impressions fast enough for the demand; and, as the Psalms were
considered in the light of ballads, they were set by the people to
popular tunes, and were commonly _sung_ as ballads.

This good reception of Marot's Psalms induced the celebrated Theodore
Beza to continue the collection; and another volume was printed,
of which 20,000 were immediately sold: this was a considerable
circulation, when we consider the few readers that then existed, in
comparison with the number of readers in the present age. These had
the advantage over Marot's of being set to tunes of greater spirit.
Beza, in his preface, says, that "these Psalms are admirably suited
for the violin and other musical instruments;" and our readers will
learn, not without surprise, that through the instrumentality of
the gloomy Calvin, these compositions were set to most beautiful and
simple airs. He wisely took advantage of popular feeling to spread his
religious opinions, through the means of melody, and, in furtherance
of this plan, he engaged the most celebrated composers of his time
to furnish tunes to these Psalms. At first, the scheme was not
discovered: for Catholics sang the Psalms as well as Hugonots; but,
when Calvin appointed these Psalms, with their music, to be sung at
his meetings, there was an end to the solace of the dreary hours
of the poor Catholics. Marot himself was compelled to quit Geneva;
Psalm-singing became an open declaration of Lutheranism; and "woe
to the poor wight" who was caught in the _diabolical_ act of singing
these "pernicious Psalms."

The history of Psalm-singing in our own island can be comprised in
very few words. When the enthusiasm of the French in favour of their
Psalms was at its height, one Sternhold, undertook to be _our_
Marot, and wrote a Book of Psalms, which captivated the hearts of