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Chas. H. Gabriel

1856 - 1932 Person Name: Charles H. Gabriel Topics: Personal Commitment Composer of "[I'm pressing on the upward way]" in Hymns of Grace Pseudonyms: C. D. Emerson, Charlotte G. Homer, S. B. Jackson, A. W. Lawrence, Jennie Ree ============= For the first seventeen years of his life Charles Hutchinson Gabriel (b. Wilton, IA, 1856; d. Los Angeles, CA, 1932) lived on an Iowa farm, where friends and neighbors often gathered to sing. Gabriel accompanied them on the family reed organ he had taught himself to play. At the age of sixteen he began teaching singing in schools (following in his father's footsteps) and soon was acclaimed as a fine teacher and composer. He moved to California in 1887 and served as Sunday school music director at the Grace Methodist Church in San Francisco. After moving to Chicago in 1892, Gabriel edited numerous collections of anthems, cantatas, and a large number of songbooks for the Homer Rodeheaver, Hope, and E. O. Excell publishing companies. He composed hundreds of tunes and texts, at times using pseudonyms such as Charlotte G. Homer. The total number of his compositions is estimated at about seven thousand. Gabriel's gospel songs became widely circulated through the Billy Sunday-Homer Rodeheaver urban crusades. Bert Polman

A. H. Mann

1850 - 1929 Person Name: Arthur H. Mann Topics: Personal Commitment Composer of "ANGEL'S STORY" in Hymns of Grace Arthur Henry ‘Daddy’ Mann MusB MusD United Kingdom 1850-1929. Born at Norwich, Norfolk, England, he graduated from New College, Oxford. He married Sarah Ransford, and they had five children: Sarah, Francis, Arthur, John, and Mary. Arthur died in infancy. Mann was a chorister and assistant organist at Norwich Cathedral, then, after short stints playing the organ at St Peter’s, Wolverhampton (1870-71); St. Michael’s Tettenhall Parish Church (1871-75); and Beverley Minster (1875-76); he became organist at King’s College Chapel, Cambridge (1876-1929), Cambridge University organist (1897-1929), and music master and organist at the Leys School, Cambridge (1894-1922). In addition to composing an oratorio and some hymn tunes, he was music editor of the Church of England Hymnal (1894). In 1918 he directed the music and first service of “Nine lessons & carols” at King’s College Chapel. He was an arranger, author, composer, and editor. His wife, Sarah, died in 1918. He died at Cambridge, England. John Perry

Robert Schumann

1810 - 1856 Person Name: Schumann Topics: Personal Commitment Composer of "SCHUMANN" in Hymns of Grace Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works. John Perry

Lewis Hartsough

1828 - 1919 Person Name: L. H. Topics: Personal Commitment Author of "I Am Coming, Lord" in Hymns of Grace Hartsough, Lewis, was born at Ithaca, New York, Aug. 31, 1823. Of his hymns the following are in common use:—- 1. I hear Thy welcome voice. The Divine Invitation. 2. In the rifted Rock I'm resting. Safety in Jesus. 3. Lead me to the Rock that's higher. Safety in Jesus. 4. O who'll stand up for Jesus? All for Jesus Nos. 1-3 are in I. D. Sankey's Sacred Songs & Solos, 1878 (1 and 3 with music by Hartsough). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Hartsough, Lewis, p. 1569, ii. Mr. Hartsough entered the ministry of the Methodist Episcopal Church in 1851, and is now (1905) residing in Mount Vernon, Indiana. He was musical editor of J. Hillman's Revivalist, Troy, 1868, and co-editor of The Sacred Harmonist, Boston, 1864, and Beulah Songs, Phila., 1879. In addition to the hymns named on p. 1569, ii., "Let me go where saints are going" [Heav'n desired] (1861) has come into common use. It appeared in W. B. Bradbury's Clarion, 1867, p. 83. Concerning his hymn, "I hear Thy welcome voice," Mr. Sankey says in his My Life and Sacred Songs, 1906, p. 11(3:— The words and music of this beautiful hymn were first published in a monthly, entitled, Guide to Holiness, a copy of which was sent to me in England. I immediately adopted it, and had it published in Sacred Songs and Solos. It proved to be one of the most helpful of the revival hymns, and was often used as an invitation hymn in England and America." [Rev. L. F. Benson, D.D.] --John Julian, Dictionary of Hymnology, New Supplement (1907) ================ Hartsough, Lewis. (August 31, 1823--January 1, 1919). Details of his early life are lacking. After being admitted to the Oneida, New York, Conference of the Methodist Episcopal Church in 1851 and serving several pastorates in that state, his health failed and he went to Utah where he was influential in establishing the Utah Mission, later becoming its superintendent. Upon relinquishing that position he moved to Mt. Vernon, Iowa, where he spent the remainder of his life. Bird's statement that he lived in Indiana is erroneous. He was minister of the South Street Methodist Episcopal Church, Utica, New York, when he first became associated with Joseph Hillman, who chose him to act as musical editor of The Revivalist, a gospel hymn book which went through eleven editions in five years, 1868-1872. This book had a remarkable sale and was doubtless used in more churches during the 1870s than any other of similar character. To it the Reverend Hartsough contributed, in one edition, twelve texts, fourteen tunes, and thirty arrangements of tunes, several of the latter being of the religio-folk variety which had been so popular in the early camp meetings. It is a valuable source work. "I love to think of the heavenly land" (p.1573) is by Hartsough. "I hear thy welcome voice (p.1569), originally in six four-line stanzas, with Refrain, in full S/1931; with the first three stanzas, slightly emended, Brethren/1951; with stanzas 1, 2, 3, and 5, also emended, in Hymns of the Living Faith, 1951. Writeen in 1872 with musical settings by the author, it is the only one of his many songs which has continued in use. Source: Metcalf, Frank J. American Writers and Compilers of Sacred Music; several editions of The Revivalist. --Robert G. McCutchan, DNAH Archives

Johnson Oatman, Jr.

1856 - 1922 Topics: Personal Commitment Author of "Higher Ground" in Hymns of Grace Johnson Oatman, Jr., son of Johnson and Rachel Ann Oatman, was born near Medford, N. J., April 21, 1856. His father was an excellent singer, and it always delighted the son to sit by his side and hear him sing the songs of the church. Outside of the usual time spent in the public schools, Mr. Oatman received his education at Herbert's Academy, Princetown, N. J., and the New Jersey Collegiate Institute, Bordentown, N. J. At the age of nineteen he joined the M.E. Church, and a few years later he was granted a license to preach the Gospel, and still later he was regularly ordained by Bishop Merrill. However, Mr. Oatman only serves as a local preacher. For many years he was engaged with his father in the mercantile business at Lumberton, N. J., under the firm name of Johnson Oatman & Son. Since the death of his father, he has for the past fifteen years been in the life insurance business, having charge of the business of one of the great companies in Mt. Holly, N. J., where he resides. He has written over three thousand hymns, and no gospel song book is considered as being complete unless it contains some of his hymns. In 1878 he married Wilhelmina Reid, of Lumberton, N.J. and had three children, Rachel, Miriam, and Percy. Excerpted from Biography of Gospel Song and Hymn Writers by Jacob Henry Hall; Fleming H. Revell, Co. 1914

Frances Ridley Havergal

1836 - 1879 Person Name: Frances R. Havergal Topics: Personal Commitment Author of "Take My Life, And Let It Be" in Hymns of Grace Havergal, Frances Ridley, daughter of the Rev. W. H. Havergal, was born at Astley, Worcestershire, Dec. 14, 1836. Five years later her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, whose influence over her was most beneficial. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed, and on her return she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester on her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswall Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. She died at Caswell Bay, Swansea, June 3, 1879. Miss Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew. She does not occupy, and did not claim for herself, a prominent place as a poet, but by her distinct individuality she carved out a niche which she alone could fill. Simply and sweetly she sang the love of God, and His way of salvation. To this end, and for this object, her whole life and all her powers were consecrated. She lives and speaks in every line of her poetry. Her poems are permeated with the fragrance of her passionate love of Jesus. Her religious views and theological bias are distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings is a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions. [Rev. James Davidson, B.A.] Miss Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswell & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; (7) Life Echoes, 1883. About 15 of the more important of Miss Havergal's hymns, including "Golden harps are sounding," "I gave my life for thee," "Jesus, Master, Whose I am," "Lord, speak to me," "O Master, at Thy feet," "Take my life and let it be," "Tell it out among the heathen," &c, are annotated under their respective first lines. The rest, which are in common use, number nearly 50. These we give, together with dates and places of composition, from the Havergal mss. [manuscript], and the works in which they were published. Those, and they are many, which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c), and those in Caswell’s series (C., 1873, &c). 1. A happy New Year! Even such may it be. New Year. From Under the Surface, 1874. 2. Certainly I will be with thee. Birthday. Sept. 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 3. Church of God, beloved and chosen. Sanctified in Christ Jesus, 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 4. God Almighty, King of nations. Sovereignty of God. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 5. God doth not bid thee wait. God faithful to His promises. Oct. 22, 1868, at Oakhampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 6. God of heaven, hear our singing. A Child's hymn for Missions. Oct. 22, 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880. 7. God will take care of you, All through the day. The Good Shepherd. In Mrs. Brock's Children's Hymn Book, 1881. 8. God's reiterated all. New Year. 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879. 9. Have you not a word for Jesus? Boldness for the Truth. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 10. He hath spoken in the darkness. Voice of God in sorrow. June 10,1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 11. Hear the Father's ancient promise. Promise of the Holy Spirit. Aug. 1870. Published in Under the Surface, 1874, and Life Mosaic, 1879. 12. Holy and Infinite! Viewless, Eternal. Infinity of God. 1872. Published in Under the Surf ace, 1874, and L. Mosaic, 1879. 13. Holy brethren, called and chosen. Election a motive for Earnestness. 1872. Published in Snepp's Songs of Grace & Glory, 1876. 14. I am trusting Thee, Lord Jesus. Faith. Sept. 1874, at Ormont Dessona. (P. 1874.) Published in Loyal Responses, 1878, and Life Chords, 1880. Miss Havergal’s tune, Urbane (Snepp's Songs of Grace & Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death. 15. I bring my sins to Thee. Besting all on Jesus. June, 1870. (P. 1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880. 16. I could not do without Thee. Jesus All in All. May 7, 1873. (P. 1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879. 17. In full and glad surrender. Confirmation. Miss Havergal's sister says this hymn was “The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a beautiful hymn of personal consecration to God at all times. 18. In the evening there is weeping. Sorrow followed by Joy. June 19, 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Scheinige Platte; I wrote “Evening Tears and Morning Songs” (Marg. reading of Ps. xxx. 5.)" (P. 1870.) Published in Under the Surface, 1874. 19. Increase our faith, beloved Lord. Increase of Faith desired. In Loyal Responses, 1878, in 11 stanzas of 4 lines, on St. Luke xvii. 5. It is usually given in an abridged form. 20. Is it for me, dear Saviour? Heaven anticipated. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 21. Israel of God, awaken. Christ our Righteousness. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 22. Jehovah's covenant shall endure. The Divine Covenant, 1872. Published in Snepp's Songs of Grace & Glory, 1876. 23 Jesus, blessed Saviour. New Year, Nov. 25, 1872, at Leamington. (P. 1873.) Printed in the Dayspring Magazine, Jan. 1873, and published in Life Chords, 1880. 24. Jesus only! In the shadow. Jesus All in All. Dec. 4, 1870, at Pyrmont Villa. (P. & C. 1871.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 25. Joined to Christ by [in] mystic union. The Church the Body of Christ. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879. 26. Just when Thou wilt, 0 Master, call. Resignation. In Loyal Responses, 1878, in 5 stanzas of 4 lines, and Whiting's Hymns for the Church Catholic, 1882. 27. King Eternal and Immortal. God Eternal. Written at Perry Villa, Perry Barr, Feb. 11, 1871, and Published in Snepp's Songs of Grace & Glory, 1876; Under the Surface, 1874 ; and Life Mosaic, 1879. 28. Light after darkness, Gain after loss. Peace in Jesus, and the Divine Reward. In Sankey's Sacred Songs and Solos, from her Life Mosaic, 1879. 29. Like a river glorious, Is God's perfect Peace. Peace. In her Loyal Responses, 1878, in 3 st. of 8 1., with the chorus, "Stayed upon Jehovah." In several collections. 30. Master, speak! Thy servant heareth. Fellowship with and Assistance from Christ desired. Sunday evening, May 19, 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and L. Mosaic, 1879. It is very popular. 31. New mercies, new blessings, new light on thy way. New Life in Christ. 1874, at Winterdyne. (C. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880. 32. Not your own, but His ye are. Missions. Jan. 21, 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hymnal for Church Missions, 1884. 33. Now let us sing the angels' song. Christmas. In her Life Mosaic, 1879; and W. B. Stevenson's School Hymnal, 1880. 34. Now the daylight goes away. Evening. Oct. 17, 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, " Now the light has gone away." 35. Now the sowing and the weeping. Sorrow followed by Joy. Jan. 4, 1870, at Leamington. Printed in Sunday at Home, 1870 ; and published in Under the Surface, 1874, and L. Mosaic, 1879. 36. 0 Glorious God and King. Praise to the Father, Feb. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 37. 0 Saviour, precious [holy] Saviour. Christ worshipped by the Church. Nov. 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 38. O thou chosen Church of Jesus. Election. April 6, 1871. Published in Under the Surface, 1874, and L. Mosaic, 1879. 39. O what everlasting blessings God outpoureth on His own. Salvation everlasting. Aug. 12, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 40. Our Father, our Father, Who dwellest in light. The blessing of the Father desired. May 14, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn. 41. Our Saviour and our King. Presentation of the Church to the Father. (Heb. ii. 13.) May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 42. Precious, precious blood of Jesus. The precious Blood. Sept. 1874, at Ormont Dessons. (C.) Published in Loyal Responses, 1878, and Life Chords, 1880. 43. Sing, O heavens, the Lord hath done it. Redemption. In her Life Mosaic, 1879, and the Universal Hymn Book, 1885. 44. Sit down beneath His shadow. Holy Communion. Nov. 27, 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 45. Sovereign Lord and gracious Master. Grace consummated in Glory. Oct. 22, 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 46. Standing at the portal of the opening year. New Year. Jan. 4, 1873. Published in Under the Surface, 1874, and Life Chords, 1880. 47. To Thee, 0 Comforter divine. Praise to the Holy Spirit. Aug. 11, 1872, at Perry Barr. Published in Under the Surface 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn. 48. True-hearted, whole-hearted, faithful and loyal. Faithfulness to the Saviour. In her Loyal Responses, 1878, and the Universal Hymn Book, 1885. 49. What know we, Holy God, of Thee? God's Spirituality, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 50. Who is on the Lord's side? Home Missions. Oct. 13, 1877. Published in Loyal Responses, 1878, andLife Chords, 1880. 51. With quivering heart and trembling will. Resignation. July, 10, 1866, at Luccombe Rectory. (P. 1866.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 52. Will ye not come to Him for life? The Gospel Invitation. 1873. Published in Snepp's Songs of Grace and Glory, 1876. 53. Worthy of all adoration. Praise to Jesus as the Lamb upon the throne. Feb. 26 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and "Amen" choruses in Handel's Messiah. 54. Ye who hear the blessed call. The Invitation of the Spirit and the Bride. March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association. 55. Yes, He knows the way is dreary. Encouragement. 1867. Published in Ministry of Song, 1869. Most of these hymns are given in Snepp's Songs of Grace and Glory, 1872]and 1876, his Appendix, 1874, and the Musical edition, 1880, and many of them are also in several other hymnbooks, including Hymns Ancient & Modern, Thring, Church Hymns, Hymnal Companion, &c, and some of the leading American collections. --John Julian, Dictionary of Hymnology (1907) ============================== Havergal, Frances Ridley, p. 496, i. Miss Havergal's Poetical Works were published in 2 vols. in 1884 (Lond., J. Nisbet); and the hymns therein are accompanied by notes. From these volumes, and the Havergal manuscript, we gather the following facts concerning additional hymns in common use: 1. In God's great field of labour. Work for Christ. Written Feb. 27, 1867, and published in her Ministry of Song, I860, and later works. In Snepp's Songs of Grace and Glory, 1872, it begins with stanza ii., "Sing to the little children." “The poem expresses her own life-ministry of song, and relates true incidents" in that life. [Hav. mss.] 2. Only a mortal's power. Consecration of Self to Christ. Published in her Loyal Responses, 1878, in 7 stanzas of 4 lines, and headed "Only.” In Common Praise, 1879, stanzas ii.-vi., are given for Confirmation as, "Only one heart to give." 3. Through the yesterday of ages. Jesus always the same. Written at Leamington, Nov. 1876, and published in her Loyal Responses, 1878. 4. What hast Thou done for me, 0 Thou my mighty Friend. Good Friday. Written at Leamington, Jan. 1877, and pub. in Loyal Responses, 1878. 5. Yes, He knows the way is dreary, p. 498, i. 55. This hymn was written at Shareshill Parsonage, Nov. 17, 1865, and first printed as one of Parlane's leaflets; then in Lyra Britannica, 1867; and later, in several of her books. It was "suggested by a letter from her niece, A. M. S., at school, and written to console her when weary, lonely, and the only absentee at the rejoicings for her brother J. H. S.'s coming of age." [Hav. mss.] --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Havergal, Frances R., pp. 426, ii., 1569, ii. During the past fifteen years Miss Havergal's hymns have been in great request by compilers of hymnals for Missions and Conventions. In addition to the large number already annotated in this Dictionary, the following are also in common use:— 1. Begin at once! in the pleasant days. [Temperance.] From her Poetical Works, vol. i., p. 303, into The Sunday School Hymnary, 1905. In her Poetical Works. It is given as a "Band of Hope Song," and dated "May, 1876." 2. God in heaven, hear our singing. An altered form of her "God of heaven, hear our singing," p. 497, i. 6. 3. Holy Father, Thou hast spoken. [Holy Spirit desired.] Written May 5, 1876. P. Works, 1874, ii., p. 261. 4. I love. I love my Master. [Jesus the object of love.] Written at Fins, Hants., July 16, 1876. In her Loyal Responses, 1878, and her Poetical Works, 18S4, ii., p. 274. 5. I love to feel that I am taught. [Love of Divine Teaching.] Written at Morecambe Bay, Aug., 1867, for her Ministry of Song, 1869. Included in her Poetical Works, 1884, i., p. 36. 6. Jesus, Thy life is mine. [Union with Christ.] Written June 2, 1876. Poetical Works, 1884, ii., p. 268. 7. Looking unto Jesus, Never need we yield. [Jesus, All in All.] Dated 1876. P. Works, 1884, ii., p. 253. 8. Master, how shall I bless Thy Name! [Holy Service.] Written at Whitby, Sept. 27, 1875. A long hymn of 17 stanzas of 6 lines. P. Works, 1884, ii., p. 280. 9. Resting on the faithfulness. [Union with Christ.] A metrical epitome of a dozen or more of the attributes of Our Lord and His manifestation of loving kindness towards men, in which the word "Resting" is used eighteen times. Written June 11, 1876. Poetical Works, 1884, ii., p. 260. 10. Singing for Jesus, our Saviour and King. [Praise of Jesus.] Written at Winterdyne, June 12. 1872; published in her Under the Surface, 1874, p. 94, and her P. Works, 1884, ii., p. 70. 11. Unfurl the Christian Standard with firm and fearless hand. [Courage for the Christian Warfare. This begins with st. iv. of her hymn, "Unfurl the Christian Standard, lift it manfully on high," written at Perry Barr, Sep. 23, 1872 ; published in her Under the Surface, 1874; and her Poetical Works, 1884, ii. 12. Unto him that hath Thou givest. [Growth in Grace.] Written at Leasowes, April 12, 1876. P. Works, 1884, ii. 259. Of these hymns Nos. 3, 4, 6, 7, 8, 9, and 12 were published in the first instance in J. Mountain's Hymns of Consecration and Faith, 1876. At the present time (1907) the number of Miss Havergal's hymns in common use reaches nearly one hundred. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William B. Bradbury

1816 - 1868 Person Name: Wm. B. Bradbury Topics: Personal Commitment Composer of "YARBROUGH" in Hymns of Grace William Batchelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life. John Perry

W. S. Weeden

1847 - 1908 Topics: Personal Commitment Composer of "[All to Jesus I surrender]" in Hymns of Grace Winfield S. Weeden was born in 1847 in Middleport, OH. In his early life he was active in teaching singing schools throughout that area in Ohio. As singer and associate to Judson VandeVenter in his evangelistic campaigns, Weeden assisted in meetings at East Palestine and Sebring. He compiled several collections of hymns among them The Peacemaker, Songs of the Peacemaker, and Songs of Sovereign Grace. Weeden died in 1908. (see 101 More Hymn Stories, Osbeck, Grand Rapids, MI: Kregel, 1985) Mary Louise VanDyke

Charles Wesley

1707 - 1788 Person Name: Charles Wesley Topics: Personal Commitment Author of "O How Happy Are They" in Hymns of Grace Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

Fanny Crosby

1820 - 1915 Person Name: Fanny J. Crosby Topics: Personal Commitment Author of "I Am Thine, O Lord" in Hymns of Grace Pseudonymns: A.V., Mrs. A. E. Andrews, Mrs. E. A. Andrews, Mrs. E. L. Andrews, James L. Black, Henrietta E. Blair, Charles Bruce, Robert Bruce, Leah Carlton, Eleanor Craddock, Lyman G. Cuyler, D.H.W., Ella Dare, Ellen Dare, Mrs. Ellen Douglass, Lizzie Edwards. Miss Grace Elliot, Grace J. Frances, Victoria Frances, Jennie Garnett, Frank Gould, H. D. K., Frances Hope, Annie L. James, Martha J. Lankton [Langton], Grace Lindsey, Maud Marion, Sallie Martin, Wilson Meade, Alice Monteith, Martha C. Oliver, Mrs. N. D. Plume, Kate Smiley, Sallie Smith, J. L. Sterling, John Sterling, Julia Sterling, Anna C. Storey, Victoria Stuart, Ida Scott Taylor, Mary R. Tilden, Mrs. J. B. Thresher, Hope Tryaway, Grace Tureman, Carrie M. Wilson, W.H.D. Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history. This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author. While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York. Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard. Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated. She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn, "We are going, we are going To a home beyond the skies", was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is, "Jesus, dear, I come to Thee, Thou hast said I may," both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is: "O what a happy soul am I! Although I cannot see, I am resolved that in this world Contented I will be;" This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age. Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names. -Biographies of Gospel Song and Hymn Writers (excerpts) ======================= Van Alstyne, Frances Jane, née Crosby, a member of the Methodist Episcopal Church, was born at South East, Putnam County, New York, March 24, 1823. When six weeks old she lost her sight. About 1835 she entered the New York City Institution for the Blind. On completing her training she became a teacher therein from 1847 to 1858. In 1858 she was married to Alexander Van Alstyne, a musician, who was also blind. Her first poem was published in 1831; and her first volumes of verse as A Blind Girl, and Other Poems, 1844; Monteresy, and Other Poems, 1849; and A Wreath of Columbia's Flowers, 1858. Her first hymn was "We are going, we are going" (Death and Burial), which was written for Mr. Bradbury and published in the Golden Censer, 1864. From 1853 to 1858 she wrote 20 songs, which were set to music by G. F. Root. Her songs and hymns number some 2,000 or more, and have been published mainly in several of the popular American Sunday school collections, and often under a nom de plume. About 60 have come into common use in Great Britain. The majority of these are taken from the following American collections:— i. From The Shining Star, 1864. 1. Softly on the breath of evening. Evening. ii. From Fresh Laurels, 1867. 2. Beautiful Mansions, home of the blest. Heaven. 3. Jesus the Water of Life has given. The Water of Life. 4. Light and Comfort of my soul. In Affliction. 5. There's a cry from Macedonia. Missions. 6. We are marching on with shield and banner bright. Sunday School Anniversary. iii. From Musical Leaves, 1868. 7. 0 what are you going to do, brother? Youth for God. iv. From Sabbath Carols, 1868. 8. Dark is the night, and cold the wind is blowing. Affliction anticipated. 9. Lord, at Thy mercy seat, Humbly I fall. Lent. v. From Silver Spray, 1868. 10. If I come to Jesus, He will make me glad. Peace in Jesus. 11. 'Twill not be long—our journey here. Heaven anticipated. vi. From Notes of Joy, 1869. 12. Little beams of rosy light. The Divine Father. 13. Press on! press on! a glorious throng. Pressing towards the Prize. vii. From Bright Jewels, 1869. 14. Christ the Lord is risen today, He is risen indeed. Easter. 15. Holy, holy, holy is the Lord! Sing 0 ye people, &c. Holiness of God. 16. Jesus, keep me near the Cross. Near the Cross of Christ. 17. Saviour, bless a little child. A Child's Prayer. Written Feb. 6, 1869. viii. From Songs of Devotion, 1870. 18. Pass me not, 0 gentle Saviour. Lent. Written in 1868. 19. Rescue the perishing, care for the dying. Home Missions. ix. From Pure Gold, 1871. 20. Great is Jehovah. King of kings. Greatness of God. 21. I would be Thy little lamb. The Good Shepherd. 22. Lead me to Jesus, lead me to Jesus. Desiring Jesus. 23. To the work, to the work, we are servants of God. Home Missions. 24. Why labour for treasures that rust and decay? The Fadeless Crown. x. From the Royal Diadem, 1873. 25. I am Jesus' little friend. For Infant Schools. 26. Jesus I love Thee. Loving Jesus. 27. Mourner, wheresoe'er thou art. To the Sorrowing and Penitent. Written Oct. 3, 1871. 28. Never be faint or weary. Joy in Jesus. 29. Only a step to Jesus. Invitation. xi. From Winnowed Hymns, 1873-4. 30. Loving Saviour, hear my cry. Lent. xii. From Echoes of Zion, 1874. 31. Say, where is thy refuge, my brother? Home Missions. xiii. From Songs of Grace and Glory, 1874. 32. Thou my everlasting Portion. Christ the Portion of His People. xiv. From Brightest and Best, 1875. 33. All the way my Saviour leads me. Jesus the Guide. 34. I am Thine, O Lord: I have heard Thy voice. Holiness desired. 35. O come to the Saviour, believe in His name. Invitation. Written, Sep. 7, 1874. 36. O how sweet when we mingle. Communion of Saints. Written in 1866. 37. O my Saviour, hear me. Prayer to Jesus for blessing and love. 38. Only Jesus feels and knows. Jesus the Divine Friend. 39. Revive Thy work, O Lord. Home Missions. 40. Saviour, more than life to me. Jesus All and in All. 41. To God be the glory, great things He hath done. Praise for Redemption. xv. From Calvary Songs, 1875. 42. Come, O come with thy broken heart. Invitation. xvi. From Gospel Music, 1876. 43. Here from the world we turn. Divine Worship. 44. When Jesus comes to reward His servants. Watching, xvii. From Welcome Tidings, 1877. 45. O hear my cry, be gracious now to me. For Pardon and Peace. xviii. From The Fountain of Song, 1877. 46. Lord, my trust I repose on Thee. Trusting in Jesus. xix. From Good as Gold, 1880. 47. In Thy cleft, O Rock of Ages. Safety in Jesus. 48. Sound the alarm ! let the watchman cry. Home Missions. 49. Tenderly He leads us. Christ the Leader. 50. 'Tis the blessed hour of prayer. The Hour of Prayer. In addition to these hymns, all of which are in common use in Great Britain (mainly through I. D. Sankey's Sacred Songs and Solos, the Methodist Sunday School Hymn Book, the Silver Street Sunday Scholars Companion, and other collections for Sunday schools), there are also "A blessing for you, will you take it?" (Pardon through Jesus); "My song shall be of Jesus" (Praise of Jesus); “Now, just a word for Jesus"(Home Missions); "Onward, upward, Christian soldier" (Pressing Heavenward); 44 Sinner, how thy heart is troubled" (Invitation); "'Tis a goodly, pleasant land" (Heaven anticipated); and "When the dewy light was fading" (Death anticipated). All of these are in I. D. Sankey's Sacred Songs & Solos. Mrs. Van Alstyne's most popular composition is "Safe in the arms of Jesus" (Safety in Jesus). This was written in 1868, at the request of Mr. W. H. Doane, to his well-known melody with which it is inseparably associated, and published in Bright Jewels, 1869. Mrs. Van Alstyne's hymns have sometimes been published anonymously; but the greater part are signed by a bewildering number of initials. The combined sales of the volumes of songs and hymns named above have amounted in English-speaking countries to millions of copies. Notwithstanding the immense circulation thus given to Mrs. Van Alstyne's hymns, they are, with few exceptions, very weak and poor, their simplicity and earnestness being their redeeming features. Their popularity is largely due to the melodies to which they are wedded. Since the above was in type we have found that the following are also in common use in Great Britain:— 51. Suppose the little cowslip. Value of Little Things. 52. Sweet hour of prayer. The Hour of Prayer. These are in Bradbury's Golden Chain, 1861. 53. Never lose the golden rule. Love to our Neighbours. In Bradbury's Golden Censer, 1864. 54. I will not be afraid at night. Trust in God. In Bradbury's Fresh Laurels, 1867. 55. Praise Him, praise Him, Jesus our, &c. Praise of Jesus. In Biglow & Main's Bright Jewels, 1869. 56. More like Jesus would I be. More like Jesus. In Perkins & Taylor's Songs of Salvation, 1870. 57. Behold me standing at the door. Christ at the Door. In Biglow & Main's Christian Songs, 1872. 58. If I come to Jesus. Jesus the Children's Guide. 59. Jesus, Lord, I come to Thee. Trust in Jesus. 60. Let me learn of Jesus. Jesus the Children's Friend. 61. Singing for Jesus, O singing for Jesus. Singing for Jesus. 62. There is a Name divinely sweet Holy Name of Jesus. Of these hymns Nos. 58-62 we have not been able to trace. --Excerpts from John Julian, Dictionary of Hymnology (1907 ================ Van Alstyne, Frances J., p. 1203, ii. From the American collections of recent date we find that Mrs. Van Alstyne is still actively engaged in hymn-writing. In the Funk and Wagnalls Company Gloria Deo, 1903, there are about 30 of her hymns, most of which are new. They are all signed, and some are dated, but we have not space to quote the first lines and subjects, as this hymnal is not an official collection of any denomination. Another name, "Mrs. S. K. Bourne" is credited in the same hymnal with about 40 new hymns. If this signature is not another pen-name of Mrs. Van Alstyne's (and these pen-names and initials of hers are very numerous), we can only say that she has a very successful understudy in "Mrs. S. K. Bourne." --John Julian, Dictionary of Hymnology, New Supplement (1907)