fruits of a highly developed civilization, had long been swarming in the great cities of Egypt, and that other nations hardly less advanced had at that time reached a high development in Asia.*

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

* For Luther, see his Commentary on Genesis, 1545, introduction, and his comments on chap. i, verse 12; the quotations from Luther's commentary are taken mainly from the translation by Henry Cole, D. D., Edinburgh, 1858; for Melanchthon, see Loci Theologici, in Melanchthon, Opera, ed. Bretschneider, 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 Peter Martyr, see his Commentary on Genesis, cited by Zöckler, vol. i, p. 690; for the 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.

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 creative Being is thus represented sometimes as the third person of the Trinity, in the form of a dove brooding over chaos; sometimes as the second person, and therefore a youth; sometimes as the first person, and therefore fatherly and venerable; sometimes as the first and second persons, one being venerable and the other youthful; and sometimes as three persons, one venerable and one youthful, both wearing papal crowns, and each holding in his lips a tip of the wing of the dove, which thus seems to proceed from both and to be suspended between them.

Nor was this the most complete development of the mediæval idea. The Creator was sometimes represented with a single body, but with three faces, thus showing that Christian belief had in some pious minds gone through substantially the same cycle which an earlier form of belief had made ages before in India, when the Supreme Being was represented with one body but with the three faces of Brahma, Vishnu, and Siva.

But at the beginning of the modern period the older view in its primitive Jewish form was impressed upon Christians by the most mighty genius in art the world has known; for in 1512, after four years of Titanic labour, Michael Angelo uncovered his frescoes within the vault of the Sistine Chapel.

They had been executed by the command and under the sanction of the ruling Pope, Julius II, to represent the conception of Christian theology then dominant, and they remain to-day in all their majesty to show the highest point ever attained by the older thought upon the origin of the visible universe.

In the midst of the expanse of heaven the Almighty Father-the first person of the Trinity-in human form, august and venerable, attended by angels and upborne by mighty

winds, sweeps over the abyss, and, moving through successive compartments of the great vault, accomplishes the work of the creative days. With a simple gesture he divides the light from the darkness, rears on high the solid firmament, gathers together beneath it the seas, or summons into existence the sun, moon, and planets, and sets them circling about the earth.

In this sublime work culminated the thought of thousands of years; the strongest minds accepted it or pretended to accept it, and nearly two centuries later this conception, in accordance with the first of the two accounts given in Genesis, was especially enforced by Bossuet, and received a new lease of life in the Church, both Catholic and Protestant.*

But to these discussions was added yet another, which, beginning in the early days of the Church, was handed down the ages until it had died out among the theologians of our own time.

In the first of the biblical accounts light is created and the distinction between day and night thereby made on the first day, while the sun and moon are not created until the fourth day. Masses of profound theological and pseudoscientific reasoning have been developed to account for this -masses so great that for ages they have obscured the simple fact that the original text is a precious revelation to us of one of the most ancient of recorded beliefs-the belief that light and darkness are entities independent of the heavenly bodies, and that the sun, moon, and stars exist not merely to increase light but to "divide the day from the night, to be for signs and for seasons, and for days and for years," and "to rule the day and the night."

*For strange representations of the Creator and of the creation by one, two, or three persons of the Trinity, see Didron, Iconographie Chrétienne, pp. 35, 178, 224, 483, 567-580, and elsewhere; also Detzel as already cited. The most naïve of all survivals of the medieval idea of creation which the present writer has ever seen was exhibited in 1894 on the banner of one of the guilds at the celebration of the four-hundredth anniversary of the founding of the Munich Cathedral. Jesus of Nazareth, as a beautiful boy and with a nimbus encircling his head, was shown turning and shaping the globe on a lathe, which he keeps in motion with his foot. The emblems of the Passion are about him, God the Father looking approvingly upon him from a cloud, and the dove hovering between the two. The date upon

the banner was 1727.

Of this belief we find survivals among the early fathers, and especially in St. Ambrose. In his work on creation he tells us: "We must remember that the light of day is one thing and the light of the sun, moon, and stars another-the sun by his rays appearing to add lustre to the daylight. For before sunrise the day dawns, but is not in full refulgence, for the sun adds still further to its splendour." This idea became one of the "treasures of sacred knowledge committed to the Church," and was faithfully received by the Middle Ages. The medieval mysteries and miracle plays give curious evidences of this: In a performance of the creation, when God separates light from darkness, the stage direction is, "Now a painted cloth is to be exhibited, one half black and the other half white." It was also given more permanent form. In the mosaics of San Marco at Venice, in the frescoes of the Baptistery at Florence and of the Church of St. Francis at Assisi, and in the altar carving at Salerno, we find a striking realization of it-the Creator placing in the heavens two disks or living figures of equal size, each suitably coloured or inscribed to show that one represents light and the other darkness. This conception was without doubt that of the person or persons who compiled from the Chaldean and other earlier statements the accounts of the creation in the first of our sacred books.*

Thus, down to a period almost within living memory, it was held, virtually "always, everywhere, and by all," that the universe, as we now see it, was created literally and

* For scriptural indications of the independent existence of light and darkness, compare with the first verses of the first chapter of Genesis such passages as Job xxxviii, 19, 24; for the general prevalence of this early view, see Lukas, Kosmogonie, pp. 31, 33, 41, 74, and passim; for the view of St. Ambrose regarding the creation of light and of the sun, see his Hexameron, lib. 4, cap. iii; for an excellent general statement, see Huxley, Mr. Gladstone and Genesis, in the Nineteenth Century, 1886, reprinted in his Essays on Controverted Questions, London, 1892, note, pp. 126 et seq.; for the acceptance in the miracle plays of the scriptural idea of light and darkness as independent creations, see Wright, Essays on Archæological Subjects, vol. ii, p. 178; for an account, with illustrations, of the mosaics, etc., representing this idea, see Tikkanen, Die Genesis-mosaiken von San Marco, Helsingfors, 1889, pp. 14 and 16 of text and Plates I and II. Very naively the Salerno carver, not wishing to colour the ivory which he wrought, has inscribed on one disk the word "LUX" and on the other "NOX." See also Didron, Iconographie, p. 482.

directly by the voice or hands of the Almighty, or by both -out of nothing-in an instant or in six days, or in both— · about four thousand years before the Christian era-and for the convenience of the dwellers upon the earth, which was at the base and foundation of the whole structure.

But there had been implanted along through the ages germs of another growth in human thinking, some of them even as early as the Babylonian period. In the Assyrian inscriptions we find recorded the Chaldeo-Babylonian idea of an evolution of the universe out of the primeval flood or "great deep," and of the animal creation out of the earth and sea. This idea, recast, partially at least, into monotheistic form, passed naturally into the sacred books of the neighbours and pupils of the Chaldeans-the Hebrews; but its growth in Christendom afterward was checked, as we shall hereafter find, by the more powerful influence of other inherited statements which appealed more intelligibly to the mind of the Church.

Striking, also, was the effect of this idea as rewrought by the early Ionian philosophers, to whom it was probably transmitted from the Chaldeans through the Phoenicians. In the minds of Ionians like Anaximander and Anaximenes it was most clearly developed: the first of these conceiving of the visible universe as the result of processes of evolution, and the latter pressing further the same mode of reasoning, and dwelling on agencies in cosmic development recognised in modern science.

This general idea of evolution in Nature thus took strong hold upon Greek thought and was developed in many ways, some ingenious, some perverse. Plato, indeed, withstood it; but Aristotle sometimes developed it in a manner which reminds us of modern views.

Among the Romans Lucretius caught much from it, extending the evolutionary process virtually to all things.

In the early Church, as we have seen, the idea of a creation direct, material, and by means like those used by man, was all-powerful for the exclusion of conceptions based on evolution. From the more simple and crude of the views of creation given in the Babylonian legends, and thence incorporated into Genesis, rose the stream of orthodox thought