Modern Magicians

On the evening of October 4th I called at the Palace Theatre for the purpose of obtaining, if possible, a few particulars on the Art of Chapeaugraphy. From Mr. Roberts ! ! !? Yes, from Mr. R. A. Roberts, probably the greatest artiste in Facial Portraiture the world has ever known. I was privileged to ask any question I pleased, and quickly discovered that Mr. Roberts was as eager as myself to interest readers of Magic. But to the point :—

A. " Before replying in a definite sense to your enquiry, I would like to tell your readers and those interested in Facial Portraiture how I first came to make a speciality

Q. " Tell me Mr. Roberts if I am right in my surmise that the Chapeau, as used by yourself, is not actually, a piece of felt, and that there is nothing special in its construction ?''

of what is, in my opinion, wrongly called Chapeaugraphy. The Hat is —and should be—secondary to the face, and that is why I called my performance Facial Portraiture ; though originally I entitled it Manipulatcur dn Chapeau, chiefly for the sake of its Euphonious sound."

" David Devant (during a chat -\vlien we were together in 1891, in Harrogate) being struck, I suppose, with certain Facial imitations I was then presenting without other accessory than my Own Hair, asked me why I didn't take up what was then known as the Trewey Business, I replied that I had never seen it. Devant gave me a rough idea. '' That it was a brim of a felt hat, and the facial expression beneath the various shapes that made it wonderful." This conversation occurred on a Sunday. The following day I left Harrogate for Ambleside. I was working small fit-ups then with my Drawing Room Recitals. After my arrival at the Hall, and having prepared for the night, I strolled along the village, thinking of the chat I had had with Devant. Well, I passed a small tailor's shop—I am by nature,

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