This programme is of such historical value that I reproduce it in full. It will show that this particular mechanical trick is by no means the most important feature of Garnerin’s répertoire. In fact his fame is based on his ballooning, and he is said to have been the inventor of the parachute. The ascension of the nocturnal balloon, also scheduled on this programme, is an imitation of the one which Garnerin arranged in honor of Bonaparte’s coronation in 1805. On that occasion the balloon started at Paris and descended in Rome, a distance of five hundred miles which was covered in twenty-two hours.

Garnerin was a contemporary of both Pinetti and Robertson and was with them in Russia when Pinetti dissipated his fortune in balloon experiments. In their correspondence, both Pinetti and Robertson spoke slightingly of Garnerin, but the Frenchman’s programmes all indicate that he was not only a successful aëronaut, but a magician who could present a diverting entertainment.

In 1816 the elder Gyngell featured the trick on his programmes as “The Russian Inn,” and in 1823 he changed it to “The Confectioner’s Shop.” These programmes are reproduced as the most convincing evidence against the claims of Robert-Houdin.

The Gyngell family is one of the most interesting in the history of magic. The Christian name of the founder of the family I have never been able to ascertain, though programmes give the initial as G. He was celebrated as a Bartholomew Fair conjurer. His career started about 1788, and his contemporaries were Lane, Boaz, Ball, Jonas, Breslaw, and Flocton. At one time Gyngell and Flocton worked together, and Thomas Frost in his book, “The Lives of Conjurers,” claims that at Flocton’s death Gyngell received a portion of the former’s wealth.

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The original Gyngell, a portrait reproduced from the book on magic written by this famous Bartholomew Fair conjurer. From the Harry Houdini Collection.
The original Gyngell, a portrait reproduced from the book on magic written by this famous Bartholomew Fair conjurer. From the Harry Houdini Collection.

Associated with him in his performances were his brother, two sons, and a daughter. The latter was not only a clever rope-dancer but a musician of more than ordinary ability and she often constituted the entire “orchestra.”

On Gyngell’s programme offered in 1827 he proves himself a great showman, for he features Herr Schmidt’s “Mechanical Automatons, Phantasmagoria, a laughing sketch entitled Wholesale Blunders, his son on the flying wire, during which he would throw a somersault through a balloon of real fire, a broadsword dance by Miss Louise and Master Gyngell, and Miss Louise’s performance on the tight rope, clowned by Master Lionel.”

On a programme used in Hull, October 29th, 1827, a lottery was featured as follows: “On which occasion the first hundred persons paying for the gallery will be entitled by ticket to a chance of a Fat Goose, and the same number in the pit to have the same chance for a fat turkey. To be drawn for on the stage, in the same manner as the State Lottery.”

According to Thomas Frost, Gyngell died in 1833 and was buried in the Parish Church, Camberwell. His children, however, continued the work so excellently planned by their father.

The programmes herewith reproduced I purchased from Henry Evanion, who secured them directly from the last of the Gyngell family, as the accompanying letter, now a part of my collection, will show:

The signature of this letter, “J. D. G. Gyngell,” clears up considerable uncertainty regarding the names of the two Gyngell sons. At times the clever young tight-rope performer has been spoken of as Joseph, and at others as Gellini. It is quite probable that the two names were really part of one, and the full baptismal name was “Joseph D. Gellini.” It was as Gellini Gyngell that he met Henry Evanion at Deal, February 20th, 1862, when the latter was performing as a magician at the Deal and Walmer Institute, while Gellini Gyngell gave an exhibition of fireworks and a magic-lantern display on the South Esplanade. A fine notice of both performances was published in the Deal Telegram of February 23d, when the hope was expressed that Gyngell’s collection, taken among those who enjoyed his outdoor performance, repaid him for his admirable entertainment. Gyngell was landlord of the Bowling Green Tavern at this time, and travelled as an entertainer only at intervals.

The next appearance of the trick is in a book published by M. Henry, a ventriloquist, who played London and the provinces from 1820 to 1828. During an engagement at the Adelphia Theatre, London, which according to the programme was about 1822, Henry published a book entitled “Conversazione; or, Mirth and Marvels,” in which he interspersed witty conversation with descriptions of his various tricks. On page 11 he thus describes the automaton under consideration:

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Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection.
Reproduction of a rare old colored lithograph in three sections. This section represents Gyngell. From the Harry Houdini Collection.

“Illusion Third. A curious mechanical trick; an inn, from which issues the hostess for orders, upon receiving which, she returns into the inn and brings out the various liquors as called for by the audience, and at last waiting for the money, which, having received, goes in and shuts the door. Mr. Henry says he has produced the inn in preference to palaces, though more stupendous and magnificent, thinking, as a certain author wrote, the heartiest welcome is to be found at the inn.”

By referring to the chapter on the writing and drawing figure, Chapter III, Page 113, a Schmidt programme of 1827 will be found, in which he features “The Enchanted Dutch Coffee-House, an elegant little building. On the traveller ringing the bell, the door opens, the hostess attends and provides him with any liquor he may call for.”

Schmidt seems to have confined his exhibitions to London and the provinces and was often connected with other magicians, including Gyngell and Buck. The latter was an English conjurer, best known as the man who was horribly injured when presenting “The Gun Delusion.” This consisted of having a marked bullet shot at the performer, who caught it between his teeth on a plate, or on the point of a needle or knife. Some miscreant loaded the gun with metal after Buck had it prepared for the trick, and the unfortunate performer’s right cheek was literally shot away.

In 1828 Jules de Rovere, a French conjurer, whose fame rests principally on the fact that he coined the new title “prestidigitator,” appeared at the Haymarket Theatre, London, and also toured the English provinces. A clipping from the Oxford Herald of that year includes this description of his automaton: “One of the clowns vanishes from the box, and instantly at the top of the hall a little lady, in a little hotel brilliantly illuminated, gives out wines and liquors to them who ask for them, without any apparent communication with the artiste, and yet the lady is only six inches high.”

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Reproduction of pastel portrait of Phillippe. Only known likeness of the conjurer in existence. Made for him by a Vienna artist. Original now in the Harry Houdini Collection.
Reproduction of pastel portrait of Phillippe. Only known likeness of the conjurer in existence. Made for him by a Vienna artist. Original now in the Harry Houdini Collection.

Like many a genius and successful man, his early history was written in a minor key. According to Robert-Houdin his sweets did not catch the Parisian fancy, and he went to London, where at that time French bonbons were in high favor. But for some reason he failed in London, and went on to Aberdeen, Scotland, where he was very soon reduced to sore straits. In his hour of extremity his cleverness saved the day. In Aberdeen at the same time was a company of actors almost as unfortunate as himself. They were presenting a pantomime which the public refused to patronize. The young confectioner approached the manager of the pantomime and suggested that they join forces. In addition to the regular admission to the pantomime each patron was to pay sixpence and receive in return a paper of mixed sugar plums and a lottery ticket by which he might gain the first prize of the value of five pounds. In addition, Talon promised not only to provide the sweets free of cost to the management, but to present a new and startling feature at the close of the performance.

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Poster used by Phillippe during his engagement at the Strand Theatre, London, 1845-46. From the Harry Houdini Collection.
Poster used by Phillippe during his engagement at the Strand Theatre, London, 1845-46. From the Harry Houdini Collection.

Another story which is gleaned from a biography of John Henry Anderson, the Wizard of the North, tells how Phillippe started his career as a pastry cook in the household of one Lord Panmure, and I quote this literally from the Anderson book, because I believe it to be truthful, as material gathered from Anderson literature has proved to be:

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Phillippe and his Scotch assistant, Domingo. The latter became famous as a magician under the name of Macallister, introducing in America Phillippe’s gift show. From a lithograph in the Harry Houdini Collection.
Phillippe and his Scotch assistant, Domingo. The latter became famous as a magician under the name of Macallister, introducing in America Phillippe’s gift show. From a lithograph in the Harry Houdini Collection.

Evidently, however, Phillippe made rapid progress, for a programme dated Saturday, April 21st, 1838, shows that his last daytime or matinée performance in Waterloo Rooms was given under the patronage of such members of the nobility as the Right Honorable Lady Gifford, the Right Honorable Lady H. Stuart Forbes, etc. In an Edinburgh programme, dated probably 1837, he is shown as performing his tricks, clad in peculiar evening clothes, knickerbockers and waistcoat matching, with a mere suggestion of the swallow-tail coat. In his 1838 bill he is shown clad in the flowing robes of the old-time magician, and he advertises the Chinese tricks, notably the gold-fish trick, which demanded voluminous draperies.

Phillippe was an indefatigable worker and traveller, and one brilliant engagement followed another. During the 40’s he appeared, according to my collection of programmes, all over Continental Europe, and in most of his programmes this paragraph is featured:

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1. Cuisine de Parafaragamus; 2. Le Chapelier de 1943; 3. Le Paon magique; 4. La Bouteille enchantée; 5. La Chaîne hydonstaine; 6. La Tête infernale; 7. Le Chapeau merveilleux; 8. L’Arlequin savant; 9. Le Confiseur galant et le Liquoriste impromptu; 10. Le Bassin de Neptune ou les poissons d’or et la ménagerie prodigieuse; 11. Éclairage de tout le théâtre improvisé par un coup de pistolet. Reproduction of a large lithograph showing all of Phillippe’s tricks, including “Le Confiseur Galant” scheduled as No. 9. From the original lithograph dated 1842 now in the Harry Houdini Collection.
1. Cuisine de Parafaragamus; 2. Le Chapelier de 1943; 3. Le Paon magique; 4. La Bouteille enchantée; 5. La Chaîne hydonstaine; 6. La Tête infernale; 7. Le Chapeau merveilleux; 8. L’Arlequin savant; 9. Le Confiseur galant et le Liquoriste impromptu; 10. Le Bassin de Neptune ou les poissons d’or et la ménagerie prodigieuse; 11. Éclairage de tout le théâtre improvisé par un coup de pistolet. Reproduction of a large lithograph showing all of Phillippe’s tricks, including “Le Confiseur Galant” scheduled as No. 9. From the original lithograph dated 1842 now in the Harry Houdini Collection.

As proofs that Phillippe used the pastry-cook trick both before and during Robert-Houdin’s career as a magician, I offer several programmes containing accurate descriptions of the automaton, and also a page illustration from a current publication dated Paris, 1843, which shows the confectioner or pastry-cook standing in the doorway of his house, while the key explaining the various tricks reads: “No. 9. Le Confiseur galant et le Liquoriste impromptu.”

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Ernest Basch and “Le Confiseur Galant,” which he claims is the original Robert-Houdin “Pastry Cook of the Palais Royal.” From a photograph in the Harry Houdini Collection.
Ernest Basch and “Le Confiseur Galant,” which he claims is the original Robert-Houdin “Pastry Cook of the Palais Royal.” From a photograph in the Harry Houdini Collection.

With such convincing proof, some of which was contemporary, that other men had exhibited The Pastry Cook of the Palais Royal in its identical or slightly different guise, it was daring indeed of Robert-Houdin to claim it as his own invention.

The most direct information regarding Opre comes through that eminent family of conjurers known as the Bambergs of Holland. At this writing, “Papa” (David) Bamberg, of the fourth generation, is prominent on the Dutch stage, and his son Tobias David, known as Okito, of the fifth generation, is a cosmopolitan magician, presenting a Chinese act.

According to the family history, traceable by means of handbills, programmes, and personal correspondence, the original Bamberg (Eliazar) had a vaulting figure in his collection of automata in 1790, fifty years before Robert-Houdin became a professional entertainer. This figure was made by Opre, to whom all conjurers of that time looked for automata and apparatus. David Leendert Bamberg, of the second generation, who also had the vaulting figure, was the intimate friend and confidant of Opre and was authority for the statement that Opre’s son sold in Paris the various automata made by his father, which later Robert-Houdin claimed as his own invention. It may be noted that Robert-Houdin never invented a single automaton after he went on the stage in 1845, and as Opre died in 1846, the coincidence is nothing if not significant.

CHAPTER V

THE OBEDIENT CARDS—THE CABALISTIC CLOCK—THE TRAPEZE AUTOMATON
The Obedient Cards.

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Card trick as featured by Anderson in 1836-37. From a poster in the Harry Houdini Collection.
Card trick as featured by Anderson in 1836-37. From a poster in the Harry Houdini Collection.

The obedient-card trick, mentioned on page 245 of the American edition of his “Memoirs,” as “a novel experiment invented by M. Robert-Houdin,” can be found on the programme of every magician who ever laid claim to dexterity of hand. Whether they accomplished the effect by clock-work or with a black silk thread or a human hair, the result was one and the same. It has also been worked by using a fine thread with a piece of wax at the end. The wax is fastened to the card, and the thread draws it up. The simplest method of all is to place the thread over and under the cards, weaving it in and out as it were, and then, by pulling the thread, to bring the different cards selected into view.

So common was the trick that its description was written in every work on magic published from 1784 to the date of Robert-Houdin’s first appearance, and in at least one volume printed as early as 1635. The majority of French encyclopædias described the trick and exposed it according to one method or another, and Robert-Houdin admits having been a great reader of encyclopædias.

On page 138 of the third edition of Gale’s “Cabinet of Knowledge,” published in London in 1800, will be found a description of the rising-card trick as done with pin and thread, and the same book shows how it is accomplished with wax and a hair. This book seems to have been compiled from Philip Breslaw’s work on magic, “The Last Legacy,” published in 1782. Benton, who published the English edition of Decremps’ famous work on magic, exposing Pinetti’s répertoire, also described the trick. “Natural Magic,” by Astley, the circus man, and Hooper’s “Recreations,” in four volumes, published in 1784, expose the same trick.

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Conjurer Unmasked OR the Art of Sleight of hand Reproduction of frontispiece in Breslaw’s book on magic, “The Last Legacy,” published in 1782. Original in the Harry Houdini Collection.
Reproduction of frontispiece in Breslaw’s book on magic, “The Last Legacy,” published in 1782. Original in the Harry Houdini Collection.

As to magicians who performed the trick, their names are legion, and only a few of the most prominent conjurers will be mentioned in this connection.

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J. H. Anderson’s birth place as drawn by him from memory. The following is written under the sketch in his own handwriting: “A rough sketch of the farm house called ‘Red Stanes,’ on the estate of Craigmyle, Parish of Kincardine O’Neil, Aberdeenshire. The house was built by my grandfather, John Robertson, in the year 1796, and in it I was born on the 15th day of July, 1814. John Henry Anderson.” Photographed from the original now in the possession of Mrs. Leona A. Anderson, by the author.
J. H. Anderson’s birth place as drawn by him from memory. The following is written under the sketch in his own handwriting: “A rough sketch of the farm house called ‘Red Stanes,’ on the estate of Craigmyle, Parish of Kincardine O’Neil, Aberdeenshire. The house was built by my grandfather, John Robertson, in the year 1796, and in it I was born on the 15th day of July, 1814. John Henry Anderson.” Photographed from the original now in the possession of Mrs. Leona A. Anderson, by the author.

The man who obtained the best effects with this trick was John Henry Anderson, who startled the world of magic and amusements by his audacity, in 1836, nine years before Robert-Houdin trod the stage as a professional entertainer.

Anderson was born in Kincardine, Scotland, in 1814, and started his professional career as an actor. He must have been a very poor one, too, for he states that he was once complimented by a manager for having brought bad acting to the height of perfection.

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John Henry Anderson, wife and son, from a rare photograph taken in 1847 or 1848. Said to be an especially good likeness of Mrs. Anderson and the only one extant. Photograph loaned by Mrs. Leona A. Anderson, daughter-in-law of the “Wizard of the North."
John Henry Anderson, wife and son, from a rare photograph taken in 1847 or 1848. Said to be an especially good likeness of Mrs. Anderson and the only one extant. Photograph loaned by Mrs. Leona A. Anderson, daughter-in-law of the “Wizard of the North."

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Very rare poster of 1838 in which John Henry Anderson is billed as “The Great Magician.” From the Harry Houdini Collection.
Very rare poster of 1838 in which John Henry Anderson is billed as “The Great Magician.” From the Harry Houdini Collection.

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Cover design of Anderson’s book, exposing the Davenport Brothers; now a very rare book. From the Harry Houdini Collection.
Cover design of Anderson’s book, exposing the Davenport Brothers; now a very rare book. From the Harry Houdini Collection.
Cover design of Anderson’s book, exposing the Davenport Brothers; now a very rare book. From the Harry Houdini Collection.

Anderson was first known as the Caledonian magician, then assumed the title of the Wizard of the North, which he said was bestowed on him by Sir Walter Scott. Thomas Frost belittles this statement, on the grounds that Scott was stricken with paralysis in 1830. However, Anderson became famous in 1829, so he should be given the benefit of the doubt. He was the greatest advertiser that the world of magic has ever known, and he left nothing undone that might boom attendance at his performances. He started newspapers, gave masked balls, and donated thousands of dollars to charities. He was known in every city of the world, and, when so inclined, built his own theatres. He sold books on magic during his own performances, and would sell any trick he presented for a nominal sum. His most unique advertising dodge was to offer $500 in gold as prizes for the best conundrums written by spectators during his performances. To make this scheme more effective, he carried with him his own printing-press and set it up back of the scenes. While the performance was under way, the conundrums handed in by the spectators were printed, and, after the performance, any one might buy a sheet of the questions and puns at the door. As every one naturally wanted to see his conundrum in print, Anderson sold millions of these bits of paper. In 1852, while playing at Metropolitan Hall, New York City, he advertised his conundrum contest and sold his book of tricks, etc., and such notables as Jenny Lind and General Kossuth entered conundrums.

To sum up his history, he stands unique in the annals of magic as a doer of daring things. He rushed into print on the slightest pretext, was a hard fighter with his rivals and aired his quarrels in the press, and he was a game loser when trouble came his way. Not a brilliant actor or performer, he yet had the gift of securing excellent effects in his mise en scène. He made and lost several fortunes, generally recouping as quickly as he lost. He was burned out several times, the most notable fire being that of Covent Garden, London, in 1856. He was liked in spite of his eccentricities, but when he died, February 3d, 1874, his fortune was small.

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Anderson billing of 1838, featuring obedient cards as “Napoleon’s Trick.” From the Harry Houdini Collection.
Anderson billing of 1838, featuring obedient cards as “Napoleon’s Trick.” From the Harry Houdini Collection.

Anderson had numerous imitators, including M. Jacobs, “Barney” Eagle, and E. W. Young, all of whom used the rising-or obedient-card trick. They copied not only his tricks, but the very names he had used and the style of his billing. All three of these men were professional magicians before Robert-Houdin appeared, and Anderson was his very active contemporary.

A Jacobs bill is here reproduced, showing the card trick featured among other attractions. The lithograph of Jacobs used in this connection is an actual likeness and I believe it to be as rare as it is timely.

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Lithograph used by E. W. Young, who copied all of John Henry Anderson’s billing and featured the obedient-card trick. This setting shows how cumbersome was the apparatus employed by magicians before Wiljalba Frikell proved that he could score with apparently no apparatus. Original in the Harry Houdini Collection.
Lithograph used by E. W. Young, who copied all of John Henry Anderson’s billing and featured the obedient-card trick. This setting shows how cumbersome was the apparatus employed by magicians before Wiljalba Frikell proved that he could score with apparently no apparatus. Original in the Harry Houdini Collection.

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Frontispiece from Eagle’s book, in which he exposes Anderson’s gun delusion. Said by Henry Evanion, who knew Eagle, to be a fine likeness. From the Harry Houdini Collection.
Frontispiece from Eagle’s book, in which he exposes Anderson’s gun delusion. Said by Henry Evanion, who knew Eagle, to be a fine likeness. From the Harry Houdini Collection.

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Window poster issued by Anderson to belittle his imitator “Barney” Eagle and show how the latter secured royal patronage. From the Harry Houdini Collection.
Window poster issued by Anderson to belittle his imitator “Barney” Eagle and show how the latter secured royal patronage. From the Harry Houdini Collection.

As Eagle had advertised that he was patronized by royalty, Anderson had another bill printed, showing Eagle playing before the King at the Ascot race-track, and an assistant passing the hat in mountebank fashion. In revenge, Eagle had a book published, in which he exposed Anderson’s best drawing trick, The Gun Delusion, in which the magician allowed any one from the audience to shoot a gun at him using marked bullets. These bullets were caught in his mouth or on the point of a knife. This trick became as common as the obedient-card trick.

In the face of such overwhelming evidence, Robert-Houdin’s claim to having invented the obedient-card trick is nothing short of farcical.

The Cabalistic or Obedient
Clock

There might be said to exist a very reasonable doubt as to the exact date at which Robert-Houdin produced the cabalistic clock which he included among his other doubtful claims to inventions.

On page 250 of the American edition of his “Memoirs” he has the Cabalistic Clock on his opening programme for July 3d, 1845, but in the appendix of the French edition he states that the clock first made its appearance at the opening of the season of 1847. In nearly all his statements he is equally inaccurate.

The mysterious clock might be termed the obedient clock, for the trick consists in causing the hand or hands to obey the will of the conjurer or the wishes of the audience.

The hands will point to a figure, move with rapidity, or as slowly as possible, or in time to music. In fact the performer has full control of the hands—he can make them do his every bidding.

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M. Jacobs, magician, ventriloquist, and bold imitator of John Henry Anderson. From a rare lithograph now in the Harry Houdini Collection.
M. Jacobs, magician, ventriloquist, and bold imitator of John Henry Anderson. From a rare lithograph now in the Harry Houdini Collection.

When the cabalistic clock is taken off the hook or the stand on which it is placed, and handed to one of the spectators to hold, the latter places the hand on the pin in the centre of the glass face, and revolves it. The arrow or hand is worked by a counterweight, controlled by the performer, who has it fixed before he hands it to the innocent spectator. The clock can be purchased from any reliable dealer of conjuring apparatus, in almost any part of the world.

When the clock is on the stage and the hand moves simply by the command of the performer or audience, it is manipulated by an assistant behind the scenes, either by the aid of electricity or by an endless thread which is wrapped about the spindle and runs through the two ribbons or strings that hold the clock in midair. Some conjurers work the clock so arranged as to make a combination trick; first by having it worked by the concealed confederate; then, taking the clock off the stand and bringing it down in the midst of the audience. But for this trick you can use only one hand.

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The above diagram exposes the magic clock trick, as offered in the time of Hofrath von Eckartshausen, a German writer on magic in the eighteenth and the nineteenth centuries. Fig. 15 shows the clock in position for the trick, hung against the rear wall or “drop.” Gaily-colored ribbons hide thin leather tubes through which run two sets of stout silk thread or catgut, connecting with the hour and minute hands. The thread then passes through the two iron rings, p and o in Figures 17 and 19, which are screwed to the ceiling; thence to the hidden confederate, who manipulates the clock hands as the hour and minute are announced by magician or spectator. Fig. 16 shows the two faces of the clock, with the fine connecting rod around which the string is wound to manipulate the hands. This mechanism is hidden by a flat brass band which encircles the edges of the two transparent faces. From Eckartshausen’s “The Conjurer’s Pocket,” edition of 1791.
The above diagram exposes the magic clock trick, as offered in the time of Hofrath von Eckartshausen, a German writer on magic in the eighteenth and the nineteenth centuries. Fig. 15 shows the clock in position for the trick, hung against the rear wall or “drop.” Gaily-colored ribbons hide thin leather tubes through which run two sets of stout silk thread or catgut, connecting with the hour and minute hands. The thread then passes through the two iron rings, p and o in Figures 17 and 19, which are screwed to the ceiling; thence to the hidden confederate, who manipulates the clock hands as the hour and minute are announced by magician or spectator. Fig. 16 shows the two faces of the clock, with the fine connecting rod around which the string is wound to manipulate the hands. This mechanism is hidden by a flat brass band which encircles the edges of the two transparent faces. From Eckartshausen’s “The Conjurer’s Pocket,” edition of 1791.

Years ago when I introduced this trick in my performance, I called a young man on my stage and asked him to place the hand on the spindle. It would then revolve and stop at any number named. But first I made him inform the audience the number he had chosen, which gave me time to fix the weight with my thumb. I then gave him the hand, but he was a skilled mechanic, and possibly knew the trick. Instead of holding the clock by the ring at the top, which was there for that purpose, he grasped the dial at the bottom, causing the number 6 instead of 12 to be on top. When the hand started to turn, of course it would have stopped at the wrong number. I managed to escape humiliation by pretending I was afraid he would break the clock by letting it fall, so took it away from him, holding it myself.

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Newspaper clipping of 1782, showing that Katterfelto used the cabalistic clock. From the Harry Houdini Collection.
Newspaper clipping of 1782, showing that Katterfelto used the cabalistic clock. From the Harry Houdini Collection.

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Reproduction of rare engraving of Johann Nep. Hofzinser, who invented the clock worked by a counter-weight, and who was one of the world’s greatest card tricksters. Original in the Harry Houdini Collection.
Reproduction of rare engraving of Johann Nep. Hofzinser, who invented the clock worked by a counter-weight, and who was one of the world’s greatest card tricksters. Original in the Harry Houdini Collection.

Johann Conrad Gutle, the well-known delver after secrets of natural magic, also explains several cabalistic clock tricks in his book published in 1802.

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Reproduction of a triple colored lithograph. This section features Breslaw in stage costume. Original in the Harry Houdini Collection.
Reproduction of a triple colored lithograph. This section features Breslaw in stage costume. Original in the Harry Houdini Collection.

I am reproducing herewith a number of programmes describing the effect of the trick and proving that it was no novelty when Robert-Houdin “invented” it. In fact the trick was so common that only the supreme egotism of the man can explain his having introduced it into the pages of his book as an original trick. The mysterious clock worked by the counterweight, which has been described, is credited as having been the invention of Johann Nep. Hofzinser.

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Katterfelto, the bombastic conjurer, who is famous for having sold sulphur matches in 1784, before the Lucifer match is supposed to have been discovered. Reproduced from a rare copy of “The European Magazine,” dated June, 1783, now in the Harry Houdini Collection.
Katterfelto, the bombastic conjurer, who is famous for having sold sulphur matches in 1784, before the Lucifer match is supposed to have been discovered. Reproduced from a rare copy of “The European Magazine,” dated June, 1783, now in the Harry Houdini Collection.

In an advertisement, published in the London Post of May 23d, 1778, included in my collection, this announcement, among others of much interest, will be found:

“Part II.—Breslaw will exhibit many of his newly invented deceptions with a grand apparatus and experiments and particularly the Magic Clock, Sympathetic Bell, and Pyramidical Glasses in a manner entirely new.”

In 1781, while showing at Greenwood’s Rooms, Haymarket, London, Breslaw heavily advertised, “Particularly an experiment on a newly invented mechanical clock will be displayed, under the direction of Sieur Castinia, just arrived from Naples, the like never attempted before in this metropolis.”

Though “Diavolo Antonio” or “Le Voltigeur Trapeze” was not a simple trick, but a cleverly constructed automaton, worked by a concealed confederate, it was a common feature on programmes long before Robert-Houdin claimed it as his invention. Yet with the daring of one who believes that all proof has been destroyed, he announces on page 312 of the American edition of his “Memoirs” that he invented “The Trapeze Performer” for his season of 1848. In the illustrated appendix of his French edition he states that the figure made its first appearance at his Paris theatre, October 1st, 1849. He thus describes the automaton:

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Copy of a poster used by Robert-Houdin to advertise his trapeze performer. This proves how accurately he duplicated the Pinetti figure, even to the arrangement of floral garlands. From the Harry Houdini Collection.
Copy of a poster used by Robert-Houdin to advertise his trapeze performer. This proves how accurately he duplicated the Pinetti figure, even to the arrangement of floral garlands. From the Harry Houdini Collection.

“The figure is the size of an infant, and I carry the little artist on my arm in a box. I put him on the trapeze and ask him questions, which he answers by moving his head. Then he bows gracefully to the audience, turning first this way, then that; suspends himself by his hands and draws himself up in time to the music. He also goes through the motions of a strong man, hangs by his head, hands, and feet, and with his legs making the motions of aërial telegraphy.”

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Reproduction of an illustration in “Aufschlüsse zur Magie,” by Hofrath von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784 by Pinetti. Original in the Harry Houdini Collection.
Reproduction of an illustration in “Aufschlüsse zur Magie,” by Hofrath von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784 by Pinetti. Original in the Harry Houdini Collection.

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A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection.
A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection.

Decremps in his exposé, “The Conjurer Unmasked,” published in 1784, thus describes the automaton and its work: “Our attention was next called to observe an automaton figure, that vaulted upon a rope, performing all the postures and evolutions of the most expert tumblers, keeping exact time to music. By seeing Mr. Van Estin wind up the figures, and being shown the wheels and levers contained in the body of the automaton, caused us to believe it moved by its own springs, when Mr. Van Estin thus explained the deception: ‘To make a figure of this kind depends a great deal on the proportion and the materials with which it is composed: The legs and thighs are formed out of heavy wood, such as ash or oak; the body of birch or willow, and made hollow, and the head, for lightness, of papier-maché. The figure is joined by its hands to a bar of iron, that passes through a partition, and is turned by a confederate; the arms are inflexible at the elbows, but move freely at the shoulders by means of a bolt that goes through the body; and the thighs and legs move in the same manner at the hips and knees, and are stayed by pieces of leather to prevent them from bending in the wrong way. The bar is covered with hollow twisted tubes, and ornamented with artificial flowers, so as no part of it can be seen to turn; the confederate by giving the handle a quarter of a turn to the left, the automaton, whose arms are parallel to the horizon, lift themselves by little and little, till they become vertical and parallel to the rest of the body; if in following the same direction, the other part of the body moves forward; and by watching the motions through a hole, he seizes the instant that a leg passes before the bar, to leave the automaton astride; afterward he balances it by jerks, and causes it to take a turn around, keeping time with the music as if it was sensible of harmony.

On page 108 will be found a Louis programme of 1815, on which a figure is thus featured:

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A de Philipsthal programme of 1806 on which both the automatic tight-rope performer and the magnetic clock were featured. From the Harry Houdini Collection.
A de Philipsthal programme of 1806 on which both the automatic tight-rope performer and the magnetic clock were featured. From the Harry Houdini Collection.
A Thiodon bill of 1825, in which he claims the invention of a figure that could be lifted on or off the stage or pole. This was twenty-five years before Robert-Houdin claimed the same invention. From the Harry Houdini Collection.

A magician named York, who appeared in London in 1844, the year before Robert-Houdin made his professional début, featured under date of January 29th “two automatons, one of which will execute wonderful feats on the Tight Rope, and the other dance a characteristic Hornpipe.”

From this overwhelming evidence it can be argued beyond doubt that if Robert-Houdin even constructed the automaton he merely copied figures presented by both his predecessors and his contemporaries, and he was fully aware of the existence of several such automata when he advertised his as an original invention. They were made by many mechanicians.

Robert-Houdin even used the garlands of flowers to hide the moving bars as Pinetti and others of his predecessors had done. The truth was not in him.