WATTON'S SHIP-SWABBER "FROM THE INDIES."—RICHARDSON, 1667—DE HEITERKEIT, 1713.—ROBERT POWELL, 1718-1780.—DUFOUR, 1783.—QUACKENSALBER, 1794.
The earliest mention I have found of a public fire-eater in England is in the correspondence of Sir Henry Watton, under date of June 3rd, 1633. He speaks of an Englishman "like some swabber of a ship, come from the Indies, where he has learned to eat fire as familiarly as ever I saw any eat cakes, even whole glowing brands, which he will crush with his teeth and swallow." This was shown in London for two pence.
The first to attract the attention of the upper classes, however, was one Richardson, who appeared in France in the year 1667 and enjoyed a vogue sufficient to justify the record of his promise in the Journal des Savants. Later on he came to London, and John Evelyn, in his diary, mentions him under date of October 8th, 1672, as follows:
I took leave of my Lady Sunderland, who was going to Paris to my Lord, now Ambassador there. She made me stay dinner at Leicester House, and afterwards sent for Richardson, the famous fire-eater. He devoured brimstone on glowing coals before us, chewing and swallowing them; he melted a beere-glass and eate it quite up; then taking a live coale on his tongue he put on it a raw oyster; the coal was blown on with bellows till it flamed and sparkled in his mouthe, and so remained until the oyster gaped and was quite boil'd.
Then he melted pitch and wax with sulphur, which he drank down as it flamed: I saw it flaming in his mouthe a good while; he also took up a thick piece of iron, such as laundresses use to put in their smoothing-boxes, when it was fiery hot, held it between his teeth, then in his hand, and threw it about like a stone; but this I observ'd he cared not to hold very long. Then he stoode on a small pot, and, bending his body, tooke a glowing iron with his mouthe from betweene his feete, without touching the pot or ground with his hands, with divers other prodigious feats.
The secret methods employed by Richardson were disclosed by his servant, and this publicity seems to have brought his career to a sudden close; at least I have found no record of his subsequent movements.
About 1713 a fire-eater named De Heiterkeit, a native of Annivi, in Savoy, flourished for a time in London. He performed five times a day at the Duke of Marlborough's Head, in Fleet Street, the prices being half-a-crown, eighteen pence and one shilling.
According to London Tit-Bits, "De Heiterkeit had the honor of exhibiting before Louis XIV., the Emperor of Austria, the King of Sicily and the Doge of Venice, and his name having reached the Inquisition, that holy office proposed experimenting on him to find out whether he was fireproof externally as well as internally. He was preserved from this unwelcome ordeal, however, by the interference of the Duchess Royal, Regent of Savoy."
His programme did not differ materially from that of his predecessor, Richardson, who had antedated him by nearly fifty years.
By far the most famous of the early fire-eaters was Robert Powell, whose public career extended over a period of nearly sixty years, and who was patronized by the English peerage. It was mainly through the instrumentality of Sir Hans Sloane that, in 1751, the Royal Society presented Powell a purse of gold and a large silver medal.
Lounger's Commonplace Book says of Powell: "Such is his passion for this terrible element, that if he were to come hungry into your kitchen, while a sirloin was roasting, he would eat up the fire and leave the beef. It is somewhat surprising that the friends of REAL MERIT have not yet promoted him, living as we do in an age favorable to men of genius. Obliged to wander from place to place, instead of indulging himself in private with his favorite dish, he is under the uncomfortable necessity of eating in public, and helping himself from the kitchen fire of some paltry ale-house in the country."
His advertisements show that he was before the public from 1718 to 1780. One of his later advertisements runs as follows:
SUM SOLUS
Please observe that there are two different performances the same
evening, which will be performed by the famous
MR. POWELL, FIRE-EATER, FROM LONDON:
who has had the honor to exhibit, with universal applause, the most
surprising performances that were ever attempted by mankind, before His
Royal Highness William, late Duke of Cumberland, at Windsor Lodge, May
7th, 1752; before His Royal Highness the Duke of Gloucester, at
Gloucester House, January 30th, 1769; before His Royal Highness the
present Duke of Cumberland, at Windsor Lodge, September 25th, 1769;
before Sir Hans Sloane and several of the Royal Society, March 4th,
1751, who made Mr. Powell a compliment of a purse of gold, and a fine
large silver medal, which the curious may view by applying to him; and
before most of the Nobility and Quality in the Kingdom.
He intends to sup on the following articles: 1. He eats red-hot coals out of the fire as natural as bread. 2. He licks with his naked tongue red-hot tobacco pipes, flaming with brimstone. 3. He takes a large bunch of deal matches, lights them altogether; and holds them in his mouth till the flame is extinguished. 4. He takes a red-hot heater out of the fire, licks it with his naked tongue several times, and carries it around the room between his teeth. 5. He fills his mouth with red-hot charcoal, and broils a slice of beef or mutton upon his tongue, and any person may blow the fire with a pair of bellows at the same time. 6. He takes a quantity of resin, pitch, bees'-wax, sealing-wax, brimstone, alum, and lead, melts them all together over a chafing-dish of coals, and eats the same combustibles with a spoon, as if it were a porringer of broth (which he calls his dish of soup), to the great and agreeable surprise of the spectators; with various other extraordinary performances never attempted by any other person of this age, and there is scarce a possibility ever will; so that those who neglect this opportunity of seeing the wonders performed by this artist, will lose the sight of the most amazing exhibition ever done by man.
The doors to be opened by six and he sups precisely at seven o'clock, without any notice given by sound of trumpet.
If gentry do not choose to come at seven o'clock, no performance.
Prices of admission to ladies and gentlemen, one shilling. Back Seats for Children and Servants, six pence.
Ladies and children may have a private performance any hour of the day, by giving previous notice.
N. B.—He displaces teeth or stumps so easily as to scarce be felt. He sells a chemical liquid which discharges inflammation, scalds, and burns, in a short time, and is necessary to be kept in all families.
His stay in this place will be but short, not exceeding above two or three nights.
Good fire to keep the gentry warm.
This shows how little advance had been made in the art in a century. Richardson had presented practically the same programme a hundred years before. Perhaps the exposure of Richardson's method by his servant put an end to fire-eating as a form of amusement for a long time, or until the exposure had been forgotten by the public. Powell himself, though not proof against exposure, seems to have been proof against its effects, for he kept on the even tenor of his way for sixty years, and at the end of his life was still exhibiting.
Whatever the reason, the eighteenth century fire-eaters, like too many magicians of the present day, kept to the stereotyped programmes of their predecessors. A very few did, however, step out of the beaten track and, by adding new tricks and giving a new dress to old ones, succeeded in securing a following that was financially satisfactory.
In this class a Frenchman by the name of Dufour deserves special mention, from the fact that he was the first to introduce comedy into an act of this nature. He made his bow in Paris in 1783, and is said to have created quite a sensation by his unusual performance. I am indebted to Martin's Naturliche Magie, 1792, for a very complete description of the work of this artist.
Dufour made use of a portable building, which was specially adapted to his purposes, and his table was spread as if for a banquet, except that the edibles were such as his performance demanded. He employed a trumpeter and a tambour player to furnish music for his repast—as well as to attract public attention. In addition to fire-eating, Dufour gave exhibitions of his ability to consume immense quantities of solid food, and he displayed an appetite for live animals, reptiles, and insects that probably proved highly entertaining to the not overrefined taste of the audiences of his day. He even advertised a banquet of which the public was invited to partake at a small fee per plate, but since the menu consisted of the delicacies just described, his audiences declined to join him at table.
His usual bill-of-fare was as follows:
Soup—boiling tar torches, glowing coals and small, round, super-heated stones.
The roast, when Dufour was really hungry, consisted of twenty pounds of beef or a whole calf. His hearth was either the flat of his hand or his tongue. The butter in which the roast was served was melted brimstone or burning wax. When the roast was cooked to suit him he ate coals and roast together.
As a dessert he would swallow the knives and forks, glasses, and the earthenware dishes.
He kept his audience in good humor by presenting all this in a spirit of crude comedy and, to increase the comedy element, he introduced a number of trained cats. Although the thieving proclivities of cats are well known, Dufour's pets showed no desire to share his repast, and he had them trained to obey his commands during mealtime. At the close of the meal he would become violently angry with one of them, seize the unlucky offender, tear it limb from limb and eat the carcass. One of his musicians would then beg him to produce the cat, dead or alive. In order to do this he would go to a nearby horse-trough and drink it dry; would eat a number of pounds of soap, or other nauseating substance, clowning it in a manner to provoke amusement instead of disgust; and, further to mask the disagreeable features—and also, no doubt, to conceal the trick—would take the cloth from the table and cover his face; whereupon he would bring forth the swallowed cat, or one that looked like it, which would howl piteously and seem to struggle wildly while being disgorged. When freed, the poor cat would rush away among the spectators.
Dufour gave his best performances in the evening, as he could then show his hocus-pocus to best advantage. At these times he appeared with a halo of fire about his head.
His last appearance in Paris was most remarkable. The dinner began with a soup of asps in simmering oil. On each side was a dish of vegetables, one containing thistles and burdocks, and the other fuming acid. Other side dishes, of turtles, rats, bats and moles, were garnished with live coals. For the fish course he ate a dish of snakes in boiling tar and pitch. His roast was a screech owl in a sauce of glowing brimstone. The salad proved to be spider webs full of small explosive squibs, a plate of butterfly wings and manna worms, a dish of toads surrounded with flies, crickets, grasshoppers, church beetles, spiders, and caterpillars. He washed all this down with flaming brandy, and for dessert ate the four large candles standing on the table, both of the hanging side lamps with their contents, and finally the large center lamp, oil, wick and all. This leaving the room in darkness, Dufour's face shone out in a mask of living flames.
A dog had come in with a farmer, who was probably a confederate, and now began to bark. Since Dufour could not quiet him, he seized him, bit off his head and swallowed it, throwing the body aside. Then ensued a comic scene between Dufour and the farmer, the latter demanding that his dog be brought to life, which threw the audience into paroxysms of laughter. Then suddenly candles reappeared and seemed to light themselves. Dufour made a series of hocus-pocus passes over the dog's body; then the head suddenly appeared in its proper place, and the dog, with a joyous yelp, ran to his master.
Notwithstanding the fact that Dufour must have been by all odds the best performer of his time, I do not find reference to him in any other authority. But something of his originality appeared in the work of a much humbler practitioner, contemporary or very nearly contemporary with him.
We have seen that Richardson, Powell, Dufour, and generally the better class of fire-eaters were able to secure select audiences and even to attract the attention of scientists in England and on the Continent. But many of their effects had been employed by mountebanks and street fakirs since the earliest days of the art, and this has continued until comparatively recent times.
In Naturliche Magie, in 1794, Vol. VI, page 111, I find an account of one Quackensalber, who gave a new twist to the fire-eating industry by making a "High Pitch" at the fairs and on street corners and exhibiting feats of fire-resistance, washing his hands and face in melted tar, pitch and brimstone, in order to attract a crowd. He then strove to sell them a compound—composed of fish glue, alum and brandy—which he claimed would cure burns in two or three hours. He demonstrated that this mixture was used by him in his heat resistance: and then, doubtless, some "capper" started the ball rolling, and Herr Quackensalber (his name indicates a seller of salves) reaped a good harvest.
I have no doubt but that even to-day a clever performer with this "High Pitch" could do a thriving business in that overgrown country village, New York. At any rate there is the so-called, "King of Bees," a gentleman from Pennsylvania, who exhibits himself in a cage of netting filled with bees, and then sells the admiring throng a specific for bee-stings and the wounds of angry wasps. Unfortunately the only time I ever saw his majesty, some of his bee actors must have forgotten their lines, for he was thoroughly stung.
THE NINETEENTH CENTURY.—A "WONDERFUL PHENOMENON."—"THE INCOMBUSTIBLE SPANIARD, SENOR LIONETTO," 1803.—JOSEPHINE GIRARDELLI, 1814.—JOHN BROOKS, 1817.—W. C. HOUGHTON, 1832.—J. A. B. CHYLINSKI, 1841.—CHAMOUNI, THE RUSSIAN SALAMANDER, 1869.—PROFESSOR REL MAEUB, 1876.—RIVALLI (died 1900).
In the nineteenth century by far the most distinguished heat-resister was Chabert, who deserves and shall have a chapter to himself. He commenced exhibiting about 1818, but even earlier in the century certain obscurer performers had anticipated some of his best effects. Among my clippings, for instance, I find the following. I regret that I cannot give the date, but it is evident from the long form of the letters that it was quite early. This is the first mention I have found of the hot-oven effect afterwards made famous by Chabert.
A correspondent in France writes as follows: "Paris has, for some days, rung with relations of the wonderful exploits of a Spaniard in that city, who is endowed with qualities by which he resists the action of very high degrees of heat, as well as the influence of strong chemical reagents. Many histories of the trials to which he has been submitted before a Commission of the Institute and Medical School, have appeared in the public papers; but the public waits with impatience for the report to be made in the name of the Commission by Professor Pinel.
The subject of these trials is a young man, a native of Toledo, in Spain, 23 years of age, and free of any apparent peculiarities which can announce anything remarkable in the organization of his skin; after examination, one would be rather disposed to conclude a peculiar softness than that any hardness or thickness of the cuticle existed, either naturally or from mechanical causes. Nor was there any circumstance to indicate that the person had been previously rubbed with any matter capable of resisting the operation of the agents with which he was brought in contact.
This man bathed for the space of five minutes, and without any injury to his sensibility or the surface of the skin, his legs in oil, heated at 97 degrees of Reaumur (250 degrees of Fahrenheit) and with the same oil, at the same degree of heat, he washed his face and superior extremities. He held, for the same space of time, and with as little inconvenience, his legs in a solution of muriate of soda, heated to 102 of the same scale, (261 1/2 degrees Fahr.) He stood on and rubbed the soles of his feet with a bar of hot iron heated to a white heat; in this state he held the iron in his hands and rubbed the surface of his tongue.
He gargled his mouth with concentrated sulphuric and nitric acids, without the smallest injury or discoloration; the nitric acid changed the cuticle to a yellow color; with the acids in this state he rubbed his hands and arms. All these experiments were continued long enough to prove their inefficiency to produce any impression. It is said, on unquestionable authority, that he remained a considerable time in an oven heated to 65 degrees or 70 degrees, (178-189 degrees Fahr.) and from which he was with difficulty induced to retire, so comfortable did he feel at that high temperature.
It may be proper to remark, that this man seems totally uninfluenced by any motive to mislead, and, it is said, he has refused flattering offers from some religious sectaries of turning to emolument his singular qualities; yet on the whole it seems to be the opinion of most philosophical men, that this person must possess some matter which counteracts the operation of these agents. To suppose that nature has organized him differently, would be unphilosophic: by habit he might have blunted his sensibilities against those impressions that create pain under ordinary circumstances; but how to explain the power by which he resists the action of those agents which are known to have the strongest affinity for animal matter, is a circumstance difficult to comprehend. It has not failed, however, to excite the wonder of the ignorant and the inquiry of the learned at Paris."
This "Wonderful Phenomenon" may have been "the incombustible Spaniard, Senor Lionetto," whom the London Mirror mentions as performing in Paris in 1803 "where he attracted the particular attention of Dr. Sementeni, Professor of Chemistry, and other scientific gentlemen of that city. It appears that a considerable vapor and smell rose from parts of his body when the fire and heated substances were applied, and in this he seems to differ from the person now in this country." The person here referred to was M. Chabert.
Dr. Sementeni became so interested in the subject that he made a series of experiments upon himself, and these were finally crowned with success. His experiments will receive further attention in the chapter "The Arcana of the Fire-Eaters."
A veritable sensation was created in England in the year 1814 by Senora Josephine Girardelli, who was heralded as having "just arrived from the Continent, where she had the honor of appearing before most of the crowned heads of Europe." She was first spoken of as German, but afterwards proved to be of Italian birth.
Entering a field of endeavor which had heretofore been exclusively occupied by the sterner sex, this lady displayed a taste for hot meals that would seem to recommend her as a matrimonial venture. Like all the earlier exploiters of the devouring element, she was proclaimed as "The Great Phenomena of Nature"—why the plural form was used does not appear—and, doubtless, her feminine instincts led her to impart a daintiness to her performance which must have appealed to the better class of audience in that day.
The portrait that adorned her first English handbill, which I produce from the Picture Magazine, was engraved by Page and published by Smeeton, St. Martins Lane, London. It is said to be a faithful representation of her stage costume and setting.
Richardson, of Bartholomew Fair fame, who was responsible for the introduction of many novelties, first presented Girardelli to an English audience at Portsmouth, where her success was so pronounced that a London appearance was arranged for the same year; and at Mr. Laston's rooms, 23 New Bond Street, her performance attracted the most fashionable metropolitan audiences for a considerable time. Following this engagement she appeared at Richardson's Theater, at Bartholomew Fair, and afterwards toured England in the company of Signor Germondi, who exhibited a troupe of wonderful trained dogs. One of the canine actors was billed as the "Russian Moscow Fire Dog, an animal unknown in this country, (and never exhibited before) who now delights in that element, having been trained for the last six months at very great expense and fatigue."
Whether Girardelli accumulated sufficient wealth to retire or became discouraged by the exposure of her methods cannot now be determined, but after she had occupied a prominent position in the public eye and the public prints for a few seasons she dropped out of sight, and I have been unable to find where or how she passed the later years of her life.
I am even more at a loss concerning her contemporary, John Brooks, of whom I have no other record than the following letter, which appears in the autobiography of the famous author-actor-manager, Thomas Dibdin, of the Theaters Royal, Covent Garden, Drury Lane, Haymarket and others. This one communication, however, absolves of any obligation to dig up proofs of John Brooks' versatility: he admits it himself.
To Mr. T. Dibdin, Esq. Pripetor of the Royal Circus.
May 1st, 1817.
Sir:
I have taken the Liberty of Riting those few lines to ask you the favour if a Greeable for me to Come to your House, as i Can do a great many different things i Can Sing a good Song and i Can Eat Boiling hot Lead and Rub my naked arms With a Red hot Poker and Stand on a Red hot sheet of iron, and do Diferent other things.—Sir i hope you Will Excuse me in Riting I do not Want any thing for my Performing for i have Got a Business that will Sirport me I only want to pass a Way 2 or 3 Hours in the Evening. Sir i hope you Will Send me an Answer Weather Agreeple or not.
I am your Humble Servant,
J. B.
Direct to me No. 4 fox and Knot Court King Street Smithfield.
JOHN BROOKS.
We shall let this versatile John Brooks close the pre-Chabert record and turn our attention to the fire-eaters of Chabert's day. Imitation may be the sincerest flattery, but in most cases the victim of the imitation, it is safe to say, will gladly dispense with that form of adulation. When Chabert first came to America and gave fresh impetus to the fire-eating art by the introduction of new and startling material, he was beset by many imitators, or—as they probably styled themselves—rivals, who immediately proceeded, so far as in them lay, to out-Chabert Chabert.
One of the most prominent of these was a man named W. C. Houghton, who claimed to have challenged Chabert at various times. In a newspaper advertisement in Philadelphia, where he was scheduled to give a benefit performance on Saturday evening, February 4th, 1832, he practically promised to expose the method of poison eating. Like that of all exposers, however, his vogue was of short duration, and very little can be found about this super-Chabert except his advertisements. The following will serve as a sample of them:
A CARD.—W. C. Houghton, has the honor to announce to the ladies and gentlemen of Philadelphia, that his BENEFIT will take place at the ARCH STREET THEATRE, on Saturday evening next, 4th February, when will be presented a variety of entertainments aided by the whole strength of the company.
Mr. H. in addition to his former experiments will exhibit several fiery feats, pronounced by Mons. Chabert an IMPOSSIBILITY. He will give a COMPLETE explanation by illustrations of the PRINCIPLES of the EUROPEAN and the AMERICAN CHESS PLAYERS. He will also (unless prevented by indisposition) swallow a sufficient quantity of phosphorus, (presented by either chemist or druggist of this city) to destroy THE LIFE OF ANY INDIVIDUAL. Should he not feel disposed to take the poison, he will satisfactorily explain to the audience the manner it may be taken without injury.
In our next chapter we shall see how it went with others who challenged Chabert.
A Polish athlete, J. A. B. Chylinski by name, toured Great Britain and Ireland in 1841, and presented a more than usually diversified entertainment. Being gifted by nature with exceptional bodily strength, and trained in gymnastics, he was enabled to present a mixed programme, combining his athletics with feats of strength, fire-eating, poison-swallowing, and fire-resistance.
In The Book of Wonderful Characters, published in 1869 by John Camden Hotten, London, I find an account of Chamouni, the Russian Salamander: "He was insensible, for a given time, to the effects of heat. He was remarkable for the simplicity and singleness of his character, as well as for that idiosyncrasy in his constitution, which enabled him for so many years, not merely to brave the effects of fire, but to take a delight in an element where other men find destruction. He was above all artifice, and would often entreat his visitors to melt their own lead, or boil their own mercury, that they might be perfectly satisfied of the gratification he derived from drinking these preparations. He would also present his tongue in the most obliging manner to all who wished, to pour melted lead upon it and stamp an impression of their seals."
A fire-proof billed as Professor Rel Maeub, was on the programme at the opening of the New National Theater, in Philadelphia, Pa., in the spring of 1876. If I am not mistaken the date was April 25th. He called himself "The Great Inferno Fire-King," and his novelty consisted in having a strip of wet carpeting running parallel to the hot iron plates on which he walked barefoot, and stepping on it occasionally and back onto the hot iron, when a loud hissing and a cloud of steam bore ample proof of the high temperature of the metal.
One of the more recent fireproofs was Eugene Rivalli, whose act included, besides the usual effects, a cage of fire in which he stood completely surrounded by flames. Rivalli, whose right name was John Watkins, died in 1900, in England. He had appeared in Great Britain and Ireland as well as on the Continent during the later years of the 19th century.
The cage of fire has been used by a number of Rivalli's followers also, and the reader will find a full explanation of the methods employed for it in the chapter devoted to the Arcana of the Fire-eaters, to which we shall come when we have recorded the work of the master Chabert, the history of some of the heat-resisters featured on magicians' programmes, particularly in our own day, and the interest taken in this art by performers whose chief distinction was won in other fields, as notably Edwin Forrest and the elder Sothern.
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