Luther's ringing declaration that all believers constitute a universal priesthood necessarily implied that the laity should also participate in the worship. Congregational singing therefore became inevitable. Luther also realized that spiritual song could be enlisted as a powerful ally in spreading the evangelical doctrines. During the birth throes of the Reformation he often expressed the wish that someone more gifted than himself might give to the German people in their own language some of the beautiful pearls of Latin hymnody. He also wanted original hymns in the vernacular, as well as strong, majestic chorales that would reflect the heroic spirit of the age. "We lack German poets and musicians," he complained, "or they are unknown to us, who are able to make Christian and spiritual songs of such value that they can be used daily in the house of God." Then something happened that opened the fountains of song in Luther's own bosom. The Reformation had spread from Germany into other parts of Europe, and the Catholic authorities had commenced to adopt stern measures in an effort to stem the revolt. In the Augustinian cloister at Antwerp, the prior of the abbey and two youths, Heinrich Voes and Johannes Esch, had been sentenced to death by the Inquisition for their refusal to surrender their new-born faith. The prior was choked to death in his prison cell. The two youths were led to the stake at Brussels, on July 1, 1523. Before the faggots were kindled they were told that they might still be freed if they would recant. They replied that they would rather die and be with Christ. Before the fire and smoke smothered their voices, they sang the ancient Latin hymn, "Lord God, we praise thee." When news of the Brussels tragedy reached Luther the poetic spark in his soul burst into full flame. Immediately he sat down and wrote a festival hymn commemorating the death of the first Lutheran martyrs. It had been reported to Luther that when the fires began to lick the feet of Voes, witnesses had heard him exclaim, "Behold, blooming roses are strewn around me." Luther seized upon the words as prophetic and concluded his hymn with the lines: "Summer is even at the door, The winter now hath vanished, The tender flowerets spring once more, And He who winter banished Will send a happy summer." The opening words of the hymn are also significant, "Ein neues Lied wir heben an." Although the poem must be regarded as more of a ballad than a church hymn, Luther's lyre was tuned, the springtime of evangelical hymnody was indeed come, and before another year had passed a little hymn-book called "The Achtliederbuch" appeared as the first-fruits.