The historical method had no rival until _Robert le Diable_ rather timidly brought back the legendary element which triumphed later in the work of Richard Wagner.
In the meantime _Les Huguenots_ succeeded _Robert le Diable_ and for half a century this was the bright particular star of historical opera.
Even now, although its traditions have largely been forgotten and although its workmanship is rather inferior to that of a later time, this memorable work nevertheless shines, like the setting sun, surprisingly brilliantly.

The several generations who admired this work were not altogether wrong.

There is no necessity to class this brilliant success as a failure, because Robert Schumann, who knew nothing about the stage, denied its worth.

It is surprising that Berlioz's judgment has not been set against Schumann's.

Berlioz showed his enthusiasm for _Les Huguenots_ in his famous treatise on instrumentation.
The great public is little interested in technical polemics and is faithful to the old successes.