This “request” part of the program caused Robertson trouble. One night, a member of the audience who had had a few extra sips of wine, or who was terrified beyond the others, called for the return of the ghost of Louis XVI. This was too much. The authorities shut the theatre and refused to grant Robertson permission to continue his “seances.” They did not want even the ghost of Louis returned. Political censorship of screen entertainment had made its first appearance. Robertson went to Bordeaux to make sure that he, himself, did not prematurely join Louis and his other ghosts. Later he was able to return to Paris and open another theatre near the Place Vendôme. This was a particularly startling auditorium. He used an abandoned chapel of a Capuchin monastery. Robertson’s light and shadow ghosts came to life among the mortal remains of ancient monks. (The reader may be aware of the ancient Capuchin custom of using bones of deceased members of the order as part of the ornament of their chapels as a constant reminder of death.) Even though Robertson had admitted that from childhood he had the keenest interest in things marvelous, he tired of his magic. Next we hear of him, he is a pioneer balloonist, credited with the invention of one of the early parachutes! On July 18, 1803, he made a notable ascent in a balloon. In 1845 there was opened in Paris a theatre which was to play a part in the light and shadow story. It was called for its proprietor and chief performer, Théâtre Robert Houdin. Houdin, after whom Harry Houdini of the 20th century named himself, practiced every kind of trick and wondrous illusion. He used Phantasmagorial effects and the French public flocked to the shows. Towards the end of the century Emile Reynaud took over the Théâtre Robert Houdin and showed the best magic shadow plays prior to the introduction of the motion picture itself. During the middle of the century, the Polytechnic Institution, at London, attracted large crowds with magic lantern shows. Ghosts were created à la Robertson and the Phantasmagorial methods. Regular entertainment was also provided with such magic lantern stories as _Puss in Boots_ and versions of Swift’s _Gulliver’s Travels_ and _The Tale of the Tub_. As many as a half-dozen magic lanterns would be used to create impressive scenes, such as battles. In our own day attempts have been made to use Phantasmagorial effects to frighten and deceive. An interesting example is contained in the following Associated Press dispatch telling how the Nazis attempted to make the English soldiers believe that Heaven was entreating them to abandon the war: Paris, Feb. 15 (1940) (AP)--Press accounts from the front sector occupied by the British reported today that Tommies manning an outpost during the night suddenly saw an image of the Virgin Mary appear in the clouds, with her arms outstretched in entreaty.