"Not but there are who merit other palms Hopkins and Sternhold glad the heart with psalms. The boys and girls whom charity maintains Implore your help in these pathetic strains. How could devotion touch the country pews Unless the gods bestowed a proper muse." Wesley sneered at this version, saying, "When it is seasonable to sing praises to God we do it, not in the scandalous doggrel of Hopkins and Sternhold, but in psalms and hymns which are both sense and poetry, such as would provoke a _critic_ to turn _Christian_ rather than a _Christian_ to turn _critic_." The edition of 1562 was printed with the notes of melodies that were then called Church Tunes. They formed the basis of all future collections of psalm-music for over a century. They soon were published in harmony in four parts, "which may be sung to all musical instrumentes set forth for the encrease of vertue and abolyshing of other vayne and tryfling ballads." In 1592 a very important collection of psalm-tunes was published to use with Sternhold and Hopkins' words. It is called "The Whole Booke of Psalmes: with their wonted tunes as they are sung in Churches composed into four parts." This book is noteworthy because in it the tunes are for the first time named after places, as is still the custom. The music contained square or oblong notes and also lozenge-shaped notes. The square note was a "semy-brave," the lozenge-shaped note was a "prycke" or a "mynymme," and "when there is a prycke by the square note, that prycke is half as much as the note that goeth before." Music at that time was said to be pricked, not printed,--the word being derived from the prick or dot which formed the head of the note. Any song which was printed in various parts was called a prick-song, to distinguish it from one sung extemporaneously or by ear. The word prick-song occurs not only in all the musical books, but in the literature of the time, and in Shakespeare. "Tom Sternhold's" songs were entitled to be called prick-songs because they had notes of music printed with them. Many of the tunes in this collection were taken from the Genevan Psalter and Luther's Psalm-Book, or from Marot and Beza's French Book of Psalms. Hence they were irreverently called "Genevan Jiggs," and "Beza's Ballets."