Later, the Wagnerians wanted to oust Meyerbeer from the stage and make a place for themselves, and they got credit for some of Schumann's harsh criticisms,--this, too, despite the fact that at the beginning of the skirmish Schumann and the Wagnerians got along about as well as Ingres and Delacroix and their schools.

But they united against the common enemy and the French critics followed.

The critics entirely neglected Berlioz's opinion, for, after opposing Meyerbeer for a long time, he admitted him among the gods and in his _Traite d'Instrumentation_ awarded him the crown of immortality.
Parenthetically, if there is a surprising page in the history of music it is the persistent affectation of classing Berlioz and Wagner together.

They had nothing in common save their great love of art and their distrust of established forms.

Berlioz abhorred enharmonic modulations, dissonances resolved indefinitely one after another, continuous melody and all current practices of futuristic music.