In contrast with the genius of classical Greece, Hebrew and Jewish creative talent was repressed by the strict prohibition of images of the kind that inspired the sculpture and painting of Israel's Egyptian and Mesopotamian neighbours, for it was impossible to depict the transcendent God. Nevertheless non-religious art could convey a numinous quality and an assurance that the world is good; decorated seals have been discovered. At Megiddo statuettes of the Queen of Heaven validate the prophets' wrath (Jer. 7: 18) against popular fertility religion, which once even infiltrated into the Temple itself (2 Kings 23). Christians inherited Jewish fear of idolatry, but signs and symbols (e.g. a fish) were used in burial places outside the city walls of Rome to proclaim the hope of resurrection; in these catacombs the representation of the Good Shepherd became common. When it became permissible to portray the man Jesus, artists continued to use signs and symbols in addition to depicting his dual nature as God and man. They were therefore engaged in representing an historical event which is also a continuing belief inviting our allegiance: this is the story of great masterpieces of European painting but not instantly and not continuously. Augustine's teaching that the way to God is through the interior life of the soul rather than by external aids was followed at the Reformation by John Calvin, and in modern times by Karl Barth who has written that ‘images and symbols have no place at all in a building designed for Protestant worship’. However, in Britain the Methodist Church owns and exhibits a much acclaimed collection of modern Christian art.