William Claude Rains was an English–American film and stage actor whose career spanned several decades. After his American film debut as Dr. Jack Griffin in The Invisible Man he appeared in classic films such as The Adventures of Robin Hood, Mr. Smith Goes to Washington, The Wolf Man and Kings Row, The Pied Piper of Hamelin, Lawrence of Arabia, he was a Tony Award winning actor and was a four-time nominee for the Academy Award for Best Supporting Actor. Rains was considered to be "one of the screen's great character stars" who was, according to the All-Movie Guide, "at his best when playing cultured villains". During his lengthy career, he was admired by many of his contemporaries, such as Bette Davis, Vincent Sherman, Ronald Neame and Albert Dekker, all of whom became close family friends. Rains inspired many younger actors, such as John Gielgud, Charles Laughton and Richard Chamberlain. William Claude Rains was born on 10 November 1889 in London, his parents were the stage actor Frederick William Rains.
He lived in the slums of London, and, in his own words, on "the wrong side of the river Thames" Rains was one of twelve children, all but three dying of malnutrition when still infants. His mother took in boarders. According to his daughter, Jessica Rains, he grew up with "a serious Cockney accent and a speech impediment" which took the form of a stutter, causing him to call himself "Willie Wains", his accent was so strong that his daughter could not understand a word he said when he used it to sing old Cockney songs to her or purposely used it to playfully annoy her. Rains left school after the second grade to sell papers so that he could bring the pennies and halfpennies home for his mother, he sang in the Palm Street Church choir, which brought him a few pence to take home. Because his father was an actor, the young Rains would spend time in theatres and was surrounded by actors and stagehands, it was here as well as the day-to-day running of a theatre. Rains made his stage debut at the age of 10 in the play Sweet Nell of Old Drury at the Haymarket Theatre, so that he could run around onstage as part of the production.
He slowly worked his way up in the theatre, becoming a call boy at His Majesty's Theatre and prompter, stage manager and moving on from smaller parts with good reviews to larger, better parts. Rains decided to go to America in 1913 due to the opportunities that were being offered in the New York theatres. At one time, he was involved in a gas attack which resulted in his losing 90 percent of the vision in his right eye permanently. By the end of the war, he had risen from the rank of private to that of captain. After the war ended, Rains remained in England; these talents were recognised by Sir Herbert Beerbohm Tree, the founder of the Royal Academy of Dramatic Art. Tree told Rains that in order to succeed as an actor he would have to get rid of his Cockney accent and speech impediment. With this in mind, Tree paid for the elocution books and lessons that Rains needed to help him change his voice. Rains shed his accent and speech impediment after practicing every day, his daughter Jessica, when describing her father's voice, said, "The interesting thing to me was that he became a different person.
He became a elegant man, with a extraordinary Mid-Atlantic accent. It was'his' voice, nobody else spoke like that, half American, half English and a little Cockney thrown in." Jessica Rains speaks of this in the interview on Universal Studio's 2004 DVD release of Phantom of the Opera, recorded in 2000. Soon after changing his accent he became recognised as one of the leading stage actors in London. At the age of 29, he played the role of Clarkis in his one silent film, a British film titled Build Thy House. During his early years, Rains taught at the Royal Academy of Dramatic Arts, where John Gielgud and Charles Laughton were some of his students. In an interview for Turner Classic Movies, Gielgud fondly remembered Rains: I learnt a great deal about acting from this gentleman. Claude Rains was one of my teachers at RADA. In fact he was one of the best and most popular teachers there, he was attractive and needless to say, all the girls in my class were hopelessly in love with him. He had piercing dark eyes and a beautifully throaty voice, although he had, like Marlene Dietrich, some trouble with the letter'R'.
He wore lifts to his shoes to increase his height. Stocky but handsome, Rains had broad shoulders and a mop of thick brown hair which he brushed over one eye, but by the time I first met him in the 1920s he was much in demand as a character actor in London. I encouraging to work with. I was always trying to copy him in my first years as an actor, until I decided to imitate Noël Coward instead. Rains began his career in London theatre, achieving success in the title role of John Drinkwater's play Ulysses S. Grant, the follow-up to the same playwright's Abraham Lincoln, he portrayed Faulkland in Richard Brinsley Sheridan's The Rivals, presented at London's Lyric Theatre in 1925. Rains returned to New York in 1927 to appear in, he moved to Broadway in the late 1920s to act in leading roles in such plays as George Bernard Shaw's The Apple Cart and
Robert Blake (actor)
Robert Blake is an American actor. He had starring roles in the film In Cold Blood and the U. S. television series Baretta. Blake began performing as a child, with a lead role in the final years of Metro-Goldwyn-Mayer's Our Gang short film series from 1939 to 1944, he appeared as a child actor in 22 entries of the Red Ryder film franchise. In the Red Ryder series and in many of his other roles as an adult, he was cast as a Native American or Latino character. After a stint in the Army, Blake returned to acting in both movie roles, he was married to Sondra Kerr, his first wife, with whom he had two children, from 1961 until their divorce in 1983. He continued acting through 1997's Lost Highway for a career that author Michael Newton called "one of the longest in Hollywood history."In 2005, Blake was tried and acquitted of the 2001 murder of his second wife, Bonnie Lee Bakley. On November 18, 2005, he was found liable in a California civil court for her wrongful death. Blake was born Michael James Gubitosi in New Jersey.
His mother, Elizabeth Cafone, was married to Giacomo Gubitosi. In 1930, James worked as a die setter for a can manufacturer. James and Elizabeth began a song-and-dance act. In 1936, the three children began performing, billed as "The Three Little Hillbillies." They moved in 1938, where their children began working as movie extras. Blake had an unhappy childhood and was abused by his alcoholic father; when he entered public school at age 10, he had fights, which led to his expulsion. Blake states that he was physically and sexually abused by his parents while growing up and was locked in a closet and forced to eat off the floor. At age 14, he ran away from home, his father committed suicide in 1956. Known as Mickey Gubitosi, Blake began his acting career as Toto in the MGM movie Bridal Suite starring Annabella and Robert Young. Gubitosi began appearing in MGM's Our Gang short subjects under his real name, replacing Eugene "Porky" Lee, he appeared in 40 of the shorts between 1939 and 1944 becoming the series' final lead character.
James and Giovanna Gubitosi made appearances in the series as extras. In Our Gang, Gubitosi's character, was called upon to cry, for which he was criticized for being unconvincing, he was criticized for being obnoxious and whiny. In 1942, he acquired the stage name Bobby Blake and his character in the series was renamed "Mickey Blake." In 1944, MGM discontinued Our Gang, releasing the final short in Dancing Romeo. In 1995, Blake was honored by the Young Artist Foundation with its Former Child Star "Lifetime Achievement" Award for his role in Our Gang. In 1942 Blake appeared as "Tooky" Stedman in Andy Hardy's Double Life. In 1944, Blake began playing a Native American boy, "Little Beaver," in the Red Ryder western series at the studios of Republic Pictures, appearing in 23 of the movies until 1947, he had roles in one of Laurel and Hardy's films The Big Noise, the Warner Bros. movies Humoresque, playing John Garfield's character as a child, The Treasure of the Sierra Madre, playing the Mexican boy who sells Humphrey Bogart a winning lottery ticket and gets a glass of water thrown in his face by Bogart in the process.
In 1950, at age 17, Blake appeared as Mahmoud in The Black Rose and as Enrico, Naples Bus Boy in Black Hand. In 1950, Blake was drafted into the Army. After returning to Southern California, he entered Jeff Corey's acting class and began working on improving his personal and professional life, he became a seasoned Hollywood actor, playing notable dramatic roles in movies and on television. In 1956, he was billed as Robert Blake for the first time. In 1959, in what was considered a career blunder, he turned down the role of Little Joe Cartwright, a character portrayed by Michael Landon, in NBC's western television series Bonanza. Blake did appear that year as Tobe Hackett in the episode "Trade Me Deadly" of the syndicated western series 26 Men, which dramatized true stories of the Arizona Rangers. Blake appeared twice as "Alfredo" in the syndicated western The Cisco Kid and starred in "The White Hat" episode of Men of Annapolis, another syndicated series. Blake appeared in three distinctive guest lead roles in the CBS series Have Gun Will Travel.
He guest starred on John Payne's NBC western The Restless Gun, Nick Adams's ABC western The Rebel, the NBC western series The Californians, the ABC adventure series Straightaway, the American Western television series Laramie, which aired on NBC from 1959 to 1963. Blake performed in numerous motion pictures as an adult, including the starring role in The Purple Gang, a gangster movie, featured roles in Pork Chop Hill in 1959 and, as one of four US soldiers participating in a gang rape in occupied Germany, in Town Without Pity in 1961, he was in Ensign Pulver, The Greatest Story Ever Told and other films. In 1963, he garnered further exposure as a member of the ensemble cast of the acclaimed but short-lived The Richard Boone Show, appearing in fifteen of the NBC series' 25 episodes. At 33, Blake played Billy the Kid in the 1966 episode "The Kid from Hell's Kitchen" of the syndicated western series, Death Valley Days, hosted by Robert Taylor. In the story line, The Kid sets out to avenge the death of his friend John Tunstall played by John Anderson.
In 1967, he experienced a career breakout playing real-life murderer Perry Smith, to whom he bore a chilling resemblance, in In Cold Blood. Richard Brooks received two Oscar nominations for
Franklin Pangborn was an American comedic character actor famous for playing small but memorable roles with comic flair. He appeared in many Preston Sturges movies, as well as the W. C. Fields films International House, The Bank Dick, Never Give a Sucker an Even Break. For his contributions to motion pictures, Pangborn received a star on the Hollywood Walk of Fame at 1500 Vine Street on February 8, 1960. Pangborn was born in New Jersey. In the early 1930s, Pangborn worked in short subjects for Mack Sennett, Hal Roach, Universal Pictures, Columbia Pictures, Pathé Exchange always in support of the leading players, he appeared in scores of feature films in small roles and recurring gags. Pangborn always played the same character: prissy, elegant energetic officious, somewhat nervous, prone to becoming flustered but upbeat, with recognizable high-speed patter-type speech, he played an officious desk clerk in a hotel, a self-important musician, a fastidious headwaiter, an enthusiastic birdwatcher, the like, was put in a situation of frustration or comedically flustered by the antics of others.
Pangborn's screen character was considered a gay stereotype, although such a topic was too sensitive in his day to be discussed overtly in dialogue. A rare exception occurred in International House, filmed before the Hays Office censored filmmaking, was notable for several risqué references. In one scene, Professor Quail, played by W. C. Fields, has just landed his autogyro on the roof of the titular hotel in the Chinese city of Wuhu, but he does not know where he is. Pangborn plays the hotel manager: Professor Quail: Hey! Where am I? Woman: Wu-Hu. Professor Quail: Woo-Hoo to you sweetheart! Hey Charlie! where am I? Pangborn: WU-HU! Professor Quail: Don't let the posy fool you! Pangborn was an effective foil for many major comedians, including Fields, Harold Lloyd and Johnson, The Ritz Brothers, he appeared in comedies, including several directed by Preston Sturges, in musicals of the 1940s. When movie roles became scarce, he worked in television, including The Red Skelton Show and a This Is Your Life tribute to his old boss, Mack Sennett.
Pangborn was the announcer on Jack Paar's The Tonight Show in 1957, but was fired after the first few weeks for a lack of "spontaneous enthusiasm" and replaced by Hugh Downs. Pangborn's final public performance came as a supporting player in The Red Skelton Show episode for April 22, 1958. Pangborn lived in Laguna Beach, California in a house with his mother and his "occasional boyfriend", according to William Mann in Behind the Screen, he died on July 20, 1958. All feature films are listed below. Many shorts, are missing. Franklin Pangborn on IMDb Franklin Pangborn at the Internet Broadway Database Franklin Pangborn at Find a Grave
Allyn Joslyn was an American stage, radio and film actor, known for his roles playing aristocratic wealthy snobs. Allyn Joslyn was born in Milford, the son of a mining engineer. On stage from age 17, Joslyn scored as a leading man in such Broadway productions as Boy Meets Girl and Arsenic and Old Lace, appearing in the latter as beleaguered theatrical critic Mortimer Brewster. However, Hollywood didn't see Joslyn as a leading type. Thus, he spent most of his film career playing obnoxious reporters and formless "other men" who never got the girl, while stars such as James Cagney and Cary Grant took the roles he originated on Broadway. Among his more notable film appearances were tough flier Les Peters in Only Angels Have Wings. In the sprightly B picture It Shouldn't Happen to a Dog, Joslyn was for once cast in the lead winning heroine Carole Landis at the fade-out. A prolific radio and television performer, Joslyn was a co-star of the 1953–1954 ABC sitcom Where's Raymond?, in which he played Jonathan Wallace, brother of the title character Raymond Wallace, the role of Ray Bolger.
Betty Lynn played Joslyn's young wife in the series. Joslyn and Lynn left the series in the 1954 -- 1955 series. In 1957, Joslyn co-starred in eight episodes as literary agent George Howell in the short-lived CBS sitcom The Eve Arden Show, he guest-starred in the NBC western series The Californians. In 1959, he was cast as Quag in the episode "Gold Sled" of the ABC/Warner Brothers western series The Alaskans, starring Roger Moore. In the 1960 -- 1961 season, Joslyn guest-starred on Pat O'Brien's ABC sitcom Son, he played one-half of the title role on the 1962 TV sitcom The Colonel. That same year, he guest-starred in ABC's crime drama series Target: The Corruptors with Stephen McNally and Robert Harland, he was featured as well in some episodes of ABC's The Addams Family playing the role of beleaguered Sam L. Hilliard, whose efforts as a school administrator and politician were continually undone by the Addams family. In 1935, he married Dorothy Yockel, they had one daughter. On January 21, 1981, Allyn Joslyn died of heart failure at the Motion Picture & Television Country House and Hospital in Woodland Hills in Los Angeles, California, at the age of seventy-nine.
He is interred at Forest Lawn Memorial Park in the Hollywood Hills of Los Angeles. Allyn Joslyn on IMDb Allyn Joslyn at the Internet Broadway Database Allyn Joslyn at Find a Grave
Mark John Hellinger was an American journalist, theatre columnist and film producer. Hellinger was born into an Orthodox Jewish family Mildred "Millie" and Pol Hellinger in New York City, although in life he became a non-practicing Jew; when he was fifteen, he organized a student strike at Townsend Harris High School and was expelled for his actions. This proved to be the end of his formal education. In 1921, Hellinger began working as a waiter and cashier at a Greenwich Village night club in order to meet theatre people, he was employed by Lane Bryant to write direct mail advertising for clothing for larger and pregnant women. The following year he began his journalistic career as a reporter for Zit's Weekly, a theatrical publication, where he remained for eighteen months. In 1923, Hellinger moved to the city desk of the New York Daily News, he wrote. In July 1925, he was assigned About Town, a Sunday column his editors intended him to fill with news and gossip about Broadway theatre. Instead, he filled the space with short stories in the style of O. Henry.
When his columns drew a considerable amount of fan mail, he was permitted to continue in this vein. Three years he graduated to a daily feature called Behind the News, he numbered such personalities as Walter Winchell, Florenz Ziegfeld, Texas Guinan, Dutch Schultz, Legs Diamond among his friends. In November 1929, Hellinger moved to the New York Daily Mirror. While continuing to write daily and Sunday columns, he contributed sketches to the Ziegfeld Follies, wrote plays, published magazine articles, produced two collections of short stories, Moon Over Broadway and The Ten Million, co-wrote the screenplay for Broadway Bill with Robert Riskin; some films were based on his works including Justice for Sale, the short I Know Everybody and Everybody's Racket, Broadway Bill, Walking Down Broadway. By 1937, Hellinger was a syndicated columnist featured in 174 newspapers; that same year he was hired as a writer/producer by Jack L. Warner, he worked on the story for Racket Busters and Comet Over Broadway and provided the story for the 1939 Jimmy Cagney/Raoul Walsh gangster film The Roaring Twenties, basing it on his own experiences during that decade.
In his onscreen foreword to the film, he wrote: It may come to pass that, at some distant date, we will be confronted with another period similar to the one depicted in this photoplay. If that happens, I pray. In this film, the characters are composites of people I knew, the situations are those that occurred. Bitter or sweet, most memories become precious as the years move on; this film is a memory - and I am grateful for it. Hellinger began worked as a producer on B pictures such as The Adventures of Jane Arden, Women in the Wind, Hell's Kitchen and The Cowboy Quarterback. Hellinger helped produce The Roaring Twenties, his first "A" film, he produced Bs for a little bit longer: Kid Nightingale, British Intelligence. Hellinger established himself as a top level producer with It All Came True starring Ann Sheridan, he followed it with Torrid Zone starring Cagney and Sheridan, Brother Orchid with Edward G. Robinson and Sheridan. Hellinger made two classics with Raoul Walsh: They Drive by Night with Bogart, George Raft and Ida Lupino.
He made a comedy, Affectionately Yours with Merle Oberon did a melodrama with Raft and Robinson, Manpower. Hellinger went over to 20th Century Fox to make two films: Rise and Shine, a musical, Moontide with Lupino and Jean Gabin. Due to a congenital heart condition, Hellinger was rejected for active service during World War II. Instead, he worked as a war correspondent, writing human interest stories about the troops. Back at Warners, he produced the all-star musical revue Thank Your Lucky Stars and made Between Two Worlds, The Doughgirls, The Horn Blows at Midnight. Hellinger set up at Universal, he had a big hit with The Killers which made a star of Ava Gardner. He followed it with Swell Guy with Sonny Tufts, The Two Mrs. Carrolls with Bogart back at Warners,Brute Force, The Naked City, which he narrated; the film was released several weeks after Hellinger's death, in his review for the New York Times, Bosley Crowther called it "a virtual Hellinger column on film" and "his appropriate valedictory" and observed, "The late Mark Hellinger's personal romance with the City of New York was one of the most ecstatic love affairs of the modern day — at least, to his host of friends and readers who are skeptics regarding l'amour.
Before he became a film producer and was still just a newspaper scribe, Mr. Hellinger went for Manhattan in a blissfully uninhibited way — for its sights and sounds and restless movements, its bizarre people and its bizarre smells, and he made quite a local reputation framing his fancies in flowery billets doux which stirred the hearts and the humors of readers of the tabloid press." Hellinger won the 1947 Edgar Award for Best Motion Picture for The Killers. In 1926, Hellinger was one of the judges for a beauty contest sponsored by the Daily News; the winner was Ziegfeld showgirl Gladys Glad, on July 11, 1929, the two were wed. She divorced him in 1932, but after a year the two remarried on the same date as their original wedding, they remained wed until his death from a coronary thrombosis in Cedars of Lebanon Hospital in Los Angeles, he was buried in a private mausoleum
Carousel is the second musical by the team of Richard Rodgers and Oscar Hammerstein II. The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline; the story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for their unborn child. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow; the show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma!, the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most unfavorably. They were reluctant to seek the rights to Liliom. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful.
The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Ferenc Molnár's Hungarian-language drama, premiered in Budapest in 1909; the audience was puzzled by the work, it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I; when it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are similar.
Andreas Zavocky, a carnival barker, falls in love with Julie Zeller, a servant girl, they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, Liliom stabs himself, he dies, his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, who like her mother is now a factory worker.
Saying that he knew her father, he tries to give her a star. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie finds herself unable to be angry with him. Liliom is ushered off to his fate Hell, Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, was Rodgers' first major partner Lorenz Hart; the Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, the play was a success, running 300 performances. A 1940 revival, with Burgess Meredith and Ingrid Bergman was seen by both Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell.
The temptation to count the whole scintillating string is difficult to resist. In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms, The Boys from Syracuse and Pal Joey; some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot, while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words
God in Christianity
God in Christianity is the eternal being who created and preserves all things. Christians believe God to be both immanent. Christian teachings of the immanence and involvement of God and his love for humanity exclude the belief that God is of the same substance as the created universe but accept that God's divine Nature was hypostatically united to human nature in the person of Jesus Christ, in an event known as the Incarnation. Early Christian views of God were expressed in the Pauline Epistles and the early creeds, which proclaimed one God and the divinity of Jesus in the same breath as in 1 Corinthians: "For if there are so-called gods, whether in heaven or on earth, yet for us there is but one God, the Father, from whom all things came and for whom we live. "Although the Judeo-Christian sect of the Ebionites protested against this apotheosis of Jesus, the great mass of Gentile Christians accepted it." This began to differentiate the Gentile Christian views of God from traditional Jewish teachings of the time.
The theology of the attributes and nature of God has been discussed since the earliest days of Christianity, with Irenaeus writing in the 2nd century: "His greatness lacks nothing, but contains all things". In the 8th century, John of Damascus listed eighteen attributes which remain accepted; as time passed, theologians developed systematic lists of these attributes, some based on statements in the Bible, others based on theological reasoning. The Kingdom of God is a prominent phrase in the Synoptic Gospels and while there is near unanimous agreement among scholars that it represents a key element of the teachings of Jesus, there is little scholarly agreement on its exact interpretation. Although the New Testament does not have a formal doctrine of the Trinity as such, "it does speak of the Father, the Son, the Holy Spirit... in such a way as to compel a Trinitarian understanding of God." This never becomes a tritheism. Around the year 200, Tertullian formulated a version of the doctrine of the Trinity which affirmed the divinity of Jesus and came close to the definitive form produced by the Ecumenical Council of 381.
The doctrine of the Trinity can be summed up as: "The One God exists in Three Persons and One Substance, as God the Father, God the Son and God the Holy Spirit." Trinitarians, who form the large majority of Christians, hold it as a core tenet of their faith. Nontrinitarian denominations define the Father, the Son, the Holy Spirit in a number of different ways. Early Christian views of God are reflected in Apostle Paul's statement in 1 Corinthians, written ca. AD 53-54, i.e. about twenty years after the crucifixion of Jesus: for us there is but one God, the Father, from whom all things came and for whom we live. Apart from asserting that there is but one God, Paul's statement includes a number of other significant elements: he distinguishes Christian belief from the Jewish background of the time by referring to Jesus and the Father in the same breath, by conferring on Jesus the title of divine honor "Lord", as well as calling him Christ. In the Acts during the Areopagus sermon given by Paul, he further characterizes the early Christian understanding: The God that made the world and all things therein, he, being Lord of heaven and earth and reflects on the relationship between God and Christians: that they should seek God, if haply they might feel after him and find him, though he is not far from each one of us for in him we live.
The Pauline Epistles include a number of references to the Holy Spirit, with the theme which appears in 1 Thessalonians "…God, the God who gives you his Holy Spirit" appearing throughout his epistles. In John 14:26 Jesus refers to "the Holy Spirit, whom the Father will send in my name". By the end of the 1st century, Clement of Rome had referred to the Father and Holy Spirit, linked the Father to creation, 1 Clement 19.2 stating: "let us look steadfastly to the Father and creator of the universe". By the middle of the 2nd century, in Against Heresies Irenaeus had emphasized that the Creator is the "one and only God" and the "maker of heaven and earth"; these preceded the formal presentation of the concept of Trinity by Tertullian early in the 3rd century. The period from the late 2nd century to the beginning of the 4th century is called the "epoch of the Great Church" and the Ante-Nicene Period and witnessed significant theological development, the consolidation and formalization of a number of Christian teachings.
From the 2nd century onward, western creeds started with an affirmation of belief in "God the Father" and the primary reference of this phrase was to "God in his capacity as Father and creator of the universe". This did not exclude either the fact the "eternal father of the universe was the Father of Jesus the Christ" or that he had "vouchsafed to adopt as his son by grace". Eastern creeds began with an affirmation of faith in "one God" and always expanded this by adding "the Father Almighty, Maker of all things visible and invisible" or words to that effect; as time passed and philosophers developed more precise understandin