If Ravelli was wild and passionate, Galassi, his associate, was a reasonable man whose presence of mind had possibly the effect of saving my theatre from being burned a second time. There was a good deal of fire in _Il Rinnegato_, and in one scene the green lights surrounding an apparition starting from a well caught some gauze, so that the well itself burst into flames, the result being such a blaze that but for Galassi's promptitude in dealing with it the conflagration might have proved fatal to the building. While the baritone was smothering the fire with his cloak and with some canvas on which the grass was painted--at the same time trampling the burning embers under foot--a portion of the audience had taken alarm and was already hurrying to the doors. At this critical moment I could not but admire the calm air of dignity with which Baron Orczy, who was conducting his work, continued to mark the time and to direct the performance generally as though nothing at all extraordinary were taking place. I feel sure that this determined attitude of the composer in the presence of what, for a few seconds, seemed likely to lead to a terrible calamity, had a considerable effect in allaying the general excitement. "How can there be danger," many must have asked themselves, "when that gentleman who is conducting the orchestra, and who is so much nearer the supposed fire than we are, does not evince the least alarm?" Towards the close of this season, negotiations were again opened by the Messrs. Gye towards purchasing my lease, goodwill, and interest, together with a certain portion of my costumes and scenery, with a view to an operatic monopoly. Ultimately terms were arranged, and an agreement concluded, which was not to come into force until the shares of the projected Company had been taken up; and it was only in August, 1882, that I was notified that sufficient shares had been placed to justify the Company starting, and my agreement coming into force. In the meantime I had been left to sustain the burden of the current expenses, rates, taxes, etc., of my own theatre, until the transfer could be made. The arrangement entered into was that I should have so much cash, and so many shares, together with an engagement for a period of three years, at a salary of £1,000 per annum, besides 50 per cent. of the profits made in America, where I was to have sole control of the business. In the early part of October, 1881, I started with my party for New York. The season opened on October 17th, with a performance of _Lohengrin_ by Campanini, Galassi, Novara, Anna de Belocca, and Minnie Hauk, which gave great satisfaction. This was followed by a performance of _Carmen_, in which Minnie Hauk, Campanini, Del Puente, and Valleria resumed their original parts.