cento poems. But regardless of his exact feelings, the classicist Ella Bourne notes that the mere fact Jerome responded to the belief is a testament to its pervasiveness and popularity during that time. Medieval interpretations In the early part of the sixth century, Latin grammarian Fabius Planciades Fulgentius made a passing reference to the supposed prophetic nature of the Fourth Eclogue, noting: In quarta vaticinii artem adsumit ("In the Fourth [Eclogue], [Virgil] takes up the art of prophecy"). However, his view seems to have been a bit nuanced, and in one of his books, he wrote that "no one is permitted to know all the truth except ... Christians, on whom shines the sun of truth. But [Virgil did] not come as an expositor well-versed in [the] books of Scripture." Craig Kallendorf writes that this indicated Fulgentius's belief that "there [were] limits to what ... Virgil knew about Christianity." According to legend, Donatus, a bishop of Fiesole in the ninth century, quoted the seventh line of the poem as part of a confession of his faith prior to his death. During the same century, Agnellus, the archbishop of Ravenna, referenced the poem, noting that it was evidence that the Holy Spirit had spoken through both Virgil and the Sybil. The monk Christian Druthmar also makes use of the seventh line in his commentary on Matthew 20:30. In the eleventh century, Virgil began appearing in plays, such as one particular Christmas work wherein the poet is the last "prophet" called on to give testimony concerning Christ. According to Bourne, the play was particularly popular, and philologist Du Cange gives mention of a similar play performed at Rouen. Virgil and his purported prophecy even found itself in the Wakefield Mystery Plays. Around this time, Eclogue 4 and Virgil's supposed prophetic nature had saturated the Christian world; references to the poem are made by Abelard, the Bohemian historian Cosmos, and Pope Innocent III in a sermon. The Gesta Romanorum, a Latin collection of anecdotes and tales that was probably compiled about the end of the 13th century or the beginning of the 14th, confirms that the eclogue was pervasively associated with Christianity. Virgil eventually became a fixture of Medieval ecclesiastic art, appearing in churches, chapels, and even cathedrals, sometimes depicted holding a scroll with a select passage from the Fourth Eclogue on it. At other times, he "figured in sacred pictures ... in