The second part is entitled "Armida," and introduces the evil genius of the scene. A strange, mysterious orchestral prelude indicates the baneful magic of the sorcerer's wiles. In a remarkably expressive aria, Armida deplores her weakness in trying to overcome the power of the cross. As she sees Rinaldo, who has left his tent to wander for a time in the night air, she calls to the spirits to obey her incantation:-- "Cause a palace grand to rise, Let a sea before it glimmer. In the walls of richest gold Let the purest diamonds shimmer; Round the fountains' pearly rim, Where bright the sunbeams are glancing, Plashing low and murmuring sweet, Set the merry wavelets dancing. In yon hedge of roses where fairies rock in softest dreaming, Fays and elfins bid appear, and sirens float in waters dreaming. All around let music ring, Fill the air with sweetest singing; Lure them on with magic power, To our midst all captive bringing. Sing remembrance from their hearts, Till they bow, my will fulfilling; Make them every thought forego, Every wish, save mine own, stilling." After another invocation of the spirits, the sirens appear, singing a sensuous melody ("I dip my white Breast in the soft-flowing Tide"). Then begins the temptation of the wandering Knight. He starts in surprise as he hears the voices rising from the waves, and again they chant their alluring song. They are followed by Armida, who appeals to him in a seductive strain ("O Rinaldo, come to never-ending Bliss"). The Knight joins with her in a duet of melodious beauty. He is about to yield to the temptation, when he hears in the distance the tones of the Crusaders' song. He wavers in his resolution, Armida and the sirens appeal to him again, and again he turns as if he would follow them. The Crusaders' song grows louder, and rouses the Knight from the spell which has been cast about him, and the scene closes with a beautifully concerted number, in which Rinaldo, Armida, the chorus of Crusaders and of sirens contend for the mastery. The fascination of the Crusaders' song is the strongest. The cross triumphs over the sorceress, and in despair she sings,-- "Sink, scenes illusive, deep in dark abyss of doom! The light of day is turned to blackest night of gloom." The third part, entitled "Jerusalem," is religious in character, and mostly choral. In rapid succession follow the morning hymn with beautiful horn accompaniment, the march of the Pilgrims full of the highest exaltation, the hermit's revelation of the Holy City to them, their joyous greeting to it, Rinaldo's resolution to expiate his offence by his valor, the hermit's last call to strife, their jubilant reply, and the final victory:--