He had composed it in love and knew its potentialities, His faith found justification when he produced it in Brescia three months later and saw it start out at once on a triumphal tour of the European theatres.

His work of revision was not a large or comprehensive one.

He divided the second act into two acts, made some condensations to relieve the long strain, wrote a few measures of introduction for the final scene, but refused otherwise to change the music.

His fine sense of the dramatic had told him correctly when he planned the work that there ought not to be a physical interruption of the pathetic vigil out of which Blanche Bates in New York and Evelyn Millard in London had made so powerful a scene, but he yielded to the compulsion of practical considerations, trying to save respect for his better judgment by refusing to call the final scene an act, though he permitted the fall of the curtain; but nothing can make good the loss entailed by the interruption.

The mood of the play is admirably preserved in the music of the intermezzo, but the mood of the listeners is hopelessly dissipated with the fall of the curtain.