The austere and far-seeing Calvin at once adopted Marot's version of the Psalms, now enlarged to the number of fifty, and added them to the Genevan Confession of Faith,--recommending however that they be sung with the grave and suitable strains written, for them by Guillaume Frane. The collection was completed with the assistance of Theodore Beza, the great theologian, and the demand for the books was so great that the printers could not supply them quickly enough. Ten thousand copies were sold at once,--a vast number for the times. But Marot was not happy in Geneva with Calvin and the Calvinists, as we can well understand. Beza, in his "History of the French Reformed Churches" said, "He (Marot) had always been bred up in a very bad school, and could not live in subjection to the reformation of the Gospel, and therefore went and spent the rest of his days in Piedmont, which was then in the possession of the king, where he lived in some security under the favor of the governor." He lived less than a year, however, dying in 1544. These psalms of Marot's passed through a great number and variety of editions. In addition to the Genevan publications, an immense number were printed in England. Nearly all the early editions were elegant books; carefully printed on rich paper, beautifully bound in rich moroccos and leathers, often emblazoned with gold on the covers, and with corners and clasps of precious metals,--they show the wealth and fashion of the owners. When, however, it came to be held an infallible sign of "Lutheranisme" to be a singer of psalms, simpler and cheaper bindings appear; hence the dress of the French Psalm-Book found in New England is often dull enough, but invariably firm and substantial. These psalms of Marot's are written in a great variety of song-measures, which seem scarcely as solemn and religious as the more dignified and even metres used by the early English writers. Some are graceful and smooth, however, and are canorous though never sonorous. They are pleasing to read with their quaint old spelling and lettering. In the old Sigourney psalm-book the nineteenth psalm was thus rendered:-- "Les cieux en chaque lieu La puissance de Dieu Racourent aux humains Ce grand entour espars Publie en toutes parts L'ouvrage de ses mains. "Iour apres iour coulant Du Saigneur va parlant Par longue experience. La nuict suivant la nuict, Nous presche et nous instruicst De sa grád sapience" Another much-employed metre was this, of the hundred and thirty-third psalm:-- "Asais aux bors do ce superbe fleuve Que de Babel les campagnes abreuve, Nos tristes coeurs ne pensoient qu' à Sion. Chacun, helas, dans cette affliction Les yeux en pleurs la morte peinte au visage Pendit sa harpe aux saules du rivage." A third and favorite metre was this:--