Among the greatest of the church composers of this early period were such men as Thomas Tallis (1529?-1585), whose anthems ‘I Call and Cry’ and ‘All People that on Earth do Dwell’ are fine examples of the old contrapuntal style; William Byrd (1538?-1623), with his masterful ‘Bow Thine Ear’ and ‘Sing Joyfully’; and Orlando Gibbons (1583-1625), the ‘English Palestrina,’ whose ‘Hosanna,’ ‘Lift up your Heads,’ ‘O Clap your Hands together,’ and ‘Almighty and Everlasting God’ have not yet ceased to excite admiration and reverence for their solemnity and dignity. Most of the anthems of this period are ‘full,’ though occasional ‘verse’ anthems are also to be found. All were essentially _a cappella_ and relied wholly upon purely vocal effects. Small portable organs were in common use in many churches, but when they were employed as accompaniment they, as well as occasional orchestral instruments, merely reinforced the voice-parts or filled out the vocal ‘rests.’ IV Since the Reformation in all countries was fundamentally democratic, though in varying degrees of expression, it was inevitable that the people’s song should be given substantial recognition in all forms of the Protestant service. In Germany the chorale was at once the utterance of profoundest religious conviction in the sanctuary, in the home, and on the battlefield; and the incitement to creative energy in more elaborate musical forms. But in respect to its alliance with higher forms of art-music, the chorale has no analogue in the ritual-music of other Protestant services. In France, Switzerland, and the Netherlands, the only form of religious song tolerated by the Reformed Church was Calvin’s austere psalmody, which was the beginning and end of worship-music in all churches under his leadership. His intolerant antipathy to everything that even suggested the elaborate and beautiful forms of the Roman ritual rigidly excluded all polyphonic or figured music as well as all forms of instrumental accompaniment. The Genevan Psalter, published in various editions from 1542 to 1562 when it appeared in its complete form, consisted of the metrical translations of the Psalms by Clement Marot and Theodore Beza set, for the most part, to adaptations of popular secular French songs, though many of the finest tunes have been variously attributed, but without conclusive proof, to Louis Bourgeois, Guillaume Franc, and Claude Goudimel. Many of the fine melodies of the Genevan Psalter, such as ‘Old Hundredth’ or the long-metre doxology and ‘Toulon,’ have persisted in popularity during the centuries and have been permanently enshrined in Protestant hymnology. Although many editions of the most popular of the psalm-tunes appeared for four voices (the melody at first in the tenor), finely harmonized by Bourgeois, Goudimel and others, no other than plain unisonal singing of the tunes was permitted in the church service for over two centuries.