This article intends to come back to the place that Berlioz gave himself in musical criticism under the regime of the July Monarchy, from the success of the Symphonie fantastique to the fiasco of Benvenuto Cellini (December 5, 1830–September 10, 1838). How, with the help of his connections of milieu and opinion, he got into the press and how, through the romantic journalists’ network, he was involved in the aesthetic fight of artistic renewal. How, by his aversion for mediocrity, he created impressive hostilities for himself, but how he strove at his expense, between the tone of sincerity and that of proprieties, to remain free within the spiral of power forces.