BOSCO.I look again into the magic mirror of the past. Who is this portly figure enveloped in a befrogged military cloak? He has the mobile visage of an Italian. There is an air of pomposity about him. His eyes are bold and piercing. He has something of the appearance of a Russian nobleman, or general under the Empire. Ah, that is the renowned Bosco, the conjurer!BOSCO.(From a Rare Engraving in the Possession of Dr. Saram R. Ellison, New York City.)Bartolomeo Bosco had an adventurous career.25He was born in Turin, Italy, January 11, 1793. He came of a noble family of Piedmont. At the age of nineteen he was one of the{167}victims caught in the meshes of the great military drag-net of Napoleon I, that fisher for men. In other words, he became “food for powder” in the Russian campaign of the Emperor of France. He was a fusilier in the 11th infantry of the line. At the battle of Borodino, in an encounter with Cossacks, Bosco was badly wounded in the side by a lance, and fell upon the ground. A son of the Cossack lancer who had wounded him,{168}dismounted and began to rifle his pockets. Like all soldiers on a campaign, Bosco carried his fortune with him. It did not amount to very much: a watch, a keepsake from a sweetheart, a few gold pieces, a tobacco pouch, etc. Fearing to receive thecoup de gracefrom his enemy, he pretended to be dead. But on realizing that if he were robbed of his money he would be left destitute in the world, he put his abilities as a conjurer to work and dexterously picked the Cossack’s pocket of a well-filled purse. It was a case of Greek meeting Greek. The Russian, grumbling, perhaps, at the paucity of his ill-gotten plunder, finally mounted his horse and rode away after his comrades, to discover later on that he had beendoneand by a corpse. Later in the day Bosco was picked up from the battlefield by the Russian medical corps, and his wounds treated. He was sent a captive to Siberia, near the town of Tobolsk. His talent forescamotageserved him well. The long winter evenings of his captivity when the snow lay deep upon the earth, and the wind howled about the prison walls, were spent by him either amusing his jailors or his fellow-soldiers. He sometimes gave exhibitions of his skill before the high officials of the place, thereby picking up considerable money. He spent his earnings generously upon his poorer brethren. Finally, in April, 1814, he was released. He returned to Italy, to the great delight of his friends, and studied medicine. Eventually he abandoned the art of Esculapias for the art of Trismegistus and became a professional conjurer.25Cabinetto magico del Cavalieri Bartolomeo Bosco de Torino.Milano, 1854.Bosco was a wonderful performer of the cup-and-ball trick. He also possessed great skill with cards and coins. He traveled all over Europe. He gave an exhibition before Marie Louise, the widow of Napoleon I, on the 27th of April, 1836. His sonorous, bizarre name has become a byword in France for deception, whether in conjuring or politics. The statesman Thiers was called the “Bosco of the Tribune.” Many of Bartolomeo Bosco’s imitators assumed his cognomen. At the present day there is a French magician touring the music halls of Europe, who calls himself Bosco. The original Bosco, like Alexander Herrmann, was in the habit of advertising himself by giving impromptu exhibitions of his skill in cafés, stage{169}coaches, hotels, etc. He was wonderfully clever at this. A Parisian newspaper thus announced one of his entertainments: “The famous Bosco, who can conjure away a house as easily as a nutmeg, is about to give his performances at Paris, in which some miraculous tricks will be executed.” This illusion to the nutmeg has reference to the magician’s cup-and-ball trick; nutmegs frequently being used instead of cork balls. Houdin describes Bosco’s stage as follows:“I entered the little theatre and took my seat. According to the idea I had formed of a magician’s laboratory, I expected to find myself before a curtain whose large folds, when withdrawn, would display before my dazzled eyes a brilliant stage ornamented with apparatus worthy of the celebrity announced; but my illusions on this subject soon faded away.“A curtain had been considered superfluous, and the stage was open. Before me was a long three-storied sideboard, entirely covered with black serge. This lugubrious buffet was adorned with a number of wax candles, among which glistened the apparatus. At the topmost point of this strangeétagèrewas a death’s-head, much surprised, I have no doubt, at finding itself at such a festival, and it quite produced the effect of a funeral service.“In front of the stage, and near the spectators, was a table covered by a brown cloth, reaching to the ground, on which five brass cups were symmetrically arranged. Finally, above this table hung a copper ball, which strangely excited my curiosity.“For the life of me I could not imagine what this was for, so I determined to wait till Bosco came to explain it. The silvery sound of a small bell put an end to my reverie, and Bosco appeared upon the stage.“The artiste wore a little black velvet jacket, fastened round the waist by a leathern belt of the same color. His sleeves were excessively short, and displayed a handsome arm. He had on loose black trousers, ornamented at the bottom with a ruche of lace, and a large white collar round his neck. This strange attire bore considerable resemblance to the classical costume of the Scapins in our plays.{170}“After making a majestic bow to his audience, the celebrated conjurer walked silently and with measured steps up to the famous copper ball. After convincing himself it was solidly hung, he took up his wand, which he wiped with a white handkerchief, as if to remove any foreign influence; then, with imperturbable gravity, he struck the ball thrice with it, pronouncing, amid the most solemn silence, this imperious sentence:Spiriti mei infernali, obedite.{171}HOUDINIATTHEGRAVEOFBOSCO.(From a Photograph in the Possession of Dr. Saram R. Ellison, New York City.)“I, like a simpleton, scarce breathed in my expectation of some miraculous result, but it was only an innocent pleasantry, a simple introduction to the performance with the cups.”After many wanderings Bartolomeo Bosco laid down his magic wand in Dresden, March 2, 1862. He lies buried in a cemetery on Friederichstrasse. Mr. Harry Houdini, the American conjurer, located the grave on October 23, 1903. Upon the tombstone is carved the insignia of Bosco’s profession—a cup-and-ball and a wand. They are encircled by a wreath of laurel. Says Mr. Houdini, in a letter toMahatma: “I found the head of the wand missing. Looking into the tall grass near by I discovered the broken tip.” This relic he presented to Dr. Saram R. Ellison, of New York (1904). The tombstone bears the following inscription:Ici répose le célèbre Bartolomeo Bosco . . . Ne à Turin le 11 Janvier, 1793; décédé à Dresden le 2 Mars, 1862.Madame Bosco was interred in the same grave with her husband, but no mention of her is made on the stone. The small plot of ground where the grave is situated was leased for a term of years. That term had long expired when Mr. Houdini discovered the last resting place of Bosco. It was offered for sale. In the event of its purchase the remains of the conjurer and his wife would have been transferred to a section of the cemetery set apart for the neglected dead. But Houdini prevented all future possibility of this by buying the lot in fee. He then deeded it to the Society of American Magicians.
I look again into the magic mirror of the past. Who is this portly figure enveloped in a befrogged military cloak? He has the mobile visage of an Italian. There is an air of pomposity about him. His eyes are bold and piercing. He has something of the appearance of a Russian nobleman, or general under the Empire. Ah, that is the renowned Bosco, the conjurer!
BOSCO.(From a Rare Engraving in the Possession of Dr. Saram R. Ellison, New York City.)
BOSCO.(From a Rare Engraving in the Possession of Dr. Saram R. Ellison, New York City.)
(From a Rare Engraving in the Possession of Dr. Saram R. Ellison, New York City.)
Bartolomeo Bosco had an adventurous career.25He was born in Turin, Italy, January 11, 1793. He came of a noble family of Piedmont. At the age of nineteen he was one of the{167}victims caught in the meshes of the great military drag-net of Napoleon I, that fisher for men. In other words, he became “food for powder” in the Russian campaign of the Emperor of France. He was a fusilier in the 11th infantry of the line. At the battle of Borodino, in an encounter with Cossacks, Bosco was badly wounded in the side by a lance, and fell upon the ground. A son of the Cossack lancer who had wounded him,{168}dismounted and began to rifle his pockets. Like all soldiers on a campaign, Bosco carried his fortune with him. It did not amount to very much: a watch, a keepsake from a sweetheart, a few gold pieces, a tobacco pouch, etc. Fearing to receive thecoup de gracefrom his enemy, he pretended to be dead. But on realizing that if he were robbed of his money he would be left destitute in the world, he put his abilities as a conjurer to work and dexterously picked the Cossack’s pocket of a well-filled purse. It was a case of Greek meeting Greek. The Russian, grumbling, perhaps, at the paucity of his ill-gotten plunder, finally mounted his horse and rode away after his comrades, to discover later on that he had beendoneand by a corpse. Later in the day Bosco was picked up from the battlefield by the Russian medical corps, and his wounds treated. He was sent a captive to Siberia, near the town of Tobolsk. His talent forescamotageserved him well. The long winter evenings of his captivity when the snow lay deep upon the earth, and the wind howled about the prison walls, were spent by him either amusing his jailors or his fellow-soldiers. He sometimes gave exhibitions of his skill before the high officials of the place, thereby picking up considerable money. He spent his earnings generously upon his poorer brethren. Finally, in April, 1814, he was released. He returned to Italy, to the great delight of his friends, and studied medicine. Eventually he abandoned the art of Esculapias for the art of Trismegistus and became a professional conjurer.
25Cabinetto magico del Cavalieri Bartolomeo Bosco de Torino.Milano, 1854.
25Cabinetto magico del Cavalieri Bartolomeo Bosco de Torino.Milano, 1854.
Bosco was a wonderful performer of the cup-and-ball trick. He also possessed great skill with cards and coins. He traveled all over Europe. He gave an exhibition before Marie Louise, the widow of Napoleon I, on the 27th of April, 1836. His sonorous, bizarre name has become a byword in France for deception, whether in conjuring or politics. The statesman Thiers was called the “Bosco of the Tribune.” Many of Bartolomeo Bosco’s imitators assumed his cognomen. At the present day there is a French magician touring the music halls of Europe, who calls himself Bosco. The original Bosco, like Alexander Herrmann, was in the habit of advertising himself by giving impromptu exhibitions of his skill in cafés, stage{169}coaches, hotels, etc. He was wonderfully clever at this. A Parisian newspaper thus announced one of his entertainments: “The famous Bosco, who can conjure away a house as easily as a nutmeg, is about to give his performances at Paris, in which some miraculous tricks will be executed.” This illusion to the nutmeg has reference to the magician’s cup-and-ball trick; nutmegs frequently being used instead of cork balls. Houdin describes Bosco’s stage as follows:
“I entered the little theatre and took my seat. According to the idea I had formed of a magician’s laboratory, I expected to find myself before a curtain whose large folds, when withdrawn, would display before my dazzled eyes a brilliant stage ornamented with apparatus worthy of the celebrity announced; but my illusions on this subject soon faded away.
“A curtain had been considered superfluous, and the stage was open. Before me was a long three-storied sideboard, entirely covered with black serge. This lugubrious buffet was adorned with a number of wax candles, among which glistened the apparatus. At the topmost point of this strangeétagèrewas a death’s-head, much surprised, I have no doubt, at finding itself at such a festival, and it quite produced the effect of a funeral service.
“In front of the stage, and near the spectators, was a table covered by a brown cloth, reaching to the ground, on which five brass cups were symmetrically arranged. Finally, above this table hung a copper ball, which strangely excited my curiosity.
“For the life of me I could not imagine what this was for, so I determined to wait till Bosco came to explain it. The silvery sound of a small bell put an end to my reverie, and Bosco appeared upon the stage.
“The artiste wore a little black velvet jacket, fastened round the waist by a leathern belt of the same color. His sleeves were excessively short, and displayed a handsome arm. He had on loose black trousers, ornamented at the bottom with a ruche of lace, and a large white collar round his neck. This strange attire bore considerable resemblance to the classical costume of the Scapins in our plays.{170}
“After making a majestic bow to his audience, the celebrated conjurer walked silently and with measured steps up to the famous copper ball. After convincing himself it was solidly hung, he took up his wand, which he wiped with a white handkerchief, as if to remove any foreign influence; then, with imperturbable gravity, he struck the ball thrice with it, pronouncing, amid the most solemn silence, this imperious sentence:Spiriti mei infernali, obedite.{171}
HOUDINIATTHEGRAVEOFBOSCO.(From a Photograph in the Possession of Dr. Saram R. Ellison, New York City.)
HOUDINIATTHEGRAVEOFBOSCO.(From a Photograph in the Possession of Dr. Saram R. Ellison, New York City.)
(From a Photograph in the Possession of Dr. Saram R. Ellison, New York City.)
“I, like a simpleton, scarce breathed in my expectation of some miraculous result, but it was only an innocent pleasantry, a simple introduction to the performance with the cups.”
After many wanderings Bartolomeo Bosco laid down his magic wand in Dresden, March 2, 1862. He lies buried in a cemetery on Friederichstrasse. Mr. Harry Houdini, the American conjurer, located the grave on October 23, 1903. Upon the tombstone is carved the insignia of Bosco’s profession—a cup-and-ball and a wand. They are encircled by a wreath of laurel. Says Mr. Houdini, in a letter toMahatma: “I found the head of the wand missing. Looking into the tall grass near by I discovered the broken tip.” This relic he presented to Dr. Saram R. Ellison, of New York (1904). The tombstone bears the following inscription:Ici répose le célèbre Bartolomeo Bosco . . . Ne à Turin le 11 Janvier, 1793; décédé à Dresden le 2 Mars, 1862.Madame Bosco was interred in the same grave with her husband, but no mention of her is made on the stone. The small plot of ground where the grave is situated was leased for a term of years. That term had long expired when Mr. Houdini discovered the last resting place of Bosco. It was offered for sale. In the event of its purchase the remains of the conjurer and his wife would have been transferred to a section of the cemetery set apart for the neglected dead. But Houdini prevented all future possibility of this by buying the lot in fee. He then deeded it to the Society of American Magicians.