One of the experts consulted in this movement was an eminent Italian composer born twenty miles from Rome. His full name was Giovanni Pietro Aloysio da Palestrina, and at that time he was in the prime of his powers. He was master of polyphonic music as well as plain-song, and he proposed applying it to grace the older mode, preserving the solemn beauty of the chant but adding the charming chords of counterpoint. He wrote three "masses," one of them being his famous "Requiem." These were sung under his direction before the Commission. Their magnificence and purity revealed to the censors the possibilities of contrapuntal music in sanctuary devotion and praise. The sanction of the cardinals was given--and part-song harmony became permanently one of the angel voices of the Christian church. Palestrina died in 1594, but hymn-tunes adapted from his motets and masses are sung today. He was the father of the choral tune. He lived to see musical instruments and congregational singing introduced[1] in public worship, and to know (possibly with secret pleasure, though he was a Romanist) how richly in popular assemblies, during the Protestant Reformation, the new freedom of his helpful art had multiplied the creation of spiritual hymns. [Footnote 1: But not fully established in use till about 1625.] Contemporary in England with Palestrina in Italy was Thomas Tallis who developed the Anglican school of church music, which differed less from the Italian (or Catholic) psalmody than that of the Continental churches, where the revolt of the Reformation extended to the tune-worship as notably as to the sacraments and sermons. This difference created a division of method and practice even in England, and extreme Protestants who repudiated everything artistic or ornate formed the Puritan or Genevan School. Their style is represented among our hymn-tunes by "Old Hundred," while the representative of the Anglican is "Tallis' Evening Hymn." The division was only temporary. The two schools were gradually reconciled, and together made the model after which the best sacred tunes are built. It is Tallis who is called "The father of English Cathedral music." In Germany, after the invention of harmony, church music was still felt to be too formal for a working force, and there was a reaction against the motets and masses of Palestrina as being too stately and difficult. Lighter airs of the popular sort, such as were sung between the acts of the "mystery plays," were subsidized by Luther, who wrote compositions and translations to their measure. Part-song was simplified, and Johan Walther compiled a hymnal of religious songs in the vernacular for from four to six voices. The reign of rhythmic hymn music soon extended through Europe.