It is unfortunately not within our power to indicate the point at which the Græco-Roman kitharœdic chant began to influence Christian religious music, nor do the relative proportions of a general history permit us to study the question here. However, it is sufficient for us to know that the kitharœdic chant was the direct ancestor of the Christian hymnody in the West. 'Among various kinds of pieces of which the Roman antiphonary is composed,’ says Gevaert, 'none is known by literary documents to be so old as the strophic hymnody; from the musical point of view it marks the transition from the vocal melopæia of antiquity to the liturgical chant properly so called.’ We find this transition fully accomplished in the hymns of St. Ambrose (d. 397), who is unquestionably the most striking and influential figure in early liturgical music. Gevaert aptly calls him the 'Terpander of Western Christianity.’ His works are full of reference to music, many of which are naïvely charming. For example, he writes: 'The angels praise the Lord, the powers of heaven sing psalms unto him, and even before the very beginning of the world the cherubim and seraphim sang with sweet voice Holy, Holy, Holy!’ He mentions the music of the spheres and recalls that it has been said the axle of heaven itself turned with a perpetual sweet sound that might be heard in the uttermost parts of the earth where there are certain secrets of Nature; that the wild beasts and birds might be soothed with the delight of voices blending. Even more practical, he points out that those things we wish well to remember we are accustomed to sing, for that which is sung stays the better in our memories. His hymns produced a great effect upon St. Augustine, who wrote of them in his 'Confessions’ in terms almost extravagant; and a whole century later Cassiodorus constantly cites St. Ambrose and bears witness to the wide and everlasting nature of his influence on Christian hymnody.