church-music, it had perforce to remain in the service of the Church. It felt the influence of the audience, which was brought into rhythm and harmony by the secular principle of music--that influence which, in the Protestant Choral and in the creations of Bach, made itself felt as a brilliant reaction of the secular musical sense on the church tradition. Alongside of the organ came the lute, which for so long had been the chief instrument of the home. Yet the lute, with its tones drawn from so few strings, was unable to show itself very productive. It had provided the accompaniment of songs, and music in many parts had very early been arranged for it.[10] At all times, therefore, the lute had imitated the contrapuntal style, though in simple fashion, and occasionally certain passages had been accented with chords thrown in arpeggio-wise. Whether the lute accompanied a voice, or whether it took up the popular melody into itself to produce “absolute” music, it exhibited a style of its own, conditioned by its own limitations, even as, alongside of the organ, it had its own note-script.[11] It was not convenient accurately to retain on the lute every separate voice. An instrumental style was formed; men became accustomed to the sufficiency of this simplicity of tone; dances were written for the lute, as Hans Judenkunig in his lute-book offers a “Court-dance, Panana[12] alla Veneziana, Rossina ein welscher Dantz” and the like. As time went on, all well-known pieces were arranged for the lute, as they are to-day for the piano. Encyclopædias appear--as for example in 1603 the “Thesaurus” in ten volumes of “Besardus nec non praestantissimorum musicorum, qui hoc seculo in diversis orbis partibus excellunt, selectissima omnis generis cantus in testudine (the lute) modulamina continens.” Graceful figurations arise, which in France and Italy receive fine names, while the German lute-player sets himself strongly against these complicated “battements,” “tremblements,” or “flattements,” against this or that “passagio largo,” “stretto,” “raddopiato.” But, on the whole, much as the lute achieved, it could not suffice to compel the complete admission of the whole musical material into the home. The heavy _churchiness_ of the organ and the light secularity of the lute were thus constrained to unite themselves in an instrument which was sufficiently flexible to effect the representation of all the voice parts at once yet more easily than in the choir, and which could embrace the whole tonic scale so completely as to expand the limits of the voice both above and below. It must be a light, moveable instrument, a miniature of the organ. The clavier offered itself for this end; and in it organ and lute met in fruitful wedlock.