Walther's work (printed with the mufic for five voices, the melody in the Tenor, as ufual at that time), with fucceflive additions, went through feveral editions (1537 and and was followed in rapid fequence by numerous fimilar works, of which thole publifhed at Wittenberg, N iirnberg, and Stras burg, are the molt important.' Every new book brought frefh additions, and by the end of the 16th century the number of hymns introduced into the Church was counted by hundreds. Among the tunes of this century and the early part of the next, the Editors would efpecially name V, x111, xxv1, mu.

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