A Goth by race, a Spaniard by birth, Theodulphus, (c. 760-c. 821), belonged to that population dwelling north and south of the Pyrenees which the Franks had amalgamated into their kingdom. He was learned in all the wisdom of that age and a man of action in a sense understandable in any age. Bishop of Orleans, courtier, officer in the administration of Charlemagne, he served the church and the state with equal distinction. Theodulphus as a poet of sacred verse is best known for his Palm Sunday processional hymn, _Gloria, laus et honor tibi sit_, “All glory, laud and honor,”[30] which he wrote during the period of his fall from royal favor under Louis the Pious. This beautiful processional hymn, a triumph of Carolingian verse, invested with all the attraction of legend and religious pageantry, has been a favorite in every period of Christian history. Theodulphus was not a member of the regular clergy and he did not, as far as we know, write hymns for the monastic cycle. He represents the contemporary trend which brought the hymn into new areas of worship in the offices and ceremonies of the cathedral. Rabanus Maurus, (780-856), of Germanic origin, was primarily a theologian. His boyhood studies were completed at Fulda. As a young man he became a pupil of Alcuin at Tours. In his maturity he returned to Fulda reaching the climax of his career as Abbot of Fulda and later, as Archbishop of Mainz. As a writer, Rabanus undertook to hand on, through excerpts, the knowledge of his predecessors. He wrote commentaries on the Bible, discussed ecclesiastical organization and discipline, theology, liturgy and worship and the liberal arts. He made translations into German with the collaboration of Walafrid and a Latin-German glossary for the Scriptures. In connection with worship he became interested in the Latin hymns which were rapidly spreading through the west. He discussed the Psalms as hymns and then the hymns of Hilary and Ambrose, saying of the Ambrosian hymns, how widespread had become their prestige in his day. We know from other evidence that he was acquainted also with the hymns of Sedulius, Columba and Bede. It seems almost certain that he practiced the art of poetry although we are restricted to a very small remnant of verse conceded to be his. The poems include a number of hymns for the festivals of the seasons and of the saints, illustrating the vogue for the classic in metrical forms. Like Theodulphus, he wrote for processional ceremonies. The Pentecostal hymn, _Veni, creator spiritus_, has been persistently associated with the name of Rabanus but without adequate proof. It is a lasting hymn of the ninth century. (See Illustrative Hymns, IX. _Veni, creator spiritus_, “Creator-Spirit, all-Divine.”)