Beside the _Rex omnipotens_ he composed the _Ave praeclara maris stella_, where his name gains another misprint and becomes “Heinricus, monachus San Gallensis.” This poem was thought worthy of the authorship of Albertus Magnus (Albert von Regensburg), and to him accordingly Wackernagel and Koch credit it. Mone has vindicated the claim of Hermann which is set forth in Migne. (_Patrologia_, 143; 20 _ff._) So that we are again sure of a piece which has been meritorious enough to be coveted. Then comes the antiphon _Simon Barjona_, which Du Meril calls _Simon Baronia_ and of which no trace remains. Two other sequences are, however, extant, and are beyond any question or debate. They are the _Salve regina_, which Daniel calls a “most celebrated antiphon,” and the _Alma redemptoris mater_, the refrain of which Chaucer used in that “Prioress’s Tale,” which Wordsworth has modernized. In addition we must observe that the _Veni Sancte_ is attributed to Hermann simultaneously and by the same authority as that which credits him with the other sequences. Two pieces—_Vox haec melos pangat_ and _Gratus honos hierarchia_—are lost. But the _Salve regina_ was worth contending for; and Gerbert names Gregory II., Peter of Compostella, St. Bernard, and “Adhemar, Episcopus Podiensis” (Bishop of Puy and his own candidate) together with Hermannus Contractus. Nevertheless, Trithemius, Gerbert, and, indeed, everybody are heard to declare that Hermann was “the marvel of the age,” the best man of his time in music and the author of a work on metrical rules. He is known as Doctor Egregius, and it is beyond any peradventure that he was _capable_ of writing the _Veni Sancte_.