Digna sacramentis gemina sub imagine pinxit. He describes various church pictures representing the Trinity, the Good Shepherd, the Baptism of Christ, the Crucifixion,[1305] and so on, in the church of Nola. Similarly the pictures in the church of Fundana are described. The elaboration of the scene strikes us as a harbinger of mediaeval art. In a single picture we have the themes of God in paradise, Christ and the Cross, the Spirit and the Father crowning Him, and the Day of Judgement.[1306] This elaboration is found, too, in the architecture and in the general adornment of the churches. Paulinus describes arches, chambers, fonts, &c., in detail, as, for instance, those of the church at Nola.[1307] Similarly the church at Fundana is described.[1308] Now the church was the place where the mass of the people met, and if we must recognize it at this time as the religious, the moral, and the intellectual teacher of the people, we must also recognize in its training, to some extent, an element of artistic education. But the form of art that was most commonly cultivated by the men of this time was music. There is an epitaph of Vienne to one Nicias a citharoedus,[1309] and another of Nemausum to Avidius Secundus, a maker of musical instruments (_musicarius_).[1310] Gaul had inherited all the musical devices and appliances of Rome, and like Rome had used them chiefly for frivolous pleasures. But Sidonius notes that Theodoric II cared only for serious music. Hydraulic organs and dancing girls he dispensed with.[1311] Still more did the Christians dispense with such things. But if they would not and could not develop the instrumental side, they certainly made a speciality of singing. There is a doubtful but interesting legend which says that when the Empress Justina threatened to deliver the basilica of Milan to the Arians, Ambrose and his congregation spent a day and a night in the building. To pass the time he introduced hymn-tunes, already adopted by the Eastern Church. Augustine testifies to the impression which these hymns made on him at Milan. They were the means of bringing the truth home to him. ‘Quantum flevi in hymnis et cantibus tuis, suave sonantis ecclesiae tuae vocibus commotus acriter! Voces illae influebant auribus meis et eliquabatur veritas in cor meum, et exaestuabat inde affectus pietatis, et currebant lacrimae, et bene mihi erat cum eis.’[1312] He had doubts at first as to the propriety of such sense-seducing music, but his scruples did not long survive. He himself showed considerable interest in the art and wrote six books _De Musica_ in a didactic strain.