They were objects of luxury, strangers of distinction which one saluted respectfully and which played no great part.

Under Wagner's management they became a definite part of the household and, as we know, brought in a wealth of coloring.
It is an open question whether it was Meyerbeer or Scribe who planned the amazing stage setting in the cathedral scene in _Le Prophete_.

It must have been Meyerbeer, for Scribe was not temperamentally a revolutionist, and this scene was really revolutionary.

The brilliant procession with its crowd of performers which goes across the stage through the nave into the choir, constantly keeping its distance from the audience, is an impressive, realistic and beautiful scene.

But directors who go to great expense for the costumes cannot understand why the procession should file anywhere except before the footlights as near the audience as possible, and it is extremely difficult to get any other method of procedure.
Furthermore, the amusing idea of the skating ballet was due to Meyerbeer.