[Illustration: Specimens of penmanship executed by the Droz writing automaton in 1796 and 1906 respectively. From the brochure issued by the Society of History and Archæology, Canton of Neuchatel, Switzerland.] Robert-Houdin injects a little humor into this chapter, for he relates that as Molière and J. J. Rousseau consulted their servants, he decided to do likewise; so early the next morning he invited his portress and her husband, Auguste, a stone-mason, to be present at the first performance of the figure. The mason's wife chose the question, "What is the emblem of fidelity?" The automaton replied by drawing a pretty little greyhound, lying on a cushion. The stone-mason wished to see the works, saying: "I understand about that sort of thing, for I have always greased the vane on the church steeple, and have even taken it down twice." When the work was completed, according to page 208 of the American edition of his "Memoirs," he returned to Paris, collected the remaining two thousand five hundred francs due him from Monsieur G----, to whom he delivered the figure, and two thousand francs more on an automatic nightingale made for a rich merchant of St. Petersburg. Incidentally he mentions that during his absence his business had prospered, but he fails to state who managed it for him, and here is where I believe credit should be given Opre, the Dutch inventor, who was unquestionably Robert-Houdin's assistant for years. In 1844 he claims to have borrowed the writing and drawing figure from the obliging Monsieur G---- to exhibit it at the Quinquennial Exposition, where it attracted the attention of Louis Philippe and his court, thus insuring its exhibitor the silver medal. At this point Robert-Houdin deliberately drops the writing and drawing figure, leaving his readers to believe that it was returned to its rightful owner, Monsieur G----, but, unfortunately for his claims, another historian steps in here to cast reflections on Monsieur G---- 's ownership of the figure. This writer is the world's greatest showman, the late P. T. Barnum, who purchased the figure at this same exposition of 1844, paying for it a goodly sum, and this incident is one of the significant omissions of the Robert-Houdin "Memoirs." Either Robert-Houdin sold the figure to Mr. Barnum for Monsieur G----, or such a person as Monsieur G---- never existed, for in his own book Mr. Barnum writes: