But it is in dealing with contemporary magicians or those whose handiwork in bygone years he cleverly purloined and proclaimed as his original inventions, that the petty jealousy of the man comes to the surface. Whenever he desires to claim for himself credit due a predecessor in the world of magic, he either ignores the man's very existence or writes of his competitor in such a manner that the latter's standing as man and magician is lowered. Not that he makes broad, sweeping statements. Rather, he indulges in the innuendo which is far more dangerous to the party attacked. He never strikes a pen-blow which, because of its brutality, might arouse the sympathy of his readers for the object of his attack. Here, in the gentle art of innuendo and belittling, if not in the conjurer's art, Robert-Houdin is a master. [Illustration: Wiljalba Frikell in his youth, showing the peculiar costume worn by conjurers at that time. The author secured this portrait a few weeks before Frikell's death and sent it to the veteran conjurer, who was amazed to learn that this print was in existence. Now in the Harry Houdini Collection.] In writing his "Memoirs" he deliberately ignores Compars Herrmann, Henri Robin, Wiljalba Frikell, M. Jacobs, and P. T. Barnum, all of whom he knew personally. He might have written most entertainingly of these men, but in each case he had an object in avoiding reference to the acquaintance. P. T. Barnum knew the true history of the writing and drawing figure, as reference to chapter III. of this book will show. Frikell was the pioneer in dispensing with cumbersome stage draperies. Robert-Houdin claimed this innovation as the product of his own ingenuity. Compars Herrmann was playing in London when Robert-Houdin made his English début under Mitchell's direction, and was presenting, trick for trick, the répertoire claimed by Robert-Houdin as original with him. Henri Robin disputed Robert-Houdin's claim to having invented the inexhaustible bottle, and proved his case, as will be seen by reference to chapter VIII. Jacobs was one of Anderson's cleverest imitators and a rival of Robert-Houdin in the English provinces. The adroit manner in which Robert-Houdin flays Pinetti, Anderson, and Bosco would arouse admiration were his pen-lashings devoted to men who deserved such treatment. Under existing circumstances--his debt to Bosco and Pinetti, whose tricks he filched remorselessly, and the fact that Anderson's popularity outlived his own in England--his efforts to belittle these men are unworthy of one who called himself a man and a master magician. The truly great and successful man rises above petty jealousy and personalities. This, Robert-Houdin could not do, even when he sat pen in hand, in retirement, with the fear of competition removed.