The Protestant Reformation did not, then, at once alter the form of church music in Germany. Other influences, sprung from Catholic Italy, were to be far more powerful in that respect. Even the tendency toward harmonic writing, toward emphasizing the progression of chords rather than the interweaving of melodies, which the chorale melodies undoubtedly furthered, was a tendency very evident in Italian church music of the time, notably at Venice, was indeed a mark of the time. The true significance of the Lutheran reform in the history of music is that it laid music open to a flood of genuine strong feeling, personal, intimate, intensely human feeling, which little by little during the next two centuries, in spite of the horror and agony of persecution and warfare, permeated every vein and artery of music, and filled them with vital warmth and glowing color. During the Thirty Years’ War only the hymn and the chorale melody escaped destruction in Germany, and these survived because they were actually a part of the people and could cease to exist only when the race had been stamped out. In France and in England the Protestant movement had far less influence upon music than in Germany. In France this seems to be explained by the fact that the French had not, like the Germans, a literature of native hymns, but had to construct their hymn-book from the Psalter, and that they had a more slender stock of genuine folk-song to draw upon. Zwingli, the leader of the Swiss Reformation, which was to win the support of the Frenchman Calvin, was not in favor of music, and his followers were ruthless in their destruction of organs and collections of music. Calvin, on the other hand, had in regard to music more the point of view of Luther. He drew freely from the Lutheran hymn-books both melodies and words, but especially in favor of metrical versions of the Psalms. These were set to music often excellent and finely harmonized. Among the Calvinistic psalm writers Clement Marot is most famous. It was he who, as court poet to Francis I, made several versions of the Psalms into the style of ballads, which won great popularity by their novelty and were set to gay tunes and sung by the people at court. Subsequently, in forced exile at Geneva, he added nineteen more to the collection of thirty he had already written, and these were later supplemented and arranged in final form by Theodore de Beza. Most conspicuous among the musicians connected with the movement in France were Loys Bourgeois and Claude Goudimel. The latter may have been a Netherlander and a pupil of Josquin. He was killed in the massacre of St. Bartholomew in Lyons (1572). Bourgeois composed many melodies himself to the Calvinistic hymns and set them more or less simply in four parts. Goudimel, on the other hand, composed elaborate settings in the style of motets with the melody, seldom his own, in the tenor.