6. _British Hymnody._--After the Reformation, the development of hymnody was retarded, in both parts of Great Britain, by the example and influence of Geneva. Archbishop Cranmer appears at one time to have been disposed to follow Luther's course, and to present to the people, in an English dress, some at least of the hymns of the ancient church. In a letter to King Henry VIII. (October 7, 1544), among some new "processions" which he had himself translated, into English, he mentions the Easter hymn, "Salve, festa dies, toto memorabilis aevo" ("Hail, glad day, to be joyfully kept through all generations"), of Fortunatus. In the "Primer" of 1535 (by Marshall) and the one of 1539 (by Bishop Hilsey of Rochester, published by order of the vicar-general Cromwell) there had been several rude English hymns, none of them taken from ancient sources. King Henry's "Primer" of 1545 (commanded by his injunction of the 6th of May 1545 to be used throughout his dominions) was formed on the model of the daily offices of the Breviary; and it contains English metrical translations from some of the best-known Ambrosian and other early hymns. But in the succeeding reign different views prevailed. A new direction had been given to the taste of the "Reformed" congregations in France and Switzerland by the French metrical translation of the Old Testament Psalms, which appeared about 1540. This was the joint work of Clement Marot, valet or groom of the chamber to Francis I., and Theodore Beza, then a mere youth, fresh from his studies at Orleans. Marot's Psalms. Marot's psalms were dedicated to the French king and the ladies of France, and, being set to popular airs, became fashionable. They were sung by Francis himself, the queen, the princesses and the courtiers, upon all sorts of secular occasions, and also, more seriously and religiously, by the citizens and the common people. They were soon perceived to be a power on the side of the Reformation. Calvin, who had settled at Geneva in the year of Marot's return to Paris, was then organizing his ecclesiastical system. He rejected the hymnody of the breviaries and missals, and fell back upon the idea, anciently held by Paul of Samosata, and condemned by the fourth council of Toledo, that whatever was sung in churches ought to be taken out of the Scriptures. Marot's Psalter, appearing thus opportunely, was introduced into his new system of worship, and appended to his catechism. On the other hand, it was interdicted by the Roman Catholic priesthood. Thus it became a badge to the one party of the "reformed" profession, and to the other of heresy. Sternhold and Hopkins.