T HIS book is the natural result of the moulding, dominating influence which the spirit and writings of Robert-Houdin have exerted over my professional career. My interest in conjuring and magic and my enthusiasm for Robert-Houdin came into existence simultaneously. From the moment that I began to study the art, he became my guide and hero. I accepted his writings as my text-book and my gospel. What Blackstone is to the struggling lawyer, Hardee’s “Tactics” to the would-be officer, or Bismarck’s

R OBERT-HOUDIN was born in Blois, France, December 6th, 1805. His real name was Jean-Eugene Robert, and his father was Prosper Robert, a watchmaker in moderate circumstances. His mother’s maiden name was Marie Catherine Guillon. His first wife was Josephe Cecile Eglantine Houdin, whose family name he assumed for business reasons. He was married the second time to Françoise Marguerite Olympe Naconnier. His death, caused by pneumonia, occurred at St. Gervais, France, on June 13th, 1871. enlarge-im

R OBERT-HOUDIN, on page 179 of the American edition of his “Memoirs,” thus describes the orange-tree trick, which he claims as his invention: “The next was a mysterious orange-tree, on which flowers and fruit burst into life at the request of the ladies. As the finale, a handkerchief I borrowed was conveyed into an orange purposely left on the tree. This opened and displayed the handkerchief, which two butterflies took by the corners and unfolded before the spectators.” On page 245 of the same v

I N his “Memoirs” Robert-Houdin eulogizes the various automata which he claims to have invented. The picturesque fashion in which he describes the tremendous effort put forth ere success crowned his labors would render his arguments most convincing—if stern historical facts did not contradict his every statement. One of the most extraordinary mechanical figures which he exploits as his invention was the writing and drawing figure, which he exhibited at the Quinquennial Exhibition in 1844, but ne

C ONCERNING this trick, which Robert-Houdin claims as his invention, he writes on page 79 of his “Memoirs,” American edition: “The first was a small pastry cook, issuing from his shop door at the word of command, and bringing, according to the spectator’s request, patties and refreshments of every description. At the side of the shop, assistant pastry cooks might be seen rolling paste and putting it in the oven.” By means of handbills, programmes, and newspaper notices of magical and mechanical

T O trace here the history of three very common tricks claimed by Robert-Houdin as his own inventions would be sheer waste of time, if the exposure did not prove beyond doubt that in announcing the various tricks of his répertoire as the output of his own brain he was not only flagrant and unscrupulous, but he did not even give his readers credit for enough intelligence to recognize tricks performed repeatedly by his predecessors whom they had seen. Not satisfied with purloining tricks so import

W HILE Robert-Houdin claims to have invented “The Inexhaustible Bottle” for a special programme designed to create a sensation at the opening of his season of 1848, in the illustrated appendix of the original French edition of his “Memoirs” he states that it had its premier presentation December 1st, 1847. These discrepancies occur with such frequency that it is difficult to refute his claims in chronological order. Perhaps he adopted this method intentionally, to confuse future historians of ma

E VIDENTLY second sight was the foundation-stone of Robert-Houdin’s success. Reading between the lines of his autobiography, one finds that this was the trick which carried him into the salons of fashion and royalty. Before he introduced second sight into his répertoire, his tricks were so commonplace that they did not arouse the interest of the court circle, whose approval furnished the seal of success. This trick of second sight he claims body and soul, as the favorite child of his brain. He e

I N chapters XVI. and XVII. of the American edition of his “Memoirs,” Robert-Houdin states that he closed his theatre during the months of July, August, and September, 1847, and devoted his time to producing new tricks for the coming season. He chronicles as the result of these labors the following additions to his répertoire: “The Crystal Box,” “The Fantastic Portfolio,” “The Trapeze Tumbler,” “The Garde Française,” “The Origin of Flowers,” “The Crystal Balls,” “The Inexhaustible Bottle,” “The

S UPREME egotism and utter disregard for the truth may be traced in all of Robert-Houdin’s writings, but they reached a veritable climax when he indited chapter XVI. of his “Memoirs.” During the course of this chapter he described the so-called invention and first production of the disappearing-handkerchief trick. According to the American edition of his “Memoirs,” page 303, he received a command to appear before Louis Philippe and his family at St. Cloud in November, 1846. During the six days i

S TATEMENTS in Robert-Houdin’s various works on the conjurer’s art corroborate my claim that he was not a master-magician, but a clever purloiner and adapter of the tricks invented and used by his predecessors and contemporaries. Whenever, in these books, he attempts to explain or expose a trick which was not part of his répertoire, he betrays an ignorance which would be impossible in a conjurer versed in the finer and more subtle branches of his art. Neither do these explanations show that he w

T HE charm of true memoirs lies far beyond the printed pages, in the depth and breadth of the writer’s soul. The greatest of all autobiographies are those which detail not only the lives of the men who penned them, but which abound in diverting anecdotes and character studies of the men and women among whom the writer moved. They are not autobiographies alone, but vivid, broad-minded pen-pictures of the period in which the writer was a vigorous, respect-compelling figure. Memoirs written with a