plus mervcilleux Mage. Parmi tant de genies, le tien reste immortel; Et nous te saluons en ce jour solennel, Oil nous sommcs si flers de rendre a ton image Le plus respectueux et plus ardent hommage.

PARIS CALMANN LfiYY, £DITEUK ANCIENNE MAISON MICHEL LEVY FRERES HUE

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LEVAtlO

DES 1 T A U K B 8 , IS

E. RAYNALY.

A LA LIBRAIRIE NOUVELLE 1877 Broils dc reproduetuw d
Illustration 489 - Poem by Raynaly, for the one hundred year celebration of Robert-Houdin's birth.

Illustration 488 - Title page of the posthumus work by Robert-Houdin, Magie et physique amusante.

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ACT

when he wrote this premonitory text in The Secrets of Conjuring and Magic:

s

Ii has often struck me what an interesting exhibition it would make, to get together for a single performance a dozen conjurors, each giving for a quater of an hour a sample of his special talent. Such a performance would, I am certain, be worthy of a prince.

V

CENTENAIRE*Vi'«

ROBERT HOUDIN PBOGRAMME DE LA

REPRESENTATION DE GALA DU 6 DECEMBRE 19O5

In 1935, a commemorative plaque, adorned with a medallion sculpted by Dr. Dhotel, was placed on the site of the first Theatre des Soirees Fantastiques on Rue de Valois, and in 1938 Paris again honored the master by re-naming the Passage Bouchardy as Rue Robert-Houdin. The headlines said: "RobertHoudin conjures Passage Bouchardy for himself." The cities of Caen and Bourges, following the example of the capital, also renamed

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Automates AN1MES de Robert-Houdiu MEKUET

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Illustration 490 The bill for the "Centenaire de RobertHoudin" celebrated in his theater on December 6, 1905.

Illustration 491 - Medallion of Robert-Houdin by Dr. Dhotel.

Illustration 492 - Medallion of Robert-Houdin, created by MarieMadeleine Querolle, struck by the Monnaie de Paris.

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ROBERT-HOLDIN

two of their streets with the artist's name. In 1949, a plaque was placed to mark the house where he was born, and in 1966, Paul RobertHoudin created a museum in Blois devoted to his illustrious grandfather. The next year, the Paris mint struck a Robert-Houdin medal, and in 1971 a commemorative plaque was placed on The Priory. The postal ministry printed a Robert-Houdin stamp for the hundredth anniversary of his death. Over the years The Priory at Saint-Gervais and the Blois cemetery have become places of pilgrimage for those impassioned by the

magic art, from Harry Houdini in 1902 to David Copperfield in 1994, traveling from all horizons to honor his memory. For more than a century, dozens of works and hundreds of newspaper articles, cartoons, television shows, films, and exhibitions have been devoted to Robert-Houdin. whose statue stands today on the esplanade of the chateau of his hometown, while throughout the world, amateur and professional magicians perpetuate the teachings of the "father of modern magic," who bequeathed to each of them the most precious of legacies: his work and his example.

B L O I

s

Illustration 493 - Advertising postcard for the first Robert-Houdin museum in Blois, accompanied by a Robert-Houdin stamp with a "first day" mark.

360

ACT

V

Illustration 494 - The facade of the Maison de la Magie Robert-Houdin in Blois. Robert-Houdin's statue, inspired by the lithograph of the artist by Leon Noel, is a creation of Patrick Bourdeu (Plastic Studio). The automaton dragon with six heads is the work of Michell and Jean-Pierre Hartmann.

ROBBRT-HOUDIN

Epilogue

Even before the family could truly begin to mourn, several administrative tasks had to be completed, and "Cousin Robert" proved himself to be, as usual, efficient and of wise counsel. At Robert-Houdin's death, two of his children were still minors; his old friend became their surrogate tutor and represented them throughout the entire procedure. On June 21, 1871 at The Priory, under the direction of Maitre Postole, the artist's notary from Blois, and in the presence of Olympe Robert-Houdin, Emile Robert-Houdin, and Jean Martin Robert, representing Georges and Eglantine, began the "inventory after death of the assets belonging to M. RobertHoudin and his spouse." The first part of this tedious task consisted in cataloguing and evaluating on site every single object in every room. The first session began at noon and ended between 7 and 8 o'clock in the evening; it continued with the same schedule on the 22nd, 23ld, and 24th of June. After all belongings came the evaluation of the real estate, houses, farms, land, shares, and deeds which represented the largest part of the inheritance. Emile had financial worries as usual and did not share his family's wish to continue to manage the assets as his father had done. The two sides present were indeed facing a delicate problem because, although the artist had left a sizable fortune for the time (the current equivalent of four million U.S. dollars), if we follow the inventory, there was very little cash. This relative absence of cash, which appeared in the accounts of Robert-Houdin's succession, is to be considered carefully. Like the majority of

wealthy individuals of the time, RobertHoudin kept large amounts of gold at home, probably napoleons. These sometimes very large sums were never part of notarial inventories out of discretion as well as for tax reasons. It would seem that dissensions broke out between the heirs because the advisor could not mediate a unanimous agreement. The civil court of Blois, charged with this litigation, decided on "the sale by licitation (auction) of buildings according to law," and the income was then transferred to the account of the "liquidation-sharing of the assets." Maitre Postole was named "amiable liquidator." Respecting the court's decision, the notary offered a group of buildings for sale, the proceeds of which paid for various fees, taxes, and notably the portion of the inheritance belonging to Emile, the only heir who immediately needed money. These three buildings were: The Priory; a little house that bordered the property; and an ensemble of houses situated in Blois on Rue Saint-Martin. The Priory was sold to Maitre Pelau for the amount of 45,100 francs, as well as the neighboring house for 2,600 francs. Maitre Pelau was acting on behalf of the Marquis de Flers, who became the new owner of The Priory, and M. Bergevin took possession of the second building. The houses in Blois were purchased - repurchased - by Olympe Robert-Houdin for 43,800 francs. Contrary to what the two biographers Father Chesneau and Jean Chavigny - have written, in the same terms, it was not "Cousin Robert 362

ACT

ROBERT

HOUDIN

Illustration 495 - Engraving and frontispiece of Robert-Houdin's posthumous work, Magie et Physique amusante.

V

ROBERT-HOUDIN

Illustration 496 - Jean Martin Robert Renou, "Cousin Robert."

ACT

V

Illustrations 49 7 and 498 - Olympe Robert-Houdin.

[who] hurried with an unexplainable rush to sell the family assets." The choice of sacrificing The Priory - that neither the Marquis de Flers, nor anyone in the region would have tried to acquire without Olympe Robert-Houdin's withdrawal was sentimentally painful, and could have undoubtedly been avoided in more peaceful circumstances, but the assent of the master's widow was perfectly justified especially in light of the proper management of her children's fortune. Without Robert-Houdin to animate it, the property would never have been the same; its upkeep was expensive and required a large staff. Olympe knew that Eglantine was thinking about marriage and Georges was about to become an adult. Despite all these factors, even if it had

greatly upset her, she preferred to give up her lovely but costly residence in order to keep and preserve the rest of the assets for her children, whose interest they would benefit from their entire life. The future proved the wisdom of Olympe Robert-Houdin and her faithful advisor Jean-Martin Robert, •'Cousin Robert." A meeting took place on October 17, 1871 at Maitre Postole's office in the presence of all the heirs, where the portion of the estate due to each and the details of the assets they would receive were determined. According to her wedding contract, Olympe Robert-Houdin had the right to almost two thirds of the inheritance, the rest to be evenly divided between Robert-Houdin's

365

ROBfrRl-HOUDIN

Illustration 499 - Georges Robert-Houdin.

366

ACT V

three children. Emile's part would be cash and immediately sellable deeds and shares. Le Cabinet de Physique, whose value was not agreed upon by the heirs, remained in joint ownership and the civil court ordered its sale by auction at the Hotel Drouot in Paris during the month of November. Neither Olympe Robert-Houdin nor Emile could accept such an outrage to the artist's memory, whose secrets would be revealed to anyone and the mechanical pieces dispersed, to the highest bidder perhaps, but who would that be? (The ultra-scarce catalogue of this sale, which was canceled, still exists and its contents still makes collectors dream.) [32] She obtained the cancellation of this decision and carried out a series of transactions and exchanges with Emile for a small part of this collection, which she considered to be nontransferable family memntos. In an act established on stamped paper dated September 23, 1871, Olympe Robert-Houdin kept for herself:

Illustration 500 - Miniature card desk by Robert-Houdin. (Chateau de la Ville de Blois)

— A magic wand used by Robert-IIoudin in his performances; — A desk for cards; — A burnishing tool belonging to Louis XVI given by General Morin, director of Arts et Metiers for the courtesy repair of the automaton depicting Marie-Antoinette playing the harpsichord; two medallions representing Louis XVI and Marie-Antoinette. — A set of devices for eyes; — A box with ophthalmology devices; — A group of booklets containing journals and preparations of works by M. RobertHoudin and the right to have them printed and to sell all works prepared by M. RobertHoudin and

various

mechanical

or

domestic

Illustration 501 - Medallions depicting Louis XVI and MarieAntoinette, accompanied by a burnishing tool belonging to Louis XVI. These objects \\ ere gi\ en to Robert-Houdin by General Morin. director of Arts et Metiers, in thanks for his generous repair of The Harpsichord Player.

ob-

jects. [33]

(Chateau de la Mile de Blois)

367

ROBERT-HOUDIN

Illustration 502 - Eglantine Robert-Houdin.

368

ACT

Illustration 503 Olympe Robert-Houdin and her sister Amelie Chocat "Hamilton" during the last years of their lives.

V

Illustration 504 - Olympe Robert-Houdin and her granddaughter Marguerite.

Emile Robert-Houdin kept for himself:

what everyone diplomatically pretended to believe... [34]

— A Writing Automaton in progress; — A Singing Lesson, mechanical bird; — A bronze drinker;

Thanks to their share of the inheritance and later to that of their mother, "[who] piously passed away [on January 2, 1901} at the end of a life devoted to the happiness of her family and charity towards the less fortunate," Georges and Eglantine had an existence free of all financial worries and devoted themselves to their artistic passions: the first to painting, the second to sculpture. The fact of having money again, and even feeling wealthy for the first time in his independent life without having his father's gaze upon him, seemed to have deeply transformed Emile. He only used a small part of his cash to

and various tools for watchmaking and mechanics. The most important part of Robert-Houdin's Cabinet de Physique - including his stage equipment, his various experiments, and the ensemble of his automata - remained in joint ownership for a few more months. By virtue of an act signed in the office of Maitre Marie Ernest Duplan, notary in Paris on January 5, 1872, this ensemble was sold in its entirety for 10,000 francs to a mysterious buyer who stated he was acting on his own behalf, which is 369

RODHRT-HOUDIN

jrjo D<

calm down his creditors and made agreements with them to pay off the rest in installments. Thanks to this wise attitude, he sold his stock of merchandise and his business well, without disturbing his capital. His important deal with the Compagnie des Petites Voitures was not signed. He was eliminated by a manufacturer who knew more skillfully than he how to get a market that was sure to be profitable. A rocky debate during a municipal council meeting of the city of Paris in which the opposition supported the qualities of his odometer - that of RobertHoudin — and criticized that of "his" competitor, testifies to this. The liquidation of his assets lasted almost eighteen months, but after years of ups and downs, Emile Robert-Houdin was again a free man, or more precisely, a new man whose destiny would finally be able to be achieved.

Salon dc 1908 — hier Rapport, Cliirn Brc
In order to be as exhaustive as possible regarding the final years of the management of Cleverman, of whom we have not spoken since his dispute with Robert-Houdin, let us mention the passage of M. Kelly (one of the Stacey "brothers") and M. Warton in December 1868, performing "The experiments of the Davenport Brothers" in the third part of the show. In 1869. Cleverman's repertoire did not seem to have been enriched with novelties, and after the month of February 1870, Brunnet again performed alternately with him. The program was varied by the return of feats from "the old repertoire" such as The Love Nest, The Traveling Birds, The Sympathetic Turtledoves, and even The Attracted Atoms. As in all the other theaters in Paris, and because of the war with Prussia, Cleverman closed his theater after September 10 following the police decree. Cleverman reopened the theater on June 22, 1871, and on July 13 Lemercier de Neuville and his famous Puppazis made their debut on the stage of Soirees Fantastiques, where they per-

Illustrations 505 and 506 - Two animal sculptures by Eglantine Robert-Houdin.

3^0

ACT

Y

^

Illustration 50"" — Emile Robert-Houdin, manager of the Theatre Robert-Houdin from 1873 to 1883.

Illustration 508 - Pierre Edouard Brunnet, co-manager of the Theatre Robert-Houdin from 1873 to 1879.

formed during the second part of the evening. After August 8, Cleverman ended his show by projections of instant tableaus of the ''Double Siege of Paris" obtained with the help of oxide gas, and if we are to believe his announcement, this new attraction aroused great interest: "At the Theatre Robert-Houdin, huge success! The most amusing evenings! The tableaus of the siege of Paris, the Insurrection, and the fires make it a full house every evening. Bravo M. Cleverman."

Physique of Robert-Houdin thanks to M. Plantet's generosity, Cleverman announced the trapeze artist Antonio Diavolo in 1872 as well as The Garland of Flowers, while Emile Robert-Houdin restored his father's other mechanical pieces with his apprentice Eugene Calmels, who, although he did not know it yet, would remain attached to them for almost forty years. After nearly ten years spent at the head of Soirees Fantastiques, Cleverman, who suffered from heart disease and whose hair and sideburns had gone grey from the workload, began to think of retirement.

In the winter of 1871, a ten-year-old schoolboy became an assiduous spectator at the little theater and discovered his vocation for the art of illusion. He would one day be in charge of this theater's destiny. His name was Georges Melies.

In December 1873, Emile Robert-Houdin accomplished his most precious dream, but also his most secret one, and succeeded Cleverman on the stage of the theater, where, as Brunnet's

Having been able to acquire Le Cabinet de 371

ROBLRT-HOLDIN

Illustration 509 - The facade of the Theatre Robert-Houdin during the time of its management by Emile, then by Leonie Robert-Houdin, from 1873 to 1888.

372

ACTV

Illustration 510 — Leonie and Emile Robert-Houdin.

3"3

ROBERT-HOUDIN

Illustration 511 - Leonie Robert-Houdin, manager of the Theatre Robert-Houdin from 1883 to 1888.

Illustration 512 - Dicksonn, co-manager of the Theatre Robert-Houdin from 1883 to 1886.

associate, he proved to be a good artist who particularly excelled in the presentation of his father's automata. Emile Robert-Houdin and Edouard Brunnet created new stage illusions which also had all of Paris running to the little theater of Soirees Fantastiques. The Indian Trunk (The Substitution Trunk), The Rose Nest, The Tour of Japan, and even The Triple Indian Trunk all contributed to the vogue for the theater. Instead of bringing them together, success separated the two men, and in 1879, RobertHoudin's son, whom everyone called Emile, purchased the theater assets and all its precious automata from M. Plantet. Emile Robert-Houdin proved to be a skillful and wise director and began, in the image of his predecessors, to expand his fortune. He put several talented artists

on the bill of the Theatre Robert-Houdin, some of whom would become celebrities of their time, such as the young prodigious calculator Jacques Inaudi, or Dicksonn, who had not yet taken the name Professor. That decade witnessed the death of Robin in 1874, of Cleverman in 1875, of Hamilton in 1877, and the beginning of the next saw that of Edouard Brunnet and Emile RobertHoudin. Upon Emile's death on March 17, 1883, Leonie Robert-Houdin, his widow, courageously took over the reins of the little theater and, after having entrusted it for nearly four seasons to Dicksonn, put the magicians Jacobs and Raynaly on the bill, then Lemercier de Neuville in his revue Tout Paris in November 1886. During her last year of management she became an associate with Emile Voisin, the grandson of the magic manufacturer 374

ACT

V

Illustration 513 - Emile Voisin, co-manager of the Theatre Robert-Houdin from 1887 to 1888.

Illustration 514 - Georges Melies, manager of the Theatre Robert-Houdin from 1888 to 1920.

Andre Voisin, whose shop he had taken over; during this period, Duperrey, Henry's, and Jehanne d'Alcy. made their debut on the stage of the Theatre Robert-Houdin. During the month of June 1888, Leonie Robert-Houdin sold the lease of Soirees Fantastiques de Robert-Houdin, its furnishings, and legendary automata to a 26-year-old man who was brilliant, talented, and wealthy: Georges Melies, who would manage the theater for thirtytwo years. Thanks to this great multi-talented artist, a pioneer of cinema and creator of the cinematographic show, the greatest talents of French magic performed on Robert-Houdin's stage, in the company of the Merveilleuses Vues animees de G. Melies (Marvelous Animated Images by G. Melies). This inspired manager invented a quantity of new, spectacular tricks

with evocative titles, among them The Persian Stroubaika, Mesmer's Castle, The Yellow Dwarf, The Recalcitrant Headless Man, The Moon's Tricks, and many others which are today among the classics of illusion and which Jacobs, Raynaly, Duperrey, Harmington, Carmelli, Arnould, and Legris performed with style, to name only a few of the theater's famous associates. Georges Melies always reserved a place of honor in his program for Robert-Houdin's most famous effects and automata, and the most talented magicians of the end of the nineteenth centuiy periodically performed in his theater. The last performance of Soirees Fantastiques de Robert-Houdin was performed with great emotion by Georges Melies, assisted by Henri Maurier, on July 13, 1920, exactly one month after the date of the anniversary of the master's death.

375

NOTES TO ACT V

A-

1. Here is Jacques Voignier's investigation in full, published in no. 89 of the magazine Magicus in February 1997: The first reference relative to this question is provided by Jean Ghavigny in his book RobertHoudin: Renovateur cle la Magie Blanche. He writes on page 64: "In June 1863, for his daughter Eglantine's first communion, Robert-Houdin set up a system of incandescent lights with a vegetal filament powered by Daniel batteries in the arbor of The Priory where the evening banquet was to

take place. The experiment, which was an innovation, and one of the first attempts of modern electric lighting, was never repeated because it had been quite expensive. But was this not one of the first manifestations of genius that preceded Edison's discovery of the incandescent lamp? Of course there were several precursors to Edison's lamp such as the carbonized bamboo filament manufactured in 1878, which only appeared in Europe in 1889, but everyone else had thought of bulbs with metallic filaments. As early as 1845, William Starr of Cincinnati had used a very thin

377

carbonized filament in a hermetic bulb. In 1855, the engineer Francois de Ghauvigny, working for a Belgian mine, first made carbon filament bulbs in a retort with graphite, forming a paste to be stretched, the filament then "nourished" in a sugar solution and cooked again. Another model (1856) had a platinum filament that was lightly carbonized. The bulb conceived by Robert-Houdin had a vegetal filament.'' Jean Ghavigny does not cite his sources, but he sends the reader to no. 52 of the journal Philippine of November-December 1966. Michel Seldow, in his book Vie et

ROBERT-HOUDIN

Secrets de Robert-Houdin, includes an excerpt of an interview with Jean Chavigny in Philippine (Did the illusionist Robert-Houdin invent the electric lamp fifteen years before Edison?): "How. sir. did you come across this story?" — "From the son of an eyewitness, gardener of Robert-Houdin, present at this party." (Bonjour Philippine, no. 52 - journal published by the manufacturer of Philips electric bulbs). Personal note: could it be Mme. Jean Chavigny's own grandfather, who had been a gardener's assistant at The Priory during his youth?) Andre Keime Robert-Houdin in Robert-Houdin, le magician de la science, writes: "...the reality of this use of electricity during a country dinner and the use of incandescent lamps are supported by family tradition. Georges Robert-IIoudin. who was twelve years old in 1863 at this party, often told it in the same terms as Jean Ghavigny. Unfortunately, no written document, drawing, or account exists regarding this invention by the owner of The Priory, if not the actual incandescent lamp, or at least a similar model, which for the first time found practical use during an entire evening in 1863." These are the only testimonies (unfortunately only verbal and second-hand, as Andre Keime admits) that have led to the idea that Robert-IIoudin invented the incandescent light in 1863 for his daughter Eglantine's communion. What should we think? Here is my opinion: first, let us take a look at physics. First condition: a body or an element, to emit light visibly, must be brought to a very high temperature, at least 2,000 degrees. This is the temperature of the tungsten filaments in our current electric bulbs. During Robert-Houdin s time, carbon was practically the only element that was suitable for this temperature. Tungsten could not be mass-produced and platinum, which melts at less than 2.000 de-

grees, would have produced too weak a light. The bulb with a vegetal filament that Robert-Houdin supposedly used was more or less pure carbon. Whether made with bamboo or carbonized thread like Edison used or any sort of vegetal carbonization, it could be perfectly suitable if the mechanism were appropriate. Second condition: the combustion of the element must be brought to 2.000 degrees, or else the element would be destroyed (in this case vegetal filament). This is why the filament must be sealed in an oxygen-deprived environment (a glass bulb in a vacuum or filled with gas that does not chemically combine with oxygen). All researchers of that time ran into this difficulty, as summarized by Andre Keime in his book Robert-Houdin, le magicien de la science. The problem is a technical one. In 1863 it was not possible to create enough of a vacuum to prevent combustion. It was only after the invention of the mercury steam pump (1865) that it was possible to significantly create a vacuum. This was done progressively, and it was not until 1879, as noted by Andre Keime, that Edison could make an incandescent electric bulb work for thirteen hours, using carbonized thread as the filament. To summarize. Robert-Houdin could not have made an electric incandescent lamp work in 1863 for even one minute because he did not have a pump that could create a sufficient vacuum. So what must one think about the testimony of Robert-IIoudin's assistant gardener regarding Eglantine's communion party? It was most certainly a variant of electric arc lamps, which work in the open air and whose principle is very different. They were frequently used during Robert-Houdin's time and he had done research on them in using his electric distributor to automatically bring together carbon electrodes. Arc lamps were

3"8

tried out for the first time by Robert-Houdin during his son Georges's baptism in 1851 (see on this subject the works by Jean Ghavigny and Andre Keime). Volume 5 of Applications de I'electricite by the Count du Moncel (3 "* edition, 1878) is devoted to several variations of arc lamps, which have also been used in cinema projectors. He was not talking about incandescent lamps. Count du Moncel was in contact with Robert-IIoudin and he describes the numerous applications he conceived (submerged battery, electric clocks, current distributor, electro-chronometric counters, electric distributor for arc lamp, etc.). In conclusion, when Paul Robert-Houdin depicted his grandfather holding an incandescent lamp, it was more of a symbol than a reality. This detracts nothing from Robert-IIoudin's merits as a researcher and scientist. I will even say that during his lifetime, Robert-Houdin was primarily a scientist and then a magician. He would today be head of research at the CNRS and he would probably be taking care of the mega-joule laser set up in Bordeaux. Paul Robert-Houdin and Andre Keime Robert-Houdin wanted Robert-IIoudin's inventions to be recorded for posterity. In reading the works of the Count du Moncel. we realize that during the same era. several dozen researchers were working on the same subjects as Robert-IIoudin. and they all brought something to the development of these techniques. History has decided that the magician should go down in history and not the scientist. I think that History was correct and that Robert-IIoudin's contribution to magic is far superior to what he brought to science.

Monsieur Andre Keime RobertHoudin. with whom I have spoken on several occasions, and who has always shown great objectivity about his illustrious

NOTES TO ACT V

great-grandfather's career, has a very different opinion on this subject. Although Jean Chavigny was the first to reveal the possibility of the invention of the incandescent lamp, this information had always been known by Robert-Houdin's family; and Georges Robert-Houdin. the master's son and Andre Keime's grandfather, always spoke of his father as Edison's precursor. Monsieur Andre Keime Robert-Houdin belies es that his great-grandfather had been inspired by the works of Changy. who partially made an incandescent lamp, and he believes this idea is confirmed by the fact that, among the members of the commission of the Academie des Sciences in charge of examining Changy's invention were Bequerel and Babinet. two of Robert-Houdin s scientist friends.

One of the rooms in The Priory was completely filled with electric batteries and their amount and presence could only be justified by this type of experiment. M. Andre Keime Robert-Houdin thinks that the bulb with a vegetal filament invented in 1863 bv his great-grandfather, instead of lighting Eglantine's communion dinner for the entire evening, only shone for a short time and must have disappointed the inventor, as it was a very costly experiment. One must also recall that the first bulb commercialized by Edison had only a thirteenhour life span. M. Andre Keime Robert-Houdin also believes that the absence of any reference to this invention in Eglantine Lemaitre Robert-Houdin's lecture is due to the context in which her presentation was made.

COLUMN ARGUMENT IN FAVOR OF M. ROBERT-HOUDIN.

Blois. March 29, 1866. Dear colleague. La Prcsse of March 27"' includes a scientific reviewby M.L. Figuier, who writes about a little device presented recently at the Academie des Sciences, among other inventions, under the name iridiscope. Our learned colleague begins in the following manner: "The wisdom of nations says that we cannot see the beam in our eye.'' But the wisdom of nations adds that we see the straw in the neighbor's eyes. It is this straw that I wish to extract from M. Figuier's eye, of whom I regret not being the neighbor on a certain day at our friend Lescarbault's desk. M. Figuier qualifies the inventor of the iridoscope as a surgeon: there lies the strata. I will, however, give in to extenuating circumstances; it is only part of the straw because the inventor in question has performed an operation hundreds of times which can be classified as complicated surgery. In France, England, and Algeria, we saw him operate. In public, and without shedding a drop of blood, he cut your head off. and it was painless: Tuto cito etjucunde. Have you read Memoires dc Samson? - Neither have I.

The audience w as mainly made up of officers from the American military base in Blois. to whom the light bulb was Thomas Edison's invention. Eglantine Lemaitre Robert-Houdin may therefore have refrained from discussing this experiment out of courtesy to the illustrious compatriot of this brilliant audience.

2, Doctor Dufay from Blois w as Robert-Houdin's friend and he assiduously followed his work in the field of ophthalmology. In volume 30 of L Union Medicale. journal des interets scientifiques et pratiques moraux et professionnels du corps medical in 1866. Dr. Dufay wrote a humorous scientific column on his famous compatriot's inventions, which is included here.

But the executor of whom I speak has also written his memoirs, which are very curious. My praise of them may appear biased, because the author is my friend. Yes, my friend, and I am honored. I flatter myself to have been there at the beginning of his discovery. Together, we observed optical effects, real and illusory; we sought a name. We eliminated that of autophtalmoscope, already taken by the little reflecting mirror instrument by Goecius, and declared to be barbaric by our friend Maximin Legrand. That of iridoscope seemed to be much softer to this formidable performer of complicated surgery, and I advised him to show it to my friend Gusco, who would know how to understand all its useful applications. A few days later. I saw the iridoscope enter the Academie des Sciences under the patronage of our illustrious master J. Gloquet. All accounts of this session (March 12) have given the name of the inventor as M. Oudin or Houdin, with or without an II. Why cut a famous name in half? Are art and science incompatible? The savant company does not let itself be duped by tricks; but one could not believe that it would poorly welcome a scientific discovery, given that the inventor was an illustrious mechanician-conjurer.

ROBERT-HOUDIN

Yes, of course, it is M. Robert-Houdin, who, in his retreat in Saint-Gervais near Blois, devotes his exceptional observational skills to research. This wise and curious mind has already found a few improvements and made some useful applications in a branch of science that has long been familiar to him: electricity.

M. Robert-Houdin took advantage of this law of physics to build a device of the thermoscope family: pyrometers, pyroscopes which I had proposed (encouraged by M. Piorry's example) to name pyrangelie, of xup, fire, c.' ayyex, as a warning because of its extreme sensitivity to the slightest change in temperature. Let us suppose that a metallic blade, made from a strip of brass and steel welded together, is attached to a small board at one end, with its end perpendicular to the surface of the board and its direction parallel to the surface without contact, to avoid any rubbing. (The blade of a knife, which one is about to scrape along a tabletop, gives a rough idea of what I am trying to geometrically describe.)

I will give two examples: Everyone knows the Gallaud battery, which provides electricity for quite a while as long as it does not run non-stop; little by little, however, the continuous decomposition of brass sulfate weakens the solution and it must be replaced. Now, through a very curious process, M. RobertHoudin has reached this point: his battery recharges itself as it decomposes. This is an almost lifelike action that occurs in a jar, a veritable circulation of a liquid, which regenerates itself with the contact of a nourishing entity.

When the temperature increases, the brass face of the metallic blade, expanding more than the steel side, will force the other side to bend, and the free end of the blade will move from its first position to follow the concave curve made by the steel.

You will see. M. Robert-Houdin fills a long-necked matrass with brass sulfate crystals; then he finishes filling it with the same solution as that of the jar. (I am referring to the container, which in the Gallaud battery contains the brass sulfate solution, covered with a layer of water, which floats due to its specific lightness).

This free end will meet on its journey a metallic button embedded in the small board and will remain in contact with it until the temperature forces the brass to similarly expand. This button is in contact with one end of an electric battery, the other end of which contacts the screw attaching the fixed end of the metal blade. The contact of this free end with the button therefore creates a circuit on which there is a bell, known by the name of a trembler, and which we hear ring in telegraphic offices to warn employees that a message is going to be sent. And do not believe that great heat is necessary to produce the expansion of brass and the curving of the bi-metallic blade; a burning cigar, match, or even breath at a proximity of 10 centimeters is enough to make the bell ring. Moreover, one can give varying degrees of sensitivity to the device by varying the distance between the free end and the button. One can see how useful this system would be to warn of fire in places with very inflammable objects and in a host of other circumstances whose enumeration would take too much time here.

The cork of the container, through which two conducting brass stems are run, is pierced with a third opening for the matrass neck, whose end goes into the brass solution at the bottom. Then, as the solution grows weaker, its density decreases; it rises into the neck of the matrass, becomes saturated again with the contact of brass sulfate crystals, and is replaced, as it rises, by a current going down into a denser solution; with the neck of the matrass holding a double continuous current, one rising and the other descending, saturation of the saline solution is maintained for an extended time, and also therefore the continued functioning of the battery. The battery of the clock on the Hotel de Ville of Blois is only recharged three times a year.

I have already overused the hospitality granted to me; I hope I have shown that M. Robert-Houdin is not fair to himself and others when he performs the amputation of half his name, which is not at all unworthy of honorably taking its place in the world of science.

Something else now: we have all learned that various bodies expand in an unequal manner even if the temperature increases by the same amount. It is on this diversity of dilatation coefficients that is the basis of the theory of diverse compensating clocks.

Dr. Dufay.

380

NOTES TO ACT V

3. The reader will find precious information about Robert-Houdin's work in the field of ophthalmology in Dr. Guy Henry's book RobertHoudln ophtalmologiste, Imprimerie Foulon, Paris, 1943, and in M. Andre Keime Robert-Houdin's book Robert-Houdin, le magicien de la science, Champion-Slatkine, Geneva, 1986.

5. Professor Hoffmann, Magic, 1876.

Modern

— I received from M. concerning tion on a magoria.

March 2nd

— I answered M. Leclaire and gave him a copy of my memoirs.

May 6Ih

— [Paris] I went to Cleverman's - Basket trick [Indian].

May 19 th

— [The Priory] I received a letter from Cleverman about a letter from Robin in Le Monde Illustre.

May 22nd

— I wrote to Cleverman to tell him that I will not answer Robin.

July 2nd

— I answered M. Reynaud, conjuring amateur in Avignon.

August 26th

— We went to Blois to the fair - This year there are a lot of traveling conjurers but nothing worthwhile except an American circus. There are two very weak conjurers.

ROBERT HOUDIN O P H T A L M O L O G I S T E Preface du Docteur L. CHAUVOIS

4. This letter from Robert-Houdin to Saint-Georges was reprinted in the last American edition of Memoirs of Robert-Houdin, King of the Conjurers, Translated from French by Lascelles Wraxall. With a new introduction and notes by Milbourne Christopher, Dover Publications, Inc. New York, pp. 2-3.

March 1" Doereur Guy HENRY

Chez l'auteur, 18, rue La Chalotais RENNES

Illustration 515 - Title page of the work of Dr. Guy Henry, Robert-Houdin ophthalmologiste.

6. Sidney W. Clarke, The Annals of Conjuring, op. cit. Memoirs of Robert-Houdin

7. Notes related to conjuring and undeveloped in this chapter, from Robert-Houdin's Tablettes journalieres for 1866:

Tratislattd ffoni the French by LASCELLES

WRAXALL

With a New Introduction and Notes by MILBOURNE

CHRISTOPHER

January 15* — I wrote a series for Lecesne on Barnum's fictional revelations. [See chapter: "A peaceful year"] January 18th — I received a letter from Bmile telling me that the Stacey Brothers had finished at Cleverman's and that Stacey was in an extreme state. February 18"' — I received a letter from M. Engel in Berlin on the Stacey Brothers and Wolghemuth - I answered him on this subject.

a letter Leclaire informaphantas-

Newly Illustrated with Rare Prints, Playbills and Documents from ike Christopher Collection

September 2nd— In the evening Bmile and I went to the fair and visited two socalled mechanical shows and a conjurer named Toutin doing the cabinet trick. All of this is very bad there is nothing acceptable at the fair except for an English

8. DOVER PUBLICATIONS,

INC., NEW YORK

Illustration 516 - Title page of the Dover reprint of Memoirs of RobertHoudin with a new introduction and notes by Milbourne Christopher.

381

The Adventures of The Strange Man with a Supplement showing "How it's Done!", Dr. Lynn, Leicester, Edward Lamb, General and Commercial printer, Granby place, 1878 pp. 32-33.

ROBERT-HOUDIN

little establishment to the detriment of his own interests. THE

ADVENTTJKES

THE STEANGE MAN DR. H. S. LYNN.

WITH A SUPPLEMENT

HOW

IT'S

D Lure, GBNESW, mo

DONE!"

OOXMBEOIM PEISIBE,

11. Robert-Houdin's death interrupted his collaboration with Pierre Larousse. The author wrote a number of articles for the Dictionnaire (Dictionary)\ all related to his art, from letter A to letter D, except for the article on Ledru. which he sent to Pierre Larousse within the article on Comus. All these articles are reproduced in Appendix II. We must note that several of these texts, particularly those of the letter D, w ere published in the Dictionnaire after the artist's death; on this topic see Act IV, note 64.

It V.ittj —

--ay-.

flu

13V8.

12. Illustration 51" - Title page of the work by Dr. Lynn.

9.

13.

Hamilton apparently was able to be as convincing to M. Plantet as he w as to M. Belluot at the beginning of his career as a director.

Robert-Houdin's collaborator, Gastineau, did some research on the origins of the art of conjuring at his request, a subject that the master wanted to expand upon in Les Secrets de la prestidigitation (The Secrets of Conjuring and Magic). Here is Robert-Houdin's answer to Gastineau, who had provided some information:

10. These anticipated damages vv ere a bit of an illusion for future managers of the Theatre RobertHoudin. The only one who could have legitimately benefited from them was Georges Melies. Personal and national circumstances beyond his control prevented him from keeping the theater open during the war and after 1920. The court subsequently ruled that the sub-letting of the theater for activities other than those stipulated in his lease deprived him of almost all the damages to which he was entitled. This iniquitous ruling was very difficult for the great artist. \\ ho had brilliantly maintained the renow n of the famous

* 9^

Robert-Houdin had in his collection documents on the famous automaton, including the book by Charles Gottlieb de Windish. Lettres sur le Joueur d'ecbecs de M de Kempelen. Basle and Paris 1783.

St. Gervais near Blois December 3, 1867 Dear collaborator and friend, I begin by thanking you for the information that you sent me on conjuring at the time of the Greeks and Romans. These details are most interesting and make one want to learn more. There must certainly be in some dusty corner a book which gives more detailed explanations and which edifies us on the talent of our predecessors in simulated magic. When I go to Paris, I will enjoy searching through one of the old corners of some old library... 382

1'z.zm ™>j

/.A.o«* -1.1

7

z;j£

Illustrations 518 and 519 - Letter from Robert-Houdin to his friend and colleague, the playwright Gastineau. (Taken from Max Dif. op at j

14. Memoirs of Robert-Houdin, op. cit., pp. 342-348.

15. Notes relating to conjuring, and undeveloped in this chapter, from Robert-Houdin's Tablettes journalieres for 1867:

NOTES TO ACT V

Jan. 16"' Feb. 10'1'

Aug. 29lh

Sept. 20*

Sept. 22'"1

Oct. 9th

Nov. 26"' Illustration 520 — The New York conjurer Robert Nickle, who corresponded with Robert-Houdin.

— Sent the article on the Inexhaustible Bottle for the dictionary. — [Paris] I went to my theater where Paul (Warner) was appearing — [The Priory] I worked on the electric clock of the theater, which was a bit damaged in the journey when it was lent to Emile. — I received a letter from a conjurer in America asking me for some information. — I received a letter from a conjurer in New York [letter sent the 24th] — I wrote...the articles on Chalon and Hat for the dictionary. — I wrote...the article on Charlatan for the dictionary.

16.

Robert-Houdin's Tablettes journalieres for 1868: April 10"'

June 11"'

June 27"'

July 9"

Julv 10th Julv 15th

July 25th

Notes relating to conjuring, and unexplored in this chapter, from

Illustrations 521 and 522 - Photograph and visiting card of the conjurer Tufferau.

383

— I wrote an article fThe Nail in the Eye) for Pierre Larousse. — [Paris] At Billoret's where I saw the English conjurer Bland. — I wrote the article Claque for Pierre Larousse. [Paris] I wrote to Chapman and Hall about the conditions for my book and sent a copy (eight hundred francs for translation rights and pictures). — Visit from Tufferau who showed me his ropes. — To Pierre Larousse's to deliver an article [Claque. Harpsichord. Nail in Eye], — [The Priory] I received a letter from Chapman and Hall

ROBERT-HOUDIN

PRESTIDI&ITATEUR

IN

&REAT

MNDAI mm la. 88, ai (raj h u g toil?

6BANB MATINIE WEDNESDAY AND SATBRDAY, AT 2 O'OLGOK, BXPKESSLT FOft FAMILIES AND CHILDREN

Soiree - Fantastique I SOBBBT

Frestidigitateur, Meoianioien, Vetriloquiat, Ambassador, and Traveller,

CAROLINE .!. for ule in tlia tc«fBite

HOUDIN! . fiptuuiotj of bi l«dks nod O H I I I m fill p t a t t frio

•clnok A M to 1 P.H.

Programme of Feats To-Right. DREAM FIRST. " H O U D I R ' S " BANNER F E A T . LESSON Iff GAKDS .... EGQ~CHTNG-CHING ... BIRDS OP T H E PALACE ., HINDOSTAN CHAINS ISCOMPBEHENSIBLE WATCHES CARQI1HJ3 HOUDIN I N HER SECOND SIGHT SPIRIT DRUM

DREAM S E C O N D . BENGAL MfSEK WEIRD AUTOMATONS MAHOMET'S CHEST. SYMPATHETIC TURTLE DOVES EL CHAPEO D S TA TRVULO „ CONYERSIYE SPECTATOR SLEEPING ARAB OF THE DBSEKT, or Suspension in Mid-AI "f tbe ArabBojKitrtit—Mew a n d Startling Peats. i Tiintti, 118 Wuhington filreil {Journal BsUdlig), Beaton,

—

Oct. 5th

—

Oct. 14th

—

Oct. 22nd

—

MYSTERY.

Illustrations 523. 524, and 525 - Bills for "artists" who stole the name "Soirees" as well as his last name! (Harry Ransom Humanities Research Center, University of Texas. Austin)

TREMONT TEMPLE

Sept. 5th

Oct. 27"

who had not received Dec. my letter or my book. I sent them another book. July 31" — I received a letter Dec. from New Jersey (America) about an individual who had taken my name. August 2nd — I wrote to M. Van' Dervigen of New Dec. Jersey about the individual who had taken my name. Dec. In Milbourne Christopher's work The Illustrated History of Magic, Robert Hale & Company, 1973, page Dec. 153, is a reproduction of a poster of an artist couple - three other copies of which we have reproduced here - using the name Robert Houdin and Caroline Houdin, and who performed in Boston in 1866. Perhaps it Dec. is the same "namesake" that M. Van Dervigen informed Robert-Houdin about.) Aug. 27"'

— Upon my return from Grouets, we went to the fair, which is not very good. There are 384

II"1

—

17"'

—

19th

—

20*

—

21"

27"'

Dec. 30th

—

only poor acrobats. Learned dogs - Wax figures - A bad conjurer, Tourtin; dwarfs; fat lady. I worked on my clock for the dining room and on mysterious music. I wrote to Manning and Pepper about the ghosts. I wrote to Manning about a publisher for my book. I went to a performance of the Bonheur brothers in the evening (very good second sight). I answered an amateur [Magician] from Colmar about my books. I worked on an article for Pierre Larousse in the evening for the word confederate. I worked on...Pierre Larousse's article on Comte.. .At the Library for biographical research on Comte and Ledru. I wrote to M. Comte's son to ask for information. A certain M. Massu came by and talked for 3 hours. We discussed theater. I wrote to Ledru Rollin in London about information on his grandfather [Ledru, known as Gomus]. I am working on the Comus and Conus articles for Larousse. I received a letter from an American conjurer, Robert Nickle. I worked on the article on Cut for Larousse.

NOTES 10 ACT V

17.

Illustration 526 - Ferdinand Bonheur.

These two Blois and Parisian editions in one volume are much sought after by collectors because they are decorated with an original photograph of Robert-Houdin. These photographs were taken by the photographer Mieusement of Blois, and we know of four different types of them, confirming that the editions were often reprinted. Compared with the 1859 edition, two chapters were deleted: one describing the portrait of the Itinerant Conjurer, and the other telling of RobertHoudin's first tour in Belgium. The text of one of the master's booklets was added to the Blois edition as an introduction: Le Prieure: Organisations Mysterieuses pour le Confort et VAgrement d'une demeure (The Priory: Mysterious Arrangements for the Comfort and Pleasure of a Home), which is reproduced here in Appendix I.

18. Magie et Physique amusante, Robert-Houdin, Calmann Levy, Publisher, Paris, 1877, p p . 97-102.

Illustration 52~ - Robert Nickle.

New application of the ghost effect. In the year 1868, at the Theatre de L'Ambigu a play [La Czarine] was performed, based on an episode of my Confidences and in which an automaton Chess Player that I had built for it had a part to play. My collaborators, Adenis and Gastineau, had asked for a supernatural apparition for the last act. I resorted to the ghost trick and I presented it in a new fashion. One will judge by the following. The drama takes place in Russia, under the reign of Catherine II. In the last act, a certain Pougatcheff, who, thanks to his resemblance to Peter III, wants to pass himself off as the deceased monarch and cause the people to rise up to dethrone Catherine II. A scientist, M. De Kempelen, devoted to the czarina, manages to foil the criminal plans of the impostor thanks to science.

385

We are in the middle of wild nature with dark hills in the background. Pougatcheff is surrounded by a clamoring crowd. M. De Kempelen moves up to him, unmasks him, and, to finish him off, announces that he will conjure up Peter Ill's spirit. On his orders, a sarcophagus comes out of the middle of a rock, stands up, opens, and reveals a ghost covered in a shroud. The coffin falls; the spectre remains standing. The fake tsar, although terrified, seems to want to brave this apparition which, he says, is an illusion. But the top of the shroud falls and one sees the livid, decomposed features of the ex-sovereign. Pougatcheff, believing himself to be stronger than the cadaver, unsheaths his sword and with a single blow cuts off his head, which rolls noisily to the ground. Immediately, another head of Peter III appears on the body. Pougatcheff, more and more irritated by the fantastic apparitions, runs to the spectre, takes him by his clothing, and violently pushes him into the sarcophagus. But the head does not leave its place. Separated from the body, it remains suspended in mid-air, rolls threatening eyes, and seems to defy its persecutor. Pougatcheff's furor is at its height; taking his sword in two hands, he thinks he can slice the head of his mysterious adversary with a single blow; he only transpierces an impalpable matter, which laughs at his impotent rage. His weapon is again raised; but at this moment Peter Ill's body, in grand costume and decorated with his badges, materializes above his head. The resuscitated tsar pushes him back and tells him in a vibrating voice: "Stop, sacrilegious one!" Pougatcheff, horrified, confused, confesses his imposture...The phantom disappears. This is how the scene is staged. An actor dressed in the brilliant costume of Peter III is lying down on the structure, in the position we have indicated. His body is covered with a piece of black velvet that will prevent all reflection in a mir-

ROBERT-HOUDIN

ror for a certain time. The head alone is uncovered and can be seen in the mirror when the electric light is turned on. The phantom coming out of the sarcophagus is a mannequin whose head was modeled on the head of the actor portraying the tsar. This head can easily be detached from the body. Everything was set up in such a way that the virtual image of the tsar Peter III coincides with that of the actor-phantom. At the moment when the head falls to the ground, the electric light subtly lights up the head of the actor playing Peter III, which, reflected in the mirror, seems to have grown on the phantom's head. Once this one is reversed, the cover over the tsar's body is immediately yanked away and the electric light, flooding it, projects its image at the place where the head is.

19. The tour of this play, with so many characters and difficult set decorations, and complicated to transport, cost a great deal of money and brought little profit to the drama agent Kuschnick. It was a profitable operation for Robert-Houdin. who received set royalties for each of the performances of his automaton Chess Player, as well as author's rights taken directly from the gross. Here is the list of cities of the first tour of the play in the provinces for the years 1868 and 1869: Dieppe: Thursday, September 24 and Sunday, September 27. Caen: Thursday, October 8 and Sunday, October 18. Rouen: Friday, October 16; Saturday, October 17; Sunday, October 18; Monday, October 19; Tuesday, October 20, and Wednesday, October 21. Orleans: Sunday, October 25 and Monday, October 26. Blois: Tuesday, October 27 and Wednesday, October 28. Tours: Thursday, October 29 and Sunday, November 1, Rochefort: Friday, November 6. La Rochelle: Saturday, November 7. Rochefort: Sunday, November 8. Angouleme: Thursday, November 12

and Sunday, November 15. Cognac: Monday, November 16. Saintes: Tuesday. November 17. Nantes: Wednesday, November 25; Friday, November 27; Sunday, November 29; and Tuesday, December 1. Angers: Saturday, December 5 and Sunday, December 6. Poitiers: Thursday, December 10 and Sunday, December 13. Saumur: Monday, December 14. Bordeaux: Monday, December 21; Tuesday, December 22; Wednesday, December 23; Thursday, December 24; Friday. December 25; Sunday, December 27; Tuesday, December 29; Wednesday, December 30; Friday, January 1; Sunday, January 3; and Saturday, January 9. Agen, Villeneuve: Monday, January 11. Auch: Saturday, January 16 and Sunday, January 17. Lectoure: Monday, January 18. Fleurance: Tuesday, January 19. Carcassonne: Thursday, January 21. Montpellier: Saturday, January 23. Sete: Monday, January 25. Narbonne: Tuesday, January 26. Nice: Friday, January 29; Saturday, January 30; and Sunday, January 31.

all the curiosities and inventions. They dined with us and the priest and left on the 11 o'clock train. March 19th

— I worked on the repair of the vase of the Large Dancer [The Genie of The .Roses]

April 13th, 14th —- [Photographs of The Priory taken by Mieusement] April 18th

— To Mieusement's for four photographs taken of the house and the automaton [The Chess Player].

April 30th

— Visit of Paul Varner. I received a letter from Manning sending me an English announcement about me.

May 6th

— Paul Varner performed at the mayor's office.

May 15th

The nickname given to the automaton Chess Player during this tour was Baptiste,

— I received a letter from Kuschnick from Hazebruck that gives details on Donkelle, [sic] known as Robin.

June 19"1

— I wrote to Mr. Warner in London about Secrets..,

20.

Sept. 20'"

[Paris] In the evening we went to Seraphin's, where I met Wolghemuth and Tobin.

Oct. 23rd

[The Priory] I received a letter from Tobin in London about a book on second sight.

Oct. 25th

I wrote a letter to Tobin answering his. I talked to him about the automaton.

Nov. 9th

I received a letter from Pierre Larousse about the articles that I promised him. I sent him one... In the evening I worked on the Davenport article.

See Robelly, Le Litre d'or de ceux qui ont eu un nom dans la magie, Tours, 1949.

21. "New system of transmission applicable to cars for their odometers," patent No. 87238 filed on September 21, 1869.

22. Notes relating to conjuring and unexplored in this chapter, from Robert-Houdin's Tablettes journalieres for 1869. March 8th March 141"

— [The Priory] An American conjurer came to see me. [?] — Visit of M. Eads with one of his friends, Dr. Pope, and Emile. They arrived at 3 o'clock. I showed them

386

Nov. 30th

— I received a telegram from Pierre Larousse about the word decapitated which he asked me to do.

NOTES TO ACT V

FETE DE NEUILLY Da 20 Jain aa 6 Julllet 1869. AYEC LA PERMISSION DBS AUIOHIT&

THtATREDES SOIRfcES FANTASTIQUES JPHYSICIEN ml

V A t \ JNl E

±\

THEATRE ROBEHT-HOOmK.

X. Tamer a rnoimeur d'informer la SGclite qu'H doimora, pendant la dnrte de la Fete, des Representations de Physique amusante, Prestige, Illusion, Xagie, Escamotage, Metamorphose, Pieces mecaniqnes et Experiences vraiment digues d'admiratios, et onfin {era tout oe qui dapendra de lui pour satisfaire la Socioto. Xoua lea S o i n a 8 h e u r o s 1/2

GRANDE STANCE ft FETE FANTASTIQUE EN DEUX PARTIES DONxfxS FAS

M. VARNER PROGRAMME

Le Chapeau d'un Artilleur. La Botte de Pandore. Les Cartes obfissantes. Un Tableau de 1869. Le Secret de la magie. Les Anneauxindiens.

Le Sac aax (Eufs experience toute nouTelle. Metamorphoses d'un GEuf. Le Boiler euchantd. LA COIINE VABONDAirCE produisant une ayalanche de Bonbons, Fleurs, Jouets, fiventails pour les grands e petits Enfants, TOOT I E MOSDI EN AHKA 11!

CBTTE SOIRfiE SERA TKRM1NEE PAR

De MM. VABSER et DAGCEHRE. mix

Fill

DU JOUR :

... Premieres Secondes

DEI

SO centimes 30 20

AVIS. — M. Varner a l'hommnr de prfvonir la Sadili

PUCM !

25. See in Act IV an earlier quote about Mr. Dreyfus in the chapter "1863-1864 - cieverman."

26.

GENERAL DES EXPERIENCES '.

Le Petit Magicien. Une Naissance merveilleuse. La Puissance de la Terre. Un Bazar de Fleurs. Le nouveau Gnillaume Tell. Le Passe-partout. La petite Colombo. Un Sonper manque. L'Oiseau voyageur. Le Bouet fantastique. Le Coffre myst&rieux. La Bolte aux Bijoux. L'Orauger mervcilloux, donnant des fleurs et des fruits a la volonte du Physicien. La danse des Pantins. La Fusion des Boules.

long illness he had during his childhood. He had a great artistic and literary culture, was a student at the Beaux-Arts, and worked as the painter Bonnat"s student. Georges Robert-Houdin had little interest in or aptitude for mathematics, physics, or anything scientific, which his father considered essential.

FRIX DE LA SOIR& .'

j Places rfiserv^es Premieres I Secondes

75 centimes 50 30

The Tagebuch-Skizzen. or sketchbook-journal of Meissuer confirms this visit to the German prefect Shoen and his secretary Edouard Langhams: I cannot refrain from citing the old well-known magic professor Robert-Houdin when I think about the inhabitants of Blois. He was very well provided for in means for happiness and had chosen a chateau with grounds very close to Blois for his place of rest in his later years. After many invitations, we went to see him one day and visited the enchanted grounds of the old gentleman, where, pass-

qua SOD Theatre est eMgne de tout le bruit de la Fete :

Theatre est sitae a Tangle de la rue Jacques Dalud. 9STS

faa.~ lap. Mnrrii p*t< H i h , tattowlot,84

Illustration 528 - Bill for the associate of the Theatre Robert-Houdin, the conjurer Varner.

23. Mme. Ballet (or Bailee), who still worked in the theater, then managed by Emile Robert-Houdin, was honored by the press for a great lesson in honesty that she gave one day. Here is what Le Petit Journal of Monday, May 5, 1879 wrote: CHRONICLE OF GOOD DEEDS Madame Bailee, employee at the Theatre Robert-Houdin, found under a seat yesterday a wallet containing important papers and several thousand francs. With the help of an en-

velope, she found the owner and gave him back his wallet at the moment he was about to make his declaration at the police headquarters, very upset about his loss. The same article was published in the newspaper Le Siecle of Tuesday, May 6. This most faithful lady, who assisted all the successive managers of the little theater, ended her career as Georges Melies's secretary.

24. Georges Robert-Houdin was behind in his studies because of the 38"

L'ESCAMOTEUI\.

Illustration 529 - Satirical engraving published during the war of 1870. "The conjurer: Come on. gentlemen, a bit of courage; dig into your pockets; we only need 5 million more and it's all done."

ROBERf-HOUDIN

ing through numerous fir trees, we were entertained by continuous surprises like invisible voices, levitating benches, and apparitions of spectres turning darkness into light. The old gentleman did this only for his own pleasure; he had already long ceased doing magic as a business.

CATALOGUE

DES OBJETS COMPOSANX IK CABINET

DE M. ROBERT-HOUDIN Qui seront vendua la PAR LE M1NISTJSRE DE M'

Jean Chavigny, op. cit., page 145.

27.

HOTEL DHOVOT, S A l l i : «•

Pneumonia was at that time an often fatal illness with no efficient treatment. It was most often fatal to young children and old people. Robert-Houdin's repeated colds, which seemed like flu, left him vulnerable to this dangerous illness. Quinine sulfate was one of the few medications known that one could try to relieve this sickness and lower the fever. We recall that it is this same medicine that Dr. Arnoult had prescribed to Robert-Houdin in April 1871. It is therefore not impossible that, a few months before his death, Robert-Houdin had already had a first encounter with the illness that would eventually sweep him away.

28. I must emphasize here that the number and prominence of death announcements published upon Robert-Houdin's death are truly amazing. His family had kept in his archives two notebooks of press clippings on this subject and during our research at the Bibliotheque Nationale, we discovered dozens more which were unknown to us.

29. L'Independant June 16, 1871.

Novenibre 1871

de Loir-et-Cher,

30. Le Journal du Loiret of Orleans, June 17, 1871.

31. Following this deliberation of

A PARIS

BLOIS IlSPRfltEBlE LBCESXE, RUE DENIS-PAPI\

Illustration 530 - Title page from the Catalogue of objects of M. RobertHoudin's Cabinet de Physique for his Heirs.

the municipal council of Blois, Georges and Eglantine RobertHoudin donated to the city the white marble bust of their father, a work of his friend the sculptor Dantan.

32. The complete title of this catalogue is: Catalogue of objects / Making up the Cabinet / relating to the estate / of M. Robert-Houdin I which will be sold on November 1871 / By the Minister of Me- / Auctioneer / Hotel / Drouot, room n°- / In Paris / Blois / Imprimerie Tecesne, Rue DenisPapin / 1871. One finds in this sixteen-page catalogue the list of feats and mechanical pieces that the master kept at The Priory. Each of them is accompanied by the detail of its accessories. Here are the titles of all the apparatus: The Cabalistic Clock; large gilded center table: Vase of the trapeze artist (The Genie of The Roses); Ethereal Suspension; The Hunter (The French Guard); Auriol 388

and his Trapeze (Antonio Diavolo); Auriol (Auriol and Debureau); The Inexhaustible Bottle; The Crystal Chest; The Jewelry; side tables; The Cabalistic Drying; The Ball of Wool; The Horn of Plenty; the Garland (of Flowers); The Sympathetic Turtledoves; The Fish (The Miraculous Fishing); Pierrot in the Egg; Punch Bowl (Inexhaustible); The Portfolio (Fantastic); The Golden Coins (The Shower of Gold); The Crystal Ball; The Surprising Handkerchief; The Ink Vase; Chess Players (2). Various tricks and accessories, among which we can note: A mechanical devil's head, a pile of theater brochures and newspapers, a large mechanical trapeze under construction, a large mechanical acrobat, a Chinese automaton under construction, a burnishing tool that belonged to Louis XVI with pedestal, etc.; Phantasmagoria and Polyorama with the list of tableaus for the Polyorama, Comicorama, and the chroma trope. Finally, "Electricity and mechanics" along with its list of objects. The sale was to end with the dispersal of the "Large collection of bills of all the conjurers from the distant past."

33. These mementos of RobertHoudin are now part of the collections of the Chateau de Blois.

34. Charles Joseph Madelena replaced Cleverman, who, because of his fight with Robert-Houdin, could not do business with his widow in person. Emile Robert-Houdin, who probably participated in these transactions, "inherited" one of The Chess Players constructed by his father; Charles Joseph Madelena received scientific objects, among them one of the first examples of the master's electric clock; all the effects and mechanical creations made by RobertHoudin would again find their place in Soirees Fantastiques.

No ITS TO

Illustration 531 - The white marble bust of Robert-Houdin by Dantan.

389

ACT

V

ROBLRT-HOI DIN

Illustration 532 - General overview of The Priory around 1900.

lustration 533 - The entrance to The Priory by .1. Rivet. (Castle ofBlois)

390

APPENDIX I —i

I

Followed by notes from by Eglantine Lemaitre Ro and complementary notes by the author

I own and live in a property in Saint-Gen ais near Blois in which I created arrangements, I would almost say tricks, which, although less prestigious than those of my performances, nonetheless gave me the dangerous reputation in the region, at that time, of a man with supernatural powers. These mysterious arrangements are nothing more than useful applications of science for domestic purposes. I thought that it would perhaps be

INTRODUCTION

IN THE AUTHOR'S RESIDENCE

pleasant for the public to know these little secrets which have been much discussed, and I thought I could do no better for their publicity than to put them at the beginning of a book full of revelations and confidences. If the reader will follow me, I w ill 391

take him to Saint-Gervais, bring him into my home, and be a guide to him, and, to spare him fatigue, I will take him on a tour without his moving, thanks to my position as a former sorcerer. At two kilometers from Blois, on the left bank of the Loire, there is a small \ illage whose name recalls savor\ memories to gourmets. This is where the famous cream of SaintGervais is made. It is definitely not the cult of this white delicacy that led me to

ROBFRT-HOUDIN

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Illustration 534 - The entrance to The Priory by Silvin in 1924. The electric door of The Priory was situated to the left of the gate, and not the right, as shown in Silvin's drawing.

choose this place for my residence. It was solely for the sacred love of my homeland that I wanted to have Blois facing me, for having honored me with birth. A promenade, straight as a capital /, links Saint-Gervais to m^ nati\ e town. On the far end of this / is a path forming a right angle to it, going from our village and leading to The Priory. The Priory is my humble domain,

w hich my friend Dantan the younger called L'Abbaye de I'Attrape (The Abbey of Tricks). When we arrive at The Priory, one has before oneself: 1. An iron gate for the entrance of carriages; 2. A door on the left for visitors to enter; 3. A box on the right with a hinged opening for letters and newspapers. The house is located 400 meters 392

away from here; a broad and winding alley leads through a little yard shaded with aged trees. This short topographical description will allow the reader to understand the necessity of the electric contrhances that I installed in my doors to automatically play the role of a concierge: The visitor's door is painted white. At eye level on this immaculate door is a gold brass plate bearing the name "Robert-Houdin";

•APPENDIX I—i

this sign is extremely useful, because there are no neighbors to inform the visitor. Below this plate is a little gold knocker whose shape sufficiently indicates its function; but, to leave no doubt, a little grotesque head and two similar hands coming out of the door, as in a pillory, seem to draw attention to the word "Knock" (frappez), which is placed below. The visitor lifts the knocker however he pleases, but no matter how weak the blow, 400 meters away an energetic ring can be heard in all parts of the house though without hurting the most delicate ear. If the bell stopped with the rapping of the knocker, as in ordinarybells, there would be no way to confirm the opening of the door, and the visitor might end up standing guard in front of The Priory. This is not the case here - the bell does not stop ringing until the lock works. To open this lock, one simply presses a button placed in the hall. It is just like the concierge's cord. When the bell stops ringing, the servant knows he has succeeded in his task. But that is not enough. The visitor must also know that he can enter. Here is what happens: When the gate is unlocked, the name "RobertHoudin" suddenly disappears and is replaced by an enamelled plate on which the word "ENTREZ!" ["Enter!"] is painted in large letters. In answer to this unmistakable invitation, the visitor turns an ivoryknob and enters by pushing the

door, which he does not even have to close, because there is a spring for this purpose. Once the door is closed, one cannot get out without certain formalities. Everything has returned to its original state and the name has again replaced the invitation. This closing is also a security for the masters of the house; if by mistake, in fun, or through awkwardness a servant pulls the cord, the door does not open; the knocker has to be raised and the bell must ring. The visitor, in entering, has no idea that his future hosts have been warned of his visit. The door, in opening and closing, has caused a particular type of ringing in the different angles of its opening and closing. This short, bizarre music can indicate, through observation, whether one or several guests are to be received, whether it is a frequent visitor or a new one, and also whether it is an intruder who, unaware of the service entrance, has come through this opening. I need to give some explanations here, because these effects, which seem to go beyond the ordinary laws of mechanics, could create a few non-believers among my readers if I could not prove all this: My processes for recognition at a distance are extremely simple and based on certain infallible acoustic principles. We have just said that the door, in opening, sends two different rings corresponding to the two different angles of its opening. These rings repeated themselves when the door closed. These four little chimes, 393

although produced by different movements, arrive at The Priory separated by pauses that are equal in length. With such a simple system, one can obtain very different alerts without the visitor knowing, as we will see: If one visitor comes, he rings, the door opens, and he enters by pushing the door, which closes immediately. This is what I call the normal opening; the pauses between the rings are all the same length: ring, ring, ring, ring. At The Priory, we know that only one person has come in. * Now let us suppose that several visitors have come; the door has opened according to the aforementioned procedures. The first visitor enters by pushing the door and, following the most basic rules of etiquette, holds the door until everyone has gone through; then the door closes. So, the interval between the first two and the last two rings has been proportionate to the number of people who have entered; the ring therefore sounded like this - ring, ring...ring, ring and for a trained ear the determination of the number is as easy as can be. * The person used to coming is familiar with things; he knocks and immediately walks in, knowing the maneuvers about to take place. He does not pause at the workings of the door; as soon as it is open, four equidistant rings are heard and announce his entrance.

ROBERT-HOUDIN

Illustration 535 - The Priory bv Mieusement.

It is not the same for a new \ isitor; he knocks and when the word "ENTREZ!" appears, his surprise stops him; it is only after a few instants that he decides to open the door. In this action, he observes everything; his steps are slow and the four rings are like his steps ring...ring...ring...ring. We prepare ourselves to receive this new visitor. The beggar traveler who presents himself at this door because he does not know of the service entrance, timidly raises the knocker and instead of seeing someone come to open the door as usual, he witnesses

an unexpected procedure; he fears something is amiss; he hesitates to enter, and if he does, it is only after a few minutes of hesitation and uncertainty. One may well imagine that he does not brusquely open the door. In hearing the bell - r..i..n..g... r..i..n..g...r..i..n..g...r..i..n..g - it is almost as if we can see this poor devil coming into the house. We go to meet him with certainty. We have never been mistaken. # Now suppose that someone comes by carriage to visit; the entrance gates are usually closed, but the coachmen of the region all know 391

by experience or by hearsay how to open them. The coachman gets down from his seat; first he opens the little door and enters. Ah! For example, his is a very distinctive ring: ring-ring-ring-ring. We understand at The Priory that the coachman who enters with such haste wants to prove his zeal and intelligence for his masters or his fare. Our man finds a key hanging inside the gate designated by an inscription; all that is left to do is open the double doors. This double movement can be seen and heard, even in the house. In the hall, on a panel, the following words are there-

-APPENDIX I—i

fore painted for this purpose: "THE DOORS OF THE GATE ARE..." Following this incomplete inscription, the word "OPEN" or "CLOSED" appears, depending on the gates' status; and this alternation materially proves the correctness of the axiom: a door must be open or closed. With these arrangements, I can verify without having to go out whether the doors are closed or not every evening. # Now let us mo\c on to the letter-box. Nothing is simpler; I stated earlier that the letter-box was closed with a little swinging door. This door is arranged in such a way that when it opens, it sets off an electric bell in the house. The postman has been asked to first place all the newspapers in the box with the circulars in order not to cause false alarms; after which he puts the letters in, one after the other. One is therefore warned in the house of the delivery of each of these objects, in such a way that, if one is not an early riser, one can count the mail from bed. To avoid sending someone to take letters to the village post office, we write letters in the evening; then, by turning a button called a "swritch," we reverse the signals, which means that the next morning, when the postman places his message in the box, instead of sending a ring to the house, he hears a ring which tells him to come and get the letters; he therefore rings for himself.

These very pleasant and useful arrangements do have a drawback that I will now mention, which will lead me to relate a pleasant little anecdote on this subject: The inhabitants of Saint-Gervais ha\ e a quality that I enjoy; they are very discreet. None of them has ever had the idea of using the knocker on the door except by necessity. But certain strollers from the town are less reserved and sometimes play with the electric contrivances to see their effects. Although \ ery rare, these indiscretions are extremely unpleasant. This is the disadvantage to which I have referred, and here is the relevant anecdote: One day, Jean, the gardener, was working near the entrance door; he heard some noise nearby and saw a stroller from Blois who, after having toyed with the knocker, was having fun opening and closing the door, without worrying about the bother he was causing in the house. After a reprimand by the man on duty, the intruder simply said to justify himself: — Oh! Yes, I know; it rings over there. Excuse me! I just wanted to see how it worked. — If this is the case, sir, that is different, said the gardener in a falsely jovial tone, I understand your desire to learn and I beg your pardon to have disturbed you in your observations. Thereupon, without seeming to notice his interlocutor's embarrassment, Jean returned to his work, pretending to be completely indifferent. But Jean is clever in both 395

senses of the word; he was not satisfied, and if he buried his displeasure deep in his heart, it was to ha\ e a greater freedom in his plan for retaliation that he had just developed and that he planned to carry out that same day. Around midnight, he went to this person's home; he rang the bell with all the strength in his wrists. A window opened on the second floor through which a head wearing a night-cap and purple with rage appeared. Jean had taken a lantern with him; he directed the rays toward his victim: — Good evening, sir, he said in an ironically polite tone, how are you? — What in the devil are you doing ringing here at this hour? answered the head in a wrathful voice. — Oh! Excuse me, sir, said Jean in paraphrasing the answer of his interlocutor. Yes, I know, it is ringing up there; but I wanted to see if your bell worked as well as the knocker of The Priory. Goodnight, sir! It was time for Jean to move away; the gentleman had gone to get a nocturnal revenge to throwon his head. * To conjure away this petty annoyance, I placed a warning on my door asking people not to touch the knocker unnecessarily. Useless! There was always a need to knock, to satisfy one or more curiosities. Unable to escape these persistent indiscretions, I decided not to worry about them any longer and to

ROBERT-HOL DIN

consider them as the success of my electrical systems. I could only congratulate myself on this conciliatory decision later on because either local curiosity had expended itself or from some other cause, but the troubles ended by themselves and now it is very rare that the knocker is raised for any other purpose than to enter my property. My electric concierge therefore leaves nothing else to desire. Its sen ice is perfectly precise; its dependability is unwavering; its discretion is unequaled; as for its salary, I doubt it possible to give less to such a perfect employee. Now here are a few details about a procedure that helps me ensure the promptness of meals and the integrity of portions for my horse. I should note that this horse is a mare, a lovely, good girl almost at adulthood, who would answer to the name of Fanchette if she could speak. Fanchette is affectionate and e\ en tender; we consider her almost a friend of the family, and this is why she gets all the care compatible with her equine character. This little preamble will help explain my concern about our dear animal's meals. Fanchette has a person assigned to feeding her; he is a very good young man who, because of his clarity, is not at all astonished about my electrical arrangements. But before this servant, I had another. He was an intelligent and active man who had a great inter-

est in the art once cultivated by his employer. He only knew a single trick, but he carried it out with rare skill. This trick consisted of changing my oats into five-franc coins. Fanchette did not really enjoy this type of performance, and unable to complain, she protested with tell-tale spells of fatigue. This conjuring trick well established, I sent away my artist, and decided to distribute her comforting oats myself. I say myself; that is saying a lot because I must confess, if the animal had been obliged to depend on me for meals at set hours, she would have been greatly disappointed. But do I not have reliable, intelligent helpers in electricity and mechanics that I can rely on? The stable is about forty meters away from the house. In spite of this distance, the food supply is controlled from my study. A clock takes care of this through electrical connections. These functions take place three times a day and at set hours. The distributor is extremely simple: a square box in the shape of a funnel, which pours the oats in regulated amounts. — Wait! Couldn't someone remove the horse's oats as soon as they are released? one may protest. This circumstance has been foreseen; the horse has nothing to fear in this regard, because the electric button that pours the oats can only function if the stable is locked. — But couldn't the thief lock himself in with the horse? 396

— This is not possible, as the lock only works from the outside. — So then one could wait for it to have poured out and then remo\ e it. — Yes, but there is a bell that rings and is heard in the house to warn if the door is opened before the horse has eaten all the oats. The clock that I have just mentioned is also set to regulate the time of two large clocks placed in the front of the house and in the gardener's lodgings. — Why the luxury of two large clocks, you will say, when a single one suffices for the outside? On this subject, I owe you, reader, a justification and explanation. When I put my first electric clock on the front of The Priory, it was to give the time to the entire valley and to give all the members of my household a single, regulatory standard of time. But once my work was finished, I realized that my clock face was more useful to passersby than to myself. I was obliged to go outside to see what time it was. I vainly thought about it for a while, in order to overcome this disadvantage. I saw no other solution than to build a house across from mine to look at my clock. Then, a simpler idea finally freed me from this dilemma. The gable of the gardener's lodge could be seen from all our windows; I put a second clock there and regulated it by way of the same electric wires as the other. The time is relayed by the same process to various clocks placed throughout the house.

-APPENDIX I—i

There had to be a single ring for all these clocks, a ring that could be heard by all the inhabitants of The Priory, as well as the entire village. Here is what I devised for this. On the rooftop of the house is a sort of bell-tower sheltering a bell with a moderate volume, which is used to indicate meal times. Beneath this bell I placed a sufficiently powerful clockwork system to raise the hammer at the appropriate time. But since it would have been necessary to wind this clockwork every day, I instead used a wasted force, or unused force, to automatically perform this function. Between the swinging kitchen door on the ground floor and the winding mechanism of the bell placed in the attic, I built a connection so that by going back and forth for their du-

Illustration 536 - General map of The Priory. From lean Chavigny's work (op. tit.).

ties, the unsuspecting sen ants incessantly wound the striking mechanism of the clock. It is almost a perpetual movement that requires no attention. An electrical current distributed by my regulator raises the hammer of the bell and sounds the number of hours indicated by the dial. This distribution of time also allows me to use a little trick that is very useful to me in certain cases, and I am going to confide it to you, reader, as long as you do not talk about it, because if revealed, my trick would lose its effect. When, for one reason or another, I secretly press an electric button placed in my study, I can mo^ e the clocks and the bell of the house forward or back at will. The cook sometimes finds that time is passing quite quickly and I have gained fif-

teen minutes that I would not ha\e otherwise obtained. This same regulator also wakes up three different people every morning with the help of electrical transmissions. The gardener is first. There is nothing particularly marvelous about this arrangement, and I would not discuss it if I did not have to mention a very simple procedure to ensure that my staff arise when awakened. Here is the procedure: The alarm makes such a noise that it awakens the soundest of sleepers, and it continues to ring until a little button placed on the other side of the room is pressed. In order to do so, one must get up. The trick is done. That poor gardener; I really torment him with my electricity. Would you belie\ e that he cannot heat my greenhouse beyond 10 degrees or let

I

ROBEKT-HOUDIN

Fig. 66. — Plans de la maison d'habitation. 1. Vestibule. A droite, au-dcssus dp la portc du salon, tableau indicateur a commntide elcctrique concorntnit l'ouverturc et la fermeture de la portc d'entree du pare. A droite egaiement, ct au depart de rescalier, petite vitrine contenant une minuterie avec commande par eleetro-aimant (ensemble conserve par M. Auge) (fig. 6*). A gauche de Pescalier, dans le passage vers la cuisine, sonneric 61ectrique avec gros timbre vibreur,

12. 13. 14. 15. 16. 17. 18. 19.

2. Escalier desservant les pieces aux etages. 3. Salon, tres belle piece avec vues sur la ville et sur le pare. 4. Settle A manger du forme octugomile, comportant dlvrrs agencements electro-mecaniques. Au trumeau de la cheminee, medaillon. en basrelief de ROBEHT-HOUDIN par DANTAN (fi||. 80). 5. Cuisine. Minuterie d'horloge avec commande par clectro-airntmt. Cadran au-dessus du passage entre la cuisine et la salle a manger (6). 7 et 8. Anciennes salle a manger et cuisine de ^'habitation principale. 9. Passage, 10. Fruitier. 11. Petite piece ou etait place l'appareil distributeur automutifiun d'avoine.

20. 21. 22. 23. 24. 25. 26.

Cellier et entree de la cave. Petit four. Hangar. Basse-cour. M&rier, gros arbre centenaire ombrageant la surface entiere de la cour. Vienx figuier. Tonnelle et treilles. Antlchtunbn. Cette plfcce etait tapissiSe d'afflches provenant de» tournees de ROBERT-HOUDIN. Cabinet de travail de ROBEBT-HOUDIN. Petite chambre avec vue sur la eour d'entree et sur le pare, Grande chambre a alcdve; balcon avec vue sur la ville. Cabinet de toilette-penderle. Grande piece ayant vue sur le pare et la cour des communs. C'est dans cette piece qu'etait place un regulateur mecanique (mouviv ment de 140) avec balancier de cuivre a tige en tuya, Chambre de Hserve a i'avoine. 27, 28, 29, 30 et 31. Chnmbres du deujtieme etage.

Illustrations 537 and 538 - Map of the main house of The Priory. Plates from Jean Chavigm's work (op nt.).

the temperature go below 3 below zero w ithout my knowing it? The next morning, I tell him, "Jean, you heated it too much last night; you are roasting my geraniums" or "Jean, you almost froze m\ orange trees; the thermometer went down to 3 below zero last night." Jean scratches his ear, does not answer, but I am sure that he thinks I am something of a sorcerer.

This thermo-electric arrangement is also placed in my woodshed to w arn me of the slightest fire. #

dows of my house all ha\e electrical connections that link them to a bell and are organized in such a way that, w hen one of them is opened, the bell rings as long as it remains The Priory is not at all a subopen. sidiary of the Banque de France; The reader immediately sees the still, no matter how humble my disadvantage of such a system if the precious objects, I want to keep bell rang each time we opened a them, and for this purpose I thought I should take precautions window or left the house. It does against thieves: the doors and win- not work this way; the connection is 398

APPENDIX I—i

turned off all day and is reestablished at midnight (the hour of crime), and it is the same oat-regulating clock that takes care of this. When we leave the house, the electricity is always on, and if the house is opened, the large bell of the clock, whose hammer is activated by electricity, rings nonstop and makes the sound of a warning bell. The gardener and the neighbors having been notified of this situation, the thief would easily be caught in the act. # We often enjoy pistol shooting. For this we have a very well-organized space. But instead of success being indicated in the usual manner, the marksman who hits the bullseye suddenly sees a crown of foliage appear over his head. The bullet and electricity are fighting for speed in this double trajectory; in this w ay, although one is twenty meters from the target, the crowning is instantaneous. Allow me, reader, to tell \ou about an imention to which electricity is completely foreign, but which I think will interest you nonetheless; in my yard is a sunken path that must sometimes be crossed. There is neither bridge nor passagew ay. But on the bank of this ravine, there is a little bench; the stroller sits on it, and is immediately transported to the other side. The traveler steps down and the little bench immediately turns around by itself to get another passenger. This locomotive arrangement is double-acting, there being a similar flying seat to bring the traveler back again.

I end my descriptions here; to continue them, I would fear being as ridiculous as a country homeowner who, as soon as he has a visitor, spares him neither the budding of one of his trees nor the egg from his chicken coop. Moreover, should I not save some unforeseen details for the visitor who would come and raise the mysterious knocker above which, as will be recalled, is engra\ ed the name of ROBF.RT-HOUDIN.

In order to complete this "visit" to The Priory, I thought it interesting to add a few notes to the text of Robert-Houdin's booklet. Here is his daughter's testimony about the house that was the cradle of her childhood. This text is an excerpt from the lecture that Eglantine Robert-Houdin gave in Blois around 1920 to render homage to the memory of her illustrious father: The Priory Before discussing m> father's work in Saint-Gen ais, I would like to take you. gentlemen, on a short visit to his propelt\, The Priory, where he worked during the last twentv years of his life, and which he enjoyed ornamenting with all sorts of attractions. He relaxed there after his often dr^ research b^ working outdoors, work into which he put so much effort that he was sometimes more tired in the evening than when he had left his workshop to do some healthy exercise. We will therefore, if you will follow me. take a walk through The Priory together, the same stroll that a

399

visitor would have taken at the beginning of the \ear 1870. Upon arm al, a little white door next to a gate attracted one's eve. A gold brass disc placed on the upper part had the name ''Robert-Houdin" engraved on it. A bit lower, a light hammer had the following inscription: "Do not knock unless necessary.'' The door being closed, we will knock and after a short moment, the name "Robert-Houdin" disappears and is replaced by the word "Entrez." Then the door opens, we go through, it closes, and the next visitor will have to knock again to get in. The mechanism of this door was a little masterpiece, and in spite of its precision, it was strong enough to resist the shock of a sometimes brutal closing. Let us now head toward the house situated 400 meters away We follow a broad path bordered with fruit trees and flowers, then we enter by a \ ery well-defined path under the vault of ancient oak trees, which we follow until we near the house, preceded by two pavilions, a pond, and baskets of flowers. After a short visit, we go down to a terrace. At the entrance, two old shaped yew trees, an old-style garden — a real priest's garden — bordered on one side by an orange gro\e and decorated in the middle with a lovely sundial made from a large piece^ of round slate, a sort of table placed on a rock base, and topped with a tall blade whose shadow indicated the time on sunny days. Looking down over the plain, a high wall ended the terrace, and it was a pleasure. leaning on this wall, to admire the beautiful panorama of the cit\ of Blois. My father had placed a spyglass there, a very original one, because one could put one's hand, hat, or any object in front of it

ROBERT-HOUDIN

Illustration 539 - Eglantine Robcrt-IIoudin and her husband Henri Leinaitre during a class for "comedie de societe.'

400

-APPENDIX I—i

without disturbing the view of the person who was using it. It was an application of the periscope unknown at that time. Continuing our stroll, we walk past the stables where the distribution of oats was controlled by an electrical system described in a booklet by my father, The Priory. We descend amongst a pile of very picturesque stones and in these stones a large excavation stops us; it is a lovely cave in which an artistic whim had placed a hermit — a classic, legendary hermit: long frock, cowl, long white beard. We could see him in the shadows sitting on the rock, reading a large book. In a corner, straw to sleep on; a bit further away, an old kettle and ashes from a hearth. After a few minutes of looking at him, when the visitors had seen everything in detail, the hermit slowly raised his head and gazed at them. All this artistically arranged decoration made a huge impression, and during the invasion of 1870, the German soldiers, who had damaged almost everything, never dared to touch the hermit, either by respect or fear, I do not know.

Let us go back up to the garden. We follow a loveh straight path in the middle of the woods, and we arrive at a little thatched house which had originally been used as a dairy, as indicated by a gigantic I placed on one of the sides. An easy play on words - (wordplay was quite fashionable during this happy time). [La lettre I ("the letter l")=la laiterie ("the dairy")] This dairy had ne\er housed an animal; my father was not interested in agriculture. He gave this cottage another purpose. In 1868, ha\ing had to organize spectral apparitions for the Thearre de L'Ambigu for the play La Czarine, which I will later discuss, he wondered whether these apparitions produced onstage by a powerful electric light could not be obtained with simple daylight, and he performed a little spectacle here in which a few objects - a statue, an enormous bouquet, etc., — appeared then disappeared into one another with a spectral appearance. Once, a lady who was a friend of the family, having come with her little boy, who was 5 or 6 years old, a very spoiled child, my father had the idea of substituting him for one of the objects

Illustration 540 - Map of the view from the terrace of The Priory. From Jean Chavigny's work (op. n't.).

401

ordinarily present. The phantomlike apparition of the child produced such an impression that the mother almost fainted. Leaving this little theater, we head toward a higher part of the property where there was what we called the aerial railroad. It was a method of transportation but also a game that enjoyed great success. It was used to cross a deep, hollowravine leading to the entrance of the main house and separated this part of the property. A wooden bench awaited, suspended bv an iron bar and a double pulley that rolled on a steel cable attached to a large tree on each side. A counterweight maintained this light bench at the highest part of the cable; but if a person sat on it, his weight pulled it to the other side, and he would cross the ravine. The person then descended and the counterweight pulled the bench back up to the other side. During the war, especially in Italy, similar transportation methods were used to supply fortifications in the mountains that were difficult to reach. Leaving this amusing attraction, we climb to the highest point of the property; there was a very expansive

ROBTRT-IIOUDIN

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5-i

in cm[i)ftCi;jticnt

'. 3tatuett« es terre cuit« de « Doniieuse » Ritribti^e & DAHTAK, Entrdo ptinoiyale du Prieur4, riouveiiu cjtemin
Illustration 541 - Map of the grounds of The Priory. From Jean Chavign\'b work (op. at.). view. A camera obscura was set up there, an octagonal cabin about four meters high. When one entered and the door closed, one was in total darkness. With a few quick maneuvers, the countryside was projected onto a large white table with perfect clarity in all respects: a charming tableau, sometimes animated when people or animals passed in front of the lens. Without being able to specify, I remember that several difficult problems had to be resolved for the construction of this camera obscura of a completely uncommon size. This was the case for the majority of attractions that I ha\e just described and behind these apparentlyeasy amusements was often a great

deal of work. But as I have told you, this work relaxed him after his more dry work, which I will now tell you about.

To conclude this description of The Priory, here are a few complementary notes on the old master's enchanted retreat: The domain of The Priory was decorated with terracotta statues by Dantan, among them Le Jongleur, which depicted the master's son lifesized. In front of the terrace overlooking the Gosson valley, set on an octagonal stand, was a sundial engraved on a slab of slate with the follow ing text: 402

Latitude of Saint-Gervais 47° 34' ROBERT-HOUDIN. Near this location was a small pavilion decorated with shutters in trompe I'oeil, which in fact contained a darkroom, a sort of perfected camera obscura, in which there was a periscope that allowed one to see the comings and goings of visitors as well as the panorama from the heights of The Priory. A bit further away was a veritable labyrinth of fantastic automata, among them a mechanical gardener, a bearded hermit clothed in a frock w ith a ceramic chicken at his side and a real skull whose eyes launched flames! Next to these caves was a chapel

-APPENDIX I—i

decorated with a "Diorama" illuminated by a fireplace. After ha\ ing "magically" crossed the little ravine with the help of a mechanized bench, one could see a hollow tree at the end of the path in which the stroller could sit; a grimacing imp then appeared in front of the unwise stroller's face. Near the pistol-shooting stand, which crowned the winners with palms, was a chalet dedicated to "Optical Wonders." The spectators stood in the dark before a sort of little stage where a tombstone appeared with an owl on it, who visibly and gradually transformed itself

into the image of the Virgin Mary (this plaster virgin was 80 centimeters high), which mysteriously turned into a little girl dressed in white and crowned with flowers, then a huge bouquet, beneath which a rose gradually blossomed and replaced the image of the young girl. The secrets of this little "Ghost theater" were revealed by RobertHoudin in his posthumous work Magie et Physique Amusante. Oral - local - tradition credits Robert-Houdin with many other wonders that must have made our savant smile. Some swore to ha\e seen him driving a carriage whose

Illustrations 542 and 543 - The sundial of The Priory, signed Robert-Houdin.

403

"...horse was galloping backward with its head against the apron of the carriage and the backside in the front"! These legends related by "trustworthy" witnesses long contributed to passionate debates during winter evenings in the countryside of Blois. Finally, to be as complete as possible about The Priory, we must add that one of the first descriptions of this property was published in the form of two long letters from the master in La Petite Rescue of Saturday, January 20 and Saturday, February 17 of the year 1866, under the heading: "Interiors of a Few Artists and Men of Letters."

I

ROBERT-HOUDIN

GRAND

DICTIONNAIRE UNIVERSEL 1

DU XIX SIECLE FRANQAIS, HISTORIQUE, GEOGRAPHIQUE, BIOGRAPHIQUE, MYTHOLOGIQUE BIBLIOGRAPHIQUE, LITTERAIRE, ARTISTIQUE, SCIENTIFIQUE, ETC. eomprenant LA. LANGUK FRANCAISE; LA PRONUNCIATION; LES ETYMOLOGIES; LA CONJUGAISON DE TOUS LSS VER8ES IRREGULIERS; LES REGLES DE GRAMMAIRK; LES INNOMBRABLES ACCEPTIONS ET LES LOCUTIONS l^AMILlfeRES ET PROVERBIALES; L'HISTOIRE, LA GEQGRAPHIK; LA SOLUTION DES PROBLEMES HISTORSQUES; LA BIOGRAPHIE DE TOUS LES HOMMES REMARQUABLES, MORTS OU VIYANTS; LA MYTHOLOGIS; LES SCIENCES PHYSIQUES, MATHEMATIQUES ET NATURBLLESj LES SCIENCES MORALES ET POL1TIQUES; LES PSEUDO-SCIENCES; LES INVENTIONS ET DECOOVERTES; ETC., ETC., ETC. P A R T I E S ItEOVKS : LES TVPES ET LES PERSONS AGES LITTERAIRES; LES HEROS D'EPOPfeES ET DE ROMANS; LES CARICATURES POLITIQUES ET SOCIALES; LA BIBLIOGRA.PHEE G^NfiRALE; UNE ANTHOLOGIK DES ALLUSIONS FRA.NCAISES, ETRANGERES, LATINES ET MYTHOLOGIQUES; LES BEAUX-ARTS ET L'ANALYSE BE TOUTES LES
PAR PIERRE LAROUSSE • Le dictionnaire est a, la JitteratuMj d'uno tmtioa co qua is fondomeat, DUPANLOUP. avec ses fortes assises, est b. 1'ediflce. » • F d s ce que dois, advionne quo pourra. • DKVISB FRAKSAISE. < La veriW, toute la v6rite, rion quo la v6rite, > DEOIT CRIMINAL. • Ccey est un Hvre de bonne toy. • MOSTAIQKB. ADAM. < Voilk l'os de mcs os ct la cbair de roa chair. •

TOME PREMIER

PARIS ADMINISTRATION DU GRAND DICTIONNAIRE UNIVERSEL 19,

RUE HONTPARNASSE, 49 Tou9 droits r^se

Illustration 544 - Title page of the Grand Dictionnaire universel du XIXs siecle (Grand Universal Dictionary of the 19th Century) bv Pierre Larousse.

404

• APPENDIX II —i

/

Bouteille

p. 406

[The Inexhaustible Bottle]

Chalon

p. 407

[Biography]

Chapeau

p. 407

[The hat trick]

Charlatan p. 407

[The conjurer Carlosbach]

"Claque" p. 410

["The claque" at the theater]

Clavecin

[The Harpsichord Player-This text is reproduced in Act V in the chapter devoted to this automaton]

Clou

p. 411

[The Nail in the Eye]

Compere

p. 412

* Comte * Comte

p. 413 p. 415

Comus Conus

p. 417 p. 418 p. 418

* Coupe

* Davenport p. 421

* Decapite

Domino

p. 431

p. 433 405

[The conjurer's confederate] [Biography] [Theatre Comte] [Biography] [Biography] [To perform the pass] [Biography and account of their seances] [The Talking Head - see Act IV, note 64] [Tricks and

Cheating] Ledru

p. 435

[Biography]

The entries for words or names marked with an asterisk were partially or wholly published in Confidences d'un prestidigitateur, Les Trickeries des Grecs devoilees, Les Secrets de la prestidigitation, or in Magie et Physique amusante. In Pierre Larousse's monumental work are other excerpts from RobertHoudin's works when a reference is made to conjuring, in articles such as "Cup" or "Grecs" ("Card sharps"), etc.

I

ROBERT-HOLDIN

conjurer himself encouraged this tyrannical demand by his feigned flight? He was expecting this; it Physique amusante. Inexhaustible was somewhat of a theatrical reply Bottle. A conjuring trick created by that was very well acted; he even M. Robert-Houdin and performed in his theater in 1847. Here is the counts on it for the final blow; he stops for a moment as if undecided. staging of this curious trick: The "Gentlemen," he finally says, "beconjurer has a bottle of bordeaux cause I cannot satisfy you with wine in his hand, whose contents small glasses, I will be forced to get he pours into a number of glasses bigger ones." Immediately the serrepresenting the bottle's capacity. vant brings a huge stem glass, Once the bottle has been emptied, which the conjurer fills to the top. rinsed, and drained, the operator "Here, sir," he says in a slightly pours out all requested liquors, at mocking tone to one of the most arthe audience's will. The distribudent solicitors, "please empty this tion takes a very long time. glass as quickly as possible so that I Members of the audience, in order can fill it again; during this time, I to ensure the reality of the trick, as am going to pour out a few more well as to try to dry out this soglasses for these gentlemen." The called inexhaustible source, ask for gentleman does not dare, or most the most uncommon and common often cannot drink such a large liquors over and over again: Parfait quantity of liquor; all attention is amour, Mme. Anjou, Gin, Rosolio, turned to him; the audience laughs Creme de Roses, gold-label Eau-de-vie de Dantsig, Grande Chartreuse, etc.; heartily at this scene; there are no more doubts; they are satisfied. every possible simple or aromatic The bottle is recognized as inexliquor is ordered; they are all served haustible amidst hearty applause. If immediately upon request; it is a great chaotic commotion. No one the spectators laughed, we must think about how the conjurer must shows enough common sense or reaalso have laughed up his sleeve son to conclude this serious affair. Luckily all balls of wool, no matter about his skillful trickery. The bothow big, must eventually come to tle, indeed, could not possibly be their end; a moment comes when inexhaustible, though it truly the feat finally seems to be ending. seems to be. It is an excellent trick Members of the audience who are in which the ruses, artifices, and too far away from the circle of dissubtleties of language and science tribution find it lengthy enough. are united and reinforce each other The conjurer retreats in a feigned to fool reason and the senses. The hurry, still filling glasses on his way context and nature of this article do back. So the audience, believing not allow us to extensively explain the sorcerer to be out of resources, the numerous details related to the blocks his way and cries and almost execution of this marvelous trick; screams for new samples. The poor let it suffice to say, in order to give spectators, sometimes so intelligent an idea, that the procedure is based and clever : do they not see that the on the use of reservoirs and skill-

Bouteille [The haustible bottle]

inex-

406

fully hidden compartments, and even more on the finesse, tact, and skill of the operator. "Let us see, who is tricking whom here?" says the disappointed reader. "The Grand Dictionnaire usually gets to the bottom of things, which should especially be the case here because we are talking about a bott l e . Without a doubt, we are watching a conjuring performance in which the bottle is exhibited; we see the hands raised, the glasses filled, and the bottle unemptied. But the secret of the device, the spring of the machine, the key to the enigma... All of that is closed off to us, we remain as ignorant as before, and M. Robert-Houdin continues to be a sorcerer one hundred times more burnable and fit to be hanged than the priest from Loudun." Now let us speak and say clearly to M. Robert-Houdin, "What do you have to say about that? Because it is you, sir, who, from your Priory in Saint-Gervais, have given us the solution; and you well know that it is not one. We can see into your bottle as clearly as the bottom of a well. You tell us in your article...I fear going on too much. Boileau will answer you: I avoid going on too long and becoming obscure. "Because it is your secret, keep it, sir; but the Grand Dictionnaire and its readers hope that in the article "Magic Revealed" that you are preparing, you will free the mysterious goddess from the clouds surrounding her." All subscribers to the Grand

-APPENDIX II—| Dictionnaire will now know that M. Robert-Houdin collaborates on our work for this still obscure area of science, which he proposes to reveal. This is part of a collaboration for which we sincerely thank him, because he becomes the torchbearer of reason, common sense, and truth against ignorance and error. Isn't this a role to be envied by a philosopher? Concerning the Inexhaustible Bottle, M. Robert-Houdin, who is also a poet in his spare time, sent the following quatrain to the Figaro, which had published an account of this charming trick in one of its issues: What could better resemble My bottle than your plume? Both know how to assemble Much spirit in a small volume.

Chalon A French conjurer, born in Poitiers in 1789, died in England in 1825; he often performed in the provinces and abroad. His name would have probably remained unknown to most, except for his stay in Paris during Lent of 1816; this was a fatal year for the theater that had welcomed him, because it was after one of his performances at Odeon that the edifice was burned to the ground. The expensive apparatus that represented his entire fortune were destroyed in this accident and the conjurer, ruined and discouraged, with only his skill as baggage, left the capital and returned to his nomadic existence. He journeyed throughout Europe; visited Turkey, where he had the honor of performing before the sultan; and died in England during a trip in 1825. As a conjurer, Chalon was a truly original

character: serious and phlegmatic, he performed with the solemnity of a professor at the Sorbonne. He also had a very high opinion of his art, and seriously believed he could impose it on his audience. "My stage entrance," he used to say, "is what produces the most effect in my performance." Other times, other entrances. Here is how things took place at the time of the distinguished Chalon. The back door of the stage opened in two parts; a man appeared clothed in black, with a tie and wearing white gloves; it was Chalon. He remained motionless for a second; then, with very slowly counted steps, he gravely moved forward to the footlights; there, his eyes riveted on the same point in the room, impassible like the statue of the commander, he pulled his gloves off with regularity, finger by finger; once free, he made a marvelously small bundle, solemnly placed it into one of his pockets, rubbed his hands together, cracked his fingers, and finally decided to speak. His words, like his gestures, were slow and sparing; he set forth in few words, as was the custom at the time, his desire to let his visitors spend a pleasant evening. Well! It was rare that he was not applauded after his speech, an unbelievable thing for a skeptical and critical generation. According to connoisseurs, Chalon had great intelligence in the creation of sensational tricks. During his debut at the Odeon theater, he understood that he needed tricks that corresponded to the expanse of the stage on which he was performing. For his opening, there was this strange advertisement on large bills: "MARVEL OF THE 19th CEN407

TURY. Magical invulnerability. M. Chdlon will soon face a cannonball shot at him from a distance of twelve feet. Nota. In order to eradicate all suspicion of confederates, the weapon will be loaded and fired by artillerymen belonging to the unit residing in the capital."

This trick took place as announced and made a huge sensation. Artillerymen loaded the cannon; the conjurer positioned himself before it in a most dramatic position; the fire blast produced an earth-shattering sound; a thick smoke covered the stage, and soon one could see Professor Chalon holding a projectile that he said he had warded off with his hands. Cannonballs are not so easily conjured away and the cannonball could not be a conjuring trick. It was simply an advertising stunt, as the theater managers said. The cannon was really loaded by an artilleryman, powder was clearly put in as with a real cannonball, but the artilleryman, in exchange for a sum of money (Who cannot be corrupted?) had come to an agreement with Chalon. The swab with which he stuffed the ball was hollowed in such a way that it held the projectile and could be taken out without the audience seeing. The ball that Chalon held in his hand was passed from backstage at the moment of the explosion. Such was the artifice of this nineteenth-century marvel.

Chapeau [Hat] Conjuring. Hat trick. Conjuring trick that consists of pulling a multitude of various objects out of a hat.

Charlatan Among pureblooded charlatans, there is more than one species; our readers could judge them by sight

ROBFRT-HOUDIN

and sound. Let us nonetheless identify a fairly uncommon, very original variety; we mean mystifying charlatans. Here is a strange specimen, whom we take from Mysteres et Confidences by M. Robert-Houdin, a master, an infallible arbiter in charlatanism, as the Davenport Brothers know: "One evening after dinner, while I was strolling along the banks of the Loire, deep in thoughts suggested to me by the falling of leaves and their tumbling in the autumn breeze, I was pulled out of this gentle reverie by the blaring sound of a very well-played trumpet. I do not know if I was the last one to approach this bursting melody. A few strollers, attracted as was I by the musician's talent, also came to form a circle around him. He was a tall chap with a sharp eye, oliveskinned with long, very curly hair, with his hand on his hip and his head held high. His suit, although a bit burlesque, was nonetheless clean and denoted a man who could have been said to have, as those of his profession put it, a fair bit tucked away. He was wearing a brown frock coat with a little collar of the same color and decorated with large silver braids; around his neck, carelessly hung, was a black silk tie. The two ends were linked by a ring decorated with a diamond that could have enriched a millionaire, had it not been fake. His black pants were largely filled and he had no vest, but on the other hand, he was wearing a very white shirt upon which a large imitation gold chain was draped, with a collection of bracelets whose metallic sound could be heard with his every move-

ment. I had time to make all these observations because this man, undoubtedly not finding the crowd large enough to deserve a performance, made his musical prelude last almost fifteen minutes; finally, the circle having grown significantly, the trumpet ceased to be heard. The artist placed his instrument on the ground, gravely walked around the assembly, asking everyone to move back a bit; then pausing, he ran his hand through his long hair and seemed to meditate with very poetic inspiration. Not at all used to the charlatanism of this public presentation, I looked at the man with trusting admiration, and I prepared myself not to miss a single word of what I was about to hear. "Gentlemen," he cried with a sonorous and self-assured voice, "hear me. I am not at all what I seem to be. Yes, gentlemen, yes, admit it, you take me for one of those poor devils coming to call upon your generosity for money. Well! Be not mistaken; if you see me here on this square today, please know that I have only come to relieve human suffering in general, in particular for your good, and also for your pleasure." Here, the orator, whose accent could easily be recognized as from the Garonne region, ran his hand through his hair a second time, lifted his head, moistened his lips with an air of majestic dignity, and continued: "Shortly I will inform you of who I am, and you will be able to appreciate me at my true value; while you wait, please let me entertain you with a small sample of my savoirfaire." The artist, after having adjusted the listeners' 408

circle, set up an X-shaped table before him, upon which he placed three tin cups, so polished that they could have been taken for silver; then he attached around his waist a bag in red velvet from Utrecht, into which he plunged his hand for a few moments, undoubtedly to prepare the wonders he was about to show, and the performance began. In a long series of tricks, the balls, first invisible, appeared at the tips of the conjurer's fingers, successively passed from one cup to another, through the table, even into a spectator's pocket, only to come out again - to the great joy of the audience from the nose of a young onlooker. The boy took this very seriously and began to frantically blow his nose to make sure that he had no more little balls in his head. The skill with which these tricks were done, the apparent good nature of the operator in these ingenious artifices, produced the most complete illusion. It was the first time I had attended this sort of show; I was dazzled, amazed, astonished. Able to produce such marvels at will, this man seemed to me to be superhuman; it was therefore with vivid regret that I saw him put his cups aside and fold up his bag. The assembly also seemed charmed; the artist noticed and benefited from these excellent dispositions by indicating that he had something else to say. Placing his two hands on the table as in a courtroom - "Ladies and gentlemen," he said with feigned modesty and in order to create certain oratory effects, "ladies and gentlemen, I was lucky enough to see you pay kind

•APPENDIX II—,

attention to my skillful tricks. I thank you for that" - the conjurer bowed toward the ground - "and since I want to prove to you that I am not ungrateful, I want to try to return all the satisfaction you have given me. Deign to listen to me for a moment. I promised to tell you who I was. I must satisfy you." change in physiognomy, look of high self-esteem - "You see in me the famous Dr. Garlosbach; the sound of my name indicates that I am of Franco-Anglo-Germanic origin, a land where one is born with a crown of laurels on one's head. Praising me would only be a reflection of the renown of one hundred mouths of gold and azure; it will suffice to say that I have great talent and that my immeasurable reputation can only be equaled by my modesty. Crowned by the most illustrious academic societies the world over, I bow before their judgment, which proclaims the superiority of my knowledge in the great art of healing the human race." This speech, as bizarre as it was emphatic, was spoken with an imperturbable assurance; however, I thought I noticed on the famous doctor's face a few twitches of the lips that betrayed an irresistible desire to laugh. I did not pay very much attention to this, and, seduced by the orator's manner, I continued to attentively listen to him. "But gentlemen," he added, "enough about myself; it is time that I talk about my work. Please know that I am the inventor of the vermifugo-panaceli balm, whose efficiency is undeniable. Yes, gentlemen, yes, the worm, that enemy of

the human race; the worm, that destroyer of all life; the worm, that determined attacker of the living and dead, is finally vanquished by my science; a drop, an atom of this precious liquor is enough to chase away this horrible parasite forever. Be they long worms, flat worms, round worms, the shape does not matter, I will cure you. Have you ever had the macaque worm that places itself between leather and skin; the rascal worm, who breeds in the head; the tenia, commonly known as the solitary worm? Approach me without fear; I will painlessly remove them. Gentlemen, such is the virtue of my marvelous ointment, which not only frees man from this awful calamity during his lifetime, but his body has nothing to fear after its death; take my balm; it is like embalming oneself ahead of time; man thereby becomes immortal. Ah! Gentlemen, if you knew all of the virtues of my sublime discovery, you would rush to take it from me, in throwing me fistfuls of gold; it would no longer be a distribution, but a pillaging, so I will stop now..." The orator indeed stopped for a moment and wiped his brow with one hand while with the other he motioned to the crowd that he had not finished. Many listeners had already tried to approach the learned doctor; Garlosbach seemed not to notice and, returning to his dramatic pose, he continued in the following manner: "But," you will ask me, "what can the price of such a treasure be? Would we ever be rich enough to acquire it?" Well, gentlemen! This is the moment for you to see the discovery to which I devoted my entire life; this ointment, which 409

sovereigns bought at the cost of their crown; this ointment that has no price...I give it to you." At these unexpected words, the crowd, trembling with emotion, remained silent for a moment; but as if under the impulse of an electric charge, all arms were raised at once begging and imploring the doctor's generosity. But, surprise! Disappointment! Carlosbach, this famous doctor, Garlosbach, this great man, suddenly left the role of charlatan and broke into a Homeric laugh. Just as in a change of perspective, the scene was transformed and all the raised arms fell simultaneously; people looked at one another, wondered, murmured, then calmed down, and soon the contagious laugh spread to the entire crowd and broke out in a chorus. The conjurer stopped first and asked for silence. "Gentlemen," he said in a perfectly decent tone, "do not be angry at me for the little scene that I have just acted; I wanted to warn you against charlatans who trick you every day, just as I have done myself. I am not at all a doctor, but a simple conjurer, professor of mystification, and author of a collection in which you will find, in addition to the speech that I have just given you, the description of a great many conjuring tricks. Do you want to know the art of amusing yourselves in society? For ten sous, you can satisfy yourselves." The conjurer then removed a huge packet of booklets from a box, went around the crowd, and, thanks to the admiration inspired by his talent, he sold his merchandise. The performance was over; I

ROBFRT-HOUDIN

went home with my head full of a world of unknown sensations. As one might imagine, I had purchased one of these precious volumes; I hastily tried to read it; but the fake doctor had continued his system of mystification and in spite of all my efforts, I could not understand any of the tricks whose explanation he supposedly provided. I did have the pleasant speech for consolation, however, which I have just reproduced here.

"Claque" Our article on "claque" was completed, when our learned collaborator M. Robert-Houdin brought us the following little gem. At random, we place it into its jewel box, without worrying too much whether or not the case will mar its new gem, and reciprocally. - The "claque" and the "claquers" There is a big difference between claquers and the claque: the hired claquers are, it is true, people of very little merit, but the cause they support is well above their reputation. The "claque" was originally instituted with the single goal of satisfying respectable demands, demands that the audience itself created by applauding artists. The noise of two hands clapping together, the stamping of feet, the incoherent clamors by which the audience shows its satisfaction in a theater is certainly the most discordant sound ever heard; but nothing is sweeter to the ear and heart of he who is the object. The artist never tires of these intoxicating emotions; he becomes accustomed to it, and he ends up considering these

flattering testimonies as being owed to him; in his eyes it is the fitting reward of his talent and desire to do well. But the public is very capricious in this type of liberality; one day it frantically applauds and the next, for no reason, it remains silent. It is not because the show was less appreciated, but simply because the public lacked initiative. Chance alone does not produce these diverse dispositions; there are other influences on the audience which old actors know, and on which they make observations that have a certain physiological originality. For example, when ladies are the majority in a group, the scenery certainly improves, but the artist loses in terms of applause. These little white-gloved hands are not used to noisy outbursts. In this case, the artist only has the success of admiration. In wintertime, on certain cold and rainy days, there are almost nothing but unhappy and chagrined faces in the audience! One was forced to leave one's umbrella in the cloakroom; one's feet are wet; a cold is feared. Of course, the public will be as cold as the temperature. On the other hand, in the warm season, when the atmosphere is heavy and charged with electricity, when, as commonly said, the weather is ill, everyone, according to certain known laws, is subject to some debilatating, soporific, and almost sickly influence. In this case, one is hardly disposed to approval, and shows of satisfaction are often absent. But if, as soon as they enter the room, the spectators are gay, tur-

410

bulent, agitated; if they fight amongst themselves to find a subject of amusement; if they ask the curtain to be raised before the proper time, the public will surely be demonstrative and applause will abound. These different observations, whose accuracy can be recognized by all, prove that, for one reason or another, the public is very unequal in its impressions, and even more unequal in its demonstrations. Without stopping at the preceding considerations, one generally blames managers for what is called tyrannical pressure. But the managers pretend they have nothing to be blamed for; to justify themselves, they say that the "claque" was never supposed to influence public opinion; unless he is abusing his position, the leader of the "claque" never forces applause, and he is satisfied to support it, to enhance it, and if he sometimes indicates the important points of a work, it is purely unofficial. Instead of using such weak arguments, managers would be better off admitting that for one reason or another, the "claque" is so indispensable to the theaters of the capital that none of them, except those of Boulevard des Italiens, could do without it. Managers could still hold this reasoning to their contradictors: Who can flatter himself by saying that he has never been a claquer? For friendship; for one's best interests; on a whim; fake appreciation; hasn't applause been given one hundred times in opposition to neighboring judgment? The influence that was then produced, is it not comparable to the chevaliers of

• APPENDIX II —,

glory, if the audience was not so highly indulgent toward them? All the managers' benefits aside, the reciprocal concessions of the spectators obviously prove that one is less shocked by the claque than by the claquers, and that if the former was separated from the latter, it would be more easily accepted. The following anecdote, which we offer as authentication, can support this proposition. Twenty years ago, the manager of a troupe of one of our provincial towns, seeing that the best artists of the company were not supported by any sign of approval, wanted to organize applause to stimulate the audience, as was done in the capital. This innovation was not crowned with success; on the very first evening, the claquers - booed and hissed - were forced to cease their function. Our impresario did not insist, but did not consider himself defeated. He was an extremely persevering and willful man, and had an especially ingenious imagination. He proved it in this situation because, a short while later, the public, so calm and cold in appearance, became expressive and no longer hesitated in the manifestation of its kindly impressions. Here is the trick that the smart manager had used to obtain this result: In agreement with an equally discreet and intelligent stage manager, he had organized a mechanical and mysterious "claque" that we are going to describe in a few words. Under the planks of the wood floor that forms the orchestra, one must imagine hinged hammers attached in four places so that one can knock them together

at a distance by pulling a string. The noise of these hammers simulates that of a cane striking the floor. A few meters away from the hammers, toward the center of the room, two devices were installed to perfectly imitate hand clapping. They are two large castanets covered with skin. A thread brings the two shells together. The noise of this mechanical clap enters the room through openings placed above them and hidden by the spectators' seats. The six cords placed in the theater are invisible to all and are linked to six strong wooden keys laid out like those of a piano. The device's mechanism is easy to understand: At certain passages of a play indicated beforehand by the manager, the stage manager pressed a button, and clapping first to the left, first to the right, like people eager to applaud do with their canes. It was rare that the audience did not respond to this call. In this case, our stage manager used what he called the big hand; all the approval devices were heard at the same time and mixed in with the real applause of the audience. This innocent artifice remained unknown to the victims, and thanks to the manager's ingenious trickery, the city of X became and is still one of the favorite stops for traveling artists.

Clou [Nail] Conjuring. The trick of the nail in the eye. Among the artifices called into play to simulate invulnerability, the nail in the eye is one of the most simple and harmless 411

tricks; here is how it is usually presented: the invulnerable person clearly introduces a little cylindrical metal nail between the lower lid and the eyeball of the right eye. Once this operation is completed, the performer leans his head to the left side; he strikes a few little blows with the tip of his finger on the tip of his nose, as if to create an impulse from this side, and immediately, we see him take the little nail out of the left eye. The trickster then puts the piece of metal into the left eye; then, pressing this point with his finger through the skin of his cheek, he makes it drop into his mouth. He then takes it out to show it, puts it back, then makes it go back to the right eye, from which he takes it out definitively. In this way the little nail seems to have gone from the right to the left eye, from the left eye to the mouth, and from the mouth to the right eye, by circulating through the fleshy parts of the face. Here is the explanation of this trick: the nails used (because there are three for the experiment) are little metal rust-free ones, of 0.01 meter by 0.003 in diameter. The ends of these little bars are rounded so as not to be the least sharp. This little nail, once introduced into the eye, cannot be felt at all; to remove it, all one has to do is press the lower eyelid with the end of the pinkie, directing it toward the internal angle of the eye. The circulation of the nail through the skin is simulated; it is a real conjuring trick. When one wants to present this feat, it is necessary to put a nail into the left eye and the mouth without the audience knowing.

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One easily understands the finesse of the trick. The third nail is introduced into the right eye and one pretends to pass it into the left, simply removing the one put there in the first place, and it is by this same trickery that one again seems to make it go from the mouth to the right eye. This experiment can be done without the slightest pain, and without any danger. The little nail, when introduced into the eye, is placed in a sort of pocket formed by the conjunctive membrane, which unites the eyeball to the eyelid. This circular veil is an ingenious barrier that protects the orbit of the eye against any foreign bodies. Although the conjunctive membrane is extremely sensitive, it cannot be hurt through contact with the nail. This harmless little cylinder remains at the bottom of the membrane, without hindering the movements made by the eye and eyelids.

Compere [Confederate] A confederate is anyone who, in collaboration with a conjurer, helps him in carrying out his tricks. Conjurers use two types of confederates: (1), the invisible confederate who cannot be seen by the public and whom they call a servant; (2), the confederate who is in the audience and who was once known as a courtois. The servant is the conjurer's invisible assistant; hidden backstage with his ear to the curtain, he follows the performance with continuous attention because he must carry out his function at precise moments marked by certain lines. The success of some of the tricks

performed depends, most often, on the exactitude and skill of the servant. Many substitutions and transformations attributed to the conjurer are the work of this mysterious agent. The confederate, as we have said, mixes with the audience; he is to hand the conjurer a scarf, handkerchief, snuffbox, watch, etc. when the conjurer asks the assembly for one of these objects. The magician has a copy of all these; he can therefore with little difficulty and with an appearance of magic, destroy the object handed to him and find it again completely restored in a small loaf of bread, a box, an orange, etc. This mystification, somewhat twofold, has fallen into disuse; very few conjurers today would decide to use such a blatant artifice, and they can proudly say, like Syonorelle, that it was rococo, but "we've changed all that." In order to justify the simplest and most ancient of simulated magic artifices - confederates - it is necessary to say that conjurers from the last century and those from the beginning of this one had powerful assistance in fulfilling the role of wizard that ignorant people attributed to them. How, indeed, can one explain, except through magic, facts of the sort we are about to relate? A conjurer meets a person on the bridge of a provincial town; he asks him to please tell him what time it is, according to his watch. The gentleman, satisfied, obliges him. "Your watch must certainly be wrong," says the conjurer. "It must be at least an hour behind." A discussion takes places from all sides, unkind words

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are said. Naturally, passersby stop; the two men are surrounded and the cause of the dispute is sought. "Look, gentlemen, be my witnesses," says the conjurer's adversary in showing his watch to the gathering, "this gentleman claims that my watch is one hour fast. See for yourselves." The conjurer quickly grabs the watch and throws it in the river. "Well," he says with bold air, "since you persist in saying your watch is precise; take a look; you will certainly be pleased to see it go forward. Follow it if you can." The public is indignant; people are getting angry; the unknown man is about to get roughed up when suddenly he announces who he is, and that he is the famous wizard X...who wanted to prove his talent upon arriving in the city. "The watch I have just thrown into the river," he adds, "is now suspended from the fireplace in this gentleman's bedroom, where it tells the time I said it did; come with me, gentlemen, and we will verify this fact." One quickly goes to the plaintiff's home and finds the watch at the designated place. The watch that had just been thrown into the river is now hung above the fireplace; it is one hour behind with respect to all the clocks of the city. Two similar watches in fake gold, a confederate; what more does one need to explain this wonder of magic? But the public, who knows nothing of these details, believes in wizardry. Can we not say this to be true in satirizing some of the poet's words: The conjurer is not what he seems. By extension, we also call a con-

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federate a person who helps another in a subterfuge, whatever its nature. He who participates in an innocent lie is just as much of a confederate as he who facilitates the crime, or the seller of stolen goods who shares the profit. If we consider things this way, imagine how many confederates there are in the world! People placed at strategic points to lure the crowd into a country fair, and to whom traveling performers give the title of "crowd gatherers," are confederates; associates of the traveling wine merchant who pretend to be buyers confederates; the biased party in a company when he exaggeratedly brags about it - a confederate; the entrepreneurs of success better known as claquers; people who promote political candidates or scientists - confederates. Even someone who arranges a marriage is a double-faced confederate. Finally, how many confederates are to be found in today's society of reciprocity which we call comraderie and of which the motto is: "Help me, I'll help you!" Pierre Larousse continues: "Now, who is the confederate who has come to reveal all these things in the Grand Dictionnaire which no one knows, yes, no one, because the wizard who is the unit is in front of the crowd, or legion? This confederate, you have guessed, is a humble savant who has acquired an honest fortune, and who lives in retreat, surrounded by books, in a charming villa on the outskirts of Blois, on whose walls he could write the following: The theater built this country shelter,

I thank all of you passersby, to whom I perhaps owe it. This is M. Robert-Houdin.

Comte (Louis-Christian-EmmanuelApollinaire), French ventriloquist and conjurer, born in Geneva to a French father on June 22, 1788, died in Rueil (Seine-et-Oise) on November 25, 1859. At eight years of age, he was already amusing his friends with ventriloquism performances. His family wanted him to go into business, and had placed him at an attorney's in the hope that he would follow this career. But correctly judging that he would be better at practicing his instinctive ventriloquism than studying law books, he actively began to perfect this talent and the success that he obtained at a few intimate gatherings encouraged him to continue his plan. Giving in to the caprices of his adventurous spirit, he forever gave up the monotonous work of law and resolutely entered into the artistic, nomadic life. With nothing but the carefree attitude of a fifteen-year old and his gift for ventriloquism, he journeyed through the cities and towns of Switzerland, where he often had trouble with the subjects of his mystifications, but where he was also admired for the perfection with which he imitated distant voices. He had composed short scenes that formed very attractive shows. There was, for example, the scene of the servant locked in a cellar, with whom he began a most pleasant conversation. One heard the voice of the servant coming from underground, begging his master to open the trapdoor 413

so that he could come out. Gomte seemed to agree to this request; the servant thanked him and came out, but once freed, he went to the upper floor and made fun of his liberator. Finally, this voice was heard from all over the room, even under the seats, to the great fright of the spectators. This scene, as well as many other similar ones, was seasoned with wordplay, wit, and harmless mystifications that brought the audience's joy to ultimate heights. Gomte added a few conjuring tricks to his ventriloquism, but his repertoire in this area was very limited. Having never had a mentor, he could perform only the magic tricks he had found in basic works on the subject. Nonetheless, he decided to go to Paris, passing through the south of France. At that time in Bordeaux was a certain M. David, a rich cloth merchant and a great enthusiast of conjuring, who owned all the instruments of this art and found genuine pleasure in helping and instructing the followers of white magic. Upon his arrival, Gomte met David, who taught him many interesting tricks. While traveling, the artist from Geneva maintained an active correspondence with his teacher, who kept him abreast of developments in the art of magic. An original handwritten letter by Gomte (collection of autographs of Monsieur the Marquis of Flers), addressed to M. David, gives an idea of their relationship. This letter begins as follows: Orleans, May 13, 1809 APOLLINAIRE GOMTE, ventriloquist and professor of scientific amusements, who, two

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years ago, was almost a victim of several Swiss peasants who, believing him to be a sorcerer, beat him and wanted to burn him by throwing him into an oven, etc Monsieur David, Bordeaux, When I had the honor of meeting you in Blois, I told you that I planned to go to Valencay to see the princes of Spain The prefect of Blois gave me a letter for the governor, and I gave two performances before the three princes I taught them a few tricks, they presented me with a magnificent certificate and fifty louis All the gold I earn, I owe to you, because your tricks are the most beautiful in my show And later My intention is now to have four trunks of magic effects I will present only magic at the two first shows For the third, I will present the larger effects and lure my audience with ventriloquism The next day, I will perform tricks in the town and boldly announce three performances of ventriloquism In total, that makes six performances for towns with 10,000, 15,000, and 20,000 individuals What do you think^ He ends by saying that his ventriloquism tires him greatly. In 1812, Gomte came to Pans [Actually, June 22, 1809] and moved into 24, Rue Thionville (Rue Dauphine), a children's theater, already named Theatre des JeunesEleves. His performances suffered from the competition of the magician Olivier, who was very fashionable at the time, and also two ventriloquists,

Borel and Fitz-James, who shared with him the favors of the Parisian public. After having given some unprofitable performances at the theater in the Rue Thionville, Gomte left the capital and traveled through the provinces, where he obtained real success for a few years. Back in Pans in 1814 he moved into the Hotel des Fermes, Rue Grenelle Saint-Honore, in the space that his predecessors Bienvenu and Olivier had occupied, and became a theatrical entrepreneur (see the following article). It is at that time that he was called to the court of Louis XVIII and performed before sovereigns, after which he received the title of King's Conjurer. This show was long in vogue. However, in the last years, the conjurer only rarely performed, and his young actors did not inspire the same interest. He was forced to invent several methods to maintain his income during all seasons. He invented: (1), Pink tickets: special tickets sent in profusion all over Pans, for half-price tickets; (2), Medals, brass tokens that gave one a ticket for 10 centimes; (3), Free seats to prizewinners of junior-high schools, which we will discuss in the following article. As a conjurer, Gomte had a very pleasant talent. He performed his tricks with great skill and dexterity. We can judge by the following trick, which was called The Birth of Flowers. After having spread seeds on a bit of dirt in a little bowl, he said a few magic words, poured a flaming liquid on the dirt, and covered it with a bell, which he claimed was to concentrate the heat and stimulate the vegetation. Indeed, a 414

few seconds later, a bouquet of varied flowers appeared in the vase. Gomte gave them to ladies in the audience and during the distribution he found the way to says things with double entendre (this was the time of gallantries in language) Miss, here is a rose that you made blush with jealousy Gentlemen, may you never

have worries, etc. However, the little bouquet was disappearing; there were only a few flowers left Suddenly, the conjurer's hands were literally filled with roses. Then, with a triumphant air, he cried out "I had promised to conjure and transform all these ladies, could I have chosen a more graceful and amiable manner? In changing you all into roses, isn't it like offering a copy of the model? Isn't it also conjuring you away to return you to your original state? Tell me, gentlemen, did I not succeed?" For these amiable, slightly precieux words, the conjurer always received a triple dose of bravos\ This performer, albeit so graceful and gallant toward ladies, was merciless to men. Let us mention a few jokes of which his masculine audience was the victim. There were certain stools which made unpleasant sounds when someone sat down, or the trick of the Ace of Hearts, which ended with dozens of aces coming out of all possible pockets of the spectator's clothing, who was searched, prodded, probed, and did not know which way to turn to escape this avalanche of cards. There was also the hat lent by a bald spectator and out of which Gomte removed a wig in accompanying this illusion with puns

•APPENDIX II —i

I had scarcely concealed the handkerchief and box, when I Ventriloquism, we have said, heard a strange voice on the secadded much charm to Gomte's perond floor landing. "Monsieur formances; it furnished pleasant inRobert-Houdin, will you be kind terludes, which were very funny enough to step up to the box-ofand effective. This talent also infice. I wish to speak to you." spired curious mystifications, but Not right now," I answered, still the best (if a mystification can ever preoccupied with my theft. "I be good) were reserved for his travwill come later." - "Go ahead," els, he used them for advertising his said Comte jovially, "the gentleperformances and they contributed man will take only a moment of to attracting the crowd. One finds your time; go on, I will wait the description in a volume in-12 with the title Voyages et seances anec- here, because I still have to speak with you." - "So be it," I dotiques de M Comte (de Geneve) answered, and without thinking [Pans, 1816]. Only one of these I went up to the second floor. pleasantries will show to what deMy readers will guess that the gree Gomte knew how to imitate a ventriloquist had played a trick distant voice. This anecdote could be entitled "The mystified mystifiers", on me; indeed, on reaching the office, I only found the clerk, who we can guarantee its authenticity. could not understand what I was "After a visit paid to me by talking about. I perceived, too the celebrated ventriloquist at late, that I had been victimized, Palais-Royal," said Robertand I heard Gomte celebrating his Houdin, who is the author of this victory with shouts of laughter. article, "I accompanied him to For a moment, I confess I felt the foot of the stairs on his deparvexed at having been taken in, ture. Gomte walked down before but I soon regained my serenity at me, still talking, so that the pockthe thought of a little vengeance ets of his coat were at my mercy I might have from the very situaThe opportunity was too good to tion I was in. So I went downneglect the chance of playing a stairs very calmly. - "What did trick on my talented colleague, so that person want?" Gomte asked, I stole his handkerchief and a with ill-repressed delight. handsome gold snuffbox; and I "Can't you guess?" - "Me? No." took care to turn the pocket in"It was a penitent thief, who side out, as proof that my perforbegged me to return to you the mance had been properly exearticles he had stolen from you. cuted. I was laughing at the comic Here they are, my master'" - "I result my trick must have caused, prefer it to end so!" Gomte said, when I returned Gomte his propreturning his pocket to its place. erty, but it was "diamond cuts di"We are now even and I hope we amond," for while I was thus vioshall always be good friends." lating the laws of hospitality, Gomte was scheming against me In 1854, Comte, tired by more and cruel jokes.

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than fifty years of incessant work, retired to a property he owned in Nanterre. His kindness, benevolence, and generosity won him the esteem and affection of all the inhabitants, who nicknamed him Good Papa Gomte. In this modest locality, he gave several performances for the poor The last one took place in January 1854, when he was almost seventy years old. Comte left Nanterre for Rueil, where he ended his days. LouisPhilippe named him Chevalier of the Legion of Honor Comte (THEATRE GHOISEUL, called JEUNES-ELEVES and more ordinarily, THEATRE) established on January 23, 1825 in Paris, Passage Choiseul and Rue Monsigny, replaced in 1855 by the theater Les Bouffes-Pansiens. The Genevan Gomte, its founder, after having acquired a reputation throughout Europe as conjurer, prestidigitator, and ventriloquist, came to perform shows of amusing magic and phantasmagoria in different theaters in Pans. From the former Theatre des Jeunes-Eleves of the Rue de Thionville, he moved into a space in the Hotel des Fermes, Rue du Bouloi. In this underground space where Jacques de Falaise, the Polyphage, dazzled Parisians with the ease with which he swallowed roses, watches, birds, mice, etc , Comte presented a few scenes of buffoonery that added to the audience's amusement, with the participation of children In 1817, Comte moved to the Mont Thabor theater or former Cirque Olympique, which the Francoms had just left. However,

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the demands of the administration, which only allowed him to perform his children's plays behind a gauze curtain, forced him back to the Hotel des Fermes After much effort and solicitation, he won the privilege of setting up a moral theater, where the troupe, like the audience, was made up of children With only three young actors, he began to perform amusing and educational plays, then in 1820 he moved his staff to the Passage des Panoramas To Berquin's repertoire he added special plays, among which one must especially mention those of Emile Vanderburch, they were mixed with conjuring and ventriloquism scenes The Panoramas space being too small, Comte moved into Passage Choiseul, where his repertoire extended itself to spectacular scenes, comic-operas, and other plays which ended up digressing from the theater's original purpose They were nonetheless moral and instructive One could read on the bills Through morality, good taste modestly shmes And without fear every mother may bring her daughter The authorities did not let themselves be won over by these tempting lines, they looked behind the scenes and suddenly changed the rules for this tiny theater, forcing the director to hire older actors In the last years of its existence, they were no longer barely weaned babies, or noble fathers escaped from their nurses, but big young people who acted in children's

plays, many before the age of reason (on the male side, of course) Comte's theater, in spite of the size and age of its actors, remained popular with its little audience when in 1855, its name and specialty disappeared from the world of theater Since then it has become Les Bouffes-Pansiens Lament, schoolchildren - you who had a theater for yourselves and performances about the good old days The Theatre Gomte, before taking this name, had been successively called Theatre de Physique amusante, ventnloquie, magie, Theatre des Nouveautes (1819), Spectacle de magie et des enfants de M Comte (1824) It left more than one memory in the minds of young generations who paraded through it wideeyed and open-mouthed before Sleeping Beauty, The Pink Devil, The White Mouse, Gargantua, The Magic Lantern in the Moon, Puss in Boots, etc Every evening for the entire year, management gave a stall free of charge to the student who won first prize during the annual awards in junior-high schools and boarding schools of both genders in Pans and the suburbs Many families brought their children there for their birthdays, and on Thursdays, teachers brought their best pupils Today, there is nothing left for sixth-grade students whose success one wishes to reward, other than to go and see shows at Chatelet or the cavalcades at the Hippodrome The Theatre Gomte only trained a small number of famous artists, 416

although complaisant chroniclers often attributed him with a handful of excellent actors, yes, a handful if you will, but one must consider the quality as well Alas' How many little stars shone one night before the theater, unfolded themselves before the fake sun of the footlights, only to fall back into the paternal room afterwards (porter's office, of course) - pale, broken, dirty from hard labor, dreaming of all sorts of imagined glory - only imagined "A few of these young artists," said M Albenc Second, "died in squalor, many resigned themselves to manual labor One of them, a hunchback called Little Alfred 'entered into the administration', he currently presides over the cleaning of his homeland he is an inspector of Parisian street-cleaning' This dignified civil servant must be seen when he goes through the inspection of a squad of street-cleaners' At these times, he is truly magnificent to contemplate He fulfills his mission as a man who often had the honor of playing Napoleon I or the great Frederick Watch him he takes his snuff in the left pocket of his vest, folds his arms behind his back, wears a grey frock coat, and says to his men in dispersing them with a grandiose gesture, 'Soldiers' I am pleased with you '" Among M Gomte's students who continued to act, most of them, we must say, did not and will not go beyond the level of decent mediocrity But what does this matter, after all, if the renown of just one of them is enough to ensure the glory of the professor? This one is Hyacinthe,

•APPENDIX I I - !

the sublime gracioso of the theater of Palais-Royal Hyacinthe was barely six years old when he made his debut at the Theatre Ghoiseul In considering his precocious talent and resounding success, M Gomte ensured him an exceptional salary 10 francs per month with nothing taken out, which he had never done before' And when he parted ways with his manager seven years later to be an extra at the Vanetes, he had already been earning 20 sous per day, which was the highest salary possible In the very commendable goal of not creating terrible jealousy between his authors and actors, M Gomte arranged it so that the royalties of the authors were not much higher than the salary of the actors, which did not prevent him from counting on a great quantity of brief, witty plays The first verses of MM Gogniard, Dumanoir, and Siraudin were performed on this hospitable stage M Emile Vanderbuch, was long the official supplier to the theater, and under the name Alexandre Boucher and Gie , a famous banker of our time had twenty variety plays performed there, although Vanderburch was neither famous nor a banker Among Gomte's boarders, we will name, in addition to Hyacinthe, Francisque the younger, Emile Taigny, Charles Perey, Paul Laba, Pastelot, Golbrun, and the ladies Clansse Miroy, Mane Dupuis, Atala Beauchene, and Aline Duval Until the end of the theater, Poulet and Rubel remained the two comic actors who were loved and applauded

Comus Gomus, famous conjurer from the beginning of the nmeenth century In spite of the vogue and popularity that his skill and savoir-faire earned him, this artist, who called himself the leading conjurer of France, never had the honor of a biography Michaud, on the one hand, in discussing Gomte's competitors, mentions a certain Gomus, a very skillful conjurer, whose real name, he adds, was never known This is understandable, the conjurer in question, in borrowing, for his greater glory, the pseudonym under which one of the most learned men of his time had become famous [Nicolas-Philippe Ledru known as Comus, knowledgeable conjurer of the eighteenth century] was better off hid-

ing his personality in order to establish a confusion favorable to his interest Gomus's success begins right around the time of the death of his knowledgeable namesake (1807) Although Gomus was not scholarly, he was, on the other hand, very skillful in his art Here is the program of the tricks he performed according to one of his bills We are copying verbatim, which allows the evaluation of the conjurer based on his tricks and the man based on his style Today, Monday, 13 Brumaire, year XIV,

Bordeaux, Allees de Tourny T H E MASTER GOMUS F I R S T CONJURER OF FRANCE

Will give two performances of his experiments 1 He will make it thunder and hail through conjuring, 2 A person from the audience will shoot a gun loaded with bullets at Mme Comus, who will ward it off it with a foil,

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3 The automaton, which will tell the age and thoughts of a person, 4 The magic lemon trick, carried out by VOLTAIRE What will be thought-of will be found inside, 5 The siren trick, 6 He will play cards blindfolded and will do repic et capot to his opponent, 7 Eight watches will be thrown into the air, they will be suspended from the ceiling by a gun shot, 8 The trick of the glass of wine changed into flowers that he performed before his Imperial Majesty And many other tricks of his invention Price of seats

First 30 sous, Seconds 15 sous T h e experiments of the "first

conjurer of France" were, as can be seen, affordable to everyone The coup de piquet was Gomus's best trick He performed it with rare skill Here is the summary of how he went about it He asked a member of the audience to unseal a deck of cards and shuffle them well When the deck was returned, he asked for a blindfold for himself A useless precaution, if we may say so, because no matter what is done to deprive someone of sight in this way, the bridge of the nose always leaves enough space on the sides for one to see During the preparation of this operation, he was able, without the spectator's knowledge, to quickly study a pack of cards, choose a sixteenth in spades, as well as three aces and three kings of another suit, which he subtly placed under the pack Once his eyes were covered and he was supposedly blind, Comus mixed the cards awkwardly, as if it were difficult for him, but

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in reality, he was shuffling the cards in his own way This is, with the help of a conjuring, and more specifically, a cheating manipulation called cull shuffling by the Greeks, with which he stacked the cards in such a way that those he had chosen ended up in his hand when he dealt the cards He then presented the deck to be cut, but he reestablished the order he had set by performing the pass After the cards were dealt, the magician had in his hand a sixteenth major, a fourteen of ace, and a fourteen king with which he did repic et capot his opponent by winning one hundred and sixty-three points in a single round The glass of wine that Gomus mentions on his bills is a trick that he invented It was very well done, but we must be surprised that, given the lack of formality with which it was performed, it could be presented before the Emperor Napoleon I You will judge according to the following description Gomus arrived on stage pouring wine from a bottle into a glass Once the glass was full, he brought it to his lips as if to drink, but changing his mind, he suddenly threw its contents at the neighboring spectators The wine, in its trajectory, turned into rose petals No matter how surprising this trick may seem, and no matter how graciously it ends, it remains a very risky joke, especially in the presence of an audience that allows no familiarity of any kind In the middle of this success, Gomus had the bad luck to get a taste of his own medicine about the pseudonym that he had chosen

One of his colleagues named Cote, jealous of his name, but not having the right to use it, found a way around this by using the name Gonus He so mercilessly competed with the old conjurer that Gomus gradually lost his identity to the newcomer The two names became confused about who was really the leading conjurer The brilliant conjurer of the past, Gomus, first conjurer of France, died in 1820, poor and forgotten Sic transit

Conus Skillful conjurer from the beginning of the century, whose real name was Cote He took the name of Gonus to create confusion with and take advantage of the name Comus, who was one of his very popular competitors He was very skillful with his hands Contrary to the manner of conjurers of that time, he used neither devices nor apparatus for the execution of his tricks Cards, coins, cups, and a few objects borrowed from the audience were the only elements of his program To give an idea of Conus's dexterity with cups and balls, it will suffice to say that, instead of using cork balls, whose lightness was useful for stealing them away and placing them under cups, he instead used massive brass balls much bigger than the other kind, which did not prevent him from performing the most surprising sleights without the slightest vibration being heard One of his favorite tricks was the following After having borrowed four coins, he first showed how his conjurer colleagues ordinarily held the coins in the palm of their hand "In this

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way," he said in a good-natured, comical tone, "they trick you, gentlemen, and it is wrong, but I, who am honest, cannot use such methods " This did not stop him from using exactly the same procedures, and he managed to invisibly pass up to four coins from one hand to the other using skill and cunning It is true to state that Gonus had the skill of hiding several coins in the palm of his hand, which he held open but facing downwards This skill is acquired through practice, conjurers call it palming The trick ended this way taking an empty cup in one hand, he placed it under the table and taking the other four coins, which he showed to the audience, he appeared to pass them through the table, and after hearing their clinking sound, he proved that they had really fallen into the cup Comte took the multiplying aces trick from Gonus, which consisted in making a multitude of aces come out of all parts of a spectator's clothing Another one of his tricks, which was greatly appreciated by amateurs and which his colleagues considered to be a marvel of conjuring, is as follows He had a deck of cards in his left hand At his request, the audience named any card at will Conus then picked a card at random from the deck, showed it to the audience, and it so happened to be the card that had been named This was repeated as many times as desired Gonus died in 1835, leaving a son who was also a conjurer, but who has not performed in several years

Coupe [Cut] Conjuring Cutting the cards This is where conjurers have shown a

APPENDIX II —, good hand, with or without wordplay, according to the reader's wish We intend to talk about cutting the cards, which holds such an important place in the outcome of the game, especially when one skillfully knows how to maneuver them to one's own best interest Even if we have to make the scarce hair on the bald head of Lady Morality stand up, we are going to expose here the principles ('") upon which this art is based, and which allow one to control the outcome of the game, which is euphemistically called correcting the mistakes of fortune But let timid minds not be frightened disproportionately, let not ordinary people put their hands in their pockets and put safety chains there, next to the illness, we place the remedy, and after having read this article, a bad jester who wants to fool players risks being put at the bottom of the wall, as is commonly said, and moreover, he would probably stay there "Maiprend aux volereaux de faire les voleurs," said La Fontaine, misfortune sometimes also befalls novice conjurers who try to imitate Bosco and RobertHoudin And because this last name comes so easily to our pen, let us say right now that we owe the following information to this doctor in witchcraft, who so well saw through the Davenports' cabinet This revelation is easy to understand, but difficult to put into practice One becomes a conjuror, but one is born a magician Bnllat-Savarin said this more or less, and M Robert-Houdin clearly proves it These preliminaries well established, let us attack the issue of cutting the deck, an operation so crucial to this kind of

game, because a pack of cards cut one millimeter higher or lower could completely change the outcome of a game One knows that in all card games, no matter how varied, the person in charge of dealing the cards first presents the deck to his opponent to cut It is a sort of guarantee, or custom, which is practiced in the best circles Here is how this cut is usually performed the dealer, after having shuffled the cards, places the deck within arm's reach of his opponent He in turn divides the cards as he wishes into two more-or-less equal parts and forms two packets on the table The dealer takes the two packets and puts the one that was underneath on top The two packets then become one, and all natural or artificial dealing of cards that could have occured in the game is prevented One presents the cut, or in other words, one gives the deck to be cut to the right, left, or across from oneself, according to the number of players In the last case, one always presents the cut on the side opposite to where the dealing began As the success of the game depends uniquely on the cut, as it were, there are people who, absolutely wanting to win, have devised skillful manipulations so that the cut would not make them lose the chances that they have created for themselves in shuffling the cards in a certain fashion To achieve this fine result, they have found nothing better than to make the pass Preparation 1 Hold the deck of cards in the left hand and divide it with the little finger in two nearly equal parts, as in illustration 1 419

Illus 1 2 Cover the deck with the right hand and hold the edges of the lower packet together between the middle finger and the thumb as in illustration 2

Illus 2 The pass With the help of the little finger, which is in the middle of the deck, and the three other fingers which are on top, pull out the upper packet to make it go quickly and noiselessly under the lower packet To do this smoothly, one should press on the edge of the lower packet with the tip of the thumb and, with the help of the two fingers holding it, one uses a movement so that the other packet can go under it In order to be more easily understood, remove the right hand, which serves to hide the operation, and we easily see the position that the packets should occupy during the transposition (illus 3)

ROBFRT HOLDIN

Illus 3 Once the pass has been made, the right hand leaves the left and appears as in illustration 1 These diverse movements, described in steps to facilitate the explanation, must be carried out with a promptness so that they flow into one and the same action The skillful conjurer makes the pass invisibly in less than a second The reader who will take a deck of cards in order to try this manipulation for the first time will perhaps consider it as impracticable Would it not be the same if one wanted to first play an instrument according to the instructions of a book? To show an application of the pass in card tricks, let us suppose that after having asked someone to take a card from a deck and put it back, one wants to quickly find it Here is the process to be followed once the card has been removed from the pack, separate the cards into two packets held close to each other (illustration 4)

Illus 4

Place the card on the packet of the left hand and cover it immediately with the packet of the right hand, but at the same time you have furtively placed the little finger between both packets, slightly dividing the deck in two, giving it the appearance of illustration 1 To the spectator, the card is lost in the deck If you make the pass now, in following the previous instructions, the chosen card will be on top of the pack The One-handed pass This exercise is rarely used in card tricks, it has no other purpose then to show the dexterity of the fingers There are several procedures to eliminate the cut with one hand, we can see the description in several modern treatises on conjuring The blind cut In greekery (we are creating the word following Robert-Houdin), a skillful manipulation of cards whose goal is to avoid the disorganization caused by the cut in card decks This card-sharping technique is based on the following procedures (1), The pass, (2), the pass cut, (3), The cut avoided, (4) The wide card, (5) the bridge The Greek pass, although producing the same result as in conjuring, is not done the same way, after his opponent has cut the deck in two parts, the Greek, as usual, puts the bottom half on top But, in so doing, instead of squaring the two packets to make just one, he puts the upper packet a little behind the lower one so that they overlap by one centimeter Thanks to this ridge in the cards, the Greek, once he has the cards 420

in his hands, slides the little finger of the left hand between the two packets and prepares to make the pass at the appropriate moment We say at the appropriate moment because only beginners in trickery hurry to carry out this operation The experienced Greek takes his time, and with the help of a few gestures of good company and a very captivating conversation, he manages to hide the manipulation of the pass In this way, for example, he will say, in moving his hand to the right spot "Have the bets been made ? " Or even, with the same intent, he will ask how many points his opponent has, in this way feigning distraction or indifference The pass cut This cheating technique fulfills the same goal as the preceding Here is the description When the deck has been cut, the Greek, instead of placing the lower packet on the upper one, subtly slides it underneath, which completely changes the cut The cut avoided is a false cut whose artifice is extremely simple And it is perhaps for this reason that one is easily caught The Greek, in lifting the lower packet to put it on top of the other, instead of stopping, goes over and past it and simply puts the packet in the left hand, after which he places the other packet on this one The deck is in this way returned to its original condition The wide card This is a card which is wider than that of the usual decks Introduced into a deck, the wide card, thanks to its protruding portions, forces the cut

• APPENDIX II —i

to be made at that precise place If the Greek has already prearranged the deck to make the outcome of the game favorable to him, this type of cut changes none of his preparation because it takes place at the spot where the dealing begins The bridge When Greeks want to have the cut occur at a certain part of the deck, they use the bridge Here is how they cheat The pack is held by the left hand and grasped by the right at its edges, first they bend it by folding it on the index finger of the left hand, then, dividing the deck in two parts, they make a rounded shape on the top in the opposite direction This done, they slide the upper packet under the other as if they were mixing the deck The curved parts then meet and create a slightly gaping opening which naturally sets the fingers for the cut The aforementioned swindles are generally executed invisibly by those who use them in dives and ill-reputed places for which, moreover, they are exclusively reserved They could not be practiced easily in good society There, the dealer must be serious in all his movements, all gestures beside what is strictly necessary to shuffle and deal the cards would soon arouse suspicion Still, honest people do not really trust and are wisely wary, the passion for playing goes hand in hand with the love of gain One wants to win, either for self-esteem or for profit Wherever cards and a green baize are found, one takes the risk of finding players

who manipulate the laws of chance, there are Greeks in all social classes The higher the class, the more skillful the cheaters, and therefore the more dangerous they are We know that the nobility who attended the courts of Louis XIV and Louis XV did not consider cheating in games to be at all relevant to morality Even in our day and age, scandalous stories of this type are often mentioned in the newspapers Luckily there is a very simple way to not only eliminate the effects of the blind cut, but better still to foresee it and banish it It is by having the cutter complete the cut, which means that after having cut, he puts the two packets on top of each other in the state they are supposed to be in for the dealing It is obvious that, in this way, the dealer, no matter how skilled he may be, cannot make the pass But you may say that acting this way is showing an insulting mistrust, the consequences of which may sometimes be even more disastrous than the loss one wanted to avoid Yes, we will answer, this is a fatal alternative which is very difficult to avoid In this case, the best thing to do is simply not to play, especially with people one does not know or one knows too well But you will object again in saying, I love playing, it is my only pleasure, my only distraction Well' Resign yourself in advance to being cheated, and blame only yourself if you can't detect the Greek's artful dodges We will have a chance to return to this subject with the word GREEK 421

Davenport (Brothers), skillful American conjurers and so-called mediums, who first appeared in Paris in 1865, one was born around 1840 and the other around 1842 We know of all the commotion surrounding the name of the heading of this article, and everyone still remembers the Davenport Brothers' miraculous cabinet In this case, the definitive triumph of spiritism greatly impressed two social classes, of which one is quite numerous and the other very powerful All weak-minded people whom the fantastic attracts, whom the thought of the devil scares, but who would be saddened not to be able to believe any longer in the devil or in spirits of the other world, precisely because that would deprive them forever of the pleasure they get feeling scared, promised themselves to plunge with delight into the terrors of the marvelous show which was announced to them, and for other people, less easy to surprise, and who have an easier time calculating the distant consequences of things, if Satan or the spirits came to make a new eruption on Earth, rationalism, their bete noire, would also be struck in the heart, and soon they could chant the De profundis on the reign of pure reason and common sense Let success crown the Davenport Brothers' enterprise and all the arguments against the supernatural are thrown to the ground, the reality of miracles has been proven by facts, and free thinkers can but bow down But, to one magician, a magician and a half, we did not count on the man

ROB^RT-HOLDIIN

for whom all these tricks are but the ABGs of the trade, and who proved that these supposedly supernatural gimmicks were, on the contrary, the most natural in the world. "Dear colleagues, you are certainly very skillful people; but, as Proudhon said very irreverently to Victor Considerant and consorts, you are just a joke." The three engravings below are the property of our learned collaborator. They faithfully reproduce the physiognomy of two operators performing; in other words, they are photographs. In September 1865, two Americans, Ira and William Davenport, arrived in France to give marvelous seances, under the name spirit manifestations. They had come directly from England, where for two years they had benefited from a great vogue. The press from the three kingdoms had energetically related their mysterious exercises and the commotion from the polemics raised had reached us. The arrival of these thaumaturges took the importance of a political event, the Moniteur du soir, an official newspaper, announced them in its issues of 6d and 8th September and all the press repeated this interesting news over and over again. Before going to Pans, the Davenport Brothers had stopped at the chateau of Gennevilhers whose owner, a fervent disciple of spiritism, considered the illustrious visitors' stay as good luck. It was in this welcoming residence that the first trial performance of spirit manifestations took place. A small number of writers and journalists were also invited, who all agreed upon the fact that the feats they had

witnessed were marvelous and unexplainable The American mediums did not speak a word of our language; so they were obliged to have an interpreter who was also their agent, or as it is still said, their Barnum. They had been put into contact with M. Derosme, a man of letters living in Passy and to whom we owe excellent translations of a few English works. The latter accepted the mission offered to him and to make his proteges known; he had them perform a few seances in his living room before an elite audience, whose support could have great influence on the future success of their possible performances in the capital. Huge American-style bills were put up all over Pans; the first seance of the Davenports was announced in huge print and would take place in the Salle Hertz on September 12th. The show, divided into two parts, was composed as follows: (1), Cabinet effects; (2), The seance in the dark. The price of seats was 25 francs per person for the entire show and only 10 francs for the first part. With such high prices, what a prospective great income! Alas! The illusion of the two brothers about their future success in the capital had to end here; the kindly support they had collected in their preparatory seances were the only real joys they were allowed to experience in the most intelligent and skeptical country in the civilized world. An unforeseen storm was rolling over spiritism in general and on their exercises in particular; this storm became more and more threatening as the day for the first performance ap422

proached. Well-intentioned newspaper articles were followed by a large number of virulent protestations against an exhibition that was considered, and with just cause, to be dangerous to public thought and particularly for certain weak minds that always tend to take seriously the tricks of adepts of simulated witchcraft. The following lines, taken from a newspaper article in L?Opinion natwnale (September 10, 1865) will give an idea of the state of excitement of the Parisian press about the American mediums. This article preceded the Davenports' first performance by two days: "...These admirable Americans arrive preceded by a thundering reputation. Their Gospel arrived before them. It is a 300-page volume in which M. Nichols, the author of this work, guarantees that the Davenport Brothers have possessed the skill of being lighter than air since their most tender youth; that several times they have flown up to the ceiling and hovered over the audiences. If I dare contest M. Nichol's testimony on this point, it is not only because the thing is absurd in and of itself, it is also especially because it is insulting to the Davenport Brothers. What! Gentlemen, you let it be said that you flew without wings in a theater, when it is shown that you can longer do it! You therefore have a power that has run out, a virtue that has left you? Must one conclude that you no longer merit your spirit servants? That you no longer have the same authority over your aerial porters as before? That you are already declining at twenty-five or twenty-three years

APPENDIX II—i of age? That you are going from being the strongest to the weakest, and in Nicolet's land? You have come to show us minor miracles after having given performances in America of which a god would be jealous? Do you therefore take Pans for one of those small minor cities where used, misunderstood, and old artists go to regain success? Is it not strange that in 1865, when all humanity is taking great steps towards progress, when the positive spirit is taking over everything, when all the sciences, freed of the burden of antique nonsense, is resolutely heading toward the truth, that one tries to come and resuscitate supernatural forces? If the moment is ill chosen, the choice of instruments is hardly less ridiculous. What! Here are two big men who have mastered invisible powers; they are served by spirits; they have at their orders an army of unknown beings, but definitely superior to man; and thanks to the alliance of this supernatural power, they manage to do what? Play the violin in a closet. Really, demi-gods are quite modest these days' These gentlemen seem to have taken the journey from America to France to show us phenomena. This is the word that they use, and they took care to add that "these phenomena were noted by the most renowned savants in England and America." Their Gospel is entitled* Phenomena of the Davenport Brothers. So much for phenomena; it is a word used in scientific language and also on the fairground. The Saverne fair opens next Sunday and is already encumbered with phenomena. There are live ones, all

noted by the Emperor of China and the Sultan of Morocco; that does not make them any more worthy. But let me come back to your phenomena; because finally you have your own phenomena and you seem to want to find a place for them. You do not know that phenomena are nothing by themselves; it is a question of taking them to a known or unknown, ancient or new law; they only interest serious men on the condition that they prove something. What do you want to prove? What conclusions do you draw from your little nocturnal disturbance? What new elements do you bring to science? Gome on, expose yourselves frankly; new ideas do not scare us. They scare us so little that it is very useless today to recommend them via miracles. A good truth makes its way in the world without being accompanied by luminous guitars and phosphoric violins." (Edmond About). These wise reflections and logical reasonings of the eminent writer must have struck a terrible blow to the American mediums' credibility and shaken up the faith of the most firm believers in occult sciences. The medium-like faculties of the two brothers, their evocations, and their spirit manifestations were now judged. For every man capable of reason, the Davenport Brothers were only tricksters Still, public curiosity had been so excited lately that everyone wanted to see these men who had been so talked about, as well as these true or false miracles which had been the object of such vivid controversy. One therefore waited with impatience for the day of the first performance and rushed to it.

423

Because of my distance from the capital, I could not attend this memorable seance, I am therefore obliged to borrow M. H. de Pene's account of it. I will then give my description of when I saw them perform before a calm and well-intentioned audience. Here is how the spiritual chronicler of the Gazette des Strangers relates the seance, under the title ofCHOKING OF THE DAVENPORT BROTHERS AT THE SALLE HERTZ, The tragi-comic saga of the evening of September 14th: "The first performance of the two brothers before a paying audience," he says, "took place on Tuesday evening, as had been announced. The theater had turned on its lights, all the seats were full. But the spectator found himself drowned in a tumult worthy of an assembly of furious shareholders. There was a lot of noise and mean grumbling. The night performance, the most interesting of the two, that which had been poetically entitled "One hour in the dark," and which was only to have for witness a small number of spectators at a high price, did not take place at all. "The first part only of the public seance, accessible for a low rate, sufficed to bring such a turmoil that after about fifteen minutes of commotion the public had to leave with police sergeants prodding them. Moreover, one loyally gave back the money at the door; it was even said that more came out of the cash register than went in. "These poor Davenports! I saw them close up, I spoke to them; I touched their cabinet, their famous

ROBPRT HOIDIM

ropes, their tambourine, the bells, guitars, in a word, all the elements of the miraculous symphony in which they are said to excel I was called by universal suffrage of spectators to the perilous honor of climbing onto the stage to inspect the operations, to tie, untie, and do everything that my job as controller intended "Can I say that there was bad will toward them before the beginning of the performance? Yes, I can, but I could not say for certain The worst enemies of the Davenports in this seance were themselves Let us be clear I think they are very skillful because in front of trustworthy people and myself, they did really marvelous things with assistance from this world or the next in various situations Their reputation and their merit as conjurers, mediums, or sorcerers, however you would like to say, still remain intact in my view However, they do not know the Parisian public at all, and given the way in which the staging of their miracles was organized, one would say that they had never come out of their cabinet Obviously we were dealing with a defiant and wary public that had to be energetically accosted with a high and light hand, just like a skillful horseman makes his horse jump over the obstacle before which it hesitates If the horseman also hesitates, he is lost "The evening opened with the speech of an interpreter whose intention was excellent and who had a conciliatory wit, but whose emotion was also very visible This was about the jist of what was said "Gentlemen, the Davenport Brothers, who have had an immense reputation in America and England for the

past ten years, do not have the good fortune of speaking your language, they therefore entrust me with the task of assuring you that they in no way pretend to impose upon the public the belief in their commerce with spirits, they do not proclaim to be sorcerers or conjurers before you, they only propose to let you witness phenomena whose causes they themselves know nothing about, in letting you be the sole judges of the effects produced "Such a speech was reasonable and fairly well-received Unfortunately, the interpreter, too confident in the marks of sympathy granted him, continued speaking and launched into long and diverse explanations which finally tired the public The Davenports were asked for with large cries They appeared and the tumult ended "Finally the show would go on' Not yet' The actors were on stage, their closet was open with three doors to receive them but their ignorance of our language, their affected or sincere desire to seriously check things, the speed with which they accept all trials without bargaining, the stubbornness they use to force public incredulity (Alas' it was always us) in sticking their nose everywhere, added more and more length Better to hoodwink people and do it quickly People grumbled, sang, whistled, burst out laughing, screamed, and got angry "During this difficult time, we fulfilled the functions delegated to us, we checked and tested everything Then, after examining the ropes to be used, we attached the two brothers as best we could to the benches in their cabinet The audi424

ence, interrogated by the interpreter, answered in chorus that they were satisfied with our work But a blond-haired gentleman, whom I was told later was an engineer, arose 'These gentlemen,' he said, 'are truly tied, but poorly tied up, I will do it myself in such a fashion that they will not be able to get loose ' He did what he says and returned to his seat with a triumphant air The doors of the cabinet closed on the two Brothers who, a few minutes later, seemed untied There was applause The Davenports therefore succeeded in what I will temporarily call the rope trick when the blond gentleman, who wanted to avenge himself, impetuously jumped onto the stage and cried out 'We are being tricked, this is an undignified mystification the bench on which the gentlemen are seated rocks so as to allow them to get untied ' Saying this, he struck the plank with his fist, and it broke noisily into bits Naturally one of the Davenport Brothers fell to the ground as is the case when a chair is pulled out from under one who is seated The entire theater arose, the storm was everywhere, people left their seats and became their own delegates, everyone was onstage One spoke with strangers, exactly like during a not M Hertz began to tremble for his theater "Brusque entrance of the city police and on the formal order of the police commissioner, the seance was adjourned "At the nightly hour when I write these lines, on Tuesday at midnight, the Davenports are the main subject of conversation on the turbulent boulevard They will

• APPENDIX II —,

drop on the stock market tomorrow The impression which seems to dominate is that they were executed with a certain ferocity and bad taste without being judged Indeed, the worst of despicable things, in my opinion, is violence It dirties the best causes, and would take us away from law itself when one begins to follow its call I admit that the Davenport Brothers are impostors, and even impostors with no skill, still, in their Waterloo of the Salle Hertz, the public showed itself to be brutal, so, in my view, the public was wrong even when they were right " Judging by the reception given them, the Davenport Brothers must have had a strange opinion of French hospitality Many others in their place would have been discouraged after such a welcome and would have bravely given up But they wanted to get revenge on their raging contradictor, whom they justifiably considered to be the main instigator of the disastrous adventure T h e next day, they had some important press figures come and visit their cabinet, while the damage was being fixed They easily proved that the hinged planks, as signaled by their contradictor, only existed in his imagination and that the hinges and moving parts of the furniture had no other purpose than to fold to facilitate packing The triumph of the raging engineer was therefore short lived, he could read the same day, in several

newspapers (LJEpoque, he Temps, and La Patne) the following paragraph "M D , who thought he had discovered the trick and made us

share his belief until last night, obviously made a mistake The mobile wood plank is in no way the deus ex machina of this apparatus Indeed, this plank is now attached to the uprights of the cabinet by very strong screws The furniture is made of very thin planks inside which it is absolutely impossible to introduce the slightest mechanism Above, below, on the side, we see absolutely nothing suspicious and we can spend our time looking, knocking on the walls, and looking under rugs and moving chairs, we are forced to admit that if there are tricks, they are absolutely, but absolutely, invisible " Fncouraged by this declaration, the Davenport Brothers had a letter inserted in all newspapers in which, while protesting against the violence of which they had been the victims, they announced their intention to continue their performances Here is an extract "M D , engineer who, after having made a scene, cried out 'We have been victims of a terrible mystification'' violently broke an innocent plank supporting the seat on which one of us was sitting on tied up This plank is in heavy oak and hides no spring or device, it came out of its place because it was smashed to smithereens We personally invite M D himself to come and verify this fact and to gallantly recognize his mistake "Our cabinet can be examined by everyone, it contains no disposition to favor the phenomena which take place Moreover, whoever would like to provide us with a piece of furniture with the same shape and dimension as ours, and 425

build it without our intervention, could convince himself that the seance of September 12 h was nothing other than a series of hostile and malevolent demonstrations We would have bowed down before a judgment rendered with calm and fairness, we protest with all our strength and legitimate indignation against the insults and brutalities that we have been faced with for some time now, and loyally call upon the judgment of an impartial public, partisan of serious and honest investigations by objective persons, even forewarned against us It is in this goal that we will continue to give our performances in the Salle Hertz, not doubting the definitive result of our public appearance a single instant " The Davenport Brothers did indeed give a series of seances, which they had the good idea to present in a smaller room than that of the concert hall, and therefore more acceptable for this type of show These soirees took place with relative calm There were from time to time a few little attacks or jeers, but these scenes never degenerated into disorder They were most often comical and caused laughter on both sides I attended these seances several times, and was so amused, just as I would have been before well-performed conjuring tricks, because I knew what to expect from the two brothers' manifestations and I often laughed about the ease with which they behaved as passive intermediaries for spirits from another world Let us declare it out loud The Davenports were noth-

I

ROBPRI-HOUDJN

ing more than skillful conjurers, who, to give more dazzle to their seances, had judged it important to attribute supernatural forces to purely manual exercises. From a sheer financial point of view, they had collected great income. At that time, it was not rope tricks or guitar dances that one went to see; one went to spirit manifestations to be witness of supernatural and inexplicable facts, and this is why one agreed to pay 25 francs per ticket. In the end, the American brothers' experiments were very interesting; the staging was well done to produce the illusion of supernatural forces, and no matter what the opinion of this sort of show, one was always very impressed. In order to give the reader an idea of this seance, I will render the exact narrative of it here, also relating the impression I saw it produce on the audience. Once these marvelous facts are known, I propose to follow them with explanations on the way in which they were produced. DAVENPORT BROTHERS' SEANCE. First part. THE CABINET — We are in a salon of the Salle Hertz, Rue de la Victoire, which can hold sixty people. The room is divided into two equal parts by a balustrade one meter high. On one side are seats reserved for the audience, and on the other the cabinet which must serve for the seance. This piece of furniture, as fragilely constructed as possible, is mounted on trestles; it can only hold three people seated or standing. The interior walls of the cabinet are hung with various instruments, such as violin,

guitar, trumpet, tambourine, and whistle. Three doors can be closed to conceal the mediums from the audience. Before beginning the performance, several members of the audience are asked to go onto the dais and to stand in a circle around the piece of furniture, in order to form a block to all exterior communication. First the two Americans are tied up. The audiences agrees to designate a former naval officer, expert in all sorts of knots, and in whom everyone seems to have great confidence, to carry out this delicate operation. First the ropes to be used are examined, and the two young men are searched as a policeman would do, as precautions against any trickery or surprises. The Americans go into the cabinet and sit on the planks, to which they are to be tied. The delegated marine takes a rope, he marks it to make sure that it will not be exchanged; he notes its length; then, with the help of knots called marine knots, reputed until now to be inextricable, he successively ties up the two brothers; he attaches their arms to their bodies, solidly ties up their legs; he finishes tying them up in such a way on the planks and benches that everyone believes the Americans' defeat to be ensured; they will definitely be forced to surrender. We have said that the closet has three doors; there is a diamondshaped opening at the level of a man's height in the third. First the two side doors are closed, then the middle one. Incredibly, however, 426

as soon as this last door is closed, one sees a right arm appear through the opening, still red from the tightness of the famous marine knot. The surprise, astonishment, and stupefaction of the public cannot be depicted; one hesitates to believe what is seen; one looks at his neighbor to base one's ideas on his; but everyone is sufficiently intrigued and can furnish no explanation. They resign themselves and pay a fair tribute of applause to the artists. Soon the three doors are opened and one sees the two brothers, smiling, come out of the cabinet free of their bonds, which they hold in their hands. More than ten minutes were spent tying them up and one minute was enough for them to get out. This first deed accomplished, the young men go back into the cabinet; they sit down; one places the pile of rope at their feet and closes the doors. Two minutes later, the doors are opened and the mediums are tied up again; they tied themselves up in the dark, and their hands are solidly tied behind their backs. The knots are verified and are declared to be as solid as the first. It is good to recall that, during the seance, a few members of the audience are constantly surrounding the cabinet, which is raised on trestles, and that the room is lit enough so that everything can be seen. Now the most astonishing facts take place; the doors are closed as quickly as possible, but the last one is barely closed when the strangest concert is heard; the violin begins to play with a firmly

APPENDIX II —i

conducted bow, the guitar sounds, the tambourine beats the time, the bell rings, the trumpet is vigorously blown, and all this forms a horrible cacophony. Sometimes a succession of sounds, bumps, and blows joins this infernal music. Then suddenly, all is silent, and one sees an arm go through the opening, frantically shaking the bell. At the moment when the concert is the loudest, if one suddenly opens the doors of the cabinet, one notices that the instruments are in their previous places and that the two brothers are immobile on their benches and tied up as before. The doors close, the bacchanal starts again, and each time the doors are opened, the mediums are calm, tranquil, and still tied up. I forgot to say that, at each one of these spirit manifestations, the cornet and the bell are thrown through the opening at the audience's feet. To control these mischievous elves, one of the members of the audience is designated to get into the cabinet between the two brothers. A delegate is sent: he sits on the middle bench, and to prevent any action on his part, one hand is tied to the shoulder of one of the brothers and the other to the knee. This guarantees that no other movement from the mediums could take place without the delegate noticing. Once the doors closed, the Sabbath is heard again in the cabinet and all the instruments make even more noise. This bacchanal stops after a moment, and one sees that the unfor-

tunate visitor has his head wrapped up in his own handkerchief and is wearing the tambourine on his head, while his tie is tied around his right neighbor's neck and his glasses worn by his left neighbor; his watch has even been moved from one pocket to the next. The delegate, once freed from his bonds and immediately surrounded, is questioned; he declares that he only felt a little brush on his nose when his head was covered with the handkerchief and his glasses taken away, and can give no other explanation. The mediums' wrists are still solidly bound behind their backs. Flour is brought with the help of a spoon and placed in each of the mediums' hands. The doors are no sooner closed than the clothing of one of the recluses is passed through the opening. The doors are quickly opened, the bonds are verified, the door is shut again, and two minutes have not gone by when the two brothers come out of the closet, fully freed of their bonds; they go toward the audience and show that their hands are still full of the flour placed there. Moreover, the young men are wearing black and there is not the slightest trace of flour on their clothes. Second part. T H E DARKNESS. The staging of the seance is extremely simple: the cabinet and its trestles have been removed and put aside; they are replaced by a little table on which are placed two guitars and a tambourine that we have seen in the first part of the seance. 427

Following the request made to their interpreter, fifteen people come to sit near the Americans, and hold each other's hands, thereby forming an unbreakable circle. Two gas burners, placed on each side of the reserved space, are the only lights in the room; a person placed near each one is charged with turning on or off the light. At a signal given by one of the brothers, the lights are extinguished for two minutes. A great silence reigns in the room, everyone being overwhelmed by this unusual staging. The privileged spectators, those who form the safety line, are so close to the mediums that the slightest movement, the weakest rubbing of their clothes, can be felt. One listens attentively for the slightest revealing noise, but in the midst of this worrisome waiting, suddenly there is light, and one sees the two Americans solidly tied up; their arms, legs, and bodies tied up with ropes and knots to the chairs on which they are seated; their wrists are tied behind their backs and attached to the chairs. The table and chairs are also solidly tied together. One approaches and looks at the various knots and notes them to be well executed. It becomes dark again, and immediately the instruments placed on the table are mysteriously heard. Suddenly the lights are back on and the concert stops. The instruments do not seem to have moved and the mediums are still tied up. The audience is starting to feel uneasy. There is very little applause; this type of show is not the type to excite en-

ROBERT-HOUDIN

thusiasm. There is more of a tendency to be irritated. Believers see true spirit manifestations in these deeds; the skeptical nonbelievers cannot prevent themselves from admitting that these pretended supernatural interventions are still well executed. There are even more surprising feats of this mysterious seance to come. To give the assembly absolute certainty that the bonds will not be untied, one asks a few neighboring spectators to pour wax over the knots tying the ropes and to stamp it with a seal. During this time, the guitars and the tambourine are coated with a phosphorescent ointment that will allow them to be seen in the dark. As soon as darkness falls, the guitars and the tambourine move around and leave their places, producing the most lugubrious sounds. They are seen to rise up in the air, trace a luminous contour, then fly haphazardly through the room over the audience's heads. A guitar ruffles someone's hair and someone else's clothing with abrupt and jerky movements. None of the instruments ever touches the members of the audience or the ceiling; however, when they pass close to the face, one senses a brusque wind, a movement of air that immediately makes one hunch down for fear of being hit. This situation is more painful than pleasant, and a feeling of \ ague terror is felt by all. In the midst of these bizarre happenings, the lights are turned back on and the instruments are found on the spectators' laps.

Verification of the sealed ropes: they are intact. Here is a new precaution taken to reassure spectators against trickery, if they still have a doubt: A sheet of paper is placed under the mediums' feet; the contour of their shoes is traced. If, by way of an unexplainable process, they manage to free themselves of their bonds and leave their seats, the piece of paper will re\eal the fact. A few millimeters of difference and the trick is ruined. The public seems satisfied by this measure. A member of the audience is also asked to take off his coat and place it on his knees. These dispositions finished, the gas is extinguished and during a few moments of obscurity, the guitars still play their songs from beyond the grave and give in to their fantastic feats. But while these bright, resounding instruments swing in the air, a spectator finds himself suddenly stripped of his hat, which is swept a few meters away, another has his hair ruffled by the passage of an unknown hand, a third feels his hand squeezed by an invisible hand; finally, the spectator's coat is energetically lifted off, while another spectator receives a piece of clothing, which he cannot distinguish, on his lap. When the gas is turned back on, we see the two brothers calm, tied up, and seeming completely unaware of what is going on. One hurries to the seals - they are intact; the piece of paper is verified - the shoe has not moved a millimeter from its outline. But what brings astonishment to its high-

428

est level is that one of the brothers, although tied up and sealed, is wearing the clothing of one of the members of the audience, while the other is wearing a hat and glasses. These three objects belong to one of the members of the audience. The medium's coat is in the theater, worn by another spectator. At this moment of astonishment, we can even say stupefaction, the public's bewilderment is at its height. Spirit manifestation, mystification, or conjuring trick, the show is complete and without any further reflection, the public gives a hearty round of applause to the artists. EXPLANATIONS OF T H E TRICKS PERFORMED BY THE DAVENPORT BROTHERS, ATTRIBUTED TO SO-CALLED SPIRIT MANIFESTATIONS AND INEXPLICABLE PHENOMENA. Conjurers usually have special instruments to facilitate their tricks. The Davenports, strictly speaking, only ha\ e their ropes. The cabinet serves no purpose in the execution of their tricks. A simple folding screen and two chairs could replace it. It only serves, in reality, to hide the mediums' manipulations. The musical instruments can be considered as simple props. The ropes are made of a cotton material similar to that of the cords used to open and close curtains; they therefore have a smooth sliding surface. They are approximately three meters long. When, at the beginning of the seance, a certain number of people are asked to go onstage and encir-

• APPENDIX II —,

Fig. i.

cle the closet, they are asked to hold hands, under the pretext of establishing a magnetic circle around the spirits. In fact, the point is to avoid indiscretions. It is for these same reasons that the members of the audience closest to the stage are asked to hold hands.

The two brothers sit on the benches of the closet; they each give three ropes to the delegate who must tie them to their seats. One would perhaps believe this task to be easy; not at all. First, how to do it, where to start? One has perhaps never had the opportunity to tie up a prisoner. Sometimes the

Fig. 2.

429

delegate is kindly disposed; he is more concerned with performing his task well than making things difficult for the artist; he follows the movement of the rope. In this way, the success of the trick will be much easier. But often, the artists are confronted with a clever and nervous delegate taking his role seriously and considering his reputation and skill to be at stake. His first idea is to place the patient's wrists behind his back and solidly tie them up. He then brings the rope up front, then behind, ties it under the arms, and finishes with a knot that he considers to be inextricable. He ties the feet, thighs, and arms with the two other ropes, and solidly attaches these parts to the bench of the cabinet. Useless precautions! All knots and ties can be undone. While he is being tied up, the medium moves into all the positions imposed on him. But with his American eye he promptly sees whom he is dealing with. If the delegate is kindly, he takes no notice of him; he lets him do what he likes. But he carefully watches the other type and tacitly struggles against his rigors. If he feels too tightly squeezed, he lets a weak protest escape from him which he seems to immediately repress. This little act almost always succeeds; it is rare that a bit of reserve is not put into the continuation of the tying. Or, also, the medium, without one being able to see, expands certain parts of his body, either by imperceptibly raising his shoulders, or by moving his arms away from his body, or finally, by exerting a resistance where the pressure is felt.

ROBFRT-HOUDIN

Once tied, the medium goes through certain efforts that we cannot describe. He moi es the ropes on his forearms up to his shoulders, in order to free them somewhat. Then comes an effort of strength and dislocation - the wrists vigorously spread apart to form a le\er on the loops in which they are tied, and by repeated jostling, they release certain parts. Even one centimeter is enough to free one hand. Through an exercise practiced by our mediums, the thumb goes into the hand and the whole hand becomes cylindrical and the size of the wrist. The first of the four hands to be freed goes through the opening to display7 itself to the audience, while the three others are working on basic untying. Once the hands are free, the other tics and knots are undone; teeth greatly help in this circumstance. Ira Davenport, on the right in Illus. 1, is more skillful and better dislocated than his brother; he is almost always the first one freed. In this case he helps William. Otherwise, the first to be free helps the other one. When the mediums tie themselves up in their cabinet, the method of tying that they use helps them to untie and tie themselves up in very little time. Illus. 2 will give an example of how the ropes are used. To obtain this arrangement, here is what they do: They take one of the ropes in the middle and create a double loop here, as shown in Illus. 3. We see that it is a sliding double knot whose loops can be tightened

Fig. 3.

or loosened by pulling on edges A and B or letting them go. While leaving these loops open, they put two ends of the rope through holes made in the bench; this rope is long enough to tie up the feet and be attached to the plank in front. With the other two ropes, they tie the thighs to the plank and sometimes the arms to the body. This done, they place their hands in the loops, which they tighten by stretching their legs forward. It is on this trick that all the simulacrum of the intervention of spirits and noise is based. Indeed, the doors of the cabinet are barely closed when the two brothers bring their legs to the rear a bit, which loosens the knot and allows them to free their hands. The violin, guitars, tambourine, and bell are almost simultaneously played and form a cacophony reinforced by the jolts and knocks on the walls of the cabinet. Then suddenly the instruments are put back and the hands go back into their bonds. The doors are opened and everything seems to be in order. A delegate of the audience, we are told, is sent. He goes into the cabinet and sits on the middle 430

bench. One of his hands is tied to Ira's shoulder and the other to William's knee. But doesn't one see that this precaution, which seems to be taken against the two brothers, is to their advantage? Indeed, they do not need to move their shoulders or knees to be able to perform their mischievous tricks, and the newcomer cannot control their actions with his hands tied. He becomes passive and, in this state, his glasses are easily taken off if he is wearing them, as well as his tie and handkerchief, and the tambourine is placed on his head. Putting flour in the two brothers' hands does not prevent them from taking them out of the slip knot. Once the hands freed, they put the flour into a pocket of their clothing; wipe their hands; then successively pass them through the opening to show they arc free and resume their noisy concert, after which one of the brothers takes a little cone filled with flour out of a side pocket; he puts some in his colleague's hand and in his own, puts the emptycone in its hiding place, and puts the flour in both hands. The doors are opened, and the two brothers, free of their ropes, emerge to show the public that their hands are still filled with flour. This little flour trick once had a slightly unpleasant denouement for the mediums, but very amusing for the audience. The delegate chosen to put flour in their hands had the malice to put tobacco instead. The spiritists did not notice and they reappeared with flour in their hands. The trick that had been played on them was admitted and everyone started to

• APPENDIX II —i

laugh except the mystified mystifiers. The explanations of the second part in the darkness are easy to understand, as the tricks are still for the most part based on the famous slipknot that we have just discussed; the two brothers are seated on each side of a table on which guitars and tambourines are placed; they have a bundle of ropes at their feet; a magnetic circle of spectators holding hands surrounds them; the room becomes dark and immediately the two brothers tie themselves up on their chairs in the conditions described above in the position shown in Illus. 2. The only difference lies in the shape of their seats. Just as in the closet, they can tie or untie themselves at will and play the instruments that are on the table. But how will they do it when the knot is sealed with wax? The reader will note in Illus. 3. that wax can be placed on the middle of the knot and two parts of the rope held together at this spot without the movements of ^4 and B, or that of the loops, being disturbed. When the wrists are passed through the loops, this part of the knot is always underneath. The performer indicates the precise spot where the seal must be placed in asking that one avoid dripping burning wax on his wrist. This remark always helps the success of the trick. Finally it must be said that as the rope is thick as a little finger, the seal cannot take more space than the union of the two ends. There are still several marvelous facts to be explained: the fantastic movement of the guitars, the sheet

of paper under the feet, the clothes taken off and put back on, etc. The guitars and tambourine are coated with a phosphorescent liquid whose weak glow is not strong enough to light the objects that are around them; one is therefore in total darkness. Ira frees himself and, thanks to the skill he has developed of seeing in the dark, takes a glowing guitar by the handle, goes as close as possible to the public, and shakes it over their heads while making the ropes vibrate with the last two fingers. The absence of all other object of comparison docs not allow the public to judge at which distance the blurry light finds itself and I myself felt that a guitar, which almost touched my head, seemed to be a few meters away. During this time, the other medium also being sufficiently free, raises the other guitar and the tambourine, which are both phosphorescent, as high as he can and makes as much noise and movement as possible with these two instruments. The trick of the feet being outlined is very ingenious; after the tracing, Ira steps awa\ from the paper to approach the audience and when he goes back to his seat, he turns over the paper before placing his feet on it; then, taking a pencil out of his pocket, he traces an outline which will later be taken for the one made by the audience. As for the trick of the coat, Ira, free from his bonds, removes his coat, throws it into the middle of the room, and then, taking the one he had placed on the lap of a front-row spectator, puts it on, gets back into his bonds, and the trick is done.

431

Decapite parlant Talking Head]

[The

(Trick of) This ingenious illusion did not initially have this frightening name. It was presented under the name The Sphinx in 1865 in London, at Egyptian Hall, by a conjurer named Colonel Stodare. The inventor of this trick, M. Tobin, secretary of the Polytechnic Institution, sold his method to M. Talrich, a skillful wax modeler who then ran a show of wax figures, called Musee Francais, in Paris on Boulevard de la Madeleine. This museum displayed a number of figures from Greek mythology, among others. It also represented Dr. Dupuytren giving an anatomy lesson before his numerous students. M. Talrich was well inspired because this tableau provided an occasion to put into practice the anatomical preparation to which he owed his reputation. The Sphinx trick gav e M. Talrich the idea of creating an exhibition similar to that of the famous cabinet of horrors that Mme. Tussaud had set up in London in her wax museum. He was obliged to change the staging of The Sphinx that he felt to be too harmless for its destination; below his museum was an unoccupied, large vault in which one descended by way of a staircase, whose door led directly into the establishment. It was in this space that the beheaded show would take place. Far from trying to renovate and re-plaster the walls, the intelligent artist retained the greenish fungus and humidity and particularly wanted to create a certain am-

—

ROBERT- HOUDIN

biance in keeping with the exhibition. We will judge by the following description. The staircase was only lit by the yellow and faded white light of antique lamps suspended at the top of the vaulted ceiling. Once downstairs, one first saw a scene from the Inquisition. The torture was portrayed with a striking realism. The executioner's helper, holding a lit torch, was the only light of this sinister tableau. In leaving the room and turning right, one passed through a barely lit hall and arrived in front of a rail at waist-level forming the entrance to a little vault. In the middle of this space, with moist strawr on the ground, one could see a table on wrhich a little head was leaning to one side and seemed to sleep. At the call of the guide, the head straightened up, opened its eyes, told its own story as well as the details of its torture, and then answered the questions asked by the spectators in several languages; this was a particularly horrible spectacle. Until then everything was for the best in this fantastic exhibition, and it is likely that the success brought on by curiosity would have continued for a long time; but the manager made a huge mistake, which caused the theater's ruin. The entrance price for the Musee Francais was established at one franc per person: it was a very low price, undoubtedly, but if the visitor wanted to see the talking head, he had to pay five francs more. Five francs for five minutes was exorbitant. Still, curiosity almost always winning, one paid five, ten,

fifteen, or twenty francs according to the number of people brought. However, the gallant cavalier with his ladies, the family father with his children, the friend with his friends, while paying without complaining, were often looking to express their pent-up frustration with some teasing. It is undoubtedly in these unfortunate circumstances that regrettable

called ball-shooting. These balls, often directed by unskilled hands, fell onto certain parts of the table thought to be empty, thus revealing a mirror. The trick was then ruined and everyone took a mean sort of pleasure in going and telling family and friends about the famous secret of the head. M. Talrich had ended the ball-throwing by putting up a protective grill

Fig. 1.

things happened to the beheaded one: paper balls were thrown at this supernatural head, in order to know whether or not it had lost all sensation. At the first projectile, the unfortunate patient, whose head alone could be seen, or the head itself, grimaced; at the second it took on an irritated expression; and at the third, goodness gracious, forgetting its passive role, it insulted the audience; the manager had to push the crowd back toward the entrance and call for help. The rumor spread and a few idle thrill-seekers found it quite amusing to go and pay five francs in order to bombard an angry decapitated head. It was

432

between the head and the crowd, but this precaution came too late and was superfluous; the battle ended for lack of soldiers; the Musee Francais was no longer fashionable. The Talking Head had killed off the gods of Olympus as well as Dr. Dupuytren's learned lecture. The cause of M. Talrich's failure was the same as that of the Davenports. Too much trust in the Parisian public's magnanimity led them to present ingenious conjuring tricks as marvelous phenomena. Too much ignorance of our customs also made them charge too much for the exhibition. More intelligent and more

• APPENDIX II —i

knowledgeable in theater issues, Colonel Stodare did not put as many pretensions into his Egyptian Sphinx; he only presented it in his performances as an intermission and did not attribute any supernatural powers to it other than the wonder of an ingenious trick. Still, the staging called for a fable, and here is how the trick was presented: Holding a closed trunk in one hand, the colonel approached the audience and told them that, during his travels to Egypt, he had met a magician who had died and left him this box, which enclosed the living head of a Sphinx able to answer questions. The conjurer then addressed the Sphinx, who answered through the box (Colonel Stodare was a ventriloquist). He then put the precious chest on a table, lowered the front panel, and the audience could see a nice Sphinx's head wearing an Egyptian headdress with golden wrappings. The underside of the table on which the box rested seemed to hide nothing. The Sphinx, intelligent and clever, answered the questions asked by the public with infinite wit and patience; after which the colonel closed the box, picked it up, had the prisoner say "Good night" [InEnglish m the original text] to the public and went backstage with his precious treasure. Presented in this fashion, the trick was well liked and success continued until the intelligent conjurer's sudden death. This experiment is one of the easiest to explain and should be easily understood; the head that is seen on the table belongs to the body of a poor devil that need has reduced to playing this painful role

of a man in a box all day. Due to an arrangement of mirrors adapted to the feet of the table, this accomplice can be under the table without being seen and puts his head through the hole. A ruff hides the borders of the opening. The table is only supported bythree feet, C, D, E (lllus. 1 and 2), although it seems to have four. Between these three feet, and in grooves made for this purpose, there are two silvered mirrors, G, G' (illus. 2), behind which, as we have already stated, the accomplice hides in standing at spot H. These mirrors are placed at right angles to each other and approximately 45 degrees with respect to the draperies (A, B)

let a voice be heard from inside. When the chest was on the table, the accomplice who was underneath opened the trapdoor of the hole in the table, passed his head through this opening, and, raising the hinged bottom of the box, easily put his head inside. The conjurer only had to lower the front of the box to show the head that it contained. Insomuch as one knows the laws of reflection, it is easy to assure oneself that, unless placed very close to the table and on the side, it is impossible for the audience to see anvthing other than draperies in the mirrors. Moreover, measures are taken so that it remains this way. At Talrich's exhibition, the walls of the

[See footnote 64 of Act IV, which explains mhy these Kco illustrations of "The Talking Head" do not respect Robert-Houdm s very precise text.]

around them. .4 and B, in reflecting each other, correspond with A' and B' and apparently replace the part of the drapery that is hidden by the two mirrors, in such a way that one believes that one is seeing the back of the drapery through the table's feet. The Sphinx effects were done in the same way: the chest was empty when Colonel Stodare brought it onstage; his talent as a ventriloquist 433

tomb were reflected in the mirrors.

Domino — Conjuring. .4 pleasant ~domino

trick. Twenty-eight dominos are turned face down and they are all set on the same line, which makes a long black band. This done, the conjurer announces that he will go into a neighboring room and someone from the audience is asked to take any number of dominos from the right

I

ROBFRT-HOUDIN

end of the line and put them at the opposite end. No matter how secretly this transposition is done, the conjurer can, upon return, not only say how many dominos were transposed, but indicate this by the number on a domino removed at random from the middle of the line. Explanation of the trick and manner of carrying it out. Before announcing what you are going to do, secretly look in the set for thirteen dominos with which you can represent the thirteen numbers from zero to twelve inclusively, such as: double-blank (0), blankace (1), blank-two (2), blank-three (3), blank-four (4), blank-five (5), blank-six (6), blank-seven (7), sixtwo (8), six-three (9), six-four (10), six-five (11), double-six (12). Place these thirteen dominos in a single line beginning with the largest number (12), and ending with the double-blank (0), which you follow with the rest without assigning them any particular order. This arrangement can be represented in the following manner: 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, 0, then the fifteen other dominos that follow. It is well understood that all the dominos are face down. Now let us suppose that in your absence, two dominos from the far right side of the line were taken away and put on the opposite side; here is how you would find this number, which you do not know for the moment. Mentally count to thirteen from the domino beginning the side where one had to add dominos (the left side), and \ou will arrive at the domino with the

number two; you will then turn it over to show that this many dominos were moved. If three were moved, by counting to thirteen you will arrive at the blank-three domino, and the same for the other numbers by using the same method. If no dominos were moved in order to trick you, you would still get the best of them, because, in counting as before, you would arrive at the double-blank (zero) that would show that no transposition was made. - Another domino trick. One gi\es the assembly a sealed letter, announcing that inside you have written down the numbers of the last two dominos that will be at the ends of the set when all the dominos are joined together according to the rules of the game. This is indeed what happens, no matter how the chain of dominos is laid out in the execution of this task. This trick is simple and easy. Secretly take out of the set the domino whose numbers you wrote ahead of time. Suppose, for example, six and four were written on the paper; the six-four domino would have to be taken out, which would therefore be missing in the set to join the two ends. It would be necessary to subtly put back the one taken out with the others so the subterfuge w ill not be discovered. A strange game of dominos. Two

people placed across from each other play dominos in placing them face dow n so that the opponent cannot see the points. When the game is over, the dominos are turned over and one sees that the numbers match as in an ordinary game. Here 434

is the secret: the two players have agreed ahead of time to put the tip of the right foot on the left of the opposite one to signal which dominos are played. If the player places the double-six, for example, he presses the foot of his opponent six times. He then puts the six-three, for example, with the three at the open end; he presses the other foot three times. And so on. One sees that the artifice consists in announcing the open end of the domino that one plays. For the blank, there is no signal. The only difficulty of this game consists in remembering which domino was played and when. By a signal agreed upon beforehand, one can ask the opponent who, if he remembers himself, can communicate using the aforementioned method. Cheating at dominos. Although cheating at dominos is rare, it is no less treacherous. The following two examples w ill allow us to judge this. In disreputable cafes and even in certain social circles, Greeks play between themselves and against each other games whose sole purpose is to mark all the dominos in order to recognize them when they are face down. A barely perceptible point placed at a key place on the domino, a slight line in one direction or another, is enough to tell the dominos apart. These marks, invisible to the honest man, are very useful for the cheater whose skilled eyes show a marvelous acuity of vision. One must understand all a player can know in a game when he knows the dominos of his opponent and those that remain in the pile. Dominos being replaced only rarely, Greeks find a wealth of opportunities to cheat.

APPENDIX II —| If there are no marks, Greeks use telegraphic methods which are quite simple to signal their colleague on which side to put his dominos and also to tell him which ones his opponent has. When a game has begun between these cheaters and the future victim, whom they call a mark, an accomplice stands behind him and is naturally across from his acolyte. Knowing the opponent's dominos, he pro\ides the information to his associate on where to play; he only needs to shift his gaze from left to right in order to do this. In important games, one or more blinks warn the accomplice of the number held by the opponent. These signals are imperceptible for all but the initiated, and can in no way compromise those who use them.

Paris. At that time, he was named King's Conjurer and Physician of the Faculte de Medecine. Louis XV, who until his death enjoyed Ledru's conjuring experiments, had previously gi\en him the title of Conjuring Professor of the Children of France. During a fairly long stay in England, he had perfected and constructed various devices, notably vertical and horizontal compasses, and had obtained, upon his return, a patent to establish a workshop for the manufacture of all sorts of physics instruments. This savant

RAPPORT De MM. COSNIER, PHILIP

& PA

Ledru (Nicolas-Philippe), conjurer, born in Paris in 1731, died in the same city in 1807. His reputation all throughout Europe was immense through his experiments in Physique amusante, which earned him the name Comus. He developed a new system of nautical maps whose copies were given to La Perouse in the presence of Louis XVI (1785). He is also responsible for a procedure for converting iron into steel, the introduction in France of phantasmagoria, and the application of electricity to therapy for nerve illnesses, notably epilepsy and catalepsv. A commission of doctors having noted in a report the efficiency of this mode of treatment, (1783) Ledru applied it in an important establishment that he formed in the former Gelestins convent in

was said to be able to find magnetic direction and its angle at any hour b\ a simple, inexpensive procedure without a compass or magnet. During the Re\olution, he was arrested, then freed, and went to live in Fontenay-aux-Roses. Ledru was a very hard worker, sober, lacking ambition, generous with the poor; he spoke very easily and he skillfully performed marvelous conjuring tricks. He was often confused with another conjurer of the same period, whom we wrote about under the heading COMUS.

MALOBT,

,LE PREUX,

ULET,

DARCET,

DESESSARTZ,

Docleurs-RSgens de la Facuhi

deMe'decine de Paris; Sur les avantages reconnus de la Nouvelle M&hode d'adminiftrer Mileftricit^ dans les Maladies Nerveufes, patticuli&ement dans 1'Iipilepfie & dans la Catalepfie; par M.LEDILU, connu fous le nom de COMUS. IM k VAffemblie de cute Faculte due du Prinra men fe, tenue cm mots i'Avril dernier. Ce Rappore eft pticlii
A

P A R I S ,

Da LIMWUMBRIE DE PHIIIPPE-DJSNYS PIERH.ES, Lnprimeur Ordinaire du Roi, de k Police, &c. rue S,-Jacqnes. M. D G C . L X X X I I I .

Illustration 545 - This plate is the title page of a very rare 1783 brochure by NicolasPhilippe Ledru, known as Comus.

435

fc»v

**

Genealogical table The photograph of the reconstitution of the scene from Soirees Fantastiques de Robert-Houdin, which serves as background for the genealogical chart of the following page, is one of the tableaux of magic art exhibitions organized by the Conservatoire National des Arts de la Magie et de l'lllusion with the participation of Madeleine Malthete-Melies, Roxane and Jean-Guy Fechner, Christian Fechner, Volker Huber, Andre Keime Robert-Houdin, Marcel Laureau, Gilles Mageux, Pierre Mayer, Christine and Didier Moreau "Morax", Georges Proust. Jacques et Francois Voignier and the Castle of the City of Blois for the inauguration of the Maison de la Magie Robert-Houdin of Blois on June 12, 1998.

ELISABETH

NICOLAS

LEVESQUE

HOUDIN

Royal notary in Persac (Vienne).

Born about 1700 Died before 1738 cloth cleaner in Chouzy.

JACQUES

MARIE

GASPAR RENE

MARGUERITE

MARIE FRANCOISE

HOUDIN

BLONDEAU

METIVIE

GARNAULT

BILLON

Born in 1722. Died on 3 Messidor, year XI

Born in 1724. Died on 4 Pluviose, year VIII in Blois.

Born in 1724 Died on 2 Germinal, year XII.

Born in 1746. Died on November 17, 1773 in Chambord.

Born in 1723 in Chouzy, Died on April 12, 1781. Farmer, vineyard S. worker.

Married on Feb. 15,1752 in Chouzy

JACQUES NICOLAS

AGNES JOSEPHE

ANDRE FRANCOIS

MARIE ANNE

PIERRE RENE

ANGELIQUE

JACQUES CLAUDE

FRANCOISE

HOUDIN

MARTELLIERE

BLONDEAU

METIVIE

METIVIE

ROULEUX

METIVIE

GUILLON

Born in 1757 in Blois. Died on February 10, 1836 in Blois

Born in 1747. Died on February 27, 1825 in Blois. Goldsmith in Blois. ,

Born on April 11,1752. Died on May 10, 1821 in Blois. Watchmaker in Blois.

Married on Nov. 5,1782 in Blois

Born in 1749. Died on June 7, 1811. Watchmaker in Blois, .. Grande Rue.

Born in 1754. Died on October 13, 1836 in Blois.

Married on Nov. 27,1780 in Blois

JEAN-BAPTISTE

JOSEPHE MADELEINE

JACQUES FRANCOIS

JEANNE ADELAIDE CECILE

DEFRAYS

HOUDIN

HOUDIN

BLONDEAU

Born on July 17, 1786 in Blois. Died on February 18, 1816.

Died o n

September 22, 1852. Health care worker.

Married on Fructidor 26, yearX

Born on September 16, 1784 in Blois. Died on November 10, 1860 in St. Gervais. S

MARIE ANNE

BLONDEAU B o r n o n Sept. 18,1781 in Blois. Died on April 4, 1809. M a r r i e d Barthelemj AMIOT on 10 Brumaire, year VII.

Born on November 22, 1791. Died in Paris.

Married on May 9,1775 in Blois

Born in 1754 in Pontoise. Died on January 14, 1834.

Born on October 10, 1765. Died on Dec. 6, 1817.

CHARLES FRANCOIS

ANGELIQUE

MARGUERITE ADELAIDE

MARGUERITE ROSALIE

BLONDEAU

METIVIE

METIVIE

METIVIE

Goldsmith. Married Elisabeth BAILLY on June 7, 1815 in Blois.

Born on May 9,1776 in Blois. Married Pierre ROY on 29 Messidor, year V in Blois, bom in Louhan on June 2,1773. Supply- keeperfor the troops of the region of Loire-et Cher, left Blois for Provins.

Born on July 26,1782 in Blois. Died on June 19,1858. Married Pierre Jean PINAULT on 1 Vendemiaire, year XIV, architect of the region, died on Nov. 7,1860.

Born on December 28, 1785 Died on August 4, 1872.

Married on 21 Nivose, year IV in Blois

JEAN EUGENE B

ROBER1 JEANNE

JACQUES

Louis FRANCOIS

JOSEPHE CECILE EGLANTINE

MARIE CELINE

PROSPER

ARTHUIS

MUNIER

HOUDIN

HOUDIN

ROBERT

ROBERT

Died on November 12, 1875

Died on July 4, 1884.

Born on October 12, 1816 Died about 1836 in Paris

Born on April 1, 1811 in Blois. Died on October 19, 1843 in Paris.

Born on 1 Fnmaire, year XI in Blois. Died on January 20, 1832.

Born on 7 Pluviose, year XII in Blois. Died on April 17, 1806.

Born on 16 XIV (Decei in Blois. Di( 1871 in Si

r Married on July 18,1830 in Paris J ROSALIE OLGA LEONIE

JEAN JACQUES EMILK

MARIE ROSALIE

JOSEPH PROSPER EUGENE

Louis HENRI

AUGUSTE ADOLPHE

LOUISE MARIE

PAULINE EUGENIE VICTORINE

MUNIER

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

CHRISTOPHINI

Born on February 25, 1836. Died on February 28, 1844 in Blois.

Born on June 19, 1837 in Paris. Died on August 10, 1870 in Reichshoffen. Captain.

Born on March 6, 1839 in Paris Died before October 1843.

Born on January 1, 1841. Died before October 1843.

Born on July 7, 1845 in Paris. Died on June 15, 1846 in Neuilly/Seine.

Born on June 19, 1860 in Versailles. Died on Jan. 24,1945 in Saint-Gervais.

ANDRE K E I M E

ROBERT-HOUDIN

Born on June 7,1844 in Born on May 21, 1831 Constantinople (Turkey). in Paris. Died on March Died on October 26,1934 in Boulogne (Seine). 17, 1883. Watchmaker Manager of the Theatre and conjurer. Robert-Houdin Married on August 27,1863 n Paris MARIE EUGENIE ALICE

EMILE JACQUES PAUL

VALENTINE

JOSEPH EUGENE HENRI

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

ROBERT-HOUDIN

Born on June 25,1864 in Boulogne (Seine). Died on November 27, 1878.

Born on May 20,1865 in Boulogne (Seine). Died on October 25, 1867.

Born on Sept. 18, 1876 in Paris 7th. Died in Sainte-Marie-sur-Mer, near Pornic, December 2, 1957.

Born on August 26,1868 in Boulogne (Seine). Died on August 10,1925. Married Jeanne Marie GIRARD on August 18,1923.

VICTOIRE EGLANTINK M\RGUERITt

ROBERT-HOUDIN Born on May 21, 1922 in Houdelaincourt (Meuse).

CHANTAL KEIIVIE R O B E R T

JEAN-FRANCOIS L E B L O N D

Born on February 6,1946 in Versailles.

Alexis LEBLOND. Born on June 8,1971

Thomas LEBLOND. Born on Aug. 31.1973

Florence Herber. Born on June 18,

en LAVERGNE. Born on June 5.1974 (£

m

^42002

Born on July 14,1947 in Pau.

y )A m ^

LEBL0ND h a

' '

Born on March 21, 1915 in St. Gervais-la-Foret. Lawyer at the Court of Appeals.

Married on September 1, 1943

PHILIPPE K E I M E R O B E R T - H O U D I N Born on June 21 in Versailles. Lawyer at the Court of Appeals

Born on July 5, 1891 in Paris. Died on September 1975 in Le Chesnay.

BRIGHT*: D A 1 L I 7 V Married on July 3,1975

Born on October 28,1952 in Paris.

I I Axelle LEBLOND, Born on April 24,1979 | | Marie-Astride KEIME ROBERT-HOUDIN. Born on June 17,1979 | | Nicolas KEIME ROBERT-HOUDIN. Born on June 28,1980 | | Olivier KEIME ROBERT-HOUDIN. Born on Nov. 15.1982 |

BERNARD

Born on (

| Constance KEIME ROBERT-HOIID

MARIE

FRANgOISE

CHAMPION

LOYER

Louis ROBERT

'f

Married "V about V ^ 1700. ^ /

JACQUES

MARIE FRANCOISI

MARIE ANNE

JEAN

JEANNE

GUILLON

MAULNY

CLEMENT

MILLET

MARTINET

Pastry chef in Romorantin.

Born in 1710. Died on February 4, 1757 in Blois.

Born in 1741 in Persac Died on June 13, 1829 in Blois. Entrepreneur/ constructor ed on ^ \ for the King. Married on L769 i n July 11,1774 in bord Blois

Married on May 13,1732 in Blois

Married on April 26,1735 in Blois

FRANCOISE

MADELEINE CATHERINE

MARIE ANNE

TOUSSAINT

GUILLON

MILLET

MILLET

MILLET

ROBERT

B o r n on November 18, 1780. Died on M a r c h 27, 1809.

Married Jean-Baptiste DEHARGUE, b a k e r in Blois.

B o r n i n 1741 in Blois. Died on October 5, 1831 in Blois. Married Joseph MEZANGE, died on 2 Frimaire, year IX. f

B o r n in 1736. Died on November 22, 1772

Born on May 30, 1741 in Blois. Died on March 22, 1814. Pastry chef in Blois.

PROSPER

ROBERT

Born on November 29, 1767. Died on February 28, 1844. Watchmaker in Blois.

CHARLES ALBERT SAMUEL

SlLVINE

JEAN TOUSSAINT

ALLONCLE

ROBERT

MARGI KRITE LOUISE

BRACONNIER

Born in 1763 in Blanc. Died on June 11, 1833 in Blois.

Born in Romorantin. Died in 1857.

Born on March 6, 1775 in Bavay (Belgium). Tax collector.

Married on January 19,1811 in Blois

JGENE ROBERT called IERT-HOUD1N on 16 Frimaire, year (December 7, 1805) )is. Died on June 13, 1 in Saint-Gervais.

CHARLES MICHEL

CH iRLES DOMINIQUE

AiMELIE CHARI.OTO

PIERRE ETIENNE AUGUSTI-

JOSEPHINE

THEREZE JUSTINl

JEAN MARTIN

BRACONNIER

BRACONNIER

DEVILLERS

BRACONNIER

CHOCAT

ROBERT

RENOU

ROBERT

Born on October 14, 1815 in Orleans. Died on January 2, 1901 in Blois.

General in the Belgian army. Died in Tournai, Belgium.

Died on June 12, 1849. Binder and stage manager of the Theatre Robert-Houdin.

Born on March 2,1822 in Mons (Belgium). Died on January 7, 1900 in Mons.

Born on June 5, 1796 in Blois. Married Hilaire RUELLE on October 28, 1816 in Blois. Music teacher. /

Born in 1798 in Meung-sur-Loire. Died on October 8, 1868 in Blois.

Married in October 1846

(called H A M I L T O N ) Born on March 25,1812 in Neuvy-sur-Loire. Died on February 26, 1877 , ... in Paris. Conjurer. the second half x of January 1852 in Paris

PAUL MICHEL LOUIS

GEORGES EMILP

ROSALIE EGLANTINE

HENRI

HENRI LOUIS

ROBERT-HOUDIN

ROBERT-HOUDIN

LEMAITRE

ROBERT-HOUDIN

DEVILLERS

Born on May 29, 1851 in Saint-Gervais. Died on October 31, 1925 in Blois. Painter.

Born on October 5, Born in 1842. 1852 in Saint-Gervais. Died on September 30 Died on December 26, 1911 in Blois. 1926 in Blois. Tax collector. Animal sculptor. / ' Married on Sept. 10,1872 in Blois

Born on November 2, 1853 in Saint-Gervais. Died on November 12, 1853.

Born on Nov. 7,1847 in Paris. Married Georgina WALCHE in February 1874 in Paris. They had two children, Charles and Maurice.

PAUL GEORGES AMEDK

BERNARD EUGENK PAUL

JEANNE MARIE ERNESTINE

KEIME

ROBERT-HOUDIN

MEUNIER

, 1913 in allies

Born on August 9, 1908 Born on July 27,1894 in n Chateauroux. Versailles. Died on June First married to Leonce 3,1978 in Cellettes. KRAFFE de LAUBAREDE. Architect for Historical They had two daughters, Monuments in Blois. Married on Brigitte and Ines. July 26,1955 in Paris

BERNARD K E I M E R O B E R T - H O U D I N Born on Oct. 17,1952 in Versailles. Magistrate.

3BERI-H0UDIN. Born on June 4,1985 |

|

Born on July 20, 1766 in Blois. Died on October 11, 1845. Cloth maker Married on "^ in Blois. Octobre 27,1789 n Blois

MARGUKRITE FRANCHISE OLVMPE

Married on August 22,1844 in Paris

Born on October 8, 1887 in Belley. Died on January 28, 1958 in Paris. ied on General.

MARIE

LEROY

Born in 1701. Died on March 25, 1743. Pastry chef in Blois.

MARIE CATHERINE

Married on Nivose, year VIII in Blois

May 20,1723 in Blois

Louis ROBERT

BEATRICE DE F E R A U D Y

Born on May 2,1955 in St. Mande.

Married on June 12,1981

Henri KEIME ROBERT-HOUDIN, Born on Sept. 12,1982

|

Stanislas KEIME ROBERT-HOUDIN. Born on June 21,1984

| Dorothee KEIME ROBERT-HOUDIN. Born on Jan. 19.1987]

| Alban KEIME ROBERT-HOUDIN. Born on April 2 9 , 1 9 8 8 |

(called "le cousin Robert") Born on 11 Frimaire, year VII in Blois. Died on June 5,1880. Married Watchmaker in Blois. about 1824 in Meung.

INDJEX [ES A ABD-AL-AZIZ p 217 ABOUT Edmond p 423 ADAM RUELLE [notary] p 299, 304, 306 ADENIS Jules I p / ^ w z g ^ p 258, 272, 274, 277, 278, 279, 281, 285, 290, 293, 385 ADRIEN Victor [conjurer] p 81 ADRION Alexander [magician, historian] p 216 ALBERTI [conjurer] p 194 ALCY Jehanne d' [second wife of Georges Mehes] p 375 ALDO [conjurer] p 63, 169 ALEXANDER p 215, 216 ALEXANDRE p 294 ALTER [journalist] p 191 ANDERSON John Henry [conjurer] p 156, 256, 257 ANGELIDIS [photographer] p 273 ANGUINET [conjurer] p 107 ANGUINET Benita [conjurer] p 63, 106, 107, 108, 109, 110, 111, 215 ANTONY [medium] p 102 ARAGO Francois [politician] p 23, 319 ARDANT Eugene [publisher] p 33 ARNOULD [conjurer] p 375 ARNOULT doctor [RobertHoudm's doctor] p 87, 88, 333, 350, 388 ARTHUIS Jeanne [mother of Rosalie Olga Leonie Munier, wife ofEmile Robert-Houdm] p 217 AUBER p 217 AUSTRIA Emperor of p 79 AVARAY Duke d' p 278

B BABINET [man of science] p 299, 379 BACHELIER [publisher] p 116 BAILLE [photographer] p 194 BALLE Mme [worker at the Theatre Robert-Houdin] p 307, 386, 387 BALZAC Honore de [writer] p 73, 279 BAPTISTE p 320, 323, 324, 327, 328, 333, 334, 335, 336, 337, 340, 343

BARBIER [optician, magic manufacturer] p 63, 213 BARNUM Phmeas Taylor [showman] p 93, 184, 249, 251, 252, 381, 422 BARRIERE Theodore p 217 BASSERIEN p 339 BEAUCHENE Atala [actress] p 417 BEAULIEU de [relative of RobertHoudm] p 129 BEAUMESNIL fairground conjurer] p 197 BECQUEREL [man of science] p 31, 299, 379 BELL Alexander Graham [in ventor] p 232 BELL Georges [writer] p 130 BELLANGE p 221 BELLUOT [Hamilton s shareholder] p 18, 19, 382 BERGEVIN [friend and neighbor of Robert-Houdin] p 94, 328, 333, 334, 337, 340, 341, 344, 362 BERNARD Prudence [sleepwalker] p 104 BERQUIN [playwright] p 416 BERRYER p 23 BERTHOUD Henry [watchmaker] p 183, 184, 221 BERZINSKY Valentin [conjurer] p 63 BESNARD Ulysse (or Bernard?) [painter] p 10, 244 BIENVENU [conjurer] p 414 BILLORET & MORAS [manufacturer of optical and mechanical tools] p 229, 230, 383 BLAND [trick manufacturer] p 383 BLUM Ernest [journalist] p 173 BOILAY p 211 BOILEAU p 406 BOILY F [journalist] p 217, 218 BOLOGNA [conjurer] p 159 BONAPARTE Louis-Napoleon [emperor] p 39, 40 BONAPARTE Charles Louis Napoleon - Napoleon III — p 307 BONARD Mrs p 308 BONHEUR Ferdinand and Isidore [mediums] p 197, 384, 385 BONHEUR Rosa [painter] p 23 BONNAT [painter] p 387 BORDEAUX David de [conjuring enthusiast] p 414

BOREL [ventriloquist] p 414 BOSCO Bartolomeo [conjurer] p 64, 109, 187, 215, 260 BOU-ALLEM [chief p 54, 55, 57, 58, 308 BOUCHARD [conjuring enthusiast] p 189 BOUCHER Alexandre p 417 BOUCHER p 341 BOUIS p 147 BOU-MAZA p 42 BOURBAKY General p 335 BOURDEU Patrick p 361 BOURDILLIAT Achille [editor] p 73, 74, 119, 120, 121, 122, 124, 125, 126, 127, 130, 131, 133, 214, 217, 224, 225, 279 BOURGEOIS p 334, 336 BOUTIGNY [man of science] p 277, 278 BOUVILLIERS p 340 BRACONMER Amelie [Hamilton's wife] p 11, 113, 263, 265, 309,

437

319, 369 BRACONNIER Carlo [son of Charles Braconnier, brother of Olympe Robert-Houdin] p 309 BRACONNIER Charles [brother of Olympe Robert-Houdin] Q 309, 312 BRACONNIER Olympe [RobertHoudm s wife] p 88, 89, 117, 275, 307, 309, 312, 316, 319, 320, 333, 334, 335, 337, 339, 343, 351, 356, 362, 365, 367, 369 BRAGELONNE A de [journalist] p 81, 134 BRAUN John [historian] p 214 BREGUET [watchmaker] p 27, 75, 141, 146 BRIZARD [lawyer] p 101, 103 BRUGNOT [man of law] p 147 BRUNNET Pierre Edouard [conjurer] p 71, 134, 135, 138, 150, 171, 174, 189, 191, 193, 200, 215, 217, 276, 277, 370, 371, 374 BUSONI Philippe [journalist] p 209

c CABOT [corporal, weapons provost] p 223 CAGLIOSTRO Count de p 214 CAJUNp 337 CALLAUDp 380

CALMANN-LEVY [publishers] p 73, 385 CALMELS Eugene [mechanician] p 371 CALZADO-GARCIA [the trial] p 131, 225 CANROBERT Marshal p 221 CARLOSBACH [conjurer] p 405, 408, 409 CARMELLI [conjurer] p 375 CARRANDI Mario [antique dealer, collector] p 13 CARVALHOp 206 CASTON vicomte Alfred de [conjurer, writer] p 79, 80, 81, 201 CATHERINE II [Empress of Russia] p 278, 282, 287, 289, 385 CAZENEUVE commander Marius [conjurer] p 210, 211 CELLINI p 76 CHABAUT p 327, 340, 341, 347 CHADWICK and LEROY [clowns] p 249 CHALON DE MASSEY [conjurer] p 113, 114, 213, 215, 383, 405, 407 CHAMPFLEURY [writer] p 73 CHANGY [man of science] p 379 CHANZY General p 335 CHAPMAN and HALL [publishers] p 73, 74, 122, 124, 130, 215, 383 CHARPENTIER [actor] p 293 CHAUDESSAIGUES p 221 CHAUVIGNY Francois de p 377 CHAVIGNY Jean [historian] p 83, 214, 218, 229, 230, 362, 377, 378, 379, 388, 397, 398, 401, 402 CHENU Paul [conjuring enthusiast] p 115, 193 CHESNEAU Father [RobertHoudm 's biographer] p 214, 230, 362 CHOCAT (see HAMILTON) CHRISTIAN [character from La Czanne] p 287, 289, 293 CHRISTOPHER Milbourne [magician, historian] p 381, 384 CIBBERp 76 CLARETIE Jules [journalist, writer] p 269 CLARKE John Algernon [conjuring enthusiast] p 197, 222 CLARKE Sidney W [historian] p 10, 220, 280, 381 CLEVERMAN [conjurer] p 170,

ROBERI-HOUDIN

171, 172, 174, 175, 177, 189, 190, 191, 192, 193, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 220, 221, 223, 258, 259, 262, 264, 265, 266, 267, 268, 269, 271, 292, 307, 370, 371, 374, 381, 387, 388 CLOQUET Baron [scientist] p 233, 299, 379 COGNIARD [librettist] p 417 COLBRUN [actor] p 417 COLIN Victor [priest] p 356 COMTE [King's conjurer] p 69, 107, 109, 151, 179, 187, 222, 384, 405, 413, 414, 415, 416, 417 COMTE Charles [manager of the theatre Les Bouffes-Pansiens] p 294, 384 COMUS [conjurer] p 405, 417, 418 COMUS (see LEDRU) CONTY [the guide] p 269 CONUS [conjurer] p 384, 405 COPPERFIELD David [illusionmst] p 360 COTE called CONUS [conjurer] p 418 COTELp 103 COURBET [painter] p 23 COUTEAU Emile p 339 CREMIEUXp 319

D DANTAN Jean-Pierre [sculptor] p 23, 32, 34, 70, 83, 88, 90, 91, 117, 118, 143, 146, 175, 203, 206, 221, 222, 253, 275, 301, 305, 356, 388, 389, 392, 402 DANTAN Mrs p 343 DARIDAN [lawyer] p 103 DAUPHIN Miss [conjurer] p 63 DAVENPORT Brothers [mediums] p 193, 196, 197, 201, 202, 203, 223, 248, 249, 250, 251, 252, 253, 265, 268, 269, 370, 386, 405, 408, 421 a 432 DAVID Fehcien p 217 DAWES Edwin A [historian] p 10, 179, 220 DEBRAGE [craftsman] p 242 DECAMPS p 23 DECLE Charles [friend of Robert-Houdin] p 274 DELACROIX Eugene [painter] p 23 DELAGRAVE [publisher] p 211 DELAIiAYS [bookseller-publisher] p 281 DELANGLE [president of the Imperial court] p 19 DELILLE Adnen [conjurer] p 81 DE LILLE Victor p 79, 81

DEROSME [man of letters] p 422 DERVIGEN VAN [correspondent of Robert-Houdin] p 384 DESCHAMPS [artist] p 189 DESOUCH [lawyer] p 75 DESTOUCHE [watchmaker] p 28, 30, 116, 229 DEVANT David [conjurer] p 358 DEVAU Alfred [journalist, writer] p 269 DEVAUX [general] p 53, 54, 212 DEVILLERS Paul [son of Amehe Braconnier] p 11, 319 DEVINA Casimir [or DOVINA] p 209, 210 DEZAINS [friend of RobertHoudin] p 88 DHOTEL Dr [former president of the A FA P] p 359 DICK and FITZGERALD [publishers] p 75, 201, 215 DICKENS Charles [writer] p 74, 214 DICKSONN [conjurer] p 374 DIETRICH de [industry manufacturer] p 314 DIEUDONNE [conjurer] p 267 DIF Max [historian] p 255 DIRCKS Henry [co-creator of Ghosts] p 160, 164, 166, 168, 169, 224 DISDERI Andre Adolphe [photographer] p 10, 11, 16, 22, 23, 24, 25, 26, 27, 66, 87, 92, 112, 134, 140, 176, 196, 209, 258, 262, 263, 265, 304 DONCKELE Henri (see ROBIN) DONNET Mrs p 333, 336 DORE Gustave [painter] p 115, 217 DOUAY Colonel p 221 DOUSSAINT [administrator] P 319 DOUTTE E [historian] p 41 DREYFUS [conjuring enthusiast] p 174, 321, 387 DUBERGE p 110 DUBOSC p 253 DU CAMP [writer] p 73 DUCHEMIN p 88 DUCLAUS S [publisher] p 33 DUCOUX p 339 DUFAY [mayor of Blots] p 216, 217, 235, 294, 339, 379, 380 DUFAY doctor [friend of RobertHoudin] p 235, 294, 339, 379, 380 DULIN p 328 DUMANOIR [librettist] p 417

DUMAS Alexandre [writer] p 23, 73, 115 DUPERREY [conjurer] p 375 DUPLAN maitre [notary] p 369 DUPONT Paul [printer] p 415 DUPREZ [lyric artist] p 221 DUPUIS Mane [actress] p 417 DUPUIS p 335 DUPUYTREN doctor p 431, 432 DURAND-BRAGER p 221 DUSSERRE Miss p 337 DUSSERRE [mayor of'Blots] p 351 DUVAL Aline [actress] p 417

EADS p 386 ECHINARD Jacques [historian] p 213 EDISON [scientist, inventor] p 377, 378, 379 ENGEL [manager of the Kroll Theatre in Berlin] p 292, 381 EPSTEIN doctor [conjurer] p 294, 297, 299 EVANS G [publisher] p 73, 201, 215

FAILLE [manager of the Theatre de VAmbigu comique] p 272, 274, 281, 285 FAILLY General de p 221 FALAISE Jacques de [polyphagist] p 415 FAUREJ p 343 FAURE-NICOLAY [conjurer] p 303, 306, 307 FAY [announcer for the Davenport Brothers] p 265 FECHNER Christian p I, II, III, VI, VII, VIII, XIII, XVIII, 436 bis FECHNER Jean-Guy p 436 bis FECHNER Roxane p 436 bis FERDINAND II p 79 FERRY p 319 FEYRNET X [journalist] p 20 FIGUIER L [scientific journalist] p 379 FINDLAYJB [historian, collector] p 213 FISHER David [writer] p 211 FITREMANN [lawyer] p 266 FITZ HENRY [client of Breguet] p 141 FITZ-JAMES [ventriloquist] p 414 FLAUBERT Gustave [writer] p 175 FLERS Marquis de [friend and

438

neighbor of Robert-Houdin] p 362, 365 FLEURY L p 221

FLEURY Robert [painter] p 23 FOUCAULT Leon [scientist] p 23 FRANCISQUE the younger [actor] p 417 FRANCK [photographer] p 149, 201 FRANCONI [circus manager] p 417 FRANKLIN [scientist, inventor] p 76 FREDERICK CHARLES Prince P 336 FRIAUT Pascal [magician, collector] p 33 FRIKELL Wiljalba [conjurer] p 260 FUSIER [imitator] p 374

G GABRIEL [associate of Emile Robert-Houdin] p 147 GABRIEL [conjurer] p 111 GAILLARD [magic art collector] p 180 GAMBETTA p 319, 340 GARNIER [worker mechanician] p 293 GARNIER-PAGES p 319 GASTINEAU Octave [playwright] p 258, 261, 272, 274, 277, 285, 382, 385 GAUGHAN John [magician, historian, collector, and creator of illusions] p 222, 223 GAULTIER Theophile [writer] p 115 GAVARRET J [scientist] p 299 GERARD Jules [soldier - 'lion killer"] p 23, 52, 54 GERAUD Charles [mesmerist] p 97, 98, 99, 103, 104 GERMAIN p 339 GERVAIS p 335 GEROME [painter] p 23 GIRARD [lieutenant] p 318 GIRARDIN Emile de p 217 GLAIS-BIZOIN p 319 GODEFROYp 330 GOLDONI p 76 GOTLIEB DE WINDISH Charles [writer] p 382 GOURDON Edouard [writer] p 129 GRAEFE de [scientist] p 277 GRAMONT colonel p 316 GREG R P p 218 GREVY Jules [politician] p 23 GUIGNARD p 314 GUIROYE de [mayor of Algeria] p 45

INDEX

H HALEVY [librettist] p 73 HAMILTON [student, brotherin-law, and successor ofRobertHoudm] p 11, 12, 13, 14, 16, 17, 18, 19, 20, 21, 22, 24, 27, 73, 93, 94, 104, 109, 113, 134, 136, 138, 139, 141, 143, 148, 150, 153, 154, 156, 158, 161, 163, 164, 171, 172, 173, 174, 175, 180, 181, 197, 198, 209, 210, 211, 215, 217, 218, 220, 221, 222, 257, 258, 262, 263, 265, 292, 307, 309, 319, 374, 382 HARMINGTON [conjurer] p 375 HARTMANN Michell and JeanPierre p 361 HATIN Eugene [journalist and biographer of Robert-Houdm] p 129 HAUSSMANN Baron p 155 HAVIN p 217 HEIMBURGER Alexander [conjurer] p 119, 120, 121, 215, 216 HENRY Dr Guy p 381 HENRY'S [conjurer] p 375 HEROS Eugene [journalist] p 217 HERRMANN Carl Compars [conjurer] p 93, 94, 152, 156, 187, 193, 214, 218 HERTZ [theater hall] p 269, 294, 424 HERTZ Henri p 222 HETZEL [publisher] p 171, 224, 225 HOFFMANN Professor Louis [writer] p 256, 280, 381 HOLLAND Emperor of p 79 HOLLAND Queen of p 79 HOUDIN Jacques Francois [watchmaker, Robert-Houdm }s father-in-law] p 36, 88 HOUDIN Josephe Cecile Eglantine [Robert-Houdm's first wife] p 36, 183 HOUDIN Julia [Geraud's wife] p 97, 98, 99 HOUDIN Robert and Caroline [impostors] p 384 HOUDINI Bessie [Harry Houdmi's wife] p 215 HOUDINI Harry [escape artist, historian, and collector] p 97, 119, 121, 215, 216, 360 HUART Louis [journalist] p 207, 221 HUBER Volker [historian, collector] p 30, 213, 230, XII, 436 bis

HUGARD Jean [magician, historian] p 280 HUGO Victor [writer] p 23, 73, 214 HYACINTHE [actor] p 417

I INAUDI [genius m calculation] p 374

J JACCOTTET [bookseller-publisher] P73 JACOBS [French conjurer] p 156 JACOBS [conjurer] p 374, 375 JADIN [painter] p 23 JENISSIEUXp 301 JOBERT DE LAMBALLE p 221 JOLLOIS [member of the municipal counsel of Blois] p 36, 294, 321, 328, 330, 334, 335, 339, 340, 345 JOSEPH-RENAUD J [magician, man of letters] p 53, 54, 212, 223 JOURDAN [writer] p 41 JOURDAIN [comedian] p 111 JUBINAL p 221 JULIE p 324, 335, 338, 343, 344

K KARR Alphonse [wnteA p 23, 79 221 KARR Todd [magician, historian] p 10 KEIME ROBERT-HOUDIN Andre p 31, 32, 210, 214, 230, 231, 378, 379, 381, 436 bis KELLY [medium - see the Stacey Brothers] p 203, 265, 266, 267, 370 KEMPELEN Baron von [creator of The Chess Player] p 287, 289, 294, 382, 385 KINTSING Pierre [watchmakermechanician] p 239 KLOSLOGE A [conjurer] p 79, 81 KOCK Paul de p 217 KREMER Anna [innkeeper] p 319, 350 KUSCHNICK [drama agent] p 290, 292, 293, 386

L LABA Paul [actor] p 417 LABEDOLIERE p 292 LABICHE [playwright] p 73

LACHAUD [lawyer] p 23 LAFITTE Miss [Paul Chenu's wife] p 115 LAHIRE Francois Eugene (see CLEVERMAN) LALLEMAND [doctor] p 221 LAMAZOU [lyric artist] p 79, 221 LANDELLE G de p 290 LANGHAMS Edouard p 387 LA PANOUGE de p 340 LA PEROUSE p 435 LAROCHE "Mother" p 221 LAROUSSE Pierre [writer-publisher] p 113, 222, 239, 272, 302, 307, 382, 383, 384, 386, 404, 405 LASCELLES WRAXALL Sir Charles [translator of Robert-Houdm's memoirs] p 75, 130, 214, 381 LASSAIGNE Auguste [mesmerist] p 96, 97, 99, 100, 101, 102, 103, 104, 203, 267 LAUREAU Marcel p 436 bis LAURENT Marie [actress] p 282 LAUZUN Francois [conjuring enthusiast] p 115, 215 LAVAREILLE [the trial] p 129 LE CARPENTIER Adnen [composer] p 143 LE CARPENTIER Anstide [friend of Robert-Houdm] p 143 LEBEL Francois Desire [associate ofDisden] p 24, 209 LECESNE [printer, publisher] p 69, 70, 110, 130, 214, 235, 236, 249, 277, 281, 294, 312, 324, 327, 328, 334, 336, 338, 339, 340, 343, 346, 381 LECLAIRE p 381 LECOQ [lawyer] p 103 LEDRU Nicolas-Philippe [conjurer known as Comus] p 382, 384, 405, 417, 435 LEDRU ROLLIN p 384 LEGENDRE p 336 LEGRAND Maximin p 379 LEGRAND Omer Augustm [watchmaking worker] p 152, 155, 156, 187, 218 LEGRIS Jules [conjurer] p 375 LEHMANN Miss [lyric artist] p 221 LEMAITRE Henri [husband of Eglantine Robert-Houdm] p 358, 400 LEMERCIER de NEUVILLE [journalist, puppeteer] p 131, 133, 217, 370, 374 LENOIR [lawyer] p 266 LEOTARD [trapeze artist] P 197

439

LEPOITEVIN p 221 LESCURE [journalist] p 124 LESPES Leo [Timothe Tnmm] p 290 LETTSOM William Garrow [diplomat] p 152, 156, 187, 218 LEVIEUX "Le Sorcier du Levant" [conjurer] p 213 LEVY Michel [doctor] p 221 LEVY Michel [publisher] p 83, 133, 224, 279 LIMARD Eugenie p 307, 331 LIMARD Mathunn p 307, 331 LINSKY [conjurer] p 63 LIONNEL the Brothers [lyric artists] p 221 LITTSON [conjurer] p 262, 267, 271 LONGFELLOW [writer] p 76 LOUIS XV p 435 LOUIS XVI p 239, 244, 247, 367, 388, 435 LOUIS XVIII p 414 LOUIS-PHILIPPE p 415 LYNN doctor [conjurer] p 258, 259, 260, 262, 268, 381, 382

M MAC MAHON Marshal p 311, 319 MACALUSO Raphael [conjurer] p 78, 79 MACKENSIE [translator] p 201 MACY Robert de [lawyer] p 103 MADALENA Charles Joseph p 388 MADDEN John p 214 MAFFE (MASSE) [conjurer] p 111, 113 MAGEUX Gilles p 436 bis MAHIER ["Aerial grotesque"] p 114 MAILHOL [conjurer] p 113, 115 MALTHETE-MELIES Madeleine p 436 bis MANICARDI [conjurer] p 104 MANNING William [friend and student of Robert-Houdm] ^> 130, 163, 164, 165, 220, 224, 228, 257, 316, 318, 384, 386 MARIE ANTOINETTE [Queen of France] p 239, 244, 246, 247, 367 MARQUET p 326, 330, 331, 344, 345 MARSHALL Jay [magician, collector] p 215 MARTORELL [conjuring enthusiast] p 294 MASKELYNE Jasper [magician] p 211

ROBtRf-HOUDIN

MASKELYNE John Nevil [magician] p 222 MASSAU [conjurer] p 193 MASSEY [conjurer] p 113 MASSU p 384 MATHIEU Jacques [businessman, friend of Robert-Houdm] p 71 MATTHEWS Brander [university professor] p 76 MATTHEWS James [conjurer] p 161 MAURICE Clement [photographer] p 25 MAURIER Henri [conjurer] p 375 MAXIMILIEN Archduke p 175 MAYER Pierre p 436 bis MFILHAC [librettist] p 73 MELIES Georges [pioneer of cinema, inventor of "The cinematographic show', draftsman, director, magician, and last manager of the Theatre Robert-Houdm] p 25, 271, 371, 375, 382, 387 MELLINET General p 221 MENE p 221 MENIMO [Manning ?] p 75 METIVIER p 327, 330, 347 MICHAUD p 417 MICHELI L [composer] p 106 MIEUSEMENT [photographer] p 82, 195, 198, 199, 201, 233, 261, 275, 284, 293, 295, 335, 346, 348, 355, 385, 386, 394 MIROY Clansse [actress] p 417 MITCHELL John [director of the Samt-fames's Theater] p 193 MOESSARD p 334, 335 MOIGNO Father [scientist, journalist] p 30, 31, 182, 183, 184, 185 MONCEL Count Theodore du [scientist] p 31, 116, 279, 280, 378 MONTSELET p 292 MORAIN J [soldierfrom Eugene Robert-Houdm's corps] p 319 MORAND p 294 MOREAU "MORAX" Chnstine and Didier [magicians, collectors] p 20, 78, 79, 248, 249, 436 bis MOREAU-SAINTI [lyric artist, conjurer] p 113 MOREAU-SAINTI son p 113 MORIN General [director of the Conservatoire des arts et metiers] p 193, 239, 244, 247, 367 MULHOLLAND John [historian, collector] p 215 MUNIER Rosalie Olga Leome [wife of Emile Robert-Houdin]

PIERRE III [Tzar of Russia] p 272, 385, 386 PIETRI [police prefect of Pans] P 11, 15 PINETTI chevalier [conjurer] p 159 PIORRYp 380 PLANTET Hippolyte Joseph [businessman, financier] p 262, 264, 265, 371, 374, 382 PLOUVIER p 281 PONSON DU TERRAIL [writer] p 279 POPE p 386 POSTOLE maitre [notary] p 362, 365 POUGATSCHEFF [character of La Czanne] p 272, 385 POULET [actor] p 417 POUPARD p 225 FOUSSET [mayor of Blots] p 327 PRICE [clown] p 249 PROUDHON p 422 PROUST Georges [magician, historian, collector, trick manufacturer, and creator of the Museum of Magic and Curiosities] p 96, 100, 146, 147, 207, XIV, 249, 307, 324, 436 bis PRUCHE [engraver and lithographer] p 182

p 144, 145, 146, 189, 197, 198, 199, 217, 340, 350, 351, 372, 373, 374, 375 MUNIER Mrs and Mr [tn-laws of Emile Robert-Houdin] p 190, 199, 217, 309 MUSARD [conductor, director of the Pre-Catelan] p 107, 108

N NAY Louis p 351 NELLY p 327 NEVEU de [lieutenant colonel] p 40, 41, 42, 45, 59, 211 NICHOLS [biographer of the Davenport brothers] p 422 NICKLE Robert [conjurer] p 383, 384, 385 NICOLET [manager of the Nicolet theater] p 423 NOEL Leon [lithographer] p 361 NORIAC Jules p 217

o OFFENBACH [composer] p 73 OLIVIER [conjurer] p 414 ORFILA [magistrate] p 23 ORTIGUE d' p 221 OURLIAC [writer] p 73

PAGNIERE [editor-in-chief] p 103 PALLU DU PARC [head of the national navy] p 59 PARTOUNEAUX General p 221 PASTELOT [actress] p 417 PELAU maitre [notary] p 362 PELLETAN p 319 PENE H de [journalist] p 423 PEPPER John Henry [co-creator of the Ghosts] p 160, l6l, 164, 166, 168, 169, 182, 184, 224, 307, 384 PEREIRE Mrs [client of RobertHoudm] p 146, 147 PEREY Charles [actor] p 417 PESTRELLE [expert in musical instruments] p 239 PETIPA Mane p 217 PETIT Pierre [photographer] p 132, 133, 188, 217 PHILIPPE [conjurer] p 63, 109, 151, 152, 160, 179, 180, 187, 260, 271 PHILLIPS doctor p 343 PICARD p 319 PIE IX p 217 PIERRE [mechanical theater] p 63

Q QUEROLLE Mane [sculptor] p 359

Madeleine

R RANC Father [vicar of SamtGervais] p 35, 88, 91, 193, 294, 356 RANDON Marshal [governor of Algeria] p 40, 48, 51, 211 RANSOM Harry Humanities Research Center [University of Texas, Austin] p 152, 154, 155, 156, 216, 384 RAYNALY Edouard [conjurer] p 358, 374, 375 READ Bob [magician, historian, and collector] p 10 REBER [professor at the junior high school in Blots] p 69, 109, 214 RENAN Ernest p 23 RENAUD [architect] p 221 REVILLON Tony p 292 REYNAUD [conjuring enthusiast] p 381 RHODDES p 182 RIFFAULT [mayor of Blots]

440

p 36, 101, 339 RIDGELY EVANS Henry [historian] p 130, 257 RISTORI Mrs p 217 RIVET J [painter] p 390 ROBELLY [historian] p 17, 138, 215, 217, 220, 386 ROBERT Marguerite Rosalie [Robert-Houdin's stepmother] p 335, 343 ROBERT RENOU Jean Martin ["Cousin Robert"] p 83, 244, 274, 275, 299, 306, 330, 339, 346, 347, 362, 364, 365 ROBERT-HOUDIN Georges [painter] p 27, 87, 88, 294, 309, 311, 319, 320, 321, 323, 324, 328, 330, 331, 333, 334, 335, 336, 338, 339, 340, 343, 344, 347, 350, 362, 365, 366, 369, 370, 378, 379, 387, 388, ROBERT-HOUDIN Jean Jacques Emile [watchmaker, conjurer] p 25, 27, 40, 75, 88, 93, 115, 120, 131, 133, 140, 141, 142, 143, 144, 145, 146, 147, 150, 175, 177, 189, 193, 194, 197, 198, 199, 201, 203, 222, 229, 232, 242, 244, 258, 271, 277, 279, 293, 294, 299, 300, 301, 302, 304, 306, 307, 308, 309, 311, 312, 313, 315, 316, 319, 320, 346, 347, 349, 350, 351, 362, 365, 369, 370, 371, 372, 373, 374, 381, 383, 386, 388 ROBERT-HOUDIN Joseph Eugene Henri [son of Emile and Leonte Robert-Houdin] p 293, 350 ROBERT-HOUDIN Joseph Prosper Eugene [captain] p 27, 28, 41, 87, 190, 203, 277, 278, 293, 299, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 330, 350 ROBERT-HOUDIN Marguerite [daughter of Georges RobertHoudm] p 369 ROBERT-HOUDIN Mane Eugenie Alice [daughter of Emile and Leonte Robert-Houdin] p 189, 190, 222, 350 ROBERT-HOUDIN Paul [son of Georges Robert-Houdin] p 360, 378 ROBERT-HOUDIN Paul [son of Emile and Leome RobertHoudin] p 198, 223, 277 ROBERT-HOUDIN Rosalie Eglantine [animal sculptor] p 27, 87, 88, 193, 229, 230, 294, 309, 321, 323, 334, 335, 336, 338, 339,

INDEX

343, 347, 353, 362, 365, 368, 369, 370, 377, 378, 379, 388, 391, 399, 400 ROBERT-HOUDIN Valentine [daughter of Emile and Leonte Robert-Houdtn] p 350 ROBERTSON Etienne Gaspard [conjurer] p 167, 168, 169 ROBIN Henri [conjurer] p 63, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 163, 164, 166, 167, 168, 169, 173, 174, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 197, 202, 203, 218, 219, 220, 222, 265, 267, 269, 270, 271, 277, 374, 381, 386 ROCHEFORT p 319 ROENTGEN David [cabinet maker] p 239 ROGER maitre [notary] p 278 ROSE p 331 ROSSINI [composer] p 115, 217 ROUCAULT [worker, mechanician] p 349, 350, 351 ROUJOL Alexandre [trick manufacturer] p 113, 152, 159, 179 ROUSSEAU p 327 ROUSSELET p 327, 328 ROUSSETp 327 ROVERE Jules de [conjurer] p 61, 180, 213 RUBEL [actor] p 417 RUELLO Albert [telepath] p 102

SAINT GEORGES de [playwright] p 206, 221, 252, 253, 381 SAINT VINCENT de [lawyer] p 100 SAINTE-FOY [lyric artist] p 221, 222 SAINT-LAURENT Philippe [magician, historian] p 217 SALTARINO Signor [writer]

p 162 SAMSON p 379 SAND George [writer] p 23, 73 SANESAU [actor] p 345 SARDINA Maurice [magician, historian] p 215 SARRUT p 339 SEBRON [Robert-Houdm sfnend] p 143 SECOND Albenc [journalist] p 416 SEGUIER Baron [scientist] p 300 SEGUIN Pierre [inventor] p 166, 167, 169, 223, 224 SELDOW Michel [magician, historian] p 377 SELENICK [conductor] p 221 SERAPHIN [shadow artist] p 169, 386 SERS de p 340 SHARPE Sam H [magician, historian] p 215, 218, 220 SHOEN [prefect] p 387 SILVIN [conjurer, illustrator] p 392 SIMON Jules p 217 SIRAUDIN [librettist] p 417 SOLOMAN [lawyer] p 100, 101, 103 STACEY Brothers [mediums] p 197, 202, 203, 205, 206, 207, 249, 265, 266, 267, 370, 381 STARR William p 377 STEINMEYER Jim [magician, historian, and creator of illusions] p 222 STODARE [conjurer] p 254, 255, 256, 257, 258, 261, 268, 269, 431, 433 STODARE Alfred [conjurer] p 262, 268, 269 SUE Eugene [writer] p 23 SURATEAU p 328, 340

T TAIGNY Emile [actor] p 417

441

TALRICH [curator of the Musee Frangais] p 258, 260, 261, 269, 431, 432, 433 TASSIN p 339 TAUVIN Theophile p 335, 336 TERRAY DE MOREL VINDE viscount p 11 TEXIER Edmont p 217 THAUVIN Charles p 339, 343 THIERS [politician] p 23 THIERS p 339, 340, 343 THILL [conjurer] p 261 THOMSON Alfred [theater manager] p 257 TOBIN Thomas William [architect and creator of illusions] p 256, 260, 386, 431 TOIRAC [doctor] p 221 TORTONI [ice cream maker] p 73 TOSCANE Grand Duke of p 79 TOURTIN Emile [photographer] p 25 TOUTIN [conjurer] p 381, 384 TOUVIEN p 326 TOUVIN p 328, 330 TROCHU General p 319, 336 TUFFERAU [conjurer] p 138, 197, 262, 267, 383 TURGOT Marquis de p 221 TUSSAUD Mrs [wax museum] p 431

V VAILLANT Marshal [Minister of war] p 42 VALLEE Ernest Simon Mane [notary] p 36, 292 VALLON [lawyer] p 292, 294, 326, 327, 328, 331, 333, 334, 335, 336, 337, 338, 341 VALOTTE [Les Fantoches] p 374 VANDERBURCH Emile [playwright] p 416, 417 VARNER Paul [conjurer] p 262, 267, 268, 269, 383, 386, 387 VAUCANSON [mechanician]

p 246, 247, 277 VELPEAU doctor p 221 VERNE Jules [writer] p 231 VERNET Horace [painter] p 23, 44 VERON Dr [writer] p 73 VERRE de [lawyer] p 101 VICTOR p 328, 330, 331, 333, 341 VICTOR EMMANUEL II p 79 VICTORIA [Queen of England] p 39 VIDAL [principal of the junior high school ofBlois] p 94 VILLEMESSANT de [editor-inchief of Le Figaro] p 130, 312 VIRO Dr Prosper [writer] p 221 VOIGNIER Francois [historian, collector] p 16, 209, 210, 266, 436 bis VOIGNIER Jacques [historian, collector] p 12, 21, 22, 108, 109, 115, 136, 151, 191, 215, IV, V, 230, 277, 292, 377, 436 bis VOISIN Andre [magician and trick manufacturer] p 115,173, 374 VOISIN Emile [trick manufacturer] p 200, 374, 375

w WALDECK de p 184 WARTON [medium] p 370 WESTLEYp 75 WHEASTONE [scientist] p 31 WOLGHEMUTH [impresario] p 193, 202, 205, 265, 266, 277, 292, 381, 386

X XAVIER [friend of Houdin] p 128, 129

Robert-

ZARA [decorator of the Theatre de lAmbigu comique] p 282

Design: Cristal Communication 33, rue Nicole 28000 Chartres Photoengraving: L.P.H. 11, avenue des Marronniers 93400 Saint-Ouen Brochage: S.M.R.F 56190 Muzillac Printed December 2002 by the presses of Imprim.Plus 2.A. de la Plaine Haute 7, allee de l'lndustrie 91560 Crosne

N° ISBN 2-907584-06-5

Christian Fechner is a film producer and magic enthusiast. At the worldwide F.I.S.M. convention in 1979 he was granted first prize in Invention and first prize in Stage Illusions. Since then, he has worked on a friendly basis with the greatest illusionists of our time — among them Siegfried and Roy as well as David Copperfield - and created new illusions for them. The author published Soirees Fantastiques in 1988, Bibliography of French Conjuring in 1994 and annotated in 1995 the reprint of Memoirs of Robert-Houdin by Robert-Houdin for the publishing company Stock. In 2002, he contributed to the work Melies, Magic and Cinema published under the supervision of Jacques Malthete and Laurent Mannoni. The two volumes of this biography of RobertHoudin will be followed by a technical volume dedicated to the study of the artist's legendary inventions in the field of magic of which the history, routines and explanations have maintained most of their mystery to this day.

Photograph of the author FAU 2002

N° ISBN : 2-907584-06-5

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