To me it was deeply satisfying to watch him, for he was a master of all those sleights that had seemed so splendid, and so impossible, in my boyhood. “Secure and palm six half-crowns.” He could do it with either hand. His professional dress coat almost brought tears to my eyes, such a marvel was it of loading-pockets, pochettes and profondes; when it was filled and ready for his appearance in The Dream of Midas it weighed twelve pounds, but it fitted him without a bulge.

My opinion was sought, and given, about the program. It was on my advice that the second part of his entertainment was reshaped. I suggested that he cut out the escape act entirely; it was not suitable to an illusionist, for it was essentially a physical trick and not a feat of magic. There was no romance about being stuck in a milk can and getting out again. This gave Liesl a chance to press for the inclusion of The Brazen Head of Friar Bacon and I supported her strongly; it was right for the character of the show they were building. But Eisengrim the Great had never heard of Friar Bacon, and like so many people who have not heard of something, he could not believe that anybody but a few eccentrics would have done so.

“It is unmistakably your thing,” I said. “You can tell them about the great priest-magician and his Brazen Head that foretold the future and knew the past; I’ll write the speech for you. It doesn’t matter whether people have heard of Bacon or not. Many of them haven’t heard of Dr Faustus, but they like your conclusion.”

“Oh, every educated person has heard of Faust,” said Eisengrim with something like pomposity. “He’s in a very famous opera.” He had no notion that Faust was also in one of the world’s greatest plays.

He had virtually no education, though he could speak several languages, and one of the things Liesl had to teach him, as tactfully as possible, was not to talk out of his depth. I thought that much of his extraordinarily impressive personality arose from his ignorance—or, rather, from his lack of a headful of shallow information that would have enabled him to hold his own in a commonplace way among commonplace people. As a schoolmaster of twenty years’ experience I had no use for smatterers. What he knew, he knew as well as anybody on earth; it gave him confidence, and sometimes a naïve egotism that was hard to believe.

We worked very hard on the Brazen Head, which was no more than a very good thought-reading act dressed in a new guise. The Brazen Head was “levitated” by Eisengrim and floated in the middle of the stage, apparently without wires or supports; then the girls moved through the audience, collecting objects that were sealed in envelopes by their lenders. Eisengrim received these envelopes on a tray on the stage and asked the Head to describe the objects and identify their owners; the Head did so, giving the row and seat number for each; only then did Eisengrim touch them. Next, the Head gave messages to three members of the audience, chosen apparently at random, relating to their personal affairs. It was a first-rate illusion, and I think the script I wrote for it, which was plain and literate, and free of any of the pompous rhetoric so dear to conjurers, had a substantial part in creating its air of mystery.