Walafrid Strabo, (809-c. 849), was like Rabanus of Germanic origin and like him a member of the regular clergy. At Reichenau he received his early education and at Fulda his theological training under Rabanus. Walafrid was drawn into the courtly circle of Louis the Pious whose son Charles he tutored and whose wife Judith became his literary patron. His life was one of scholarship, prosperity and contentment almost to the end of his career. Louis had appointed him Abbot of Reichenau, a place dear to him from boyhood. From these happy surroundings and from his garden which he immortalized in careful and loving description, he was ousted during the civil conflict following the death of the emperor. At the end he was restored to Reichenau and there he died. His hymns like those of Theodulphus and Rabanus, although few in number, were written in the spirit of the classical revival. Some were intended for festivals and others which will be described in connection with processional hymnody, were written to honor royal patrons. In reviewing the basic hymns of the _Later Hymnal_ (see Appendix), one finds only two of Mozarabic origin whereas nine were duplicated in the _Old Hymnal_ in Spain and Gaul. The new cycles in areas under Frankish influence appear to diverge from the Mozarabic as they become more diversified. At the same time, Mozarabic sources reveal a parallel evolution of the hymnal in the Iberian peninsula. The existing manuscripts were collated and edited in 1897 by Blume in volume twenty-seven of the _Analecta Hymnica_ under the title _Hymnodia Gotica_, comprising 312 hymns of which 210 were identified by him as Mozarabic in origin. The hymns of Spain, first assembled under the auspices of Gothic churchmen as recounted in Chapter Two, continued to increase with the encouragement and participation of Mozarabic liturgists, scholars and prelates. The generation that supported Isidore of Seville was succeeded two hundred years later by the group associated with Eulogius, Archbishop of Cordova (d. 859), who fostered the old traditions under Moslem control.[31] In spite of a ruling power alien in every aspect of culture, Christian hymnology held its own. After the Moorish invasions, it is estimated that between thirty and forty hymns were written, several of which contain references to the yoke of the oppressor and petitions for its removal.[32] When the movement toward the expulsion of the Moors had been successfully initiated and the Roman Rite introduced (1089) the Mozarabic hymnals were comparable to the finest of the continental cycles. In certain instances the contacts between Spain and Gaul were close and direct even under the rule of the Moslems. Theodulphus of Orleans combined the Gothic and Carolingian trends. Alcuin was indebted to Mozarabic sources in his reform of the Frankish rites.[33] Hymns of Mozarabic origin appeared in other parts of western Europe and vice versa.