The "Symphonie fantastique--An Episode in the Life of an Artist" offers the best illustrations for studying his programmatic methods. The dimensions of the orchestra are kept within bounds, being augmented by but a few additional instruments such as two opheicleides and two pair of kettle-drums.[52] No more poetic duet or instrumental dialogue can be found than that between the oboe and English horn in the third movement--"In the Fields"[53]--where they represent two lovers in the guise of a shepherd and shepherdess. The March to Execution,[54] and the Witches' Revel are fine examples of dramatic intensity and accentuated volume of sound. "Lélio," a symphonic poem with vocal music, which was intended as a sequel to the "Symphonie fantastique," contains parts for four clarinets. This was consistent with Berlioz's tendency to employ homogeneous tone-color in full four-part harmony. The pianoforte is also introduced into the Finale of the same work. The huge dimensions of the Requiem or "Messe des Morts" are exceptional and should not be cited as being typical of Berlioz's usual methods of scoring. Tremendous combinations are brought into use for the Sanctus, the Tuba mirum, and the Agnus Dei. They include twelve horns, sixteen trombones, and eight pair of kettle-drums. Of uttermost impressiveness is the Tuba mirum with its four separate orchestras of brass instruments stationed at the four corners of the stage or of the auditorium itself. The various types of instruments of percussion received the most careful consideration even to minuteness of detail. The Requiem presents one of the earliest examples of employing three flutes. Berlioz selected the viola as the central figure for his symphony "Harold en Italie."[55] Its functions are to impersonate Childe Harold himself, to portray his impressions and emotions, to supply the rôle, so to speak, of a vocal interpreter. The ravishing effects elicited from the harmonics of divided violins combined with those of the harp will be recalled in the Queen Mab scherzo of "Roméo et Juliette." The score of the Biblical trilogy "L'Enfance du Christ" contains some curious passages of interwoven viola and 'cello parts. The charming ballet is performed by three flutes and a harp. Berlioz's greatest work is unquestionably the dramatic legend "La Damnation de Faust." Nothing can be daintier than the Dance of the Sylphs; nothing sadder than the portrayal of Marguerite's remorse by an English horn; nothing more brutal than the Chorus of Students, accompanied by viola, double-bass, bassoon, horn and tuba--all in unison. [Footnote 52: Ex. 51.] [Footnote 53: Ex. 49.] [Footnote 54: Ex. 52, 53, 54.] [Footnote 55: Ex. 56, 57.]