The psalmody of the Protestant church was first arranged and brought into use in the course of the sixteenth century, through the efforts of the reformers in Germany and particularly of Martin Luther, who was extremely fond of music, and wrote a quaint discourse on the art. In 1524 he published a collection of hymns which also comprised a few versified psalms. These were set to music in four parts, as he says "for no other reason than because of my desire that the young, who ought to be educated in music as well as in other good arts, might have something to take the place of worldly and amorous songs, and so learn something useful and practise something virtuous, as becometh the young. I would be glad to see all arts, and especially music, employed in the service of Him who created them." Zwingle, Cranmer, Calvin, and Knox were also zealous advocates of psalm-singing; and during the same century Tye, Tallis, Bird, and Gibbons did a great work for ecclesiastical music in England. At the time of the Reformation in England the Puritans proved themselves zealous musical reformers. They reduced singing to the severest simplicity. They had no sympathy with elaborate arrangements. Organs, choir-books, and choir-singers were objects of their special antipathy. One of these iconoclasts says: "This singing and saying of mass, matins, or even-song is but roryng, howling, whisteling, mummying, conjuring and jogelyng and the playing of orgayns a foolish vanitie." Latimer in 1537 notified the convent at Worcester: "Whenever there shall be any preaching in your monastery all manner of singing and other ceremonies shall be utterly laid aside." In 1562 it was proposed that the psalms should be sung by the whole congregation, and that organs should be no longer used. In the Confession of the Puritans (1571) they say: "Concerning the singing of the psalms, we allow of the people's joining with one voice in a plain tune, but not in tossing the psalms from one side to the other, with intermingling of organs." An appeal was made to Parliament against the singing of the noble cathedral music by "chanting choristers disguised, as are all the rest, in white surplices, some in corner caps and silly copes, imitating the fashion and manner of Antichrist the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings."