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 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 medieval 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.( 7) (7) For strange representations of the Creator and of the creation by one, two, or three persons of the Trinity, see Didron, Iconographie Chretienne, pp.

35, 178, 224, 483, 567-580, and elsewhere; also Detzel as already cited.