The question of just how the congregation sang those chorales allotted to them is also in doubt. It is hardly possible that in the first half of the sixteenth century the organ accompanied them. The organ was still far too imperfect to attempt polyphonic playing such as would afford a harmonic support to the singers, who, we may presume, sang only in unison. It is more likely that the organ and the congregation alternated, or that the choir and the congregation sang in turn. Toward the end of the century attempts were made to have the choir lead the congregation, and then later, in the course of time, the organ was perfected and was used for accompaniment, coming soon to drown out the choir, which had little chance to maintain a leadership over the mass of singers on the one hand and the organ on the other. Thus the organ finally took the leadership. In its new position it no longer alternated with the congregation, and the skill which organists had had an opportunity to show in the solo passages, alternating, in the old days, with the congregation, was now concentrated upon the prelude. In this way the foundation for a characteristically German art-form in organ music, the _chorale-prelude_, was laid. Though Luther was too much of a musician to be willing to give over the music of the service to be mishandled by a crowd of untrained singers, he none the less intended his chorale melodies to enter into the lives of the German Protestants. Thus, while, on the one hand, we have Luther’s own book and subsequent books in the same contrapuntal style, on the other, we have hymn-books in which only the melody was written and which carried the noble old tunes to every hearth and home throughout Protestant Germany. The first 'house’ hymn-book appeared a short while before Luther’s church book. It was compiled by Luther’s friend, Justus Jonas, and was called the _Erfurt Enchiridion_. Among the hymns contained in it were two old Latin hymns, already mentioned in Chapter V, the _Veni redemptor gentium_, by St. Ambrose, and the _Media in vita_, by Notker Balbulus, both, of course, done into German. An interesting collection was published in Frankfurt in 1571 with the preface: 'Street songs, cavalier songs, and mountain songs transformed into Christian and moral songs, for the abolishing, in the course of time, of the bad and vexatious practice of singing idle and shameful songs in the streets, in fields, and at home, by substituting for them good sacred and honest words.’ The chorale melodies, indeed, became the property of the Germans. They were colored with the sentiment of a whole race; they took on a nobility and a dignity, they seemed to germinate new life, and, finally, they became the glory of a lofty art, based on the skill of the Netherlanders, modified and adorned according to a new style soon to be perfected by the Italians, and infused with rich, warm life flowing from the very hearts of the German people.