“If I have been successful in penetrating the character of Robert-Houdin and the sort of performance he gave, it is because my work with those toys gave me the clue to it and his audience. They were people who liked imagination to be circumscribed: you were a wealthy bourgeois papa, and you wanted to give your little Clothilde a surprise on her birthday, so you went to the very best toymaker and spent a lot of money on an effigy of a little bootblack who whistled as he shined the boot he held in his hands. See Clothilde, see! How he nods his head and taps with his foot as he brushes away! How merrily he whistles ‘Ach, du lieber Augustin’! Open the back of his case—carefully, my darling, better let papa do it for you—and there is the spring, which pumps the little bellows and works the little barrel-and-pin device that releases the air into the pipes that make the whistle. And these little rods and eccentric wheels make the boy polish the boot and wag his head and tap his toe. Are you not grateful to papa for this lovely surprise? Of course you are, my darling. And now we shall put the little boy on a high shelf, and perhaps on Saturday evenings papa will make it work for you. Because we mustn’t risk breaking it, must we? Not after papa spent so much money to buy it. No, we must preserve it with care, so that a century from now Herr Direktor Jeremias Naegeli will include it in his collection.

“But somebody had gone through Herr Direktor Naegeli’s collection and smashed it to hell. Who could it be?

“Who could be so disrespectful of all the careful preservation, painstaking assembly, and huge amounts of money the collection represented? Who can have lost patience with the bourgeois charm of all these little people—the ballerinas who danced so delightfully to the music of the music-boxes, the little bands of Orientals who banged their cymbals and beat their drums and jingled their little hoops of bells, the little trumpeters (ten of them) who could play three different trumpet tunes, the canary that sang so prettily in its decorative cage, the mermaid who swam in what looked like real water, but was really revolving spindles of twisted glass, the little tightrope walkers, and the big cockatoo that could ruffle its feathers and give a lifelike squawk—who can have missed their charm and seen instead their awful rigidity and slavery to mechanical pattern?

“I found out who this monster was quite early in my long task. After I had sorted the debris of the collection, and set to work, I spent from six to eight hours a day sitting in that large room, with a jeweller’s glass stuck in my eye, reassembling mechanisms, humouring them till they worked as they ought, and then touching up the paintwork and bits of velvet, silk, spangles, and feathers that had been damaged on the birds, the fishes, monkeys, and tiny people who gave charm to the ingenious clockwork which was the important part of them.