The religious authorities in the beginning of Elizabeth's reign inclined towards Calvinism, which tended to discourage polyphony in church unless the words were clearly audible, or as the 1559 Injunctions stated, 'playnelye understanded, as if it were read without singing'. Tallis wrote nine psalm chant tunes for four voices for Archbishop Parker's Psalter, published in 1567. One of the nine tunes, the "Third Mode Melody", inspired the composition of Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams in 1910. His setting of Psalm 67 became known as "Tallis's Canon" and the setting by Thomas Ravenscroft is an adaptation for the hymn "All praise to thee, my God, this night" (1709) by Thomas Ken. As a result of its widespread use in church services, it has become his best-known composition. Meanwhile, however, the Injunctions also allowed a more elaborate piece of music to be sung in church at certain times of the day, and many of Tallis's more complex Elizabethan anthems may have been sung in this context, or alternatively by the many families that sang sacred polyphony at home. Tallis's better-known works from the Elizabethan years include his settings of the Lamentations (of Jeremiah the Prophet) for the Holy Week services and the unique motet Spem in alium written for eight five-voice choirs, for which he is mostly remembered. Though they are often overlooked, he also produced compositions for other monarchs, and several of Tallis's anthems written in Edward's reign, such as his If ye love me, are judged to be on the same level as his Elizabethan works. This oversight stems in part from our incomplete records of his works from previous periods; eleven of eighteen Latin-texted pieces by Tallis from Elizabeth's reign were published, "which ensured their survival in a way not available to the earlier material".