processional hymn for Palm Sunday in hexameters and pentameters, "Gloria, laus, et honor tibi sit, Rex Christe Redemptor" ("Glory and honour and laud be to Thee, King Christ the Redeemer"), and Hrabanus Maurus, archbishop of Mainz, the pupil of Alcuin, and the most learned theologian of his day, enriched the church with some excellent works. Among the anonymous hymns of the same period there are three of great beauty, of which the influence may be traced in most, if not all, of the "New Jerusalem" hymns of later generations, including those of Germany and Great Britain:--"Urbs beata Hierusalem" ("Blessed city, heavenly Salem"); "Alleluia piis edite laudibus" ("Alleluias sound ye in strains of holy praise"--called, from its burden, "Alleluia perenne"); and "Alleluia dulce carmen" ("Alleluia, song of sweetness"), which, being found in Anglo-Saxon hymnaries certainly older than the Conquest, cannot be of the late date assigned to it, in his _Mediaeval Hymns and Sequences_, by Neale. These were followed by the "Chorus novae Hierusalem" ("Ye Choirs of New Jerusalem") of Fulbert, bishop of Chartres. This group of hymns is remarkable for an attractive union of melody, imagination, poetical colouring and faith. It represents, perhaps, the best and highest type of the middle school, between the severe Ambrosian simplicity and the florid luxuriance of later times. Veni Creator. Notker. Another celebrated hymn, which belongs to the first medieval period, is the "Veni Creator Spiritus" ("Come, Holy Ghost, our souls inspire"). The earliest recorded occasion of its use is that of a translation (898) of the relics of St Marcellus, mentioned in the _Annals_ of the Benedictine order. It has since been constantly sung throughout Western Christendom (as versions of it still are in the Church of England), as part of the appointed offices for the coronation of kings, the consecration and ordination of bishops and priests, the assembling of synods and other great ecclesiastical solemnities. It has been attributed--probably in consequence of certain corruptions in the text of Ekkehard's _Life of Notker_ (a work of the 13th century)--to Charlemagne. Ekkehard wrote in the Benedictine monastery of St Gall, to which Notker belonged, with full access to its records; and an ignorant interpolator, regardless of chronology, added, at some later date, the word "Great" to the name of "the emperor Charles," wherever it was mentioned in that work. The biographer relates that Notker--a man of a gentle, contemplative nature, observant of all around him, and accustomed to find spiritual and poetical suggestions in common sights and sounds--was moved by the sound of a mill-wheel to compose his "sequence" on the Holy Spirit, "Sancti Spiritus adsit nobis gratia" ("Present with us ever be the Holy Spirit's grace"); and that, when finished, he sent it as a present to "the emperor Charles," who in return sent him back, "by the same