The problem of the authentic Notkerian sequences was subjected to critical study and variously solved by Schubiger in 1858, Wilmanns in 1872, and Werner in 1901. More recent students have re-examined the evidence and expressed their critical opinions as to Notker’s poetical and musical prestige: Singer in 1922, Van Doren in 1925 and Clark in 1926. Of more than 100 sequences attributed to Notker, 47 were judged to be authentic and edited in volume 53 of the _Analecta Hymnica_. Notker’s ability as a musician appears to be a matter of controversy. A new review of the Notkerian problem and its literature has been offered by the Swiss scholar, Wolfram von den Steinen, together with an edition of the sequences of the St. Gall school.[25] What scholars in general have taken away from Notker with one hand they return with the other, for if not an originator he is conceded to be the leading agent in introducing the sequence into Germany and setting a standard for this type of poetry which included from Notker’s pen a notable group of sequences for the festivals of the whole year. His sequence for Pentecost is representative of the achievements of the German school. (See Illustrative Hymns, XI. _Sancti spiritus adsit nobis gratia_, “The grace of the Holy Ghost be present with us.”) It is not surprising that scholars interested in the theory of Greek influence upon sequence poetry should seek confirmation of their views in Notker’s work. There is a majestic quality and a vigorous resounding praise in these poems which has been thought a reflection of Byzantine hymns. Reference has already been made to the Byzantine strophic system and its probable influence upon Notker’s poetical technique. When one considers that the monastery of St. Gall was always a port of call for refugees and travelers from the east and in the preceding century may have harbored many of them, it is reasonable to suppose that Notker was acquainted with contemporary Greek hymnody. Whatever may be the explanation of the metrical system employed by Notker, he undoubtedly named his melodies in such a way as to suggest a Greek identification.[26]