The regular practice of hymnody in English musical history dates from the beginning of the 16th century. Luther's verses were adapted sometimes to ancient church melodies, sometimes to tunes of secular songs, and sometimes had music composed for them by himself and others. Many rhyming Latin hymns are of earlier date whose tunes are identified with them, some of which tunes, with the subject of their Latin text, are among the Reformer's appropriations; but it was he who put the words of praise and prayer into the popular mouth, associated with rhythmical music which aided to imprint the words upon the memory and to enforce their enunciation. In conjunction with his friend Johann Walther, Luther issued a collection of poems for choral singing in 1524, which was followed by many others in North Germany. The English versions of the Psalms by Sternhold and Hopkins and their predecessors, and the French version by Clement Marot and Theodore Beza, were written with the same purpose of fitting sacred minstrelsy to the voice of the multitude. Goudimel in 1566 and Claudin le Jeune in 1607 printed harmonizations of tunes that had then become standard for the Psalms, and in England several such publications appeared, culminating in Thomas Ravenscroft's famous collection, _The Whole Book of Psalms_ (1621); in all of these the arrangements of the tunes were by various masters. The English practice of hymn-singing was much strengthened on the return of the exiled reformers from Frankfort and Geneva, when it became so general that, according to Bishop Jewell, thousands of the populace who assembled at Paul's Cross to hear the preaching would join in the singing of psalms before and after the sermon.