Houdin is rather severe on M. Robin when he classes him among the plagiarists and pirates. But the two conjurers were great rivals. M. Caroly, editor of the Illusioniste, in an article on Robin, suggests that perhaps Pepper had seen and examined a Polyoscope, and built upon it the theatrical illusion of the ghost. My personal belief is that Professor Pepper was ignorant of the existence of the toy as well as of Robin’s former exhibitions of phantasmagoria, and independently thought out the ghost illusion. This frequently happens among inventors, as every one knows, who has dealings with the U. S. Patent Office.
In the year 1868, there was exhibited in Paris, at the Ambigu Theatre, the melodrama of “La Czarine,” founded on Robert-Houdin’s story of Kempelen’s Automaton Chess Player. In this play was a remarkable use of the “ghost illusion,” arranged by Houdin, as well as a chess-playing automaton. I quote as {96} follows from Houdin’s Les Secrets de la prestidigitation et de la magie, Chapter VI: “My collaborators, Messrs. Adenis and Gastineau, had asked me to arrange a ‘ghost effect’ for the last act. I had recourse to the ‘ghost illusion’, but I presented it in such guise as to give it a completely novel character, as the reader will be enabled to judge from the following description: The scene is laid in Russia, in the reign of Catherine II. In the last act, an individual named Pougatcheff, who, on the strength of a personal likeness to Peter III, attempts to pass himself off as the deceased monarch, is endeavoring to incite the Russian populace to dethrone Catherine. A learned man, M. de Kempelen, who is devoted to the Czarina, succeeds, by the aid of scientific expedients, in neutralizing the villainous designs of the sham prince.
“The scene is a savage glen, behind which is seen a background of rugged rocks. Pougatcheff appears, surrounded by a crowd of noisy adherents. M. de Kempelen comes forward, denounces the impostor, and declares that, to complete his confusion, he will call up the spirit of the genuine Peter III. At his command a sarcophagus appears from the solid rock; it stands upright on end. The lid opens, and exhibits a corpse covered with a winding sheet. The tomb falls to the ground, but the phantom remains erect. The sham Czar, though a good deal frightened, makes a pretence of defying the apparition, which he treats as a mere illusion. But the upper part of the winding sheet falls aside, and reveals the livid and moulding features of the late sovereign. Pougatcheff, thinking that he can hardly be worsted in a fight with a corpse, draws his sword, and with one blow cuts off its head, which falls noisily to the ground; but at the very same moment the living head of Peter III appears on the ghostly shoulders. Pougatcheff, driven to frenzy by these successive apparitions, makes at the figure, seizes it by its garments, and thrusts it violently back into the tomb. But the head remains suspended in space, rolling its eyes in a threatening manner, and appearing to offer defiance to its persecutor. The frenzy of Pougatcheff reaches its culminating point. Grasping his sword with both hands, he tries to cleave in twain the {97} head of his mysterious adversary; but his blade only passes through a shadowy being, who laughs to scorn his impotent rage. Again he raises his sword, but at the same moment the body of Peter III, in full imperial costume, and adorned with all the insignia of his rank, becomes visible beneath the head. The re-animate Czar hurls the impostor violently back, exclaiming, in a voice of thunder. ‘Hold sacrilegious wretch!’ Pougatcheff, terror-stricken, and overwhelmed with confusion, confesses his imposture, and the phantom vanishes.
“The stage arrangements to produce these effects are as follows: An actor, robed in the brilliant costume of Peter III, reclines against the sloped support beneath the stage. His body is covered with a wrapper of black velvet, which is designed to prevent, until the proper moment, any reflection in the glass. His head alone is uncovered, and ready to be reflected in the glass so soon as the rays of the electric light shall be directed upon it.
“The phantom which originally comes out of the sarcophagus is a dummy, whose head is modeled from that of the actor who plays the part of Czar. This head is made readily detachable from the body.
“Everything is placed and arranged in such manner that the dummy image of Peter III shall precisely correspond in position with the person of the actor who plays the part of ghost.
“At the same moment that the head of the former falls to the ground, the electric light is gradually made to shine on the head of the actor who plays the part of Peter III, which being reflected in the glass, appears to shape itself on the body of the dummy ghost. After this latter is hurled to the ground, the veil which hides the body of the actor Czar is quickly and completely drawn away, and the sudden flood of the electric light reflects his whole body where his head alone was previously visible.”
As a clever producer of the living and impalpable spectres, Robin had no equal. I will describe two of his effects. The curtain rose, showing a cemetery with tombstones and cenotaphs. It was midnight. A lover entered and stood weeping over the tomb of his dead fiancée. Suddenly she appeared before him {98} arrayed in a winding sheet which she threw aside, revealing herself in the dress of a bride. He endeavored to embrace her. His arms passed unimpeded through the spectre. Gradually the vision melted away, leaving him grieving and desolate.
The impression produced by this illusion was profound and terrifying. Amid cries of astonishment and fright resounding through the hall, many women fainted or made their escape.
