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Horatius Bonar

1808 - 1889 Author of "I Heard the Voice of Jesus Say" in The Baptist Standard Hymnal Horatius Bonar was born at Edinburgh, in 1808. His education was obtained at the High School, and the University of his native city. He was ordained to the ministry, in 1837, and since then has been pastor at Kelso. In 1843, he joined the Free Church of Scotland. His reputation as a religious writer was first gained on the publication of the "Kelso Tracts," of which he was the author. He has also written many other prose works, some of which have had a very large circulation. Nor is he less favorably known as a religious poet and hymn-writer. The three series of "Hymns of Faith and Hope," have passed through several editions. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ================================ Bonar, Horatius, D.D. Dr. Bonar's family has had representatives among the clergy of the Church of Scotland during two centuries and more. His father, James Bonar, second Solicitor of Excise in Edinburgh, was a man of intellectual power, varied learning, and deop piety. Horatius Bonar was born in Edinburgh, Dec. 19th, 1808; and educated at the High School and the University of Edinburgh. After completing his studies, he was "licensed" to preach, and became assistant to the Rev. John Lewis, minister of St. James's, Leith. He was ordained minister of the North Parish, Kelso, on the 30th November, 1837, but left the Established Church at the "Disruption," in May, 1848, remaining in Kelso as a minister of the Free Church of Scotland. The University of Aberdeen conferred on him the doctorate of divinity in 1853. In 1866 he was translated to the Chalmers Memorial Church, the Grange, Edinburgh; and in 1883 he was chosen Moderator of the General Assembly of of the Free Church of Scotland. Dr. Bonar's hymns and poems were, he tells us, composed amid a great variety of circumstances; in many cases he cannot himself recall these circumstances; they also appeared in several publications, but nearly all have boen published or republished in the following:— (i) Songs for the Wilderness, 1843-4. (2) The Bible Hymn Book, 1845. (3) Hymns, Original and Selected, 1846. (4) Hymns of Faith and Hope, First Series, 1857; Second Series, 1861; Third Series, 1866. (5) The Song of the New Creation, 1872. (6) My Old Letters, a long poem, 1877. (7) Hymns of the Nativity, 1879. (8) Communion Hymns, 1881. In addition to numerous prose works, he has also edited The New Jerusalem; a Hymn of the Olden Time, 1852, &c. Dr. Bonar's poems—-including many beautiful lyrics, several psalm versions, and translations from the Greek and Latin, a large number of hymns, and a long meditative poem—-are very numerous, too numerous, perhaps, for their permanent fame as a whole. Dr. Bonar's scholarship is thorough and extensive; and his poems display the grace of style and wealth of allusion which are the fruit of ripe culture. Affected very slightly by current literary moods, still less by the influence of other religious poetry, they reveal extreme susceptibility to the emotional power which the phases of natural and of spiritual life exercise; the phases of natural life being recognised chiefly as conveying and fashioning spiritual life, used chiefly for depicting spiritual life, and handled for this purpose with greater delicacy of touch than in the Olney Hymns, and with less conscious purpose than in the Christian Year. As a result of this susceptibility, and from habitual contemplation of the Second Advent as the era of this world's true bliss, his hymns and poems are distinguished by a tone of pensive reflection, which some might call pessimism. But they are more than the record of emotion; another element is supplied by his intellectual and personal grasp of Divine truth, these truths particularly:—The gift of a Substitute, our Blessed Saviour; Divine grace, righteous, yet free and universal in offer; the duty of immediate reliance upon the privilege of immediate assurance through that grace; communion with God, especially in the Lord's Supper, respecting which he insists on the privilege of cherishing the highest conceptions which Scripture warrants; and finally, the Second Advent of our Lord: by his vigorous celebration of these and other truths as the source and strength of spiritual life, his hymns are protected from the blight of unhealthy, sentimental introspection. To sum up: Dr. Bonar's hymns satisfy the fastidious by their instinctive good taste; they mirror the life of Christ in the soul, partially, perhaps, but with vivid accuracy; they win the heart by their tone of tender sympathy; they sing the truth of God in ringing notes; and although, when taken as a whole, they are not perfect ; although, in reading them, we meet with feeble stanzas, halting rhythm, defective rhyme, meaningless Iteration; yet a singularly large number have been stamped with approval, both in literary circles and by the Church. In Great Britain and America nearly 100 of Dr. Bonar's hymns are in common use. They are found in almost all modern hymnals from four in Hymns Ancient & Modern to more than twenty in the American Songs for the Sanctuary, N. Y., 1865-72. The most widely known are, "A few more years shall roll;" "Come, Lord, and tarry not;" "Here, O my Lord, I see Thee face to face;" "I heard the Voice of Jesus say;" "The Church has waited long;" and "Thy way, not mine, O Lord." In addition to these and others which are annotated under their respective first lines, the following are also in common use:— From Songs for the Wilderness, No. 1, 1843. 1. For Thee we long and pray. Sunday Morning. 2. Holy Father, hear my cry. A Child's Prayer. 3. I thought upon my sins and I was sad. Christ our Peace. 4. Peace to the world, our Lord is come. A Millennial Song. 5. Spirit of everlasting grace. The Vision of Dry Bones. ii. From Songs for the Wilderness, No. 2,1844. 6. Ho, ye thirsty, parched and fainting. Invitation. 7. 0 'tis not what we fancied it. The world renounced. 8. Sing them, my children, sing them still. Children exhorted to Praise. 9. Time's sun is fast setting. Advent. 10. Weep, pilgrim, weep, yet 'tis not for the sorrow. Faith. 11. Yes, for me, for me He careth. Christ the Elder Brother . iii. From The Bible Hymn Book, 1845. 12. Jesus, my sorrow lies too deep. Jesus, the Great High Priest. 13. There is a Morning Star, my soul. The Morning Star. 14. This is not my place of resting. Pressing towards heaven. iv. From Hymns, Original and Selected, 1845. 15. Let there be light, Jehovah said. Creation. v. From Hymns of Faith and Hope, 1st series, 1857. 16. Be brave, my brother. The Fight of Faith. 17. Blessed be God, our God. Good Friday. 18. Everlasting praises. Doxology. 19. Go up, go up, my heart. Heavenly aspirations desired. 20. I close my heavy eye. Evening. Sometimes given as "We close our heavy eyes." 21. I see the crowd in Pilate's hall. Good Friday. 22. Jesus, while this rongh desert soil. Strength by the Way. 23. Jesus, Whom angel-hosts adore. The Word made Flesh. From "The Son of God, in mighty love." 24. Make haste, 0 man, to live. Exhortation to lay hold of Life. 25. No seas again shall sever. Heaven. 26. Oppressed with noonday's scorching heat. Shadow of the Cross. 27. Rest for the toiling hand. Burial. From "Lie down, frail body, here." 28. Shall this life of mine be wasted? Exhortation to Duty. 29. These are the crowns that we shall wear. Heaven. 30. Thy works, not mine, O Christ [Lord]. The Sin-bearer. 31. Where the faded flower shall freshen. Heaven. vi. From Hymns of Faith and Hope. 2nd series, 1861. 32. Be still, my soul, Jehovah loveth Thee. Rest in the Love of God. 33. Christ has done the mighty work. Good Friday. 34. Come, mighty Spirit, penetrate. Whitsuntide. 35. Deep down beneath the unresting surge. Burial at Sea. 36. Fear not the foe, thou flock of God [thou little flock]. Battle-Song of the Church. 37. For lack of love I languish. Lent. 38. From this bleak hill of storms. Eternal Rest desired. 39. He liveth long who liveth well. The True Life. 40. Here shall death's triumph end: the rock-barred door. Easter. From "The tomb is empty: wouldst thou have it full." 41. Jesus, Sun and Shield art Thou. Jesus the First and Last. 42. Jesus, the Christ of God. Praise to Christ. 43. Light of the world, for ever, ever shining. Christ the Light of the World. From "Why walk in darkness? Has the dear light vanished?" 44. Make use of me, my God. Duty desired. 45. Not what I am, 0 Lord, but what Thou art. The Love of God. 46. 0 Light of Light, shine in. Cry of the Weary. 47. 0 love of God, how strong and true. Love of God. 48. 0 love that casts out fear. Love of God. 49. 0 strong to save and bless. Lent. 50. 0 this soul, how dark and blind. Lent. 51. Safe across the waters. Thanksgiving at end of a journey. 52. Silent, like men in solemn haste. Pressing onwards. 53. Speak, lips of mine. Exhortation to Praise. 54. The Bridegroom comes. Advent. vii. From Hymns of Faith and Hope. 3rd series, 1866. 55. Bear Thou my burden, Thou Who bar'st my sin. Lent or Passiontide. 56. Done is the work that saves. Easter. 57. Father, our children keep. Prayer on behalf of Children. 58. Fill Thou my life, 0 Lord my God. Life's Praise. 59. Finish Thy work, the time is short. Earnest labour to the end. 60. From the Cross the blood is falling. Good Friday. 61. He called them, and they left. Obedience. 62. Help me, my [0] God to speak. Truth desired. 63. Holy Father, Mighty God. Holy Trinity. 64. How are my troubles multiplied. Ps. iii. 65. How sweetly doth He show His face Flower Service. 66. Light hath arisen, we walk in its brightness. Sustaining power of Faith. 67. Lo, God, our God has come. Christmas. 68. Lord, give me light to do Thy work. Divine guidance desired. 69. No, not despairingly. Lent. 70. Not to ourselves again. Life in Christ, or, Living unto God. 71. Now in parting, Father, bless us. Post Communion. 72. Sounds the trumpet from afar. Battle-Song of the Church. 73. Thee in the loving bloom of morn. God in all. 74. Through good report and evil, Lord. Faithfulness. 75. To Jehovah, God of might. Praise to the Father. 76. To the name of God on high. Doxology. 77. Upward, where the stars are burning. Heavenward Aspirations. 78. We take the peace which He hath won. The Gift of Peace. 79. When the weary, seeking rest. Intercession for all Conditions of Men. viii. From The Song of the New Creation,1872. 80. For the Bread and for the Wine. Holy Communion. 81. Light of life so softly shining. Light of Life. 82. Yet there is room. The Lamb's bright hall of song. Home Missions. ix. From Hymns of the Nativity, 1879. 83. Great Ruler of the land and sea. Sailors' Liturgy. From Communion Hymns, 1881. 84. Beloved, let us love. Brotherly Love. In several instances these hymns are given in an abbreviated form, and sometimes alterations are also introduced. In this latter respect however Dr. Bonar has suffered less than most modern hymn-writers. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ==================== Bonar, Horatius, p. 161, i. He died at Edinburgh, July 31, 1889. In 1890 his son published a posthumous volume of his poetical pieces as Until the Day Break and other Hymns and Poems left behind. The following additional hymns are in common use:— 1. Almighty Comforter and Friend. (1866.) Whitsuntide. 2. Father, make use of me. An altered form of No. 44, p. 162, ii. 3. I ask a perfect creed. (1861.) Creed not Opinions. From this is also taken "O True One, give me truth." 4. Long, long deferred, now come at last. Marriage of the Lamb. Part of "Ascend, Beloved, to the joy." (1861.) 5. Nay 'tis not what we fancied it. (1857.) Vanity of the World. 6. No blood, no altar now. (1861.) The Finished Sacrifice. 7. No shadows yonder. (1857.) Heaven Anticipated. 8. Not with the light and vain. (1857.) Godly Companionship. 9. O Love invisible, yet infinite. (1866.) Divine Love. 10. On the great love of God I lean. (1866.) Love of God our Resting-place. 11. On Thee, O Jesus, strongly leaning. (1866.) Fellowship with Christ. 12. Peace upon peace, like wave on wave. (1866.) Divine Peace. 13. Sower divine, sow the good seed in me. (1857.) Heavenly Sowing. 14. Speaketh the sinner's sin within my heart. (1866.) Ps. xxxvi. 15. Still one in life and one in death. (1857.) Communion of Saints. Part of "'Tis thus they press the hand and part." 16. Surely, yon heaven, where angels see God's face. (1857.) Heaven Anticipated. 17. That city with the jewelled crest. (1857.) Heaven. Part of "These are the crowns that we shall wear." Another cento from the same is "Yon city, with the jewelled crest." 18. That clime is not like this dull clime of ours. (1843.) Heaven. 19. The Free One makes you free: He breaks the rod. (1857.) Freedom in Christ. From "Of old they sang the song of liberty." 20. There is a Morning-star, my soul. (1357.) Christ the Morning Star. 21. This is the day of toil. (1866.) Pressing Onwards. 22. Thy thoughts are here, my God. (1866.) Holy Scripture. 23. Till the day dawn. (1857.) Life's Journey. 24. To Him Who spread the skies. (1866.) Creation's Song. 25. Trustingly, trustingly. (1866.) Trust. 26. Unto th' eternal hills. (1866.) Ps. cxxi. The above dates are: 1843, Songs in the Wilderness; 1857, Hymns of Faith and Hope, 1st Series; 1861, same, 2nd Ser. (not 1864); 1866, same, 3rd Ser. (not 1867), The dates 1857, 1864,1867, were given by Dr. Bonar, but the British Museum copies are 1857, 1861, 1866 respectively. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Bonar, H., pp. 161, i.; 1554, i. The Rev. H. N. Bonar, Dr. Bonar's son, published in 1904, Hymns by Horatius Bonar, Selected and Arranged by his Son H. N. Bonar, With a brief History of some of the Hymns, &c. (London: H. Frowde). From this work we must correct the date of his Song of the New Creation to 1872. We have also enriched our pages by additional and expanded notes on several of Dr. Bonar's most widely used hymns. In his biographical notes, Mr. Bonar refers to Dr. Bonar's work as editor of the Quarterly Journal of Prophecy, begun in 1848, to which he contributed a hymn for each number. We find that the number of hymns contributed thereto is 101. With Dr. Bonar's poetical productions great difficulty has been encountered by the historian and annotator because of his absolute indifference to dates and details. It was enough for him that he had written, and that the Church of Christ approved and gladly used what, out of the fulness of his heart, he had given her. --Excerpt from John Julian, Dictionary of Hymnology, New Supplement (1907)

John Reynell Wreford

1800 - 1891 Person Name: Rev. J. R. Wreford (1800-1881) Author of "Lord I believe; Thy power I own" in Hymns of the Ages Wreford, John Reynell, an English Unitarian minister, was born December 12, 1800, at Barnstaple; educated at Manchester College, and in 1826 became pastor of a Church in Birmingham. In 1831, on account of the failure of his voice, he withdrew from the active work of the ministry and, in conjunction with Rev. Hugh Hutton, established a school at Edgbaston. He wrote a History of Presbyterian Nonconformity in Birmingham, 1832, and Lays of Loyalty, 1837. He contributed fifty-five hymns to Rev. J. R. Beard's Collection, 1837. His most popular and valuable hymn is the one given in this book. The last years of his life were spent in retirement at Bristol, where he died in 1891. —Hymn Writers of the Church by Charles Nutter ================= Wreford, John Keynell, D.D., born Dec. 12, 1800, educated at Manchester College, York, and in 1826 succeeded the Rev. James Yates as co-pastor to the Rev. John Kentish at the New Meeting, Birmingham. In 1830 he published a translation of Cellerier's Discourse on the Authenticity and Divine Origin of the Old Testament. In the following year, in consequence of failure of voice, he withdrew from the Ministry, and in conjunction with the Rev. Hugh Hutton, Minister of the Old Meeting, opened a school at Edgbaston. In 1832 he published a Sketch of the History of Presbyterian Nonconformity in Birmingham; and in 1837, Lays of Loyalty, in celebration of the Queen's accession. He also contributed, in 1837, to the Rev. J. R. Beard's Collection of Hymns for Public and Private Worship 55 hymns, of which the following are still in common use:— 1. God of the ocean, earth, and sky. God seen in His Works. In various collections, including those by Page Hopps, G. Dawson, and others. 2. Lord, I believe; Thy power I own. For increase of Faith. In Martineau's Hymns, &c, 1840. 3. Lord, while for all mankind we pray. National Hymn. This is in a large number of collections of various denominations, and is by far the most popular of his hymns. Sometimes it begins with stanza iii., "O! guard our shores from every foe." 4. When my love to Christ[God]grows weak. Passiontide. In Longfellow and Johnson's Unitarian Hymns of the Spirit, Boston, U. S. A., 1864, "When my love to God grows weak." This is repeated in Martineau's Hymns, &c, 1873. Dr. Wreford was also the author of several volumes of verse, chiefly devotional. The latter years of his life he spent in retirement at Bristol, and died there in 1881. [Rev. Valentine D. Davis, B.A.] -- John Julian, Dictionary of Hymnology (1907)

John Newton

1725 - 1807 Person Name: J. Newton Author of "Amazing Grace" in Garden of Spices John Newton (b. London, England, 1725; d. London, 1807) was born into a Christian home, but his godly mother died when he was seven, and he joined his father at sea when he was eleven. His licentious and tumultuous sailing life included a flogging for attempted desertion from the Royal Navy and captivity by a slave trader in West Africa. After his escape he himself became the captain of a slave ship. Several factors contributed to Newton's conversion: a near-drowning in 1748, the piety of his friend Mary Catlett, (whom he married in 1750), and his reading of Thomas à Kempis' Imitation of Christ. In 1754 he gave up the slave trade and, in association with William Wilberforce, eventually became an ardent abolitionist. After becoming a tide-surveyor in Liverpool, England, Newton came under the influence of George Whitefield and John and Charles Wesley and began to study for the ministry. He was ordained in the Church of England and served in Olney (1764-1780) and St. Mary Woolnoth, London (1780-1807). His legacy to the Christian church includes his hymns as well as his collaboration with William Cowper (PHH 434) in publishing Olney Hymns (1779), to which Newton contributed 280 hymns, including “Amazing Grace.” Bert Polman ================== Newton, John, who was born in London, July 24, 1725, and died there Dec. 21, 1807, occupied an unique position among the founders of the Evangelical School, due as much to the romance of his young life and the striking history of his conversion, as to his force of character. His mother, a pious Dissenter, stored his childish mind with Scripture, but died when he was seven years old. At the age of eleven, after two years' schooling, during which he learned the rudiments of Latin, he went to sea with his father. His life at sea teems with wonderful escapes, vivid dreams, and sailor recklessness. He grew into an abandoned and godless sailor. The religious fits of his boyhood changed into settled infidelity, through the study of Shaftesbury and the instruction of one of his comrades. Disappointing repeatedly the plans of his father, he was flogged as a deserter from the navy, and for fifteen months lived, half-starved and ill-treated, in abject degradation under a slave-dealer in Africa. The one restraining influence of his life was his faithful love for his future wife, Mary Catlett, formed when he was seventeen, and she only in her fourteenth year. A chance reading of Thomas à Kempis sowed the seed of his conversion; which quickened under the awful contemplations of a night spent in steering a water-logged vessel in the face of apparent death (1748). He was then twenty-three. The six following years, during which he commanded a slave ship, matured his Christian belief. Nine years more, spent chiefly at Liverpool, in intercourse with Whitefield, Wesley, and Nonconformists, in the study of Hebrew and Greek, in exercises of devotion and occasional preaching among the Dissenters, elapsed before his ordination to the curacy of Olney, Bucks (1764). The Olney period was the most fruitful of his life. His zeal in pastoral visiting, preaching and prayer-meetings was unwearied. He formed his lifelong friendship with Cowper, and became the spiritual father of Scott the commentator. At Olney his best works—-Omicron's Letters (1774); Olney Hymns (1779); Cardiphonia, written from Olney, though published 1781—were composed. As rector of St. Mary Woolnoth, London, in the centre of the Evangelical movement (1780-1807) his zeal was as ardent as before. In 1805, when no longer able to read his text, his reply when pressed to discontinue preaching, was, "What, shall the old African blasphemer stop while he can speak!" The story of his sins and his conversion, published by himself, and the subject of lifelong allusion, was the base of his influence; but it would have been little but for the vigour of his mind (shown even in Africa by his reading Euclid drawing its figures on the sand), his warm heart, candour, tolerance, and piety. These qualities gained him the friendship of Hannah More, Cecil, Wilberforce, and others; and his renown as a guide in experimental religion made him the centre of a host of inquirers, with whom he maintained patient, loving, and generally judicious correspondence, of which a monument remains in the often beautiful letters of Cardiphonia. As a hymnwriter, Montgomery says that he was distanced by Cowper. But Lord Selborne's contrast of the "manliness" of Newton and the "tenderness" of Cowper is far juster. A comparison of the hymns of both in The Book of Praise will show no great inequality between them. Amid much that is bald, tame, and matter-of-fact, his rich acquaintance with Scripture, knowledge of the heart, directness and force, and a certain sailor imagination, tell strongly. The one splendid hymn of praise, "Glorious things of thee are spoken," in the Olney collection, is his. "One there is above all others" has a depth of realizing love, sustained excellence of expression, and ease of development. "How sweet the name of Jesus sounds" is in Scriptural richness superior, and in structure, cadence, and almost tenderness, equal to Cowper's "Oh! for a closer walk with God." The most characteristic hymns are those which depict in the language of intense humiliation his mourning for the abiding sins of his regenerate life, and the sense of the withdrawal of God's face, coincident with the never-failing conviction of acceptance in The Beloved. The feeling may be seen in the speeches, writings, and diaries of his whole life. [Rev. H. Leigh Bennett, M.A.] A large number of Newton's hymns have some personal history connected with them, or were associated with circumstances of importance. These are annotated under their respective first lines. Of the rest, the known history of which is confined to the fact that they appeared in the Olney Hymns, 1779, the following are in common use:— 1. Be still, my heart, these anxious cares. Conflict. 2. Begone, unbelief, my Saviour is near. Trust. 3. By the poor widow's oil and meal. Providence. 4. Chief Shepherd of Thy chosen sheep. On behalf of Ministers. 5. Darkness overspreads us here. Hope. 6. Does the Gospel-word proclaim. Rest in Christ. 7. Fix my heart and eyes on Thine. True Happiness. 8. From Egypt lately freed. The Pilgrim's Song. 9. He Who on earth as man was Known. Christ the Rock. 10. How blest are they to whom the Lord. Gospel Privileges. 11. How blest the righteous are. Death of the Righteous. 12. How lost was my [our] condition. Christ the Physician. 13. How tedious and tasteless the hours. Fellowship with Christ. 14. How welcome to the saints [soul] when pressed. Sunday. 15. Hungry, and faint, and poor. Before Sermon. 16. In mercy, not in wrath, rebuke. Pleading for Mercy. 17. In themselves, as weak as worms. Power of Prayer. 18. Incarnate God, the soul that knows. The Believer's Safety. 19. Jesus, Who bought us with His blood. The God of Israel. "Teach us, 0 Lord, aright to plead," is from this hymn. 20. Joy is a [the] fruit that will not grow. Joy. 21. Let hearts and tongues unite. Close of the Year. From this "Now, through another year," is taken. 22. Let us adore the grace that seeks. New Year. 23. Mary to her [the] Saviour's tomb. Easter. 24. Mercy, 0 Thou Son of David. Blind Bartimeus. 25. My harp untun'd and laid aside. Hoping for a Revival. From this "While I to grief my soul gave way" is taken. 26. Nay, I cannot let thee go. Prayer. Sometimes, "Lord, I cannot let Thee go." 27. Now may He Who from the dead. After Sermon. 28. 0 happy they who know the Lord, With whom He deigns to dwell. Gospel Privilege. 29. O Lord, how vile am I. Lent. 30. On man in His own Image made. Adam. 31. 0 speak that gracious word again. Peace through Pardon. 32. Our Lord, Who knows full well. The Importunate Widow. Sometimes altered to "Jesus, Who knows full well," and again, "The Lord, Who truly knows." 33. Physician of my sin-sick soul. Lent. 34. Pleasing spring again is here. Spring. 35. Poor, weak, and worthless, though I am. Jesus the Friend. 36. Prepare a thankful song. Praise to Jesus. 37. Refreshed by the bread and wine. Holy Communion. Sometimes given as "Refreshed by sacred bread and wine." 38. Rejoice, believer, in the Lord. Sometimes “Let us rejoice in Christ the Lord." Perseverance. 39. Salvation, what a glorious plan. Salvation. 40. Saviour, shine and cheer my soul. Trust in Jesus. The cento "Once I thought my mountain strong," is from this hymn. 41. Saviour, visit Thy plantation. Prayer for the Church. 42. See another year [week] is gone. Uncertainty of Life. 43. See the corn again in ear. Harvest. 44. Sinner, art thou still secure? Preparation for the Future. 45. Sinners, hear the [thy] Saviour's call. Invitation. 46. Sovereign grace has power alone. The two Malefactors. 47. Stop, poor sinner, stop and think. Caution and Alarm. 48. Sweeter sounds than music knows. Christmas. 49. Sweet was the time when first I felt. Joy in Believing. 50. Ten thousand talents once I owed. Forgiveness and Peace. 51. The grass and flowers, which clothe the field. Hay-time. 52. The peace which God alone reveals. Close of Service. 53. Thy promise, Lord, and Thy command. Before Sermon. 54. Time, by moments, steals away. The New Year. 55. To Thee our wants are known. Close of Divine Service. 56. We seek a rest beyond the skies. Heaven anticipated. 57. When any turn from Zion's way. Jesus only. 58. When Israel, by divine command. God, the Guide and Sustainer of Life. 59. With Israel's God who can compare? After Sermon. 60. Yes, since God Himself has said it. Confidence. 61. Zion, the city of our God. Journeying Zionward. -- John Julian, Dictionary of Hymnology (1907) ================= Newton, J., p. 803, i. Another hymn in common use from the Olney Hymns, 1779, is "Let me dwell on Golgotha" (Holy Communion). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ----- John Newton was born in London, July 24, 1725. His mother died when he was seven years old. In his eleventh year he accompanied his father, a sea captain, on a voyage. For several years his life was one of dissipation and crime. He was disgraced while in the navy. Afterwards he engaged in the slave trade. Returning to England in 1748, the vessel was nearly wrecked in a storm. This peril forced solemn reflection upon him, and from that time he was a changed man. It was six years, however, before he relinquished the slave trade, which was not then regarded as an unlawful occupation. But in 1754, he gave up sea-faring life, and holding some favourable civil position, began also religious work. In 1764, in his thirty-ninth year, he entered upon a regular ministry as the Curate of Olney. In this position he had intimate intercourse with Cowper, and with him produced the "Olney Hymns." In 1779, Newton became Rector of S. Mary Woolnoth, in London, in which position he became more widely known. It was here he died, Dec. 21, 1807, His published works are quite numerous, consisting of sermons, letters, devotional aids, and hymns. He calls his hymns "The fruit and expression of his own experience." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 See also in: Hymn Writers of the Church =======================

William Cameron

1751 - 1811 Person Name: Rev. William Cameron Author of "When the last trumpet's awful voice" in Evangelical Hymnal William Cameron was born in 1751. He studied at Marischal College, Aberdeen, and in 1785 was ordained minister of Kirknewton, in Mid Lothian. He died in 1811. He was the author of several works. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================ Cameron, William, M.A., seems to have been born in 1751, at or near Pananich, a hamlet near Ballater, Aberdeenshire, his father, a son of Cameron of Glen Nevis, being apparently then a farmer in the parish of Glenmuick. He studied at the University of Aberdeen (Marischal College), where he graduated M.A. in 1770, was ordained parish minister of Kirk-newton, Midlothian, in 1786, and died at Kirk-newton, Nov. 17,1811. Though not a member of the Committee appointed by the General Assembly of 1775, to revise the Scottish Translations and Paraphrases of 1745-51, yet the burden of revision seems to have fallen upon him (probably through the influence of Dr. Hugh Blair), as to him are ascribed the changes made in 1775-1781 in no less than 34 of that collection, which in the 1781 are numbered thus:—Nos. 1, 3, 4, 6, 7.22, 24, 26, 32, 34, 36, 39-43, 45-47, 49-52, 54-57, 59-61, 63, 65-67. He is also said to be the author of Nos. 14 and 17, in the 1781 collection, and to have altered Nos. 5, 12 of those first included there. His published works are:— (1) Poems on Various Subjects (Edin., Gordon & Murray). 1780, containing 8 poems, 3 fables, and 20 lyric odes, two of which are called hymns. (2) Poems on Several Occasions (Edin., A. Constable & Co.), 1813; with 2 poems (1 from 1780), 2 fables (from 1780), and 23 lyric odes. Of the lyric odes 6 are so-called hymns (2 from 1780), and 5 are Psalm versions. Of the remaining twelve, 7 are from his 1780 volume, and 6— including a continuation of Dr. Beattie's Minstrel, in two books—printed for the first time. But neither volume contains any of the original hymns or recasts he is said to have contributed to the Translations and Paraphrases of 1781. The ascriptions above are taken from the markings by Cameron's eldest daughter in a copy of the Psalms and Paraphrases kindly lent by her son, Mr. R. G. Sillar, of Bexley, Kent. Another son, Mr. W. C. Sillar, of Blackheath, London, possesses a us. volume of poems by his grandfather, which, however, like the printed volumes, contains none of the Paraphrases of 1781. To Cameron, No. 12 of the 1781, and the changes made, in 1781, on Nos. 13,15, and Hymn iv. have been sometimes ascribed, but they are not assigned to him in his daughter's markings. These markings thus apportion the remainder of the Scottish contributions:—to Logan, Nos. 8-11,27, 31, 63,58, and Hymn v., besides No. 48, which he merely altered, and No. 59, in which he probably had no share: to Logan and Morison, No. 28; to Morison, Nos. 19, 21, 29,30,35, besides No. 38, which more probably owes its form in 1781 to Bruce or Logan: to Blair Nos. 4,33, 34, 44 (a cento): to Robertson, Nos. 25, 26,42, 43: to Blacklock, No. 16: to Randall, No. 49: and to Ogilvie, No. 62. They also give Logan as alterer of Nos. 2, 18, 23, 25, from the 1745-51; and of No. 30 of those added in 1781. Bruce's name is never mentioned. Nos. 6,12,18,23,52, are ascribed to Watts—so far as we can see without shadow of proof—while the recast from Watts, No. 50 in 1781, is ascribed to Randall. A list by the late Principal Lee of Edinburgh (now, as revised by the late Dr. David Laing, in the possession of Mr. William Bonar, Kensington, London), professedly based on a list in the possession of Cameron, differs in ascribing No. 12 of the 1781 to Cameron, and the alterations on Nos. 13,15; while not ascribing to him the alterations on Nos. 5, 32,56. It marks as anonymous from the 1745, Nos. 23, 26, 30 (!), 52, 59. The recast from the 1745, No. 38, it ascribes to Logan, and the recast No. 50, from Watts, is given as anonymous from the 1745. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Person Name: Mason Composer of "[Let Zion in her beauty rise]" in Latter-Day Saints Congregational Hymns Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

John Henry Newman

1801 - 1890 Translator of "Now That the Sun Is Beaming Bright" in The Junior Hymnal, Containing Sunday School and Luther League Liturgy and Hymns for the Sunday School Newman, John Henry , D.D. The hymnological side of Cardinal Newman's life and work is so small when compared with the causes which have ruled, and the events which have accompanied his life as a whole, that the barest outline of biographical facts and summary of poetical works comprise all that properly belongs to this work. Cardinal Newman was the eldest son of John Newman, and was born in London, Feb. 21, 1801. He was educated at Ealing under Dr. John Nicholas, and at Trinity College, Oxford, where he graduated in honours in 1820, and became a Fellow of Oriel in 1822. Taking Holy Orders in 1824, he was for a short time Vice-Principal of St. Alban's Hall, and then Tutor of Oriel. His appointment to St. Mary's, Oxford, was in the spring of 1828. In 1827 he was Public Examiner, and in 1830 one of the Select University Preachers. His association with Keble, Pusey, and others, in what is known as "The Oxford Movement," together with the periodical publication of the Tracts for the Times, are matters of history. It is well known how that Tract 90, entitled Bernards on Certain Passages in the Thirty-nine Articles, in 1841, was followed by his retirement to Littlemore; his formal recantation, in February, 1843, of all that he had said against Rome; his resignation in September of the same year of St. Mary's and Littlemore; and of his formal application to be received into the communion of the Church of Rome, Oct. 8, 1845. In 1848 he became Father Superior of the Oratory of St. Philip Neri, at Birmingham; in 1854 Rector of the newly founded Roman Catholic University at Dublin; and in 1858 he removed to the Edgbaston Oratory, Birmingham. In 1879 he was created a Cardinal, and thus received the highest dignity it is in the power of the Pope to bestow. Cardinal Newman's prose works are numerous, and his Parochial Sermons especially being very popular. His Apologia pro Vita Sua, 1864, is a lucid exposition and masterly defence of his life and work. Cardinal Newman's poetical work began with poems and lyrical pieces which he contributed to the British Magazine, in 1832-4 (with other pieces by Keble and others), under the title of Lyra Apostolica. In 1836 these poems were collected and published under the same title, and Greek letters were added to distinguish the authorship of each piece, his being δ. Only a few of his poems from this work have come into use as hymns. The most notable is, "Lead, kindly Light". His Tract for the Times, No. 75, On the Roman Breviary, 1836, contained translations of 14 Latin hymns. Of these 10 were repeated in his Verses on Religious Subjects, 1853, and his Verses on Various Occasions, 1865, and translations of 24 additional Latin hymns were added. Several of these translations are in common use, the most widely known being "Nunc Sancte nobis" ("Come, Holy Ghost, Who ever One"). His collection of Latin hymns from the Roman and Paris Breviaries, and other sources was published as Hymni Ecclesiae, in 1838, and again in 1865. His Dream of Gerontius, a poem from which his fine hymn, "Praise to the Holiest in the height," is taken, appeared in his Verses on Various Occasions, in 1868. Cardinal Newman's influence on hymnology has not been of a marked character. Two brilliant original pieces, and little more than half a dozen translations from the Latin, are all that can claim to rank with his inimitable prose. --John Julian, Dictionary of Hymnology (1907) ================= Newman, John Henry, p. 822, ii. He died at Edgbaston, Birmingham, Aug. 11, 1890. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Newman, Card. J. H., pp. 802, ii.; 1581, ii. The following are also in use at the present time, but, except No. 13, almost exclusively in R. C. collections. The dates in brackets are those given in Newman's Verses, 1868; all thus marked were composed in the Birmingham Oratory at these dates:— i. In the Rambler, 1850. 1. In the far North our lot is cast. [S. Philip Neri.] (1850.) March, 1850, p. 250. In the Birmingham Oratory Hymn Book, 1857 and 1906, it begins, " On Northern coasts," and in the Parochial Hymn Book, 1880, with st. ii. " Founder and Sire! to mighty Rome." 2. The Angel-lights of Christmas morn. [Candlemas.] (1849.) March, 1850, p. 251. 3. There sat a Lady all on the ground. [B. V. M.] (1849.) May, 1850, p. 425. ii. Verses, 1853. 4. All is Divine which the Highest has made. [For an inclement May.] (1850.) 1853, p. 128. 5. Green are the leaves, and sweet the flowers. [May.] (1850.) 1853, p. 125. 6. My oldest friend, mine from the hour. [Guardian Angel] (1853.) 1853, p. 12. 7. The holy monks conceal'd from men. [S. Philip Neri.] (1850.) 1853, p. 134. 8. The one true Faith, the ancient Creed. [The Catholic Faith.] 1853, p. 140. 9. This is the saint of sweetness and compassion. [S. Philip Neri.] 1853, p. 136. Rewritten (1857) as "This is the saint of gentleness and kindness" in the Birmingham Oratory Hymn Book, 1857, No. 49. iii. Birmingham Oratory Hymn Book, 1857. 10. Help, Lord, the souls which Thou hast made. [The Faithful Departed.] (1857.) 1857, No. 76. iv. Birmingham Oratory H. Book, 1862. 11. I ask not for fortune, for silken attire. [S. Philip Neri.] (1857.) 1862, No. 54. 12. Thou champion high. [S. Michael.] (1862.) 1862, No. 41. v. Dream of Gerontius, 1866. 13. Firmly I believe and truly. [The Faith of a Christian.] 1866, p. 9; Verses, 1868, p. 318; The English Hymnal 1906. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907) ----- John Henry Newman was born in London, in 1801. He studied at Trinity College, Oxford, graduating B.A. in 1820, and was subsequently Fellow of Oriel College. In 1825, he became Vice Principal of S. Alban's Hall, and was Tutor of his college for several years. In 1828, he became incumbent of S. Mary's, Oxford, with the chaplaincy of Littlemore. In 1842, he went to preside over a Brotherhood he had established at Littlemore. He was the author of twenty-four of the "Tracts for the Times," amongst them the celebrated Tract No. 90, which brought censure upon its author. In 1845, he left the Church of England and entered the Church of Rome. He was appointed Father Superior of the Oratory of S. Philip Neri, at Birmingham, and in 1854, Rector of the new Roman Catholic University at Dublin, an office he filled till 1858. He has published a large number of works. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ====================

Walton J. Brown

1913 - 2001 Person Name: Walton J. Brown (1913-2001) Vers. esp. of "Yo canto el poder de Dios" in Himnario Adventista del Séptimo Día Used pseudonym Juan Marrón. Walton John Brown was the education director of the Seventh-day Adventist Church worldwide. He worked in the United States, Argentina, Brazil and Cuba. Dianne Shapiro from obituary

Thomas T. Lynch

1818 - 1871 Person Name: Rev. Thomas Toke Lynch (1818-1871) Author of "O where is He that trod the Sea" in Songs of Praise with Tunes Lynch, Thomas Toke, was born at Dunmow, Essex, July 5, 1818, and educated at a school at Islington, in which he was afterwards an usher. For a few months he was a student at the Highbury Independent College; but withdrew, partly on account of failing health, and partly because his spirit was too free to submit to the routine of College life. From 1847 to 1849 he was Minister of a small charge at Highgate, and from 1849 to 1852 of a congregation in Mortimer Street, which subsequently migrated to Grafton Street, Fitzroy Square. From 1856 to 1859 he was laid aside by illness. In 1860 he resumed his ministry with his old congregation, in a room in Gower Street, where he remained until the opening of his new place of worship, in 1862, (Mornington Church), in Hampstead Road, London. He ministered there till his death, on the 9th of May, 1871. The influence of Lynch's ministry was great, and reached far beyond his own congregation (which was never large), since it included many students from the Theological Colleges of London, and thoughtful men from other churches, who were attracted to him by the freshness and spirituality of his preaching. His prose works were numerous, beginning with Thoughts on a Day, 1844, and concluding with The Mornington Lecture, 1870. Several of his works were published after his death. His Memoir, by W. White, was published in 1874. Lynch's hymns were published in:— The Rivulet: a Contribution to Sacred Song, London., Longman, 1855, 2nd ed., 1856. This was enlarged by an addition of 67 hymns in 1868. From the first edition of The Rivulet, 1855, the following hymns have come into common use:— 1. All faded is the glowing light. Second Advent. 2. Be Thy word with power fraught. Before Sermon. 3. Christ in His word draws near. Holy Scripture. 4. Dismiss me not Thy service, Lord. Work for Christ. 5. Gracious Spirit, dwell with me. Holy Spirit's presence desired. 6. How calmly the evening once more is descending. Evening. Sometimes "How calmly once more the night is descending." 7. I give myself to prayer. Prayer in Trouble. 8. Lord, on Thy returning day. Public Worship. 9. Lord, when in silent hours I muse. Resignation. 10. Love me, O Lord, forgivingly. Resignation. 11. Mountains by the darkness hidden. Resignation. 12. Now have we met that we may ask. Public Worship. 13. O, break my heart; but break it as a field. Penitence desired. 14. O Lord, Thou art not fickle. Sympathy. 15. O where is He that trod the sea. Christ Walking on the Sea. 16. Oft when of God we ask. Trust in Trial. 17. Rise, He calleth thee, arise. Blind Bartimaeus. 18. Say not, my soul, from whence. Resignation. 19. Where is thy God, my soul? Resignation and Hope. There are also from the 1856 and 1868 eds. the following:— 20. A thousand years have come and gone. Christmas. 21. Lift up your heads, rejoice; (1856.) Advent. 22. Praying by the river side. Holy Baptism. 23. The Lord is rich and merciful. Have Faith in God. 24. There is purpose in this waste. Easter. Lynch's hymns are marked by intense individuality, gracefulness and felicity of diction, picturesqueness, spiritual freshness, and the sadness of a powerful soul struggling with a weak and emaciated body. Although The Rivulet was published for use by his own congregation as a supplement to Watts, more than one half of the hymns were designed for private use only, but were not so distinguished in the work. Its publication caused one of the most bitter hymnological controversies known in the annals of modern Congregationalism. Time, however, and a criticism, broader and more just, have declared emphatically in favour of his hymns as valuable contributions to cultured sacred song. [Rev. W. Garrett Horder] --John Julian, Dictionary of Hymnology (1907) ================== Lynch, T. T., p. 705, ii. Other hymns by him in recent books are:— 1. My faith it is an oaken staff. Faith in Christ. In the Rivulet, 1855, p. 78. 2. Together for our country now we pray. National, In the Rivulet, 1868, p. 170. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Anna Letitia Waring

1823 - 1910 Person Name: Anna L. Waring Author of "Father, I know that all my life" in Hymnal Amore Dei See also in: Hymn Writers of the Church ================ Waring, Anna Laetitia, daughter of Elijah Waring, and niece of Samuel Miller Waring, was born at Neath, Glamorganshire, in 1820. In 1850 she published her Hymns and Meditations, by A. L. W., a small book of 19 hymns. The 4th edition was published in 1854. The 10th edition, 1863, is enlarged to 38 hymns. She also published Additional Hymns, 1858, and contributed some pieces to the Sunday Magazine, 1871. Her most widely known hymns are: "Father, I know that all my life," "Go not far from me, O my Strength," and "My heart is resting, O my God." The rest in common use include:— 1. Dear Saviour of a dying world. Resurrection. (1854.) 2. In heavenly love abiding. Safety in God. (1850.) 3. Jesus, Lord of heaven above. Love to Jesus desired. (1854.) 4. Lord, a happy child of Thine. Evening. (1850.) 5. My Saviour, on the [Thy] words of truth. Hope in the Word of God. (1850.) Sometimes stanza iv., "It is not as Thou wilt with me," is given separately. 6. O this is blessing, this is rest. Rest in the Love of Jesus. (1854.) 7. O Thou Lord of heaven above. The Resurrection. 8. Source of my life's refreshing springs. Rest in God. (1850.) 9. Sunlight of the heavenly day. New Year (1854.) 10. Sweet is the solace of Thy love. Safety and Comfort in God. (1850.) 11. Tender mercies on my way. Praise of Divine Mercies. (1850.) 12. Thanksgiving and the voice of melody. New Year (1854). 13. Though some good things of lower worth. Love of God in Christ, (1860.) These hymns are marked by great simplicity, concentration of thought, and elegance of diction. They are popular, and deserve to be so. [George Arthur Crawford, M.A.] -- John Julian, Dictionary of Hymnology (1907) =============== Waring, Anna L., p. 1233, ii. Of her hymns we have found the following in Lovell Squire's Selection of Scriptural Poetry, 3rd ed., 1848: 1. Father, I know that all my life, p. 367, ii. 2. Sweet is the solace of Thy love, p. 1233, ii. 10. 3. Though some good things of, &c., p. 1233, ii. 13. The statement in J. Telford's The Methodist Hymn Book Illustrated, 1906, p. 271, that Miss Waring contributed to her uncle's (S. M. Waring's) Sacred Melodies, 182G, cannot be correct, as she was then only six years old. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)