In the third act especially the opera develops a breadth and eloquence maintained to the end. The varied shadings of this picture of Paris, its ensembles, contrasted yet never confounded, constitute, in Berlioz’s words, ‘a magnificent musical tissue.’ _Les Huguenots_, like _Robert_, made the tour of the world. And, as _Tell_ was prohibited in Austria, for political reasons, so Meyerbeer’s opera was forbidden in strictly Catholic lands. This did not prevent its performance under such titles as _The Guelphs_ or _The Ghibellines at Pisa_; a letter to Meyerbeer shows that he refused an arrangement of the libretto entitled _The Swedes before Prague_! After _Les Huguenots_ had been produced Meyerbeer spent a number of years in the preparation of his next works, _L’Africaine_ and _Le Prophète_. Scribe[71] had supplied the librettos for both these works, and both underwent countless revisions and changes at Meyerbeer’s hands. The story of _L’Africaine_ was more than once entirely rewritten. In the meantime the composer had accepted (after Spontini’s withdrawal) the appointment of kapellmeister to the king of Prussia and spent some years in Berlin. Here he composed psalms, sacred cantatas, a secular choral work with living pictures, _Una festa nella corte di Ferrara_; the first of his four ‘Torchlight Marches,’ for the wedding of Prince Max of Bavaria with Princess Mary of Prussia, and a cantata for soli, chorus and brasses, set to a poem of King Louis I of Bavaria. In 1843 he produced _Das Feldlager in Schlesien_ (The Camp in Silesia), a German opera, based on anecdotes of Frederick the Great, the national hero of Prussia; which, coldly received at first, was at once successful when the brilliant Swedish soprano, Jenny Lind, made her first appearance in Prussia in it, as Vielka, the heroine. Three years later he composed the incidental music for _Struensee_, a drama written by his brother Michael. The overture is still considered an example of his orchestration at his best. His chief care, however, from 1843 to 1847 was bestowed on worthily presenting the works of others at the Berlin Opera. Gluck’s _Armida_ and _Iphigenia in Tauris_; Mozart’s _Don Giovanni_, _Zauberflöte_; Beethoven’s _Fidelio_; Weber’s _Freischütz_ and _Euryanthe_; and Spohr’s _Faust_, the last a tribute of appreciation. He even procured the acceptance of Wagner’s _Der fliegende Holländer_ and _Rienzi_, that ‘brilliant, showy, and effective exercise in the grand opera manner,’ whose first performance he directed in 1847.