“With such genealogy, should one not be predestined to horology? Therefore my son was irresistibly drawn to his {158} vocation, and he took up the art which Berthoud and Bréguet have made famous. It was from the latter of the two celebrated masters that he learned the elements of the profession of his forefathers.”
Emile was subsequently induced to take up the magic wand, and in conjunction with Professor Brannet gave many clever entertainments. During his management the old theatre[22] in the Palais Royal was abandoned, and a new theatre erected on the Boulevard des Italiens. He held this property until his decease in 1883. The theatre was partly destroyed by fire, January 30, 1901, but was rebuilt.
[22] Houdin’s original theatre in the Galerie de Valois of the Palais Royal has long ago been swallowed up in the alterations made in the building. M. Trewey, in the spring of 1905, met an old man, a former employee of the Palais, who remembered seeing Houdin perform in 1845–46, but he could not even locate the little theatre. How soon are the glories of the past forgotten by a fickle public. The theatre has been divided into two or three shops.
The only surviving members of the family are Madame Emile Robert-Houdin, widow of the elder son, and a daughter who is married to M. Lemaitre Robert-Houdin, a municipal officer of Blois, who has adopted the name of Houdin. Robert-Houdin is interred in the cemetery of Blois. A handsome monument marks his grave.
At the Paris Exhibition of 1844, Houdin was awarded a medal for the ingenious construction of automata; at the Exhibition of 1855 he received a gold medal for his scientific application of electricity to clocks. He invented an ophthalmoscope to enable the operator to examine the interior of his own eye. From important papers in the possession of M. Lemaitre it seems more than probable that Houdin had worked out the secret of the modern telephone before it had been made known to the world at large.
Houdin has been considered of such importance and interest in France that in Didot’s Nouvelle Biographie Générale a whole page is given him. His personal appearance is thus described in Larousse’s Encyclopédie: “He was a man of small stature. His manners were engaging and vivacious. His face was clean-shaven, showing a large and eloquent mouth. In his old age, {159} his head was covered with snow white hair. His eyes up to the last retained the fire and brilliancy of a man of twenty-five.”
On December 6, 1905, the French Society of Magicians celebrated the hundredth anniversary of Houdin’s birth. The exercises were held at the Theatre Robert-Houdin, Boulevard des Italiens, Paris. The little theatre was crowded with conjurers and their friends. Among the wielders of the magic staff were Caroly, the editor of Illusioniste, M. and Mme. de Gago, Folletto, M. and Mme. Talazac, and M. Raynaly. M. and Mme. Talazac, in their “mind-reading” act, evoked great applause. M. Miliès, the manager of the house, exhibited the automaton, “Antonio Diavolo,” invented by Robert-Houdin. M. Renaly, the well-known drawing-room conjurer, read a poem in honor of the great master, at the close of which a bust of Robert-Houdin, which stood upon the stage, was crowned with a wreath of laurel. Strange to say, not a word of this interesting event was recorded in the newspapers.
Houdin was the first conjurer to be employed in an official capacity by a civilized Power. The second case we have record of was on the occasion of the English Mission to the late Sultan of Morocco when Mr. Douglas Beaufort was appointed conjurer to the party by the British Government. The object was to surprise the Arabs with the skill of an Anglo-Saxon prestidigitateur. During the journey to Fez from the coast, Mr. Beaufort gave a number of séances. The news of his necromantic powers soon spread like wild-fire among the natives. When the Embassy reached the Arab Capital, the Sultan refused to see the “Devil Man,” as he termed the conjurer. He imagined that the British proposed to cast a spell over him. For eight weeks he held out, but finally curiosity got the better of him. The Grand Vizier was ordered to produce the Disciple of Beelzebub at the Royal Palace. The performance of Mr. Beaufort so delighted the ruler of Morocco that he presented him with a silver dagger, a fine Arabian steed from the royal stable, and a bag containing 500 dollars, as a token of esteem and regard.
SOME OLD-TIME CONJURERS.
“As in Agrippa’s magic glass,