of the great music school of San Gallen, founded by St. Gall, "the
wonder and delight of Europe," whither flocked German students? One
of the Irish monks, Tuathal (Tutilo), composed numerous sacred
pieces, including the famous farced Kyrie, "Fons bonitatis", included
in the Vatican edition of the _Kyriale_ (1906). Not alone did Irish
monks propagate sacred and secular music throughout France, Italy,
Switzerland, Austria, Germany, and the far North, but they made their
influence felt In Lindisfarne, Malmesbury, Glastonbury, and other
cities in England, as also in Scotland. St. Aldhelm, one of the
pupils of St. Maeldubh, tells us that at the close of the seventh
century, "Ireland, synonymous with learning, literally blazed like
the stars of the firmament with the glory of her scholars."

During the ninth century we meet with twelve different forms of
instruments in use by the Irish, namely:--the _Cruit_ and
_Clairseach_ (small and large harp); _Timpan_ (_Rotta_ or bowed
_cruit_); _Buinne_ (oboe or bassoon); _Bennbuabhal_ and _Corn_
(horn); _Cuisleanna_ and _Piob_ (bagpipes); _Feadan_ (flute or fife);
_Guthbuinne_ (bass horn); _Stoc_ and _Sturgan_ (trumpet); _Pipai_
(single and double pipes); _Craoibh cuil_ and _Crann cuil_
(cymbalum); _Cnamha_ (castanet); and _Fidil_ (fiddle). The so-called
"Brian Boru's Harp" really dates from the thirteenth century, and is
now in Trinity College, Dublin, but there are numerous sculptured
harps of the ninth and tenth centuries on the crosses at Graig,
Ullard, Clonmacnois, Durrow, and Monasterboice.

Donnchadh, an Irish bishop of the ninth century, who died as abbot of
St. Remigius, wrote a commentary on Martianus Capella, a well-known
musical text book. Towering above all his fellows, John Scotus
Erigena, in 867, wrote a tract _De Divisione Naturae_, in which he