In such a school it was no wonder that the pupils of St. Gall, like those of Eton, became famous for their good writing. Ekhehard I. had a method in this as in everything else; if he found a boy dull over his grammar he set him to copy; arguing that nature was an economist in her gifts, and did not dispense all to all; and that often where the head was somewhat slow in learning, the deficiency was made up by an extra dexterity with the fingers. But boys were never employed on the Gospels, or Church service books, these being reserved for men of perfect age, who would bring greater care to their responsible task. We have even the copy ordinarily set for beginners in the monastic scriptorium, a doggerel line, introducing every letter of the alphabet: “Adnexique globum Zephyrique Kanna secabant.” That the labour of transcription was often exceedingly irksome, is evident from sundry notes scattered over these manuscripts. “As the sick man desireth health,” writes one, “even so doth the transcriber desire the end of his volume.” Another contents himself with the laconic observation, “written with great trouble;” but a third, who may be supposed to have been employed over a very tough copy, breaks out into verse, and exclaims at his last page: “Libro completo Saltat scriptor pede læto.” The monks of St. Gall were no less famous for their music than for their painting. Their musical tastes were inherited probably from their Irish founders, and were further improved by the teaching of those Roman cantors, whom we have seen in a former page sent into France, at Charlemagne’s request, to civilise the barbarous singing of his Frankish cantors. On their way back into Italy, one of them, to whom the St. Gall historians give the name of Romanus, was attacked by fever, and stopping at the Swiss monastery, was there charitably entertained and nursed by the brethren, who had excellent doctors among them. In return, he taught them the Roman chant, and bestowed on them the identical antiphonarium he had brought from Rome, making a certain case or instrument to contain it. “And to this day,” writes Ekhehard, “if there is any dispute about the singing, the error may be detected by consulting this book.” Moreover, this Romanus was the first who thought of assigning the letters of the alphabet to the musical notes, a system which Notker Balbulus afterwards explained, and which, being further elucidated by a certain friend of his named Lambert, was adopted throughout Germany.[97]