In conclusion, Berlioz must be accredited with having anticipated many effects that were subsequently elaborated upon by Wagner. Unfortunately the potency of Berlioz's music depends almost entirely upon orchestral tone-color; on the other hand, the unadorned substance of Wagner's music will withstand the closest scrutiny. Berlioz frequently assigned to the orchestra and specially to the strings a large number of independent parts which were further enhanced by simultaneously contrasted rhythm. This contrast was, moreover, applied to instruments of the same group, such as first and second violins. The violins are divided at times into as many as six and eight parts, the 'cellos into four, whereas in "Cinq mai" he wrote five actual parts for the double-basses. He appreciated the true value of the viola, and was the first to introduce the harp into the symphonic orchestra. The wind-instruments are often split up into what might be called separate little orchestras. Families of affiliated tone-color are represented by three and frequently four members. It was Berlioz that discovered the richness of pianissimo brass effects, and the substitution of the tuba for the opheicleide is due largely to him. He made divers experiments with many varieties of instruments of percussion apart from those with kettle-drums. In the Te Deum for three choirs, orchestra and organ, no less than five pair of cymbals are required. His occasional demands for an enormous apparatus were certainly extravagant; nevertheless he rarely used the full force of their combined strength excepting in isolated cases. II.