Erich Weiss so admired the great French magician, Robert-Houdin (regarded by many as the father of the modern style of conjuring) that he adopted the stage name of Houdini which he believed meant “like Houdin.” All this changed, with his first visit to Paris. Houdini learned that the widow of Robert-Houdin was living in a suburb. Without any advance announcement, Houdini appeared at her doorstep. He presented his card to the domestic who answered the door. The domestic took the card to the mistress only to come back saying, “Madame Robert-Houdin does not know a Houdini.” The card was then unceremoniously returned, leaving Houdini enraged at the perceived insult. Seeking revenge, Houdini wrote The Unmasking of Robert-Houdin. Here he accused the French conjurer of falsely claiming the invention of many of his illusions, and charged that Robert-Houdin’s autobiography was ghost-written by a Parisian journalist.
Jean Hugard, a magician himself, knew Harry Houdini. He admired his ability to get publicity for himself, but “was not enthusiastic about Houdini’s technique as a magician or his reliability as a historian of magic.” In his book, Hugard examined the charge that Robert-Houdin took credit for illusions that had been invented by others. He wrote, “It is an axiom in the ethics of magic that one is allowed to use another magician’s trick provided than an original improvement is added to it…When a magician invents a new presentation for an old trick, he is completely justified in claiming that presentation as his own invention.”