“Truth to Nature” was the _slogan_ of the Renaissance. In 1453, the Mohammedans captured Constantinople, and the Christian Church which had been there since the end of the 4th century, was driven out. Many of the learned Christians fled to Central Europe and brought with them a knowledge of Greek literature and art which they taught to the people. Christopher Columbus, in his search for a passage to India, found a new continent, and in the same way these seekers for “Truth to Nature,” although they may not have found exactly what they were looking for, certainly opened gates that swept men and women towards knowledge, appreciation, refinement and culture. The outstanding person in the Reformation of the Church was Martin Luther (1483–1546) who interests us specially for what he did for the growth of music. Luther was a priest of the Catholic Church, but he was also a German; he believed in a national life free from Church government, and in singing hymns in the language of the people instead of in Latin, in order that the words could be understood. He spoke and wrote openly against certain actions of the Church and for this he was put out of the Church of Rome. But, very soon, he had enough followers to start a church of his own, and one of the first things he did was to make a new music for it. Up to this time the only music in Germany had been some hymns translated from the Latin into the “vernacular,” the language of the people, the songs of the Minnesingers and Meistersingers, and a rich crop of folksongs that had appeared in the 14th century. There were also a few composers who had learned to write counterpoint in the Netherlands, Heinrich Isaak, Ludwig Senfl and Heinrich Fink, and they, too, influenced the music of the Reformation. Luther, a musician himself, knew the love that his countrymen had for their hymns translated into German and for the folksongs, and realized that singing in which the congregation took part would be a power in the church. He had to gather material for new hymns simple enough for the people to sing, and besides he needed new music to replace the Mass. The result of his work is the _chorale_, the foundation of the great German school of music of the 18th and 19th centuries. He was helped in the work of creating these hymns by Johann Walther and Conrad Rupf. The first hymnal (1524) was selected from some of the finest Catholic hymns, Gregorian and Ambrosian melodies, dignified folk-melodies, and some original chorales by Luther himself. He played the tunes of his chorales on a flute, and Walther wrote them down. He wrote to a friend, “I wish after the example of the Prophets and ancient Fathers of the Church, to make German Psalms for the people, and that is to say, sacred hymns, so that the word of God may dwell among the people by means of song also.” The strength and beauty of these hymns can be seen in _Ein’ Feste Burg ist unser Gott_ (A Mighty Fortress is Our God).