Robert-Houdin again skilfully twists the truth to suit his own ends. He actually states that Anderson, returning from a tour of the provinces, used a new poster, a caricature of the famous painting, “Napoleon’s Return from Elba":
“In the foreground Anderson was seen affecting the attitude of the great man; above his head fluttered an enormous banner bearing the words ‘The Wonder of the World’; while, behind him and somewhat lost in the shade, the Emperor of Russia and several other monarchs stood in a respectful posture. As in the original picture, the fanatic admirers of the Wizard embraced his knees, while an immense crowd received him triumphantly. In the distance could be seen the equestrian statue of the Iron Duke, who, hat in hand, bowed before him, the Great Wizard; and lastly, the very dome of St. Paul’s bent towards him most humbly.
“At the bottom was the inscription,
Return of the Napoleon of Necromancy.
“Regarded seriously, this picture would be found a puff in very bad taste; but as a caricature it is excessively comic. Besides, it had the double result of making the London public laugh and bringing a great number of shillings into the skilful puffer’s pockets.”
Reference to my collection of Anderson programmes and press clippings proves that while on the Continent his performances had created such a sensation that, according to the ethics and etiquette of his profession, Anderson was quite justified in assuming the title of “The Napoleon of Necromancy” and in depicting even kings and noblemen admiring his abilities as a conjurer. But, alas, Robert-Houdin had played only before English and French monarchs, not before the other crowned heads of Europe, including the Czar of Russia and the German Kaiser!
It required weeks and months of browsing in old book- and print-shops, national libraries, and rare collections on my part to prove that Anderson had really played these engagements, when his bitter rival, Robert-Houdin, his heart eaten with jealousy until his sense of honor and truth was hopelessly blunted, was claiming that Anderson had just returned from a trip in the English provinces.
It will be noted by reference to the Anderson programme that he had been engaged only for the Christmas holidays, but despite Robert-Houdin’s claim that he was a failure and was obliged to close and seek new fields of conquest in the provinces, Anderson’s engagement was extended. He remained at the Strand until January 11th, 1848, then after a brief provincial tour he actually returned to London and played to big receipts. Again and again he appeared in London. Far from being the unpopular, forgotten ex-magician pictured by Robert-Houdin, he performed with great success at the St. James Theatre, London, in 1851. Robert-Houdin appeared in London for the last time in 1853, but in 1865 “the despised and forgotten Anderson” was there again, creating a furor in his exposure of the Davenport Brothers.