The poetical writings of the era included a substantial body of religious verse from which hymns are attributed to the following authors: Paulus Diaconus, 1; Paulinus of Aquileia, 7; Alcuin, 3; Theodulphus, 1; Rabanus Maurus, 2; Walafrid Strabo, 5; Florus of Lyons, 2; Wandelbert of Prum, 1; Paulus Albarus of Cordova, 1; Cyprian and Samson, 2; Sedulius Scottus, 2; Milo, 2; Ratbod, 2; Hucbald, 1; Hartmann, 4; Ratpert, 4; Eugenius Vulgarius, 1; these with 73 of doubtful authorship make a total contribution of 114 hymns. (See Illustrative Hymns, VIII. _Ut queant laxis resonare fibris_, “In flowing measures worthily to sing,” Paulus Diaconus.) Ambrosian meters are set aside in favor of the classical meters of the Greeks, the Sapphic and elegiac meters proving to be the most popular thereafter. To what extent this influence is actually observable in hymn cycles may be determined by a comparison of the list of Carolingian hymns with the lists of hymns provided by Blume, Julian or Mearns. Batiffol selected thirteen as found in later breviary lists[28] but the actual direct contribution is much larger if other than breviary hymns are admitted. Moreover, the literary and liturgical studies of the time broadened the original Benedictine concept that the hymns of the monastic cycle should be Ambrosian in style. The hymns of Sedulius and particularly of Prudentius and Fortunatus were recognized, introduced or freely adapted to ecclesiastical usage. The direct influence of Celtic culture upon the new hymn cycles must be associated with the introduction of biblical and liturgical works containing hymns into Frankish territory. Later, hymns were written by Celtic scholars, for instance, Samson, Sedulius Scottus (enumerated above) and possibly others who are anonymous. Blume’s theory of the Anglo-Irish hymn cycle, originally sponsored by Gregory the Great and finally transferred to the continent, illustrates the most decisive form which Celtic influence has so far been presumed to have exerted. The list of hymns (see Appendix) bears, on the contrary, no resemblance to the group of contemporary Celtic hymns.[29] It seems much more probable that Gregory, the Benedictine Pope, approved the use in Anglo-Irish lands, of the continental hymn cycle which the Order was responsible for carrying northward with it when it entered Britain. In any case, the Benedictine cycles from the ninth century onward are enriched from every aspect of the diverse culture of the age, in which the Celtic contribution, both direct and indirect, is important.