THE PASTRY COOK OF THE PALAIS ROYAL
Concerning this trick, which Robert-Houdin claims as his invention, he
writes on page 79 of his "Memoirs," American edition: "The first was a
small pastry cook, issuing from his shop door at the word of command,
and bringing, according to the spectator's request, patties and
refreshments of every description. At the side of the shop, assistant
pastry cooks might be seen rolling paste and putting it in the oven."
By means of handbills, programmes, and newspaper notices of magical and
mechanical performances, this trick in various guises can be traced back
as far as 1796. Nine reputable magicians offered it as part of their
repertoire, and at times two men presented it simultaneously, showing
that more than one such automaton existed. The dates of the most notable
programmes or handbills selected from my collection are as follows:
1, Haddock, 1797. 2, Garnerin, 1815. 3, Gyngell, 1816 and 1823. 4,
Bologna, 1820. 5, Henry, 1822. 6, Schmidt, 1827. 7, Rovere, 1828. 8,
Charles, 1829. 9, Phillippe, 1841.
In 1827 Schmidt and Gyngell joined forces, yet both before and after
this date each performer had the wonderful little piece of mechanism on
his programme. In 1841, four years before Robert-Houdin appeared as a
public performer, Phillippe created a sensation in Paris, presenting
among other automata "Le Confiseur Galant." In 1845, when Robert-Houdin
included "The Pastry Cook of the Palais Royal" in his initial programme
at his own theatre in Paris, Phillippe was presenting precisely the same
trick at the St. James Theatre, London.
Of this goodly company, however, Rovere and Phillippe deserve more than
passing notice, as both were the contemporaries of Robert-Houdin, and
Rovere was his personal friend. Both also appear in Robert-Houdin's
"Memoirs."
The trick appears first, not as a confectioner's shop with small figures
at work, but as a fruitery, then again as a Dutch Coffee-House and a
Russian Inn, from which ten sorts of liquor are served. Finally, in
1823, it is featured under the name that later made it famous, the
Confectioner's Shop.
Haddock, the Englishman who had the writing and drawing figure in his
possession for some time, featured the fruitery on his programmes dated
1796. One of his advertisements from the London _Telegraph_ is
reproduced on page 106, in connection with the history of the writing
and drawing figure, but for convenience I am quoting here Haddock's own
description of the fruitery trick, which was even more complicated than
the famous Pastry Cook of the Palais Royal:
[Illustration: A Bologna poster of 1820 which features an automatic
distiller who draws eight different liquors from one cask. From the
Harry Houdini Collection.]
"A model of the neat rural mansion, and contains the following figures:
First, the porter, which stands at the gate, and on being addressed,
rings the bell, when the door opens, the fruiteress comes out, and any
lady or gentleman may call for whatever fruit they please, and the
figure will return and bring the kind required, which may be repeated
and the fruit varied as often as the company orders: it will likewise
receive flowers, or any small article, carry them in, and produce them
again as called for. As the fruits are brought out, they will be given
in charge of a watch-dog, which sits in front of the house, and on any
person taking or touching them will begin to bark, and continue to do
so until they are returned. The next figure belonging to this piece is
the little chimney-sweeper, which will be seen coming from behind the
house, will enter the door, appear at the top of the chimney, and give
the usual cry of 'Sweep' several times, descend the chimney, and come
out with his bag full of soot."
In 1820, Haddock's programme, including the fruitery, appears with only
a few minor changes as the répertoire of Bologna, a very clever conjurer
who afterward became the assistant of Anderson, the Wizard of the North,
and who made most of the latter's apparatus. On the Bologna programme,
for a performance to be given at the Great Assembly Room, Three Tuns
Tavern, the shop trick is described thus: "A curious Mechanical
Fruiterer and Confectioner's Shop, kept by Kitty Comfit, who will
produce at Command such Variety of Fruit and Sweetmeats as may be asked
for."
The marvellous little shop does not appear again on programmes of magic
until 1815, when Garnerin features it as "The Dutch Coffee-House." On
the programme used by Garnerin in that year for a benefit which he gave
for the General Hospital at Birmingham, England, it is featured as No.
10: "A Dutch Coffee-House, a very surprising mechanical piece, in which
there is the figure of a Girl, six inches high, which presents, at the
Command of the Spectators, ten different sorts of Liquors."
[Illustration: A Garnerin poster of 1815, advertising "A Dutch Coffee
House," whose automatic hostess serves refreshments at command. From the
Harry Houdini Collection.]
This programme is of such historical value that I reproduce it in full.
It will show that this particular mechanical trick is by no means the
most important feature of Garnerin's répertoire. In fact his fame is
based on his ballooning, and he is said to have been the inventor of
the parachute. The ascension of the nocturnal balloon, also scheduled on
this programme, is an imitation of the one which Garnerin arranged in
honor of Bonaparte's coronation in 1805. On that occasion the balloon
started at Paris and descended in Rome, a distance of five hundred miles
which was covered in twenty-two hours.
Garnerin was a contemporary of both Pinetti and Robertson and was with
them in Russia when Pinetti dissipated his fortune in balloon
experiments. In their correspondence, both Pinetti and Robertson spoke
slightingly of Garnerin, but the Frenchman's programmes all indicate
that he was not only a successful aëronaut, but a magician who could
present a diverting entertainment.
[Illustration: A Gyngell poster of 1816, featuring the Russian Inn, with
service of various kinds of liquor. From the Harry Houdini Collection.]
In 1816 the elder Gyngell featured the trick on his programmes as "The
Russian Inn," and in 1823 he changed it to "The Confectioner's Shop."
These programmes are reproduced as the most convincing evidence against
the claims of Robert-Houdin.
The Gyngell family is one of the most interesting in the history of
magic. The Christian name of the founder of the family I have never been
able to ascertain, though programmes give the initial as G. He was
celebrated as a Bartholomew Fair conjurer. His career started about
1788, and his contemporaries were Lane, Boaz, Ball, Jonas, Breslaw, and
Flocton. At one time Gyngell and Flocton worked together, and Thomas
Frost in his book, "The Lives of Conjurers," claims that at Flocton's
death Gyngell received a portion of the former's wealth.
[Illustration: The original Gyngell, a portrait reproduced from the book
on magic written by this famous Bartholomew Fair conjurer. From the
Harry Houdini Collection.]
Associated with him in his performances were his brother, two sons, and
a daughter. The latter was not only a clever rope-dancer but a musician
of more than ordinary ability and she often constituted the entire
"orchestra."
On Gyngell's programme offered in 1827 he proves himself a great
showman, for he features Herr Schmidt's "Mechanical Automatons,
Phantasmagoria, a laughing sketch entitled Wholesale Blunders, his son
on the flying wire, during which he would throw a somersault through a
balloon of real fire, a broadsword dance by Miss Louise and Master
Gyngell, and Miss Louise's performance on the tight rope, clowned by
Master Lionel."
On a programme used in Hull, October 29th, 1827, a lottery was featured
as follows: "On which occasion the first hundred persons paying for the
gallery will be entitled by ticket to a chance of a Fat Goose, and the
same number in the pit to have the same chance for a fat turkey. To be
drawn for on the stage, in the same manner as the State Lottery."
According to Thomas Frost, Gyngell died in 1833 and was buried in the
Parish Church, Camberwell. His children, however, continued the work so
excellently planned by their father.
The programmes herewith reproduced I purchased from Henry Evanion, who
secured them directly from the last of the Gyngell family, as the
accompanying letter, now a part of my collection, will show:
DOVER, February 10th, 1867.
MR. EVANION:
DEAR SIR--Yours of the 5th inst. I received just as I was leaving
Folkestown, and it was forwarded from Guilford.
I am sorry I have not one of my old bills with me, neither do I
think any of my family could find one at home. I may have some
among my old conjuring things, and when I return to Guilford I will
look them over and send you what I can find. I was sorry I was not
at home when you were in Guilford, for I feel much pleasure in
meeting a responsible professional. I am not certain when I shall
return, but most likely not for six weeks. I will keep your
address; so should you change your residence, write to me about
that time.
I was looking over some old papers some time last summer, and found
a bill of my father's, nearly 60 years ago, when his great trick
was cutting off the cock's head and restoring it to life again. And
a great wonder it was considered and brought crowded rooms.
I was Master Gyngell, the wonderful performer on the slack wire;
and now in my 71st year I am lecturer, pyrotechnist, and high-rope
walker, for I did that last summer. My life has been a simple one
of ups and downs.
I am, dear sir, yours truly,
J. D. G. GYNGELL.
[Illustration: A Gyngell programme of 1823, advertising "A
Confectioner's Shop," whose attendant will serve automatically any sort
of confectionery demanded. From the Harry Houdini Collection.]
The signature of this letter, "J. D. G. Gyngell," clears up considerable
uncertainty regarding the names of the two Gyngell sons. At times the
clever young tight-rope performer has been spoken of as Joseph, and at
others as Gellini. It is quite probable that the two names were really
part of one, and the full baptismal name was "Joseph D. Gellini." It was
as Gellini Gyngell that he met Henry Evanion at Deal, February 20th,
1862, when the latter was performing as a magician at the Deal and
Walmer Institute, while Gellini Gyngell gave an exhibition of fireworks
and a magic-lantern display on the South Esplanade. A fine notice of
both performances was published in the Deal _Telegram_ of February 23d,
when the hope was expressed that Gyngell's collection, taken among those
who enjoyed his outdoor performance, repaid him for his admirable
entertainment. Gyngell was landlord of the Bowling Green Tavern at this
time, and travelled as an entertainer only at intervals.
The next appearance of the trick is in a book published by M. Henry, a
ventriloquist, who played London and the provinces from 1820 to 1828.
During an engagement at the Adelphia Theatre, London, which according to
the programme was about 1822, Henry published a book entitled
"Conversazione; or, Mirth and Marvels," in which he interspersed witty
conversation with descriptions of his various tricks. On page 11 he
thus describes the automaton under consideration:
[Illustration: Reproduction of a rare old colored lithograph in three
sections. This section represents Gyngell. From the Harry Houdini
Collection.]
"Illusion Third. A curious mechanical trick; an inn, from which issues
the hostess for orders, upon receiving which, she returns into the inn
and brings out the various liquors as called for by the audience, and at
last waiting for the money, which, having received, goes in and shuts
the door. Mr. Henry says he has produced the inn in preference to
palaces, though more stupendous and magnificent, thinking, as a certain
author wrote, the heartiest welcome is to be found at the inn."
In the same year Henry issued a challenge open to the whole world,
defying any performer to equal his manipulation of the cup and ball
trick. He also employed as an adjunct of his conjuring performances
Signor de Fedori of Rome, an armless wonder, who used his feet to play
the drum, violin, and triangle.
A contemporary of Henry was Charles, the great ventriloquist, who varied
his performance as did all ventriloquists of his day, by presenting
"Philosophical and Mechanical Experiments" to make up a
two-hour-and-a-half performance. Charles made several tours of the
English provinces, and played in London at intervals. On a London
programme which is undated, but which announces M. Charles as playing at
Mr. Wigley's Large Room, Spring Gardens, the second automaton on his
list is described as "The Russian Inn, out of which comes a little Woman
and brings the Liquor demanded for." Two of his programmes dated Theatre
Royal, Hull, April, 1829, now in my collection, carry a pathetic
foot-note written in the handwriting of the collector through whom they
came into my possession: "The audiences on both the evenings were
extremely small, and the money was refunded."
By referring to the chapter on the writing and drawing figure, Chapter
III, Page 113, a Schmidt programme of 1827 will be found, in which he
features "The Enchanted Dutch Coffee-House, an elegant little building.
On the traveller ringing the bell, the door opens, the hostess attends
and provides him with any liquor he may call for."
[Illustration: A Charles poster dated about 1829 in which the Russian
Inn and its obedient little figure are featured. From the Harry Houdini
Collection.]
Schmidt seems to have confined his exhibitions to London and the
provinces and was often connected with other magicians, including
Gyngell and Buck. The latter was an English conjurer, best known as the
man who was horribly injured when presenting "The Gun Delusion." This
consisted of having a marked bullet shot at the performer, who caught it
between his teeth on a plate, or on the point of a needle or knife. Some
miscreant loaded the gun with metal after Buck had it prepared for the
trick, and the unfortunate performer's right cheek was literally shot
away.
In 1828 Jules de Rovere, a French conjurer, whose fame rests principally
on the fact that he coined the new title "prestidigitator," appeared at
the Haymarket Theatre, London, and also toured the English provinces. A
clipping from the Oxford _Herald_ of that year includes this description
of his automaton: "One of the clowns vanishes from the box, and
instantly at the top of the hall a little lady, in a little hotel
brilliantly illuminated, gives out wines and liquors to them who ask for
them, without any apparent communication with the artiste, and yet the
lady is only six inches high."
In the late 30's Rovere made his headquarters in Paris, and there he and
Robert-Houdin met. The latter refers to this meeting on page 153 of his
"Memoirs," when writing of the misfortunes which had overtaken Father
Roujol, whose shop had once been headquarters for conjurers: "Still I
had the luck to form here the acquaintance of Jules de Rovere, the first
to employ a title now generally given to fashionable conjurers."
And after Rovere, Phillippe, who is by far the most important presenter
of the Pastry Cook of the Palais Royal, as bearing upon Robert-Houdin's
claims.
For Phillippe's early history we must depend largely upon
Robert-Houdin's "Memoirs." According to these, Phillippe started life as
a confectioner or maker of sweets, and his real name was Phillippe
Talon. According to an article published in _L'Illusionniste_ in
January, 1902, he was born in Alias, near Nîmes, December 25th, 1802,
and died in Bokhara, Turkey, June 27th, 1878.
[Illustration: Reproduction of pastel portrait of Phillippe. Only known
likeness of the conjurer in existence. Made for him by a Vienna artist.
Original now in the Harry Houdini Collection.]
Like many a genius and successful man, his early history was written in
a minor key. According to Robert-Houdin his sweets did not catch the
Parisian fancy, and he went to London, where at that time French bonbons
were in high favor. But for some reason he failed in London, and went
on to Aberdeen, Scotland, where he was very soon reduced to sore
straits. In his hour of extremity his cleverness saved the day. In
Aberdeen at the same time was a company of actors almost as unfortunate
as himself. They were presenting a pantomime which the public refused
to patronize. The young confectioner approached the manager of the
pantomime and suggested that they join forces. In addition to the
regular admission to the pantomime each patron was to pay sixpence and
receive in return a paper of mixed sugar plums and a lottery ticket by
which he might gain the first prize of the value of five pounds. In
addition, Talon promised not only to provide the sweets free of cost to
the management, but to present a new and startling feature at the close
of the performance.
The novel announcement crowded the house, the pantomime and the bonbons
alike found favor, but the significant feature of the performance was
young Talon's appearance in the finale in the rôle of "Punch," for which
he was admirably made up. He executed an eccentric dance, at the finish
of which he pretended to fall and injure himself. In a faint voice he
demanded pills to relieve his pain, and a fellow-actor brought on pills
of such enormous size that the audience stopped sympathizing with the
actor and began to laugh. But the pills all disappeared down the
dancer's throat, for Talon was not only an able confectioner and an
agile dancer, but a sleight-of-hand performer. From that hour he
exchanged the spoon of the confectioner for the wand of the magician.
The fortunes of both the pantomime and Phillippe, as he now called
himself, improved. Quite probably he remained with the pantomime company
until the close of the season and then struck out as an independent
performer.
[Illustration: Poster used by Phillippe during his engagement at the
Strand Theatre, London, 1845-46. From the Harry Houdini Collection.]
Another story which is gleaned from a biography of John Henry Anderson,
the Wizard of the North, tells how Phillippe started his career as a
pastry cook in the household of one Lord Panmure, and I quote this
literally from the Anderson book, because I believe it to be truthful,
as material gathered from Anderson literature has proved to be:
"It was at this time that he came in contact with a person who
afterward, under the designation of M. Phillippe, became celebrated in
France as a magician. Phillipee (for so was he named in Scotland) was
originally a cook in the services of the late Lord Panmure. Leaving that
employment, he settled down and remained for a number of years in
Aberdeen. He heard of the fame of the youthful magician, was induced to
visit his 'temple,' and was struck with his performances; and having
made the acquaintance of Mr. Anderson, he solicited from him and
obtained an insight into his profession, and fac-similes of his then
humble apparatus. Phillippe improved to such a degree upon the knowledge
he thus acquired that, leaving England for France, he earned the
reputation of being one of the most accomplished magicians ever seen in
the country."
The date of his initial performance is not known, but he must have
remained in Scotland, perfecting his act, for the earliest Phillippe
programme in my collection is dated February 3d, 1837, when he opened at
Waterloo Rooms, Edinburgh, and announced:
"The high character which Mons. Phillippe has obtained from the
Aberdeen, Glasgow, Greenock and Paisley Press, being the only four towns
in Britain where he has made his appearance, is a sufficient guarantee
to procure him a visit from the inhabitants of this enlightened
Metropolis, where talent had always been supported when actually
deserved."
[Illustration: Phillippe and his Scotch assistant, Domingo. The latter
became famous as a magician under the name of Macallister, introducing
in America Phillippe's gift show. From a lithograph in the Harry Houdini
Collection.]
Evidently, however, Phillippe made rapid progress, for a programme dated
Saturday, April 21st, 1838, shows that his last daytime or matinée
performance in Waterloo Rooms was given under the patronage of such
members of the nobility as the Right Honorable Lady Gifford, the Right
Honorable Lady H. Stuart Forbes, etc. In an Edinburgh programme, dated
probably 1837, he is shown as performing his tricks, clad in peculiar
evening clothes, knickerbockers and waistcoat matching, with a mere
suggestion of the swallow-tail coat. In his 1838 bill he is shown clad
in the flowing robes of the old-time magician, and he advertises the
Chinese tricks, notably the gold-fish trick, which demanded voluminous
draperies.
According to Robert-Houdin, Phillippe built a small wooden theatre in
Glasgow. Humble as this building was, however, it brought a significant
factor into Phillippe's life. This was a young bricklayer named Andrew
Macallister who had a natural genius for tricks and models, and who
became Phillippe's apprentice, later appearing as Domingo, his assistant
on the stage, wearing black make-up.
In either Edinburgh or Dublin Phillippe met the Chinese juggler or
conjurer who taught him the gold-fish trick and the secret of the
Chinese rings.
Armed with these two striking tricks, Phillippe determined to satisfy
his yearning to return to his native land, and in 1841 he appeared at
the Salle Montesquieu, Paris. Later, the Bonne-Nouvelle, a temple of
magic, was opened for Phillippe in Paris, and there he enjoyed the
brilliant run to which Robert-Houdin refers in his "Memoirs."
Phillippe was an indefatigable worker and traveller, and one brilliant
engagement followed another. During the 40's he appeared, according to
my collection of programmes, all over Continental Europe, and in most of
his programmes this paragraph is featured:
"PART III.
"An unexpected present at once gratuitous and laughable, composed of
twelve prizes, nine lucky and three unfortunate, in which the general
public will participate."
He also continued to distribute bonbons from an inexhaustible source,
probably a cornucopia, calling this trick "a new system of making
sweetmeats, or Le Confiseur Moderne."
During his first engagement in Vienna he had painted for advertising
purposes a pastel portrait, showing him clad in his magician's robes at
the finale of the gold-fish trick. From this picture his later cuts were
made. By some mistake he left the original pastel in Vienna, where I
bought it at a special sale for my collection. It remains an exquisite
piece of color work, even at this day. So far it is the only real
likeness of Phillippe I have been able to unearth.
In 1845-46 he was at the height of his popularity in London, where he
had a tremendous run. In June, 1845, we find him playing at the St.
James Theatre, under Mitchell's direction, and on September 29th, under
his own management, he moves to the Strand, where he is still found in
January of 1846. During all this time he featured The Pastry Cook of the
Palais Royal under the title of "Le Confiseur Galant."
[Illustration: 1. Cuisine de Parafaragamus; 2. Le Chapelier de 1943; 3.
Le Paon magique; 4. La Bouteille enchantée; 5. La Chaîne hydonstaine; 6.
La Tête infernale; 7. Le Chapeau merveilleux; 8. L'Arlequin savant; 9.
Le Confiseur galant et le Liquoriste impromptu; 10. Le Bassin de Neptune
ou les poissons d'or et la ménagerie prodigieuse; 11. Éclairage de tout
le théâtre improvisé par un coup de pistolet.
Reproduction of a large lithograph showing all of Phillippe's tricks,
including "Le Confiseur Galant" scheduled as No. 9. From the original
lithograph dated 1842 now in the Harry Houdini Collection.]
As proofs that Phillippe used the pastry-cook trick both before and
during Robert-Houdin's career as a magician, I offer several programmes
containing accurate descriptions of the automaton, and also a page
illustration from a current publication dated Paris, 1843, which shows
the confectioner or pastry-cook standing in the doorway of his house,
while the key explaining the various tricks reads: "No. 9. Le Confiseur
galant et le Liquoriste impromptu."
Robert-Houdin devotes nearly an entire chapter to the history of
Phillippe and a description of his tricks and automata, yet curiously
forgets to mention the pastry cook, which he later claims as his own
invention.
Ernest Basch, formerly of Basch Brothers, conjurers, and the richest
manufacturer of illusions in the world, claims that the original trick
is now in his possession. Herr Basch is located in Hanover, Germany,
where he builds large illusions only. The wonderful mechanical house
passed to Basch by a bequest on the death of Baron von Sandhovel, a
wealthy resident of Amsterdam, Holland. Von Sandhovel had bought the
trick from the heirs of Robert-Houdin on the death of the latter,
because he believed it to be the brain and handwork of Opre, a Dutch
mechanician of great talent. Ernest Basch shares this belief, and with
other well-read conjurers thinks that Opre was Robert-Houdin's assistant
and built most of his automata, including The Pastry Cook of the Palais
Royal, The Windmill or Dutch Inn, Auriel and Debureau, The French
Gymnasts, The Harlequin, and The Chausseur.
Opre was a man of ability, but lacked presence and personality properly
to present his inventions. So far I have found his name in three places
only: On the frontispiece of a Dutch book on magic, published in
Amsterdam; in Ernest Basch's correspondence about conjurers; and on page
77 of Robert-Houdin's "Memoirs," when he speaks of Opre as the maker of
the Harlequin figure which Torrini asked Robert-Houdin to repair during
their travels.
[Illustration: Ernest Basch and "Le Confiseur Galant," which he claims
is the original Robert-Houdin "Pastry Cook of the Palais Royal." From a
photograph in the Harry Houdini Collection.]
With such convincing proof, some of which was contemporary, that other
men had exhibited The Pastry Cook of the Palais Royal in its identical
or slightly different guise, it was daring indeed of Robert-Houdin to
claim it as his own invention.
[Illustration: David Leendert Bamberg, of the second generation of the
Bamberg family. Born 1786; died 1869. The above daguerrotype was
presented to the author by Herr Ernest Basch, and is the only one in
existence.]
The most direct information regarding Opre comes through that eminent
family of conjurers known as the Bambergs of Holland. At this writing,
"Papa" (David) Bamberg, of the fourth generation, is prominent on the
Dutch stage, and his son Tobias David, known as Okito, of the fifth
generation, is a cosmopolitan magician, presenting a Chinese act.
According to the family history, traceable by means of handbills,
programmes, and personal correspondence, the original Bamberg (Eliazar)
had a vaulting figure in his collection of automata in 1790, fifty years
before Robert-Houdin became a professional entertainer. This figure was
made by Opre, to whom all conjurers of that time looked for automata and
apparatus. David Leendert Bamberg, of the second generation, who also
had the vaulting figure, was the intimate friend and confidant of Opre
and was authority for the statement that Opre's son sold in Paris the
various automata made by his father, which later Robert-Houdin claimed
as his own invention. It may be noted that Robert-Houdin never invented
a single automaton after he went on the stage in 1845, and as Opre died
in 1846, the coincidence is nothing if not significant.