The monks were no exception to their fellow-countrymen in their love of music, consequently in Christian times music was intimately connected with public worship.[423] In the early ages of the Church many of the Irish ecclesiastics took delight in playing the harp and in order to indulge this innocent and refining taste they were wont to take with them a small portable harp when going from place to place.[424] Figures of men playing the harp are common on the stone crosses seen at Graig, Ullard, Clonmacnoise, Durrow and Monasterboice, as also on the shrines of ancient reliquaries.[425] It appears from several authorities that the practice of playing on the harp as an accompaniment to the voice was common in Ireland as early as the fifth or sixth century.[426] During the long period when learning flourished Irish professors and teachers of music would seem to have been quite as much in request as teachers of literature and philosophy. In the middle of the seventh century Gertrude (daughter of Pepin, Mayor of the Palace) when abbess of Niville in Belgium engaged Foillan and Ultan brothers of St. Fursey to instruct her nuns in Psalmody.[427] It has been asserted that Gregorian chant coloured much of the music of Ireland from the fifth to the eighth century, but Gregorian chant dates only from 593 A.D. and, as Flood pointed out, both the psalmody and the hymnody of the Irish were distinctly Celtic in the first half of the seventh century and were mainly adaptations of the old pre-Christian melodies.[428] The musical fame of St. Gall monastery in Switzerland is known to many, but the fact is often ignored that its foundation in 612 A.D. is due to the Irish saint Cellach whose name has been latinised Gallus or Gall. St. Gall was a student of the monastery of Bangor (in Co. Down, Ireland) and the friend and pupil of Columban whom he accompanied to the Continent. When St. Gall died in 645 A.D. the fame of his music school had spread far and near.[429] In the year 870 A.D. Moengal, another Irishman, was appointed headmaster of the Music School of St. Gall and under his rule it became “the wonder and delight of Europe.”[430] Moengal laboured for ten years on behalf of the school. It should be added that Moengal was also learned in theology and secular sciences. “Erat in divinas et humanis eruditissimus.”[431] The copying of music became such a feature of the work done at St. Gall that “the scribes of this monastery supplied all Germany with manuscript books of the Gregorian Chant, all beautifully illuminated.”[432] Moengal gave music its highest place amongst the arts and the school of St. Gall reached its highest perfection under three of Moengal’s pupils, Ratpert, Notker and Tuotilo.[433] In Zimmer’s opinions there were very few men who exercised such a beneficent influence over Germany in the ninth century as did Moengal and his successors.[434]