The three minutes passed. The fireman was given the word and made a very clumsy business of getting the can out of the tank and opening the padlocks. But when he had done so the milk can was empty, and the fireman was Eisengrim. It was the nearest thing to comedy the evening provided.

The third and last part of the entertainment was serious almost to the point of solemnity, but it had an erotic savour that was unlike anything I had ever seen in a magic show, where children make up a considerable part of the audience. The Dream of Midas was a prolonged illusion in which Eisengrim, assisted by a pretty girl, produced extraordinary sums of money in silver dollars from the air, from the pockets, ears, noses, and hats of people in the audience, and threw them all into a large copper pot; the chink of the coins seemed never to stop. Possessed by unappeasable greed, he turned the girl into gold, and was horrified by what he had done. He tapped her with a hammer; he chipped off a hand and passed it through the audience; he struck the image in the face. Then, in an ecstasy of renunciation, he broke his magician’s wand. Immediately the copper pot was empty, and when we turned our attention to the girl she was flesh again, but one hand was missing and blood was running from her lip. This spice of cruelty seemed to please the audience very much.

His last illusion was called The Vision of Dr Faustus, and the program assured us that in this scene, and this alone, the beautiful Faustina would appear before us. Reduced to its fundamentals, it was the familiar illusion in which the magician makes a girl appear in two widely separated cabinets without seeming to pass between them. But as Eisengrim did it, the conflict was between Sacred and Profane Love for the soul of Faust: on one side of the stage would appear the beautiful Faustina as Gretchen, working at her spinning wheel and modestly clothed; as Faust approached her she disappeared, and on the other side of the stage in an arbour of flowers appeared Venus, wearing as near to nothing at all as the Mexican sense of modesty would permit. It was plain enough that Gretchen and Venus were the same girl, but she had gifts as an actress and conveyed unmistakably the message that beauty of spirit and lively sensuality might inhabit one body, an idea that was received with delight by the audience. At last Faust, driven to distraction by the difficulties of choice, killed himself, and Mephistopheles appeared in flames to drag him down to Hell. As he vanished, in the middle of the stage but about eight feet above the floor and supported apparently on nothing at all, appeared the beautiful Faustina once more, as, one presumes, the Eternal Feminine, radiating compassion while showing a satisfactory amount of leg. The culminating moment came when Mephistopheles threw aside his robe and showed that, whoever may have been thrust down into Hell, this was certainly Eisengrim the Great.