An Inventor’s Calculations--One Hundred Thousand Francs a Year by
an Inkstand: Deception--My new Automata--The First Magician in
France: Decadence--I meet Antonio--Bosco--The Trick with the
Cups--An Execution--Resurrection of the Criminals--Mistake in a
Head--The Canary rewarded.
My sleepless nights, my incessant toil, and, above all, the feverish
agitations resulting from all the emotions of such an arduous
undertaking, had undermined my health. A brain-fever attacked me, and
though I recovered from it, it was only to pass five long years in
listlessness and vacuity. My mind seemed quite gone: I felt no passion,
no love, no interest, even in the arts I had so delighted in: conjuring
and mechanism only existed for me in the shape of recollections.
But this illness, which had mastered the faculty of Paris, could not
resist the refreshing air of the country, where I retired for six
months, and when I returned to Paris, I was a new man. With what joy I
saw again my beloved tools! With what ardor I reassumed my work! for I
had to regain not only the lost time, but also the enormous expenses
incurred by my long illness.
My modest fortune was for the moment sensibly diminished, but on this
point I was case-hardened; for would not my future performances fill up
all these losses, and insure me a handsome fortune? Thus I discounted an
uncertain future; but, after all, do not all inventors like to convert
their schemes into ingots?
Perhaps, too, I unconsciously yielded to the influence of one of my
friends, an extraordinary projector, whom mistakes and deceptions never
hindered forming fresh schemes. Our manner of calculating the future had
considerable affinity. But I must do him this justice: however high my
estimate might be, he was far superior to me in that respect. Here is an
instance to judge by.
One day this friend called upon me, and showing me an inkstand of his
invention, which combined the double merit of being safe from upset, and
of always keeping the ink at the same level, said,
“At last, my lad, I have hit it; this invention will make a revolution
in the writing world, and allow me to walk about like a gentleman, with
a hundred thousand francs a year--at the very lowest, understand me. But
you can judge for yourself, if you follow my calculations closely. You
know, there are thirty-six millions of inhabitants in France?”
I nodded an affirmative.
“Starting on this basis, I do not think I err if I assume that at least
one-half can write, eh? or, say we take one-third, or, to be still more
sure, the round sum of ten millions. Now, I hope I shall not be charged
with exaggeration, if, out of these ten millions, I take one-tenth, or a
million, as the number of those looking after what may be useful to
them.”
And my friend stopped here and looked at me, as much as to say, “Am I
not reasonable in my estimates?”
“We have, then, in France one million men capable of appreciating the
benefits of my inkstand. Well, of this number how many will you allow
who, during the first year, hear of my inkstand, and consequently will
purchase it?”
“Well,” I replied, “I confess to a difficulty in giving you an exact
answer.”
“Good Heavens! who spoke about exactness? I only want an approximation,
and that must be the lowest possible, that there may be no mistake.”
“Well,” I went on, continuing my friend’s decimal calculations, “take a
tenth.”
“Now, mind, _you_ said a tenth, or, in other words, one hundred
thousand. But,” the inventor continued, charmed at seeing me share his
brilliant calculations, “do you know what the sale of these one hundred
thousand inkstands will produce me in a year?”
“I can form no idea.”
“I will then tell you. I have reserved myself one franc on each inkstand
sold. This gives a profit then----“
“Of one hundred thousand francs, of course.”
“You see, there is no difficulty in making the calculation. You must
bear in mind, too, that the other nine hundred thousand writers we left
on one side will end by appreciating my inkstand: they will also buy it.
Then what will the nine millions we omitted do? And notice, too, that I
am only speaking of France, which is a mere dot on the globe. When
foreign countries know its merits, when the English and their colonies
order it---- Oh, it would require a mathematician to reckon all this
up!”
My friend wiped his brow, which had grown quite damp during the heat of
his address, and he ended by repeating, “Remember, we established our
estimate on the lowest basis.”
Unfortunately, that was the place where my friend’s calculation broke
down. His inkstand, being much too dear, was not purchased, and the
inventor ended by adding this gold mine to his many other deceptions.
I, too, I confess, based my calculations on the census, or, at least, on
the approximative number of visitors to the capital, and even at the
lowest figure I arrived at a most satisfactory result. But I do not
regret having given way to these fancies, for though they occasioned me
various disappointments, they served to keep up some energy in my mind,
and enabled me to wrestle against the numberless difficulties I
encountered in making my automata. Besides, who has not, once in his
life at least, indulged in the gilded calculations of my friend the
inkstand inventor?
I have already repeatedly mentioned the automata I made, and it is high
time to describe the nature of the articles intended to be used in my
performances.
The first was a small pastrycook 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
pastrycooks might be seen rolling paste and putting it in the oven.
Another specimen represented two clowns, Auriol and Debureau. The latter
held out at arm’s length a chair, on which his merry comrade performed
acrobatic tricks, like his namesake at the circus in the Champs Elysées.
After these performances Auriol smoked a pipe, and ended by accompanying
on the flagolet an air played by the orchestra.
The next was a mysterious orange-tree, on which flowers and fruit burst
into life at the request of the ladies. As the finale, a handkerchief I
borrowed was conveyed into an orange purposely left on the tree. This
opened and displayed the handkerchief, which two butterflies took by the
corners and unfolded before the spectators.
Lastly, I made a dial of transparent glass, which marked the hours at
the will of the spectators, and struck the time on a crystal bell.
At the time I was most deeply engaged in these labors, I made a very
agreeable rencontre. While walking along the Boulevards, full of
thought, according to my usual habit, I heard some one calling me. On
turning round, an elegantly-dressed man pressed my hand.
“Antonio!” I exclaimed, as I embraced him, “how glad I am to see you!
But why are you here--what are you doing--and Torrini?”
Antonio interrupted me. “I will tell you all about it. Come to my
apartments, where we shall be more at ease. I only live a few doors
off.”
In fact, within two minutes we stopped in the Rue de Lancry, before a
very handsome house.
“Go up,” Antonio said: “I live on the second floor.”
A servant opened the door. “Is your mistress at home?” Antonio asked.
“No, sir; but I was to tell you she would be in soon.”
After leading me into a pretty drawing-room, Antonio made me sit down by
his side on a sofa.
“Now, my friend, let us talk, for we must have a great deal to tell each
other.”
“Yes, let us talk; for I confess that my curiosity is strongly excited.
I fancy, at times, I am dreaming.”
“I will bring you back to real life,” Antonio continued, “by telling you
what has happened to me since we parted. Let us begin with poor
Torrini.”
I made a movement of pained surprise.
“What do you say, Antonio? Can our friend----?”
“Yes, it is only too true. Death struck him at the moment we had every
reason to hope a happier fate. On leaving you, Torrini intended to
return as quickly as possible to Italy. The Count de Grisy was anxious
to reassume his name and revisit the scenes of past successes, for he
hoped there to become again the brilliant magician of yore. God decided
otherwise. Just as we were about leaving Lyons, where we had been giving
some successful performances, he was suddenly seized with typhus fever,
which carried him off in a few days.
“I was his residuary legatee, and after paying the last honors to a man
to whom I had pledged my life, I began realizing my small fortune. I
sold the horses and travelling-carriage, and kept the apparatus, as I
intended to use it. I had no profession, so I thought I could not do
better than to take up one, for which the road was clear before me, and
I hoped that my name, to which my brother-in-law had given a certain
celebrity in France, would assist me. It was very bold in me to try and
fill the place of such a master, but I thought my impudence would answer
as well as talent.
“Hence I called myself Signor Torrini, and, after the fashion of my
rivals, I added the title of ‘first magician of France.’ Each of us is
always the first and the most skillful in the country where he happens
to be, unless he think proper to call himself the first in the whole
world. Conjuring is a profession in which, as you know, no one errs
through excess of modesty, and the custom of producing illusions
facilitates this issue of bad money, which the public, it is true,
appreciates and sets its true value on.
“So it behaved to me, for, despite my pompous announcements, I frankly
confess it did not recognize the celebrity I claimed. On the contrary,
my performances were so little attended, that my receipts were hardly
sufficient for my existence. Still I went from town to town, giving my
performances, and nourishing myself more often on hope than on reality.
But the moment arrived when this unsubstantial food no longer sufficed
me, and I was forced to stop. I had exhausted my resources: I had
nothing left but my instruments. My clothes were reduced to the sheerest
necessity, and threatened to desert me at any moment: thus hesitation
was impossible. I decided on selling my instruments, and, provided with
the small sum they produced me, I set out for Paris, the last refuge of
those whose talent is neglected and position hopeless.
“In spite of my ill success, I had lost none of my stock of philosophy,
and, though not very happy, I was full of hope in the future. Yes, my
friend--yes, I had a presentiment at that time of the brilliant position
fate reserved for me, and to which it lead me, I may say, by the hand.
“Once arrived at Paris, I hired a modest room, and determined to live as
savingly as possible, in order to make my money hold out. You see that,
in spite of my confidence in the future, I took some precautions, so as
not to run the risk of dying of hunger; but you will allow I acted wrong
in not trusting entirely to my lucky star.
“I had hardly been in Paris a week, when I met an old comrade, a
Florentine, who used to perform as second basso in my old theatre. He,
too, had been maltreated by Fortune, and having come to Paris, he found
himself reduced to accept a situation in the chorus of the Opera. When I
had revealed my position to him, he told me a tenor situation was vacant
in the chorus, and advised me to try and get it: I accepted the offer
with pleasure, though, of course, as merely transitional, for I felt a
pang at my descent. Still, prudence suggested I had better guard against
want.
“I have often noticed,” Antonio continued, “that those events which
inspire us with the greatest doubt, turn out the most favorable, and
mine was a case in point. As I had a good deal of spare time, I thought
I would employ it in giving singing lessons. I, therefore described
myself as a singer at the Opera, while concealing the position I
occupied there. Procuring my first pupil was as difficult as saving the
first hundred pounds towards a fortune, and I had to wait a long time.
At length I caught him; then others; and, gradually, I had enough pupils
to enable me to leave the theatre.
“I must tell you this determination had another reason. I loved one of
my lady pupils, and she returned my affection. Under such circumstances,
it was not prudent to remain a chorus-singer, which might have impeded
my views. You naturally expect some romantic adventure; but nothing
could be more simple than the event which crowned our loves--it was
marriage.
“Madame Torrini, whom you will see presently, was the daughter of a
retired laceman. Her father, a widower, with no other children, had no
will but his daughter’s, and he accepted my offers. He was the worthiest
of men; but, unfortunately we lost him two years ago. I retired from my
professional duties on the fortune he left us, and I now live happily
and calmly, in a position which realizes my most brilliant dreams of
old. This is another proof,” my philosophic friend said, in conclusion,
“that, however precarious may be the position in which a man finds
himself, he ought never to despair of luck turning.”
My story was not so long as Antonio’s, for with the exception of my
marriage, there was no event worthy narrating. I told him, however of my
long illness, and the work that had brought it on, and I had scarce
ended, when Madame Torrini entered the room. My friend’s wife received
me most kindly, saying:
“I have known you, sir, for a long time, as Antonio told me your
history, which caused me to feel the greatest interest, and my husband
and myself often regretted we could not hear of you. Now, however, M.
Robert,” she added, “that we have found you, consider yourself an old
friend of the family and come to see us often.”
I profited by this kind invitation, and more than once went to seek
consolation and encouragement from these worthy friends.
Antonio still took an interest in conjuring, although it was a mere
distraction by which he amused his friends.--Still, not a conjurer
announced his performance but he went to see him. One morning he entered
my workshop in great haste.
“Look here,” he said, offering me a paper, “as you run after all the
celebrated conjurers, here is one that will astonish you. Read.”
I took the paper eagerly, and read the following puff:
“The famous Bosco, who can conjure away a house as easily as a nutmeg,
is about to give his performances at Paris, in which some miraculous
tricks will be executed.”
“Well, what do you say to that?” Antonio asked me.
“A man must possess very great talent to undertake the responsibility of
such praise. After all, I think the journalist is amusing himself at the
expense of his readers, and that the famous Bosco only exists in his
columns.”
“You are quite wrong, my dear Robert: this conjurer is not an imaginary
being, for not only have I read this puff in several papers, but I even
saw Bosco last night at a café, giving some specimens of his skill, and
announcing his first performance for next Tuesday.”
“If it be so,” I said to my friend, “I must ask you to spend the evening
with M. Bosco, and I will come and call for you.”
“Done,” said Antonio, “mind and call for me on Tuesday at half-past
seven, as the performance commences at eight.”
At the appointed time we proceeded to the Rue Chantereine, where the
performance was announced. At the money-taker’s we found ourselves face
to face with a stout gentleman, dressed in a coat adorned with frogs and
trimmed with fur, making him look like a Russian prince on his travels.
Antonio nudged me with his elbow, and said, in a whisper, “That’s he!”
“Who’s he?”
“Why, Bosco.”
“All the worse,” I said; “I am sorry for him.”
“Explain yourself, for I do not understand the harm a Boyard’s dress can
do a man.”
“My friend, I do not blame M. Bosco so much for his dress as for
occupying his present place. I think an artiste cannot be too chary of
his person off the stage; there is so much difference between the man
whom an entire audience listens to and applauds, and the director who
comes openly to watch his paltry interests, that the latter must injure
the former.”
During this conversation, my friend and myself had entered the room and
taken our seats. According to the idea I had formed of a magician’s
laboratory, I expected to find myself before a curtain whose large
folds, when withdrawn, would display before my dazzled eyes a brilliant
stage ornamented with apparatus worthy of the celebrity announced; but
my illusions on this subject soon faded away.
A curtain had been considered superfluous, and the stage was open.
Before me was a long three-storied sideboard, entirely covered with
black serge. This lugubrious buffet was adorned with a number of wax
candles, among which glistened the apparatus. At the topmost point of
this strange _étargère_ was a death’s-head, much surprised, I have no
doubt, at finding itself at such a festival, and it quite produced the
effect of a funeral service.
In front of the stage, and near the spectators, was a table covered by a
brown cloth, reaching to the ground, on which five brass cups were
symmetrically arranged. Finally, above this table hung a copper ball,
which strangely excited my curiosity.[D]
For the life of me I could not imagine what this was for, so I
determined to wait till Bosco came to explain it. Antonio had entered
into conversation with his neighbor, who spoke in the most enthusiastic
manner of the performance we were about to witness. The silvery sound of
a small bell put an end to my reverie and to my friend’s conversation,
and Bosco appeared on the stage.
The artiste had changed his costume: he had substituted for the Russian
great-coat a little black velvet jacket, fastened round the waist by a
leathern belt of the same color. His sleeves were excessively short, and
displayed a handsome arm. He wore loose black trousers, ornamented at
the bottom with a ruche of lace, and a large white collar round his
neck. This strange attire bore considerable resemblance to the classical
costume of the Scapins in our plays.
After making a majestic bow to his audience, the celebrated conjurer
walked silently and with measured steps up to the famous copper ball.
After convincing himself it was solidly hung, he took up his wand, which
he wiped with a white handkerchief, as if to remove any foreign
influence; then, with imperturbable gravity, he struck the ball thrice
with it, pronouncing, amid the most solemn silence, this imperious
sentence: _Spiriti miei infernali, obedite_.
I, like a simpleton, scarce breathed in my expectation of some
miraculous result, but it was only an innocent pleasantry, a simple
introduction to the performance with the cups. I was, I confess, rather
disappointed, for, in my opinion, this performance was only suited for
the public streets, and I did not expect any one would venture it on a
Paris stage in 1838. I was justified in this view, as two persons,
Miette and Lesprit, might be daily seen going through this performance
in the streets. Still, I must say that Bosco displayed great skill, and
was heartily applauded by the public.
“Well,” Antonio’s neighbor said, victoriously, “was I not right--is he
not remarkably clever? But you’ll see, that’s nothing as yet.”
Either Antonio was in a bad temper, or the performance did not please
him, for he could not “plant” the admiration he had been quite prepared
to bestow. In fact, he became most impatient when Bosco commenced the
“pigeon trick.” Still, it must be allowed that the _mise en scène_ and
the execution were of a nature to irritate nerves even less sensitive
than my friend’s.
A servant placed on small tables on either side the stage two small
blocks of black wood, on each of which a death’s-head was painted. They
were the blocks for the culprits. Bosco then came forward, holding a
knife in one hand and a black pigeon in the other.
“Here is a pizon” (I forgot to state that Bosco spoke with a strong
Italian accent) “zat has behaved badly. I am going to cut off his head;
zall it be, ladies, wiz blood or wizout?” (This was one of his strong
points.)
Some people laughed, but the ladies hesitated to reply to this strange
question.
“Without blood,” a spectator said. Bosco then placed the pigeon’s head
on the block and cut it off, being careful to press the neck, and
prevent the effusion of blood.
“You zee, ladies,” the operator said, “zat ze pizon does not bleed, as
you ordered.”
“With blood,” suppose another spectator said. Then Bosco loosened the
artery, and let the blood run on a plate, which he handed round for
inspection. The head, after being cut off, was placed upright on one of
the blocks; and Bosco, taking advantage of a convulsive movement, which
caused the beak to open, made this barbarous jest: “Come, mossiou, bow
to zis amiable company--now once more. Ah, ah, zat is right.”
The public listened, but no longer laughed.
The same operation was performed on a white pigeon without the slightest
variation, after which Bosco placed the bodies in two false-bottomed
boxes, being careful to put the black head with the white pigeon, and
the white head with the black one. Then he repeated his conjurations
over the boxes, and when he opened them, a black pigeon came with a
white head, and a white one with a black head. Each of the culprits,
according to Bosco, had been restored to life, and assumed its comrade’s
head.
“Well, what do you think of that?” Antonio’s neighbor asked him, as he
clapped vociferously.
“To tell you the truth,” my friend replied, “I must say the trick is not
very wonderful. Besides, I should like it better were it performed with
less cruelty.”
“Ah, you have delicate nerves, I see,” the neighbor said; “perhaps you
experience similar sensations when you see a fowl killed and put on the
spit?”
“Allow me, sir, before answering you,” my friend replied, sharply, “to
ask if I have come here to see a kitchen performance?”
The discussion was growing warm, and was rather savage in its tone, when
a third party terminated the dispute by the following jest:
“Hang it, sir,” he said to Antonio, “if you do not like cruelty, at any
rate do not disgust other people with it.”
Bosco now returned on the stage with a canary in his hand.
“Zentlemen,” he said, “this is Piarot: he is very polite, and zall
zalute you. Come, Piarot, do your duty.” And he pinched the bird’s claws
with such force that the unfortunate tried to escape from this cruel
clutch. Overcome by pain, it bent down over the juggler’s hand, uttering
cries of distress.
“Zat is good; I am satisfied wiz you. You see, ladies, he not only
zalutes you, but he says ‘Good-night.’ Continue, Piarot, you zall be
rewarded.”
The same torture made the bird bow twice more, and to _reward_ it its
master placed it in the hands of a lady, begging her to keep it. But
during the passage the bird had ended its life, and reached the lady’s
hand dead. Bosco had strangled it.
“Oh, good Heavens, madam!” the conjurer exclaimed, “I believe you have
killed my Piarot--you zall have squeezed him too moch. Piarot--Piarot!”
he added, tossing the bird in the air, “Piarot, answer to me. Ah,
madam, he is dezidedly dead. What zall my wife say when she sees Bosco
arrive wizout his Piarot: quite zurely I zall be beaten by Madame
Bosco.” (I must observe, here, that all I describe is literally true.)
This bird was interred in a large box, whence, after fresh conjurations,
a living bird came out. This new victim was fated to suffer shorter
agony. It was thrust alive into the barrel of a large pistol, and Bosco,
holding a sword in his hand, begged a spectator to fire at the point of
the weapon he held out to him. The pistol was fired, and a third victim
was seen spitted on the point of the sword.
Antonio rose. “Let us go,” he said, “for I am turning sick.”
I have seen Bosco several times since then, and each time I studied him
carefully, not only to try and explain the cause of the great fashion he
enjoyed, but also to be able to compare the various opinions expressed
about this celebrated man. Here are some deductions drawn from my
observations.
Bosco’s performances generally please a large number, for the public
suppose that, through some inexplicable address, the bird-murders are
simply feigned, and, tranquil, on this point, they indulge in all the
pleasure caused by the talent of the conjurer and the originality of his
accent.
Bosco has a quaint and full-sounding name, adapted to become popular,
and no one knows better than he how to take advantage of it. Neglecting
no opportunity for notoriety, he performs at any hour of the day,
whatever may be the quality and number of the spectators. In a coach, at
a table d’hôte, in cafés or shops, he never fails to give some specimen
of his skill, by juggling a coin, a ring, and so on.
The witnesses of these little improvised performances consider
themselves bound to return Bosco’s politeness, by attending his public
performance. They have formed the acquaintance of the celebrated
conjurer, and are obliged to sustain the reputation of their new friend.
Hence, they urge all their acquaintances to go also, puff off the
performance, and thus the room is always full.
It must also be mentioned that numerous accomplices help Bosco’s
popularity materially. Each of them, it is known, is instructed to hand
the magician a handkerchief, shawl, watch, &c., which he has in double.
This allows him to pass them with an appearance of magic or skill, into
a cabbage, a loaf, a box, or any other object. These accomplices, while
aiding in the conjurer’s experiments, have a great interest in securing
their success: for their self-love finds its profit in the success of
the mystification. Besides, they have no objection to accept some of the
applause as their due: hence, the magician has as many admirers as
accomplices, and the influence a dozen intelligent prompters can exert
in a room is well known.
Such were the influences which, joined to Bosco’s talent, gained him a
great renown for many years.