In proceeding to briefly sketch the curious facts of musical history in the dark ages, we shall necessarily confine ourselves to pointing out only what is chiefly remarkable, and shall not enter into the field of dispute regarding systems and notations, for this period of Musical History is a very hazy one. It is but natural to suppose, that when general barbarism spread over Europe, music was not likely to be either much practised or written about. The last writer on the previous systems was Boethius (the last of old Roman writers), who lived at about the same epoch as Gregory (he was put to death by Theodoric, the Goth, A. D. 525). In his work, he uses the letters of the alphabet, to designate musical notes, but does not repeat the letters at the octave; his nomenclature therefore does not end at G, but continues on, to _N_, _O_, and _P_.[256] Musical progress was at a stand still from the time of Gregory, until the reign of the Carlovingian kings. Charlemagne at the end of the eighth, and beginning of the ninth centuries, took all art and music under his powerful protection. He loved to compare himself with King David, and had in many respects, good reason to, for he possessed both the virtues and the failings of that ancient monarch. He gathered about him a number of musical and literary friends, and we can judge of the pleasant manner of their intercourse by the names of antiquity which each one was known by. Alcuin, was dubbed Flaccus Albinus; Riculf, Archbishop of Mayence,—Damoetas; Arno,—Aquila; Angilbert,—Homerus, etc.[257] In addition to the literary and musical schools founded throughout his empire, in his own palace was one devoted to the education of the children of his servants. Books were read, and music sung to his courtiers, during the hours of dining or other leisure. The singing at his court, he often conducted himself, and every one was obliged to participate. If a stranger arrived, he was also obliged to stand with the chorus, and even if he could not sing, at least to make the semblance of doing so. In the conservation of ancient legendary songs Charlemagne was very active, and many which have come down to our day, owe their existence to his wise and thoughtful care.[258] In church music he was, most of all, interested, and remarked with much concern, the variations between the Gregorian and French singing. To put an end to the matter, he sent to Stephen IV., the reigning pope, for ecclesiastical singers; the latter responded by sending, (in imitation of the twelve apostles,) twelve clerical singers to teach his empire.