His first appearance in literature was made in 1829 in the _Correspondent_, with a pretty well developed article on Beethoven, whom the artists and amateurs of Paris were just beginning to know, thanks to Habeneck and his _Société des Concerts_ at the Conservatoire. He also furnished some articles to the _Revue Européenne_ and the _Courrier de l’Europe_; finally, that influential paper, the _Gazette musicale de Paris_, which in 1881 ended a glorious career of forty-seven years, espoused Berlioz’s cause, and worked faithfully for his success. Shortly after, in 1835 he allied himself with the _Journal des Débats_ as musical critic, a post which he held for thirty years, finding in its proprietors, MM. Bertin, staunch friends and protectors. Besides giving him a comfortable living, Berlioz’s articles served him at first in establishing relations with the press, as much as they injured him later by exciting bitter jealousy and enmity. It was in the midst of financial difficulties that Berlioz wrote the symphony _Harold in Italy_, inspired no doubt by his own excursions in the vicinity of Rome. In this he introduced a viola part for Paganini, but the part was too much subordinated to the orchestra to suit the great violinist, who desired a veritable concerto with a simple orchestral accompaniment; fortunately Berlioz did not give heed to this demand. The performance of _Harold_ (Nov. 23, 1834) made Berlioz known to connoisseurs, and soon after M. de Gasparin, Minister of the Interior, ordered of him a Requiem for the anniversary service of the victims, not of the Revolution of 1830, but of the Fieschi outrage. This _Requiem_ did not reach its destination, but was performed at the celebrated service in the church of the _Invalides_, Dec. 5, 1837, for the French soldiers and General Danrémont, killed at the siege of Constantine.