The English, like the French, relied upon metrical versions of the Psalms for their hymn-books. Furthermore, the beginning of the Reformation in England was complicated with political motives and the movement was, for a long time, simply a break from the Church of Rome rather than an outburst of religious convictions. Yet after the suppression of monasteries between 1536 and 1540 there was something of the same destruction of organs and music which had wrought such havoc in Switzerland, and a general condemnation of elaborate church service. The first attempt at hymn tunes was the _Goostlie Psalmes_ of Coverdale, drawn largely from Lutheran sources. Under Edward VI (1547-1553) began the organization of the Anglican Church and the drafting of liturgies in English. The movement was checked by the reign of Mary, but under Elizabeth resulted in a standard ritual which called forth the best musical genius of the country. An elaborate setting of the canticles, etc., used in morning and evening prayer was encouraged and a new art-form, the musical flower of the English Reformation, the anthem, resulted from the setting of the variable portions of these services. III The great spirit of the Italian Renaissance, which was essentially a spirit of freedom and joy in individuality, thus took shape in Germany, England, and France, and laid a hand upon music as it had already done in Italy. On every hand it scatters its seeds, which will take root and later flower. Elements of form and design, rich chromatic alterations of harmony, splendid dramatic effects of answering double choirs are woven into the intricate web of Netherland polyphonic music, touching it with color and fire, making it fertile with new and vast developments. But all is gradual; the art grows slowly and only slowly changes. Amid the turbulent restlessness, the experiment and daring, the old ideal, the ideal of the monasteries and the great cathedrals, still awaits perfection--the touch of Lassus and of Palestrina.