The history of the Anglican chant may also be taken to symbolize the submerging of the ancient priestly idea in the representative conception of the clerical office, for the chant has proved itself a very flexible form of expression, both in structure and usage, endeavoring to connect itself sometimes with the anthem-like choir song and again with the congregational hymn. In the beginning, however, the method of chanting exactly followed the Catholic form. Two kinds of chant were employed,—the simple unaccompanied Plain Song of the minister, which is almost monotone; and the accompanied chant, more melodious and florid, employed in the singing of the psalms, canticles, litany, etc., by the choir or by the minister and choir. The substitution of English for Latin and the sweeping modification of the liturgy did not in the least alter the system and principle of musical rendering which had existed in the Catholic Church. The litany, the oldest portion of the Book of Common Prayer, compiled by Cranmer and published in 1544, was set for singing note for note from the ancient Plain Song. In 1550 a musical setting was given to all parts of the Prayer Book by John Marbecke, a well-known musician of that period. He, like Cranmer, adapted portions of the old Gregorian chant, using only the plainer forms. In Marbecke’s book we find the simplest style, consisting of monotone, employed for the prayers and the Apostles’ Creed, a larger use of modulation in the recitation of the psalms, and a still more song-like manner in the canticles and those portions, such as the Kyrie and Gloria, taken from the mass. To how great an extent this music of Marbecke was employed in the Anglican Church in the sixteenth century is not certainly known. Certain parts of it gave way to the growing fondness for harmonized and figured music in all parts of the service, but so far as Plain Chant has been retained in the cathedral service the setting of Marbecke has established the essential form down to the present day.[78]