moulding was a contrapuntal style in which chord harmonies were a vital part. This style was prepared for him by his master Goudimel under the influence of Willaert. The possibilities of modern style were revealed in another direction by De Rore's study of chromatics. His "Chromatic Madrigals," published in 1544 (eleven years before Palestrina's first masses), were very influential in drawing the attention of composers to the flexibility of style to be attained by throwing off the shackles of the old Gregorian scales. It can hardly be doubted that two intellectual and spiritual movements influenced the development of religious music in the period of Willaert and his contemporaries. The first of these was the reawakening of interest in classical antiquity brought about by the influx of scholars from Constantinople after the fall of Rome's eastern empire in 1453. This reawakening is commonly known as the Renaissance, and its effects were felt in music much later than in other branches of art. "The reason of this," as Dr. Langhans with fine discernment points out, "is to be found proximately in the lack of a musical antique. While the poet, as also the painter, the sculptor and the architect, met at every step the masterpieces of their predecessors in antiquity, and found in them the stimulus and the pattern for their own creations, to the musician the direct connection with the past was denied." Nevertheless the proclamation by the eastern scholars of the chaste and simple beauty of antique art was bound to have an influence upon music, especially when the search for a new and purer style was urged by motives of ecclesiastical expediency. This impetus came from the second movement, the spiritual, namely, the Lutheran reformation. Through the influence of Luther the rule of the church that the singing should be exclusively in the hands of a choir was abolished, and the practice of congregational singing arose. The elaborate contrapuntal music of the day was obviously impracticable for this kind of singing. Luther, therefore, "selected from the ancient Latin church songs such melodies as were rhythmically like the folk-song and hence especially likely to be caught up by the popular ear." Here we find the origin of the glorious German chorale, of our contemporaneous hymn. The first Lutheran hymn-book was published in 1524, and it is impossible to escape the conviction that the advent of this new and influential form of church music powerfully affected the style of all subsequent composers.