Between 1820 and 1830, by giving sets and stage production a new and preponderant role, the theatre embraced the revolution accompanying the development of new genres. From drama at the Comédie-Française, and historic-romantic opera and romantic ballet at the Opera, it was an opportunity to create stage sets which would fill audiences with awe—as Othello, Hernani, Robert le Diable, La Sylphide, Le Prophète, and L’Africaine would all testify… Thanks to the machinery installed in the flies and under the stage, thanks to the special effects, the gas lighting and soon electricity, and thanks to the great machines foreshadowing the epics, everything was in place for the show to begin. Relying on the interest aroused by History, everyone—from the librettists, the composers, the set designers, not to forget the audience—all shared in the dream of historical truth and local colour. They would copy, they would misappropriate, they would imagine ancient edifices. Some were gothic, others Renaissance and eventually even Rocaille. Just as they revisited the past, now they would turn towards Nature and a mythical Orient. The set designers were going to create with the help of the stage managers—one did not yet talk of stage directors—imagery of such power that they would be featured again and again until the end of the century. At a time when the national novel was being written, theatre knew how to provide the sound box and the sets, its visual version.