The celebrated ventriloquist paid me a visit at the Palais Royal, and I accompanied him to the foot of the stairs on his departure. Comte walked down before me, still talking, so that the pockets of his coat were at my mercy. The opportunity was too good to neglect the chance of playing a trick on my talented _confrère_, so I filched his handkerchief and a handsome gold snuff-box: and I took care to turn the pocket inside out, as a proof that my performance had been properly executed. I was laughing at the comic result my trick must have when I returned Comte his property; but it was “diamond cut diamond:” for, while I was thus violating the laws of hospitality, Comte was scheming against me. I had scarce concealed the handkerchief and box, when I heard a strange voice on the first floor landing. “Monsieur Robert-Houdin, will you be kind enough to step up to the box-office: I wish to speak to you.” My readers will guess that the ventriloquist had played me a trick; indeed, on reaching the office, I only found the clerk, who could not understand what I was talking about. I perceived, too late that I was victimised, and I heard Comte celebrating his victory by shouts of laughter. For a moment, I confess I felt vexed at having been taken in, but I soon regained my equanimity on thinking I might have the best of it yet. So I went down stairs very calmly. “What did that person want?” Comte asked, with ill-repressed delight. “Can’t you guess?” “I?--no.” “It was a penitent thief, who begged me to return you the articles he had filched from you. Here they are, my master!” “I prefer it to end so!” Comte said, returning his pocket to its place. “We are now quits, and I hope we shall always be good friends.” From all the preceding remarks it may be concluded that the fundamental principles of Comte’s performances were mystifying gentlemen (sovereigns excepted), complimenting ladies, and jesting with everybody. Comte was right in employing these means, as he generally gained his object; for he delighted and raised a laugh. At this period French manners justified such behavior, and the professor, by flattering the taste and instincts of the public, was sure to please. There has been a great change since, and puns are no longer held in such esteem; banished from good society, they have sought refuge in studios, when the pupils too often make an immoderate use of them, and though they may be permitted now and then among intimate friends, they are not proper in a performance of sleight-of-hand. The reason is very simple: not only do puns raise a belief that the artist fancies himself a wit, which may be injurious to him, but, if he succeed in raising a laugh, it weakens the interest felt in his experiments.