Likewise the notation of a Chorale with a figured bass should not be omitted. A considerable number of Chorale books containing only the tunes with the bass, the harmony produced by the tenor and alto being indicated by figures, have been published chiefly for the use of organists, who of course may be supposed to be familiar with thorough-bass. In the year 1730, Georg Philip Telemann, in Hamburg, published his 'Fast allgemeines Evangelisch-Musicalisches Lieder-Buch,' which contains 433 Chorales; the different readings of the same tune, in use at that time, are indicated by small notes, and the tunes have a figured bass, with some instruction at the end of the book for inexperienced thorough-bass players. The Chorales of the Hussites are especially deserving of investigation. Luther appreciated them highly, and several of them were adopted by the Protestants at the time of the Reformation. The Enchiridion, anno 1524, which has already been mentioned in another place,[77] contains two from this source. The earliest published collections of the Chorales of the Hussites, in which the poetry is in the Czech language, are: Jona Husa, Cantional, 1564; Girjka Streyce, Chorales with Goudimel's harmony, 1593; D. K. Karlsperka, Chorales, 1618. Noteworthy are likewise the songs of the Hussites collected and published by K. J. Erben, Prague, 1847. Also the following in German: A Chorale book of the Bohemian and Moravian Brethren, edited by Michael Weiss, 1531. The same enlarged by Johann Horn, 1596. A Chorale book of the Herrnhut Brethren, edited by Christian Gregor, 1784. Gregor, who was organist as well as bishop in Herrnhut, is the inventor, or originator, of the peculiar construction of the organ generally adopted by his sect, in which the player is seated so as to face the congregation. His publication, which contains 467 Chorales with figured basses, was the first work of its kind printed for the Herrnhut Brethren, and constituted the musical portion of their song-book printed in 1778. Turning to the sacred poetry of the Reformed Church in Switzerland and France, we find a famous collection of metrical psalms in French, written at the request of Calvin by ClÈment Marot and ThÈodore de BËze, to which tunes were composed or adapted, by Bourgeois, in 1547, and by Goudimel, in 1565. Some musical historians assert that Bourgeois and Goudimel derived their tunes from a German collection by Wilhelm Franck, published in Strassburg in the year 1545, so that their merit consists only in having set them in four-part harmony. It would certainly be desirable to have the tunes properly traced to their original source.