That the verses were entered in other copies also is certain. The Fathers of the Oratory della Vallicella at Rome had a copy of this recension, which was believed to be written by Alcuin’s own hand and presented to Charlemagne. In it there is a long copy of verses, including those in the Museum Bible, but with curious alterations and additions, which make it probable that the Vallicella Bible was written for Charlemagne’s grandson, Charles le Chauve. _Quae Pater Albinus devoto pectore supplex_ is altered into _Quae tibi devoto Carolus rex pectore supplex_, and verses are added, stating that the Bible was written for a new church which Charles had just built. The alteration cuts out the personal note of Alcuin, and the addition cuts out Charlemagne and points to another Charles. This is far from being the only case in which confusion is caused by the fact that Charlemagne was himself for many years Charles the king; that his oldest son was Charles the king; that his grandson was Charles the king; as also two great grandsons, a great great grandson, and even two generations further still. Others besides Alcuin and the royal family were interested in the various versions of Scripture. For example, his contemporary Theodulf, the learned bishop of Orleans, sent to his own daughter Gisla a psalter, radiant with silver and gold, with both the earlier and the later versions of Jerome. Our use of the word _Graduale_ for the book containing the words and the music sung by the choir at the service of the Mass is an evidence of the large part played by the Gallican Church in the arrangement and improvement of the early mediaeval service books. Rome spoke of the Antiphonale Missarum and Antiphonale Horarum, while Gaul spoke of the Graduale for Mass Music and Antiphonale for the Music of the Hours. Under Alcuin’s guiding hand, the influence of Charlemagne and his times upon the services was wide and deep. In the document described as Ep. 31, A.D. 794, Karl has a good deal to say about the success of his own efforts to put down irregular methods of singing the services, and to bring all into general accord with the Roman method.[234] Alcuin’s work re-acted upon the Roman use itself, and is understood to have been the operating cause of the mark left upon it. [Sidenote: Ep. 72. A.D. 796.] Alcuin had strong opinions as to the best manner of singing the services. In a letter to Eanbald II, he writes thus, for the benefit of the Church of York:—“Let the clergy chant with moderated voice, striving to please God rather than men. An immoderate exaltation of voice is a sign of boastfulness. And let them not be above learning the Roman Orders of Service, that they may have eternal benediction from the blessed Peter, chief of the Apostles, whom Our Lord Jesus Christ made the head of His elect flock.”