Some later analysts have disputed whether Robertson really originated some of the innovations attributed to him. In a 1972 study Errol Durbach suggests that "the 'revolution' had been initiated in France years before by Scribe and Sardou, those forerunners of the bourgeois domestic theatre and the well-made play". Durbach adds that in England, Vestris was staging plays "with a scrupulous concern for realistic detail", and Bulwer Lytton was already writing "the sort of play that would later be called 'Robertsonian'". Booth (2004) comments that Robertson "was neither the herald of a new drama nor the apostle of a new realism, in spite of the claims of some of his successors and of later historians. He affirmed middle-class values rather than questioned them".