In the 19th century, "Cupid and Psyche" was a source for "transformations," visual interludes involving "tableaux vivants", transparencies and stage machinery that were presented between the scenes of a pantomime but extraneous to the plot. During the 1890s, when "tableaux vivants" or "living pictures" were in vogue as a part of vaudeville, the 1889 "Psyché et l'Amour" of Bouguereau was among the artworks staged. To create these "tableaux", costumed performers "froze" in poses before a background copied meticulously from the original and enlarged within a giant picture frame. Nudity was feigned by flesh-colored bodystockings that negotiated standards of realism, good taste, and morality. Claims of educational and artistic value allowed female nudes—a popular attraction—to evade censorship. "Psyché et l'Amour" was reproduced by the scenic painter Edouard von Kilanyi, who made a tour of Europe and the United States beginning in 1892, and by George Gordon in an Australian production that began its run in December 1894. The illusion of flight was so difficult to sustain that this "tableau" was necessarily brief. The performer billed as "The Modern Milo" during this period specialized in recreating female sculptures, a "Psyche" in addition to her namesake "Venus de Milo".