Moengal was succeeded in 890 A.D. by Tuathal (latinised Tuotilo and sometimes Tutilo), his pupil and fellow-countryman. Tuotilo (d. 915 A.D.) was even more famous than his master and was not only a skilled musician but was famed as a poet, orator, painter, goldsmith, builder and sculptor. We are told that he was a skilled performer on the cruit and psaltery. Père Schubiger published many of the _tropes_ composed by Tuotilo. Flood assures us that two of these _Hodie Cantandus_ and _Omnipotens Genator_ betray the well-known characteristics of Irish music.[435] Tuotilo also composed the famous farced _Kyrie, Fons Bonitatis_, included in the Vatican collection of Kyriale.[436] Another famous pupil of Moengal’s was Notker or Notker Balbulus the author of a valuable collection of hymns known as _Liber Ymnorum Notkeri_ which was illuminated by an Irish artist. Notker shed undying lustre on the school of St. Gall and was one of the most celebrated musicians of the Middle Ages.[437] St. Gall was not the only monastery of Irish origin in which the study of music was pursued with success. Indeed, the musical influence of the Irish monks was felt over the whole west of Europe wherever their monasteries were established, not only in Ireland and Scotland but also throughout a large part of England, France, Belgium, Germany, Italy and Austria.[438] Hymnologists are more or less familiar with the hymns composed by Irish poets such as Sedulius, Dungal and Moengal, and by saints like Sechnall, Columba, Molaise, Cuchuimne, Columban, Ultan, Colman, Cummian, Aengus, Fiacc, Brodan, Sanctan and Moelisu.[439] Thus did the Irish monks both by their teaching and by their writings promote the cultivation of music in a very practical way. Nor was the theoretical aspect of music neglected. Donnchadh, an Irish bishop of the ninth century, who died abbot of Remigius, wrote a commentary on the work of Martianus Capella, a well-known volume on the “Liberal Arts,” a section of which treats of music. The greatest of his contemporaries, Johannes Scottus Eriugena, in his famous philosophical work _De Divisione Naturae_, written in 867 A.D. expounds _organum_ or _discant_ a hundred years before the appearance of _Scholia Enchiriadis_ and _Musica Enchiriadis_.[440] He also wrote a commentary on _Martianus Capella_ which is now in a Paris MS. of the ninth century.[441]