Again, in ignoring Herrmann, he proves his narrowness of mind, his utter unwillingness to admit any ability in his rivals. Compars Herrmann was no ordinary trickster or mountebank, but a conjurer who remained in London almost a year, playing the very best houses, and later scoring equal popularity in the provinces. He was decorated by various monarchs and was famous for his large gifts to charities. Even the present generation, including theatre-goers and students of magic, remembers the name of Herrmann, when Robert-Houdin is forgotten or would be but for his cleverly written autobiography.
Wiljalba Frikell, to whom should go the credit of cutting out heavy stage draperies, never claimed the innovation as a carefully planned conceit, but as an accident. His paraphernalia were destroyed in a fire, but he desired to live up to his contract and give a performance as announced. He therefore offered sleight-of-hand, pure and simple, with the aid of a few tables, chairs, and other common properties which were absolutely undraped. He was also compelled to don regulation, severely plain, evening clothes. The absence of draperies, which naturally aid a conjurer in attaining results, created so pleasing a sensation that Frikell never again draped his stage nor wore fancy raiment. Had Robert-Houdin told the truth about his so-called innovation, he must have given Frikell credit, wherefore he conveniently ignores Frikell completely.
It is entirely characteristic of Robert-Houdin that he did not openly assail Pinetti in the pages of his “Memoirs.” With cleverness worthy of a better cause, he quotes the bitter verbal attack as issuing from the lips of the friend and mentor of his youth, Signor Torrini.
The major portion of chapter VI., pages 92 to 104 inclusive, American edition of his autobiography, is devoted to assailing Pinetti’s abilities as a conjurer and his reputation as a man. Granted that Pinetti did put Torrini to shame on the Neapolitan stage, such revenge for a wholesale duplication of the magician’s tricks might be termed almost human and natural. Had a minor magician, amateur or professional, dogged the footsteps of Robert-Houdin, copying his tricks, the entire répertoire upon which he depended for a livelihood, thus endangering his future, I doubt that even the author of “Confidences d’un Prestidigitateur” would have hesitated to unmask and undo his rival.
In fact, by reference to the editorial note, foot of page 421, American edition of Robert-Houdin’s “Memoirs,” it will be seen that in 1850 Robert-Houdin appealed to the law for protection in just such a case. An employee was sent to prison for two years, as judgment for selling to an amateur some of his master’s secrets.
But in attacking Pinetti, Robert-Houdin goes a step too far and falsifies, not directly but by innuendo, when he permits the impression to go forth that Pinetti was hounded and ruined both financially and professionally by Torrini, as is set forth on page 104. He pictures Torrini as dogging the footsteps of Pinetti through all Italy and finally driving him in a state of abject misery to Russia, where he died in the home of a nobleman, who sheltered him through sheer compassion. Robert-Houdin must have known this was absolutely untrue, for he quotes Robertson, who published Pinetti’s true experiences in Russia. Pinetti took a fortune with him to Russia, acquired more wealth there, and then lost his entire financial holdings through his passion for balloon experiments, as is set forth in chapter II. of this book.
Then, to show his own inconsistency, after picturing Pinetti in his “Memoirs” as a charlatan, a conjurer of vulgar, uncouth pretensions rather than as a good showman of real ability, Robert-Houdin is forced to admit on page 25 of “Secrets of Magic” that later conjurers employed Pinetti programmes as a foundation upon which their performances were built! Even here, however, Robert-Houdin fails to acknowledge an iota of the heavy debt which he personally owed the despised Chevalier Pinetti.
Robert-Houdin devotes the greater part of chapter X., American edition of his autobiography, to belittling Bosco, a conjurer whose popularity all over Europe was long-lived. First, he pictures Bosco as a most cruel creature who literally tortured to death the birds used in his performances. Here, as in his attack on Pinetti, Robert-Houdin throws the responsibility for criticism on the shoulders of another. His old friend Antonio accompanies him to watch Bosco’s performance, and it is Antonio throughout the narrative who inveighs against Bosco’s cruelty and Antonio who insists upon leaving before the performance closes, because the cruelty of the conjurer nauseates him.