This paper proposes a retrieval of Augustine's pneumatology by reading the Holy Spirit as ars Patris—the Father's "art" or formative agency—through which Christological beauty is disclosed, desired, and enacted within the economy of salvation. Building from my earlier work on Augustine's "way in" to Trinitarian knowledge through beauty, I argue that Augustine's account of the Spirit as Gift cannot be treated as a detachable addendum to Christology, but as the very mode by which Christ's cruciform beauty becomes epistemically and morally luminous for the pilgrim soul. In Augustine, the Spirit's mission is not simply to "apply benefits," but to reform deformed loves by granting a renewed sight capable of perceiving divine beauty precisely where creaturely judgement encounters scandal: the deformation of the crucified Christ. In this paradox, beauty functions not as aesthetic ornament but as the lived grammar of participation—an ontic door into Trinitarian life—wherein desire is chastened, reordered, and healed. Recentring Christology, therefore, does not marginalise the Spirit; it locates pneumatology at the heart of Christ's ongoing presence as the Spirit conforms believers to the Son, kindling the heart and cleansing the eye to perceive and love Christ's beauty. Against accounts that either collapse pneumatology into an abstract metaphysics of "relation" or treat it as a merely functional appendix, I contend that Augustine offers a distinctively Christo-pneumatological aesthetics: the Spirit is the Father's artistry by which the Church is tutored into cruciform perception, sustained in prayerful desire, and drawn—through Christ—into the beauty of God who is love.