While the magic temple was building, Philippe noticed among the bricklayer’s lads a young fellow who seemed to have remarkable intelligence, and he eventually engaged him to appear on the stage as assistant magician. Macalister (as his assistant was called) had a natural genius for tricks and models; he required no apprenticeship in this mysterious art, and indeed soon invented some tricks which attracted his master’s attention. From this moment, either by Macalister’s help or for some other reason, success attended Philippe everywhere, and he began acting in theatres. After a lengthened tour through England he crossed over to Dublin, where he acquired two new tricks, which were the foundation of his future reputation. Three Chinese, who had come to France to perform some very startling tricks, attempted some performances at Paris, which, owing to their ill success, caused a quarrel among the Celestials. In France as well as in China, “horses fight when there is no hay in the manger,” and, though our jugglers did not have recourse to such extremities, they separated. One of them proceeded to Dublin, where he taught Philippe the “gold-fish” trick, as well as the “rings.” On learning the first of these tricks, Philippe was in great trouble about performing it, for he wanted a robe. He could not assume a Chinese costume, as his face had none of the distinguishing features of a mandarin, nor could he dream of a dressing-gown, for however rich it might have been, the public would not have endured such a slight. Hence Philippe extricated himself from the difficulty by assuming the attire of a magician. It was a daring innovation, for, till that period, no conjurer had ventured to take on himself the responsibility of such a costume. Once possessed of these two tricks, Philippe formed the project of returning to his ungrateful country; he, therefore, came to Paris in the summer of 1841, and performed at the Salle Montesquieu. The gold-fish and ring tricks, a brilliant costume, a magnificent pointed cap, and a comfortably arranged room, soon attracted large audiences, among whom was the manager of a Vienna theatre. Delighted with the performance, the latter on the spot offered the conjurer an engagement at half profits, which Philippe willingly accepted. As the Salle Montesquieu was used for public balls during the winter, this engagement also allowed him time to have a theatre constructed in readiness for his return to Paris. The opening of the room Bonne-Nouvelle created a sensation in Paris when Philippe came back from his Austrian tour, and crowds went to see the gold-fish trick, which the performances in the Salle Montesquieu had made known. My reader will have the kindness to accompany me to the _Palais des Prestiges_ (as the new temple of magic was christened), and we will attend one of the magician’s performances.