Even through the dismal time of the German war no time was lost. M. Michel and his enthusiastic colabourers--prominent among them being "Antony Real, _fils_," upon whom has descended worthily his father's mantle--cared for the material preservation of the building; and succeeded so well in keeping alive a popular interest in their work that they were able to arrange for yet another dramatic festival at Orange in August, 1874. Both grand and light opera were given. On the first evening "Norma" was sung; on the second, "Le Chalet" and "Galatee." To the presentation of these widely differing works attached a curious importance, in that they brought into strong relief an interesting phase of the theatre's psychology: its absolute intolerance of small things. "Norma" was received with a genuine furore; the two pretty little operas practically were failures. The audience, profoundly stirred by the graver work, seemed to understand instinctively that so majestic a setting was suited only to dramas inspired by the noblest passions and dealing with the noblest themes. During the ensuing twelve years there was no dramatic performance in the theatre; but in this interval there was a performance of another sort (in April, 1877) which in its way was very beautiful. M. Michel's thrilling "Salute to Provence" was sung by a great chorus with orchestral accompaniment; and sung, in accord with ancient custom--wherein was the peculiar and especial charm of it--at the decline of day. The singers sang in the waning sunlight, which emphasized and enlarged the grandeur of their surroundings: and then all ended, as the music and the daylight together died away. IV In August, 1886, a venture was made at Orange the like of which rarely has been made in France in modern times: a new French play demanding positive and strong recognition, the magnificent "Empereur d'Arles," by the Avignon poet Alexis Mouzin, was given its first presentation in the Orange theatre--in the provinces--instead of being first produced on the Paris stage. In direct defiance of the modern French canons of centralization, the great audience was brought together not to ratify opinions formulated by Parisian critics but to express its own opinion at first hand. Silvain, of the Comedie Francaise, was the _Maximien_; Madame Caristie-Martel, of the Odeon (a grand-daughter of Caristie the architect who saved the theatre from ruin), was the _Minervine_. The support was strong. The stately tragedy--vividly contrasting the tyranny and darkness of pagan Rome with the spirit of light and freedom arising in Christian Gaul--was in perfect keeping with its stately frame. The play went on in a whirl of enthusiastic approval to a triumphant end. There was no question of ratifying the opinion of Parisian critics: those Southerners formed and delivered an opinion of their own. In other words, the defiance of conventions was an artistic victory, a decentralizing success.