“Fourth Piece.—The Wonderful and Unrivalled Automaton on the Flying Rope. The only one of this construction in the Kingdom; and forms a more extraordinary Novelty from the circumstances of its not being fastened on the Rope by the Hands, like others hitherto exhibited. The Rope will be in continual Motion, and the Figure will sit perfectly easy and in a graceful attitude while on the Swing, and perform the most surprising Evolutions, scarcely to be distinguished from a Living Performer, as it moves with the utmost Correctness, without any apparent Machinery.”
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.
In the illustrated appendix of the French edition of his “Memoirs” he goes further; he deliberately misrepresents the mechanism of the figure and insinuates that the automaton is a self-working one. This is not true, as it was worked by a concealed confederate, as described above by Decremps.
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.
CHAPTER VI
THE INEXHAUSTIBLE BOTTLE
WHILE 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 magic, particularly concerning his own achievements.
In order to emphasize the brilliancy of this trick, Robert-Houdin turned boastful in describing it. On page 348 of the American edition of his “Memoirs,” he states that the trick had created such a sensation and was so much exploited in the London newspapers that the fame of his inexhaustible bottle spread to the provinces, and on his appearance in Manchester with the bottle in his hand the workmen who made up the audience nearly mobbed him. In fact, the description of this scene is the most dramatic pen-picture in his “Memoirs.”
The truth, sad to state, is that the bottle trick did not create the sensation he claims for it in London, nor did the press eulogize it. It was classed with other ordinary tricks, and twenty London papers bear mute testimony to this fact. In a complete collection of press clippings regarding his first London appearance, only four of the London papers mention the trick. The Times, the great conservative English paper, in reviewing Robert-Houdin’s performance in its issue of May 3d, 1847, ignored the trick entirely. The four London papers which made mention of the bottle trick, and then only in a passing comment, were The Chronicle, The Globe, The Lady’s Newspaper, and The Court Journal. Any one acquainted with the two last-named periodicals will know that they rarely reach the hands of the humble artisans in Manchester. Punch, London’s great comic paper, gave the trick some space, however.
The trick of pouring several sorts of liquors from the same bottle has been presented in various forms and under different names. To prove the futility of Robert-Houdin’s claims I will explain the mystery of this trick, which is of an interesting nature.
To all intents and purposes the bottle used looks like glass; but it is invariably made of tin, heavily japanned. Ranged around the central space, which is free from deception, are five compartments, each tapering to a narrow-mouthed tube which terminates about an inch or an inch and a half from within the neck of the bottle. A small pinhole is drilled through the outer surface of the bottle into each compartment, the holes being so placed that when the bottle is grasped with the hand in the ordinary way, the performer covers all but one of the pinholes with his fingers and thumb. The centre section is left empty, but the other compartments are filled with a funnel which has a tapering nozzle made specially for this purpose.