The glitter of the costumes is an extension of the glitter of the candelabra overhead.

The people are as it were chandeliers, hung lower down.

The lines of the candelabra relate to the very ribbon streamers of the heroine, and the massive wood-work is the big brother of the square-shouldered heroes in the foreground, though one is a clown, one is a Russian Duke, and one is Don Caesar De Bazan.

The building is the father of the people.

These relations can be kept in the court scenes of the production of Jeanne d'Arc.
Here is a night picture from a war story in which the light is furnished by two fires whose coals and brands are hidden by earth heaped in front.
The sentiment of tenting on the old camp-ground pervades the scene.