We must not forget, however, that here we are in the midst of a world of romanticism, in a world of color and picturesqueness, which could not content itself with so little. And we must remember this fact, if we would not be irritated by the oddities of _L"Hostias_, with its deep trombone notes which seem to come from the very depths of Hell. There is no use in trying to find out what these notes mean. Berlioz told us himself that he discovered these notes at a time when they were almost unknown and he wanted to use them. The contrast between these terrifying notes and the wailing of the flutes is especially curious. We find nothing analogous to this anywhere else.