MUSIC. WOODWORTH was first published in Hastings’ and Bradbury’s hymnal, The Third Book of Psalms, 1849, set to the words, “The God of love will surely indulge.” The tune became widely known after its association with “Just as I am, without one plea.” It is the most popular of Bradbury’s tunes and appears in nearly all American hymnals.

For comments on Wm. Bradbury see Hymn 103.

459. Come, ye sinners, poor and needy

An evangelistic song, written by a Congregational minister. Hart, born in London and brought up in a devout Christian home, was well educated and taught the classics for many years. Early in life he departed from his religious training and fell into a life of “carnal and spiritual wickedness, irreligious and profane.” After continuing in this state for a long period of years, during which he exerted a pernicious influence upon all with whom he associated, Hart became deeply convicted, in his fortieth year, and betook himself to daily prayer and Bible reading. He was finally converted upon hearing a sermon on Rev. 3:10: “Because thou hast kept the word of my patience, I also will keep thee from the hour of temptation, which shall come upon all the world, to try them that dwell upon the earth”—preached in the Moravian Chapel in Fetter Lane, London. Becoming an earnest and consecrated Christian, and writer of hymns, he was importuned to become a preacher, which he did, although in his 48th year. From 1760 till his death in 1768, he preached regularly as pastor of an Independent Congregation in London, drawing large crowds. He died in the midst of labors and successes almost unprecedented, and it is said that 20,000 people came to his funeral. He is remembered chiefly, however, for his hymns, most of them of the evangelistic type.

MUSIC. GREENVILLE, a beautifully quaint and popular tune, was not written for sacred use but for a little song in the opera Le Devin du Village, by Rousseau. It was once popular in a piano arrangement known as “Rousseau’s Dream.”

Jean Jacques Rousseau, 1712-78, philosopher and musician, was born at Geneva. Though not a religious man, he greatly influenced education in Europe and became one of the great forces in modern literature. A political radical, he was forced to leave France and for a time lived in England. His opera, Le Devin du Village, was a success, but none of his later musical efforts came to anything. He lived an unhappy life and is thought to have committed suicide. His death occurred near Paris, July 3, 1778.

460. I have a Savior, He’s pleading in glory

A favorite prayer-meeting hymn for many years, in many churches.

Sankey came across these words in a printed leaflet while he was on his first visit with D. L. Moody to Ireland in 1874. It was the second hymn to which he wrote music and was much used in later Moody-Sankey revival services.

No definite information has been traced by hymnologists concerning Samuel O’Malley Clough to whom the words are attributed. He is believed to have been an Irish clergyman who left the Established Church to unite with the Plymouth Brethren in Ireland; later (1881) seceding from that body to lead a “holiness” schism which has since become extinct. Julian and others spell the name “Clough”; Sankey spells it “Cluff.”

MUSIC. CLUFF derives its name from the author of the words to which Sankey set the tune.

Ira David Sankey, 1840-1908, famous singer of “gospel songs,” was born in Edinburg, Pa., and was a member of the Methodist Church. For many years he was associated with D. L. Moody in evangelistic work in America and England. He composed many gospel tunes, the most popular of which is his “Ninety and Nine,” and edited numerous songbooks. Concerning his own gift of singing and songs suited to his purpose, he wrote:

I am no musician, I am no singer; I was never taught to sing.... As to my singing there is no art or conscious design in it. I never touch a song that does not speak to me in every word and phrase. Before I sing I must feel, and the hymn must be of such a kind that I know I can send home what I feel into the hearts of those who listen. I find it much more difficult to get good words than good music. Our best words come from England; the music which best suits our purpose comes from America. Your composers, apparently, do not care to write simple songs such as we need. We can get plenty of the grand and solid style, but though that is useful now and again, our services could not thrive on it.

Homer Rodeheaver has used this song with antiphonal effects by letting the choir sing the first phrase of the refrain, the audience responding with the second; or, if the audience is large, letting one side, then the other side, then the whole congregation, then the gallery sing, successively, one phrase each of the refrain.

461. A ruler once came to Jesus by night

Based on our Lord’s words to Nicodemus: “Verily, verily, I say unto you, ... ye must be born again” (John 3:3-7).

The hymn was written by Rev. W. T. Sleeper, one of the pastors in the city of Worcester, Mass., upon the request of Geo. C. Stebbins, who was assisting Dr. Pentecost in a revivalistic campaign in that city. One of the latter’s sermon themes was “The New Birth.” As the truth of this great theme was being enforced and illustrated, it occurred to Stebbins that a musical setting of this Scripture passage in John 3 would be an effective means of emphasizing the truth of the new birth. He asked the Rev. Sleeper to write some verses on the subject and the result was this hymn. Before the meetings closed, Stebbins had composed this tune for the words. The song was published in Gospel Hymns, No. 3, and has been widely used as solo, choir number, and congregational song in revival meetings and otherwise.

MUSIC. BORN AGAIN. For comments on George C. Stebbins, 1846-1945, a composer of the tune, see Hymn 38.

462. I hear the Savior say

A much-used and much-loved revival hymn which came into use, especially in Methodist churches, several years before Moody’s great revivalistic movement.

Mrs. Elvina M. Hall (later Mrs. Myers), author of the words, was born in Alexandria, Va., in 1818. She composed this hymn, strangely enough, while sitting in the choir of the M. E. Church, Baltimore, pencilling the first draft on a fly-leaf of a hymn book, The New Lute of Zion, during the pastor’s prayer! It is the only hymn known that can be traced to such an origin. The author’s mind, indeed, wandered from the immediate service of worship, but it did not stray from God and prayer.

MUSIC. ALL TO CHRIST. John T. Grape, born in Baltimore, Md., 1833, was choir director in his church when he wrote the tune, after having made it “a matter of prayer and study.” He writes that “it was pronounced very poor by my choir and my friends, but my dear wife persistently declared it was a good piece of music and would live.” Mrs. Grape’s faith was justified by the wide reception and use the tune has enjoyed. The minister of the church, Rev. Mr. Schrick, liked the tune upon hearing it and suggested that it be used with the words written by Mrs. Elvina M. Hall. This was done, and the song started on its career. It was first published in a volume called, Sabbath Chords.

463. Amazing grace! how sweet the sound

The original has six stanzas and is entitled, “Faith’s Review and Expectation.”

The hymn reminds one of Newton’s words: “I can never forget two things: first, that I was a great sinner, and second, that Jesus is a great Saviour.” It is based on I Chron. 17:16, 17:

Who am I, O Lord God, and what is mine house, that Thou hast brought me hitherto? And yet this was a small thing in thine eyes, O God; for thou hast also spoken of thy servant’s house for a great while to come, and hast regarded me according to the estate of a man of high degree, O Lord God.

For comments on John Newton, see Hymn 274.

MUSIC. MCINTOSH, also known as “Amazing Grace,” is believed to be an old Southern melody. It appeared in Southern Harmony, by William Walker, 1835, anonymously. Dr. Robert McCutchan thinks it may be a variant of an old tune called “Loving Lamb.”

For comments on Edwin O. Excell, 1851-1921, who arranged the tune, see Hymn 420.

464. Down at the cross where my Savior died

The words are by the Rev. Elisha A. Hoffman who was born of Pennsylvania German parents. Hoffman became a Congregational minister and served churches of his denomination in Lebanon, Pa., and other places, and wrote a number of hymns and tunes.

MUSIC. GLORY TO HIS NAME. For comments on the composer of this tune, Rev. John H. Stockton, see Hymn 457.

465. O happy day, that fixed my choice

This hymn, reflecting spiritual joy, is often used at baptismal services and is also one of the best revival hymns. It is based on II Chron. 15:15: “And all Judah rejoiced at the oath; for they had sworn with all their heart, and sought him with their whole desire; ... and the Lord gave them rest round about.”

The original title was “Rejoicing in our covenant engagements to God.” It was published in 1819, by the author’s great-grandson, John Doddridge Humphreys.

The hymn was chosen by Prince Albert, the consort of Queen Victoria, to be sung always on occasions when members of the royal family were confirmed. It reflects a deep and rich experience of God. “Blessed is the man,” says James Montgomery, “who can take the words of the hymn and make them his own from similar experience.”

For comments on Philip Doddridge see Hymn 56.

MUSIC. HAPPY DAY is an adaptation from a work by E. F. Rimbault, 1816-76, a London scholar, musician and writer. He became organist at Swiss Church, Soho, London, and was offered, but declined, the chair of professor of music at Harvard University. The tune was originally a popular secular melody. The English Hymnary uses this hymn set to a tune called “Heaton Norris,” with refrain omitted.

466. Sinners Jesus will receive

An English version of a popular German hymn which appeared first in the author’s Evangelische Nachklänge, Hamburg, 1719. The hymn is appropriate for missionary services. The original in eight stanzas, written by Neumeister as a conclusion to a sermon on Luke 15:1, “Then drew near to him all the publicans and sinners for to hear him,” is as follows:

1.

2.

3.

4.

5.

6.

7.

8.

The four stanzas of our text correspond to stanzas 1, 4, 7, and 8 of the original. The translation is by Mrs. Emma Frances Beaven, 1827-1909, concerning whom no biographical information has been traced. Her work was altered somewhat to fit McGranahan’s tune.

Erdmann Neumeister was a distinguished student and afterwards lecturer at Leipzig University. Later he achieved fame as a court preacher and as pastor of St. James’ Church, Hamburg. An eloquent preacher and a strong High Lutheran, he opposed the Moravians and the Pietists of his day, holding that their teachings were too subjective. Besides being a gifted preacher, he was also a musician of ability and eminence. He originated the cantata form of church music and composed a number of works in that form. He is the author of 650 hymns, many of them of the highest rank and still in general use in Germany though only a few have been translated into English.

MUSIC. NEUMEISTER. For comments on the composer of this popular gospel tune with its change of rhythm in the refrain, James McGranahan, see Hymn 450.

The German words are set to the tune, “Grosser Gott wir loben Dich” in the Gesangbuch mit Noten.

467. The whole world was lost

Based on the incident in John 9, in which Jesus restored the sight to the man born blind, and the saying of Jesus, “I am the light of the world” (John 9:5).

For comments on Philip P. Bliss, author and composer, see Hymn 442.

468. Jesus, my all, to heaven is gone

A hymn which has had wide use in prayer-meeting and camp-meeting assemblies. A hearty unison “crescendo” on the last stanza is impressive:

The author had known the joy of finding Christ and his hymn reflects his personal experience. While frequenting London, as a youth, in a vain search for employment,

He became addicted, in consequence, to sight-seeing, song-singing, play-going, card-playing, horse-racing, ball-frequenting, and the like. But on an Easter visit to London, in 1735, he was seriously impressed as he was walking hastily in Cheapside. He became greatly distressed on account of his sins, broke off from his sinful course, and walked softly before God; but he found no peace until September 6, 1737, in his nineteenth year, when he was enabled to trust in Christ alone and find joy and peace in believing.

For further comments on John Cennick, see Hymn 130.

MUSIC. DUANE STREET, a stirring revival tune, was composed by Rev. George Coles, in 1835, for one of James Montgomery’s hymns, but has been associated with this hymn for many years.

George Coles, 1792-1858, was born in Stewkley, England, and died in New York City. He came to America as a young man and spent all his life in the Methodist ministry. He was editor of the New York Christian Advocate and the Sunday School Advocate, for some years, and was a composer of ability, besides being a good singer.

469. Lord Jesus, I long to be perfectly whole

A hymn that has brought joy and release to many sin-burdened souls, especially encouraging with its promise in stanza 4:

It is built around the verse

The hymn appeared in Sankey’s Songs and Solos.

The author, James Nicholson, was an American Methodist minister of the 19th century.

MUSIC. FISCHER. The composer, William Gustavus Fischer, 1835-1912, was born in Baltimore, Md. Moving to Philadelphia in early life, he received a good musical education and became a teacher of piano and singing, and conductor of choral groups and Welsh singing societies in that city. For ten years he was Professor of Music at Girard College, and at the same time became associated with J. E. Gould in a flourishing piano business, under the firm name of Gould and Fischer. In 1876, he led the Moody and Sankey choir in the great building at Thirteenth and Market Streets in Philadelphia.

470. O Thou, in whose presence my soul takes delight

Swain entitled this hymn, “A Description of Christ by His Grace and Power,” which was suggested to him by the description of the “Shepherd” in Solomon’s Song 1:7. The original poem has nine stanzas of eight lines each.

For comments on the author, John Swain, see Hymn 323.

MUSIC. MY BELOVED, also called “Beloved” and “Meditation,” is of uncertain origin. It appeared in a book, The Beauties of Harmony, compiled by Freeman Lewis in 1813 and was arranged by Hubert P. Main in 1869. Lewis, 1780-1859, was by profession a surveyor at Uniontown, Pa. Music was his avocation.

For comments on Hubert P. Main see Hymn 426.

471. I do not ask, O Lord, that life may be

A hymn reflecting the quiet strength resulting from faith and trust in God. It is the most admired of Miss Proctor’s hymns.

For comments on Adelaide Anne Proctor, see Hymn 177.

MUSIC. SUBMISSION, a tune well suited to the meaning and spirit of the poem, was composed for this hymn.

For comments on the composer, Albert L. Peace, see Hymn 175.

472. More love to Thee, O Christ

A simple prayer put into verse, written hastily, as many hymns have been, and, after some years, printed as a leaflet. It was then included by Dr. Doane in his Songs of Devotion, in four stanzas, the third being omitted here. In form and sentiment, the hymn is an echo of “Nearer, my God, to Thee,” and is more explicitly Christian, for the latter omits the name of Christ completely.

Elizabeth Payson Prentiss was born in Portland, Maine, the daughter of the famous minister, Rev. Edward Payson. After teaching school for some years, she married Dr. George L. Prentiss, eminent Presbyterian clergyman, and professor at Union Theological Seminary in New York City, who published her Life and Letters soon after her death. Mrs. Prentiss wrote poetry and prose for the Youths’ Companion and published several volumes of poems.

MUSIC. MORE LOVE TO THEE was written for this hymn and published in Dr. Doane’s Songs of Devotion, 1870.

For comments on Wm. Howard Doane see Hymn 313.

473. What a wonderful Savior

A hymn on the atonement.

Words and music are by the Rev. Elisha A. Hoffman.

For comments on Hoffman, see Hymn 464.

474. Pass me not, O gentle Savior

One of Fanny Crosby’s best and most popular songs. Ira D. Sankey says of it: “No hymn in our collection was more popular than this at our meetings in London in 1874.” Miss Crosby wrote it in 1868 at the request of Dr. W. H. Doane, who gave her the first line as a theme. Doane published the hymn in his Songs of Devotion, 1870.

For comments on Fanny Crosby see Hymn 313.

MUSIC. PASS ME NOT was written for this hymn. For comments on the composer, W. H. Doane, see Hymn 313.

475. I am Thine, O Lord

A song of consecration, based on Heb. 10:22, “Let us draw near with a true heart.” It was written one evening while Miss Crosby was visiting in the home of Dr. William H. Doane in Cincinnati, Ohio. The latter composed for it the tune by which the song has become familiar to a multitude of worshippers.

For comments on Fanny Crosby and W. H. Doane see Hymn 313.

476. Are you weary, are you heavy-hearted

A song that has touched many a burdened heart, written by the author of “God be with you till we meet again.” For comments on Jeremiah E. Rankin, see Hymn 365.

MUSIC. TELL IT TO JESUS. For comments on the composer, E. S. Lorenz, see Hymn 439.

477. Yield not to temptation

A song that has been a source of strength to many in time of temptation.

The words and tune are by Horatio Richmond Palmer, Mus. Doc., an American musician born at Sherburne, New York. He studied music in Berlin and Florence and became the director of the Rushford Academy of Music, New York, in 1857. In 1884, he took charge of the Church Choral Union in New York, an organization which grew to a membership of 4,000 singers devoted to the improvement of church music. He was dean, for a time, of the school of music at Chautauqua, N. Y., and compiled a number of popular choral collections. He is the author of A Theory of Music and A Manual for Teachers.

Concerning the composition of this hymn and tune, Dr. Palmer wrote:

This song is an inspiration. I was at work on the dry subject of “Theory” when the complete idea flashed upon me, and I laid aside the theoretical work and hurriedly penned both words and music as fast as I could write them. I submitted them to the criticism of a friend afterward, and some changes were made in the third stanza, but the first two are exactly as they came to me. The music was first written in A flat; but I soon saw that B flat was better, and for many years it has appeared in that key. I am reverently thankful it has been a power for good.

MUSIC. YIELD NOT TO TEMPTATION. The tune, composed for the hymn by Dr. Palmer himself, appeared in Sabbath School Songs (1868). It is also named “Fortitude.”

478. He leadeth me, O blessed thought

A widely used hymn, based on Psalm 23:2: “He leadeth me beside the still waters.” “It has the true hymn quality, combining all the simplicity of spontaneous thought and feeling with perfect accent and liquid rhythm” (Brown and Butterworth).

Joseph Henry Gilmore, a Baptist minister, was born in Boston, the son of Joseph A. Gilmore. He graduated from Brown University in 1858 and from Newton Theological Seminary in 1861. In 1863-64 he served as private secretary to his father, then governor of New Hampshire. From 1865 to 1867, he was pastor of the Second Baptist Church at Rochester, N. Y., and Acting Professor of Hebrew in Rochester Theological Seminary, 1867-68. In 1868, he became Professor of Logic, Rhetoric, and English Literature in the University of Rochester, a position he held for about forty years. One of his published volumes is Outlines of English and American Literature, 1905.

The hymn was written after Dr. Gilmore had conducted the Wednesday evening service at the First Baptist Church, Philadelphia, where he expounded the twenty-third Psalm. After the service, the discussion of the subject was continued in the home where he was stopping. The author says:

During the conversation, the blessedness of God’s leadership so grew upon me that I took out my pencil, wrote the hymn just as it stands today, handed it to my wife, and thought no more about it. She sent it, without my knowledge, to the Watchman and Reflector. Three years later, I went to Rochester to preach for the Second Baptist Church. On entering the chapel, I took up a hymn book, thinking: “I wonder what they sing.” The book opened at “He Leadeth Me,” and that was the first I knew my hymn had found a place among the songs of the Church.

MUSIC. HE LEADETH ME. Finding the hymn in a Christian periodical, Bradbury composed for it this popular tune with which it has since been associated. In singing the tune, holds should be observed at the end of lines 2, 3, and 4 of the stanzas, and at the end of lines 2 and 4 of the refrain. “Few composers have so exactly caught the tone and spirit of their text as Bradbury did when he vocalized the gliding measures of ‘He Leadeth Me.’”

For comments on the composer, Wm. Bradbury, see Hymn 103.

479. Joys are flowing like a river

A song of comfort and joy useful for the quiet hour. The presence of Jesus brings to the trusting soul a blessed quietness as it did to the disciples on the stormy lake when He awoke and spoke the word of peace (Mark 4:37-41).

No information has been traced concerning the author of the words, M. P. Ferguson, or the composer, W. S. Marshall, from whose work the tune is an arrangement.

480. Blessed assurance, Jesus is mine

Another of Fanny Crosby’s fine lyrics, sung the world over, in which is revealed the secret of the author’s own serene trust and cheerful faith. In her Memories of Eighty Years, Miss Crosby makes the following reference to this hymn:

Often I take in my mind some tune already well known as a model or, perhaps, more accurately speaking, as a guide, and work to it. This, however, does not imply that the tune will ultimately be chosen as the companion of the words; for it has probably already its own true and lawful mate, with which it is to be happy and useful. Sometimes a tune is furnished me for which to write the words. The hymn titled “Blessed Assurance” was made in this manner. My dear friend, Mrs. Joseph F. Knapp, so well-known as a writer and singer of most excellent music and as an aid and inspiration to all who knew her, had composed the tune; and it seemed to me one of the sweetest I had heard for a long time. She asked me to write a hymn for it, and I felt while bringing the words and tones together that the air and the hymn were intended for each other. In the many hundred times that I have heard it sung, this opinion has been more and more confirmed.

For comments on Fanny Crosby, see Hymn 313.

MUSIC. ASSURANCE was written by Mrs. Joseph Fairchild Knapp, 1839-1908, the daughter of Dr. Walter and Mrs. Phoebe Palmer. Her husband was the founder of the Metropolitan Life Insurance Company in New York City. Both Mr. and Mrs. Knapp were members of the Methodist Episcopal church and gave much of their wealth to charitable and religious work. Mrs. Knapp, a close friend of Fanny Crosby, was an excellent singer, an accomplished organist, and an earnest Christian worker.

481. Sweet are the promises

The third stanza is based on Matt. 11:28: “Come unto me, all ye that labor and are heavy laden, and I will give you rest,” but the author has substituted “weary” for the word “labor.”

Wm. A. Ogden, who wrote the words and music of this song, was born in Franklin County, Ohio. At the age of six, he moved with his parents to Indiana where he enlisted, at the outbreak of the Civil War, in the 13th Indiana Volunteer Infantry. After the close of the war, he resumed his musical studies under Lowell Mason, Thomas Hastings, E. E. Bailey, and B. F. Baker, President of the Boston School of Music. In 1870, he published Silver Song which reached the enormous sale of 500,000 copies. Ogden won distinction as a teacher and conductor of large convention choruses. For six years he was director of music at Iowa Normal School but his greatest musical work was done at Toledo, Ohio, where he moved in 1881 and served as superintendent of public school music from 1887 until his death. He loved children and enjoyed teaching them. His training of 3,000 children in 1894 was the distinct triumph of the great Saengerfest held that year in Toledo. Ogden wrote scores of popular songs, always composing both the words and music.

482. Will your anchor hold

A hymn setting forth life in terms of the sea and its billowing waves, and the confidence one may have if anchored to the Rock, which is Christ.

For comments on the author, Priscilla Jane Owens, and the composer of the tune, William J. Kirkpatrick, 1838-1921, see Hymn 334.

483. Hide me, O my Savior, hide me

For comments on Fanny Crosby and Wm. H. Doane who wrote tunes for many of Miss Crosby’s hymns, see Hymn 313.

484. When peace, like a river, attendeth my way

A hymn of resignation and submission, written out of bitter experiences of loss and suffering.

Horatio Gates Spafford, born in New York State, was a lawyer who had established himself in Chicago. He lost most of his fortune during the great fire in that city. Then on November 22, 1873, to add to his trials, he lost four of his children when the French steamer, “Villa de Havre,” on which Mrs. Spafford and the children were sailing for Europe, sank in mid-ocean, half an hour after colliding with a large sailing vessel. Mrs. Spafford was rescued and, landing at Cardiff, Wales, ten days later, cabled her husband, “Saved Alone.” Spafford started immediately for Europe to bring his wife to Chicago. D. L. Moody, under whose preaching the Spafford children had been converted in North Chicago shortly before sailing, travelled from Edinburgh to Liverpool to comfort the bereaved parents and was pleased to hear them say, “It is well: the will of God be done.”

Mr. and Mrs. Spafford later became much interested in the second coming of Christ, becoming so enthusiastic that in 1881 they went to Jerusalem with their remaining daughter, to witness the coming of the Lord. After seven years in Palestine, Spafford died there, September 5, 1888, his widow continuing to live there as the head of a communistic society with headquarters in a building outside of Jerusalem. The daughter, very popular among the natives, became the teacher of a large body of children, instructing them in English and in American ways.

MUSIC. IT IS WELL WITH MY SOUL. The music, “a gentle, gliding melody that suits the mood of the words,” was written especially for Spafford’s words and published in Gospel Hymns No. 3. The hymn and tune immediately became popular.

For comments on the composer, P. P. Bliss, see Hymn 442.

485. Take the name of Jesus with you

A popular gospel song widely used in the Moody and Sankey revivals.

Lydia Baxter, born in Petersburg, New York, was converted under the preaching of a Baptist missionary, the Rev. Eben Tucker, and, with her sister, became a leader in the organization of a Baptist Church in her native town. After her marriage she moved to New York City. Though an invalid for many years, she was known for her astonishing cheerfulness and to her home came many a Christian worker for inspiration and advice. A volume of her poems, Gems by the Wayside, was published in 1855.

MUSIC. PRECIOUS NAME was written for this hymn. It is inseparably associated with these words and has done much to give the hymn the widespread popularity which it enjoys.

For comments on the composer, W. H. Doane, also a Baptist, see Hymn 313.

486. When we walk with the Lord

The origin of this hymn is related in Ira Sankey’s Story of the Gospel Hymns:

“Some years ago,” says Professor Towner, musical director of Moody Bible Institute, “Mr. Moody was conducting a series of meetings in Brockton, Mass., and I had the pleasure of singing for him there. One night a young man rose in a testimony meeting and said, ‘I am not quite sure—but I am going to trust and obey.’ I just jotted that sentence down, and sent it with the little story to the Rev. J. H. Sammis, a Presbyterian minister. He wrote the hymn and the tune was born. The chorus,

‘Trust and obey

For there’s no other way

To be happy in Jesus

But to trust and obey.’

was written before the hymn was.”

James H. Sammis was born in Brooklyn, N. Y., and became a business man in Logansport, Indiana. As an active Christian layman, he was much interested in the Young Men’s Christian Association, and finally gave up his business connections to serve as a General Secretary in the “Y”. After further education at Lane and McCormick Seminaries, he entered the ministry and served as pastor of Presbyterian churches in Indiana, Michigan, and Minnesota. In 1909, he went to California as a teacher in the Bible Institute of Los Angeles, continuing there until his death, June 12, 1919.

MUSIC. TRUST AND OBEY. The composer of this tune, D. W. Towner, 1850-1919, was born in Rome, Pa., and became a member of a group of singers and evangelists associated with D. L. Moody. He was a capable leader of choirs and large assemblies. In 1893, he became director of the musical department of Moody Bible Institute in Chicago, a position he held until his death. In recognition of his services, the University of Tennessee honored him with the degree of Doctor of Music, in 1900.

487. My hope is built on nothing less

“A grand hymn of faith” is the characterization given by Bishop Bickersteth of this poem. Written in 1834, and printed as a leaflet, it was later included in the author’s Hymns of Praise, 1836, entitled, “The Immutable Basis of a Sinner’s Hope.” The hymn is reminiscent of the words of Paul: “Other foundation can no man lay than that is laid, which is Jesus Christ” (I Cor. 3:11).

Edward Mote, born in London, worked as a cabinet-maker for some years but at length entered the ministry and from 1852 until his death in 1874 served the Baptist Church at Horsham, Essex.

The refrain of this hymn came into his mind one morning as he was walking up Holborn Hill on his way to work. Four stanzas were completed that day and two more were added the following Sunday.

MUSIC. SOLID ROCK. For comments on the composer of this tune, Wm. B. Bradbury, see Hymn 103.

488. ’Tis so sweet to trust in Jesus