[Footnote 51: See Appendix of Musical Illustrations, Examples 48 to 57.] Berlioz represents the ultra-realistic school of instrumental music. His works are the reflection of his own temperament and individuality. His somewhat eccentric genius displayed itself in grandiose, weird and picturesque effects, in exaggeration, morbidness, vivid portrayal, and in extravagant orchestral demands. The primary object was tone-color in its own right, an object that was foreign to the more æsthetic ideals of the classicists. He was the most daring orchestral writer that has ever lived, but his originality was confined to the scoring rather than to the musical substance of his works. When transcribed for pianoforte they lose their fascination. He was a veritable poet in sound, and he sought in every possible way to intensify characteristic expression. To enlarge upon the details of Berlioz's instrumentation would be futile, for his standard treatise is a familiar book of reference to all music lovers. It is therefore permissible to make mention of only the most important of his innovations. Moreover, in order to realize the magnitude of Berlioz's achievements, one should keep clearly in mind the exact extent to which orchestral evolution had advanced before his day; for many effects that were then strikingly new are now the property of all and excite no comment. The distinctive features of his orchestration are power of musical description; new combinations, new effects, new treatment; insight into the characteristics of the instruments whereby their possibilities both individual and collective are demonstrated; excessive polyphony and complicated rhythm. He removed many prejudices even though many of his experiments are impracticable.