Remembering Torrini’s principles, I intended to have an elegant and simple stage, unencumbered by all the paraphernalia of the ordinary conjurer, which looks more like a toyshop than a serious performance. I would have none of those enormous metal shades usually placed over objects that are to disappear, and whose secret duties cannot escape the notice of the simplest spectator. Apparatus of transparent or opaque glass, according to circumstances, would suffice for all my operations. In the performance of my tricks I also intended to abolish those double-bottomed boxes of which some conjurers made such an abuse, as well as all instruments designed to make up for the performer’s want of skill. Real sleight-of-hand must not be the tinman’s work but the artist’s, and people do not visit the latter to see instruments perform. Of course, after the abuse I have showered upon the use of accomplices, I quite did away with them. I have always regarded such trickery as unworthy a real artist, as it raises doubts as to his skill. Besides, having frequently acted as an accomplice, I remembered the unfavorable impression this employment had left upon me as to the talent of my partner. Jets of gas, covered by opaque globes, were to be substituted on my stage for the thousands of candles, whose brilliancy is only intended to dazzle the spectators and thus injure the effect of the experiments. Among the reforms I intended to introduce on the stage, the most important was the abolition of those long tablecloths reaching to the ground, beneath which an assistant is always suspected, and, generally with some show of reason. For these immense chests of deception I substituted consoles of gilt wood after the style of Louis XV. Of course, I abstained from any eccentric costume, and I never thought of making any change in the attire civilized society has agreed to accept for evening dress, for I was always of opinion that bizarre accoutrements, far from giving the wearer any consideration, on the contrary cast disfavor upon him. I had also traced out for my performances a line of conduct from which I never diverged; that was to make no puns or play upon words, and never to permit myself to be guilty of a mystification, even were I sure of gaining the greatest success. Finally, I wished to offer new experiments divested of all charlatanism, and possessing no other resources than those offered by skillful manipulation, and the influence of illusions. This was, it will be seen, a complete regeneration in the art of conjuring; my only fear was whether the public would accept these important reforms and such elegant simplicity. It is true, Antonio, the usual confidant of my plans and thoughts, strongly encouraged me.