As regards the singing of hymns in the national languages, the conditions are somewhat different. The laws of the Catholic Church forbid the vernacular in any part of the eucharistic service, but permit vernacular hymns in certain subordinate offices, as, for instance, Vespers. But even in these services the restrictions are more emphasized than the permissions. Here also the tacit recognition of a separation of function between the clergy and the laity still persists; there can never be a really sympathetic coöperation between the church language and the vernacular; there is a constant attitude of suspicion on the part of the authorities, lest the people’s hymn should afford a rift for the subtle intrusion of heretical or unchurchly ideas. The whole spirit and implied theory of the Catholic Church is therefore unfavorable to popular hymnody. This was especially the case in the latter Middle Age. The people could put no heart into the singing of Latin. The priests and monks, especially in such convent schools as St. Gall, Fulda, Metz, and Reichenau, made heroic efforts to drill their rough disciples in the Gregorian chant, but their attempts were ludicrously futile. Vernacular hymns were simply tolerated on certain prescribed occasions. In the century or more following the Reformation, the Catholic musicians and clergy, taught by the astonishing popular success of the Lutheran songs, tried to inaugurate a similar movement in their own ranks, and the publication and use of Catholic German hymn-books attained large dimensions; but this enthusiasm finally died out. Both in mediaeval and in modern times there has practically remained a chasm between the musical practice of the common people and that of the Church, and in spite of isolated attempts to encourage popular hymnody, the restrictions have always had a depressing effect, and the free, hearty union of clergy and congregation in choral praise and prayer is virtually unknown. The new conceptions of the relationship of man to God, which so altered the fundamental principle and the external forms of worship under the Lutheran movement, manifested themselves most strikingly in the mighty impetus given to congregational song. Luther set the national impulse free, and taught the people that in singing praise they were performing a service that was well pleasing to God and a necessary part of public communion with him. It was not simply that Luther charged the popular hymnody with the energy of his world-transforming doctrine,—he also gave it a dignity which it had never possessed before, certainly not since the apostolic age, as a part of the official liturgic song of the Church. Both these facts gave the folk-hymn its wonderful proselyting power in the sixteenth century,—the latter gives it its importance in the history of church music.