tschneider, vol. xxi, pp. 269, 270, also pp. 637, 638--in
quoting the text (Ps. xxiii, 9) I have used, as does Melanchthon
himself, the form of the Vulgate; for the citations from Calvin, see his
Commentary on Genesis (Opera omnia, Amsterdam, 1671, tom. i, cap. ii, p.
8); also in the Institutes, Allen's translation, London, 1838, vol.
i, chap. xv, pp. 126,127; for the Peter Martyr, see his Commentary
on Genesis, cited by Zockler, vol. i, p. 690; for articles in the
Westminster Confession of Faith, see chap. iv; for Buffon's recantation,
see Lyell, Principles of Geology, chap iii, p. 57. For Lightfoot's
declaration, see his works, edited by Pitman, London, 1822.

But, strange as it may seem, even after theologians had thus settled the
manner of creation, the matter employed in it, the time required for it,
and the exact date of it, there remained virtually unsettled the
first and greatest question of all; and this was nothing less than the
question, WHO actually created the universe?

Various theories more or less nebulous, but all centred in texts of
Scripture, had swept through the mind of the Church. By some theologians
it was held virtually that the actual creative agent was the third
person of the Trinity, who, in the opening words of our sublime creation
poem, "moved upon the face of the waters." By others it was held that
the actual Creator was the second person of the Trinity, in behalf of
whose agency many texts were cited from the New Testament. Others held
that the actual Creator was the first person, and this view was embodied
in the two great formulas known as the Apostles' and Nicene Creeds,
which explicitly assigned the work to "God the Father Almighty, Maker of
heaven and earth." Others, finding a deep meaning in the words "Let US
make," ascribed in Genesis to the Creator, held that the entire Trinity
directly created all things; and still others, by curious metaphysical
processes, seemed to arrive at the idea that peculiar combinations of
two persons of the Trinity achieved the creation.

In all this there would seem to be considerable courage in view of the
fearful condemnations launched in the Athanasian Creed against all who
should "confound the persons" or "divide the substance of the Trinity."

These various stages in the evolution of scholastic theology were
also embodied in sacred art, and especially in cathedral sculpture, in
glass-staining, in mosaic working, and in missal painting.

The c