Psalter, though it contained some gospel canticles and catechetical songs. This psalter was to become a prototype for Reformed worship, but Calvin did not have any objection to the use of original hymns in other churches, and he did not appeal to scripture in his preface to the psalter justifying his preference for the Psalms. Once the Genevan Psalter was translated into German in 1573, exclusive psalmody became the dominant mode of Reformed congregational singing for 200 years following John Calvin everywhere but in Hungary. Anglicans had no theological objection to hymns, but they failed to nurture a tradition of English-language hymnody. Works like the 1562 English Sternhold and Hopkins Psalter were very popular among the Reformed. Literal translations of the Psalms began to be preferred by the Reformed over the looser translations of the Genevan and Sternhold and Hopkins psalters in the latter part of the sixteenth century. Some of the most influential psalters of the seventeenth century were the Scottish Psalter of 1635 and the Bay Psalm Book of 1640, which was the first book printed in America. Seventeenth-century Reformed theologians did not reach a consensus on the propriety of hymns in worship, and several argued that they were permissible, including John Ball and Edward Leigh. Thomas Ford also seems to have favored an inclusive rather than exclusive psalmody, while clearly preferring biblical psalms. Benjamin Keach, a Particular Baptist, introduced hymn-singing in his congregation in 1673, leading to a debate with Isaac Marlow, who opposed congregational singing altogether. By the end of the seventeenth century, hymn-singing was on its way to being acceptable among English Baptists. In 1719, Isaac Watts, an early eighteenth-century English Congregationalist minister, published Psalms of David, Imitated in the Language of the New Testament, in which "imitated" means "interpreted," rather than being a strict translation. Some complained that his psalms were not translations at all, but paraphrases. Watts also wrote many hymns, many of which imitated the psalms. The rise of pietism in the eighteenth century led to an even greater dominance of hymns, and many of the Reformed reintroduced hymns in the early eighteenth century. Hymnody became acceptable for Presbyterians and Anglicans around the middle of the nineteenth century, though the Reformed Presbyterians continue to insist on exclusive a cappella psalmody. Possible Biblical basis The practice of exclusive psalmody is sometimes based on a strict (sometimes called 'Puritan') interpretation of the regulative principle