"Babylonian and Ninevitish,"[96] "music after Michelangelo,"[97] "on an
immense scale."[98]

[Footnote 95: "From Beethoven," says Berlioz, "dates the advent in art
of colossal forms" (_Mémoires_, II, 112). But Berlioz forgot one of
Beethoven's models--Händel. One must also take into account the
musicians of the French revolution: Mehul, Gossec, Cherubini, and
Lesueur, whose works, though they may not equal their intentions, are
not without grandeur, and often disclose the intuition of a new and
noble and popular art.]

[Footnote 96: Letter to Morel, 1855. Berlioz thus describes the
_Tibiomnes_ and the _Judex_ of his _Te Deum_. Compare Heine's judgment:
"Berlioz's music makes me think of gigantic kinds of extinct animals, of
fabulous empires.... Babylon, the hanging gardens of Semiramis, the
wonders of Nineveh, the daring buildings of Mizraim."]

[Footnote 97: _Mémoires_, I, 17.]

[Footnote 98: Letter to an unknown person, written probably about 1855,
in the collection of Siegfried Ochs, and published in the _Geschichte
der französischen Musik_ of Alfred Bruneau, 1904. That letter contains a
rather curious analytical catalogue of Berlioz's works, drawn up by
himself. He notes there his predilection for compositions of a "colossal
nature," such as the _Requiem_, the _Symphonie funèbre et triomphale_,
and the _Te Deum_, or those of "an immense style," such as the
_Impériale_.]

It was the _Symphonie funèbre et triomphale_ for two orchestras and a
choir, and the _Te Deum_ for orchestra, organ, and three choirs, which