There is every reason to believe that Katterfelto, the greatest of bombastic conjurers, used the electrical clock in his performances, as he made a feature of the various late discoveries, and in his programme of 1782 he advertises "feats and experiments in Magnetical, Electrical, Optical, Chymical, Philosophical, Mathematical, etc., etc." Among implements and instruments or articles mentioned I found Watches, Caskets, Dice, Cards, Mechanical Clocks, Pyramidical Glasses, etc., etc. Gyngell, Sr., the celebrated Bartholomew Fair conjurer, whose career started about 1788, had on his early programmes, "A Pedestal Clock, so singularly constructed that it is obedient to the word of command." On the same programme (Catherine Street Theatre, London, February 15th, 1816) I find "The Russian Inn," "The Confectioner's Shop," and "The Automaton Rope Vaulter." This programme is reproduced in full in Chapter IV. Without devoting further space to Robert-Houdin's absurd claim to having invented this clock, we will proceed to discuss his claims to the automaton rope walker, which he called a trapeze performer. _The Trapeze Automaton_ Though "Diavolo Antonio" or "Le Voltigeur Trapeze" was not a simple trick, but a cleverly constructed automaton, worked by a concealed confederate, it was a common feature on programmes long before Robert-Houdin claimed it as his invention. Yet with the daring of one who believes that all proof has been destroyed, he announces on page 312 of the American edition of his "Memoirs" that he invented "The Trapeze Performer" for his season of 1848. In the illustrated appendix of his French edition he states that the figure made its first appearance at his Paris theatre, October 1st, 1849. He thus describes the automaton: [Illustration: Copy of a poster used by Robert-Houdin to advertise his trapeze performer. This proves how accurately he duplicated the Pinetti figure, even to the arrangement of floral garlands. From the Harry Houdini Collection.] "The figure is the size of an infant, and I carry the little artist on my arm in a box. I put him on the trapeze and ask him questions, which he answers by moving his head. Then he bows gracefully to the audience, turning first this way, then that; suspends himself by his hands and draws himself up in time to the music. He also goes through the motions of a strong man, hangs by his head, hands, and feet, and with his legs making the motions of aërial telegraphy." [Illustration: Reproduction of an illustration in "Aufschlüsse zur Magie," by Hofrath von Eckartshausen, showing the automatic rope vaulter as exhibited in 1784 by Pinetti. Original in the Harry Houdini Collection.] [Illustration: A Bologna bill of 1812, featuring the automatic rope dancers. From the Harry Houdini Collection.]