festivities which are about to be given in honor of the marriage of Marguerite with the King of Navarre, and warns the Huguenots of their danger.  He then makes his way to a chapel where many of them are gathered for refuge.  He finds Marcel, who has been wounded, and who brings him the tidings of the death of De Nevers.  The faithful Valentin joins them to share their fate.  Amid the horrors of the massacre Marcel blesses and unites them.  They enter the church and all perish together.

The first act opens with the brilliant chorus of the revellers ("Piacer della mensa"), which is full of courtly grace.  Raoul tells the story of the unknown fair one he has encountered, in the romanza, “Piu bianca del velo.”  When Marcel is called upon, he hurriedly chants the hymn, “O tu che ognor,” set to the Martin Luther air, “Ein feste Burg,” and heightened by a stirring accompaniment, and then bursts out into a graphic song ("Finita e pe’ frati"), emphasized with the piff-paff of bullets and full of martial fervor.  In delightful contrast with the fierce Huguenot song comes the lively and graceful romanza of Urbain ("Nobil donna e tanto onesta"), followed by a delightful septet.  The scene now changes, and with it the music.  We are in the Queen’s gardens at Chenonceaux.  Every number, the Queen’s solo ("A questa voce sola"), the delicate “Bathers’ Chorus,” as it is called ("Audiam, regina, in questo amene sponde"), the brilliant and graceful allegretto sung by Urbain ("No, no, no, no"), the duet between the Queen and Raoul, based upon one of the most flowing of melodies, and the spirited and effective finale in which the nobles take the oath of allegiance ("Per la fe, per l’onore"),—­each and every one of these is colored with consummate skill, while all are invested with chivalrous refinement and stately grace.

The second act opens with a beautiful choral embroidery in which different choruses, most striking in contrast, are interwoven with masterly skill.  It is a picture, in music, of the old Paris.  The citizens rejoice over their day’s work done.  The Huguenots shout their lusty Rataplan, while the Papist maidens sing their solemn litany ("Ave Maria”) on their way to chapel; and as they disappear, the quaint tones of the curfew chant are heard, and night and rest settle down upon the city.  It is a striking introduction to what follows,—­the exquisite duet between Marcel and Valentin, the great septet of the duel scene, beginning, “De dritti miei ho l’alma accesa,” with the tremendous double chorus which follows as the two bands rush upon the scene.  As if for relief from the storm of this scene, the act closes with brilliant pageant music as De Nevers approaches to escort Valentin to her bridal.