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and his contention against John Wesley's law that none but the regular parish ministers had the right to administer the sacraments, led to his complete separation from both the Wesleys. He subsequently became the pastor of a small church of Dissenters in Canterbury, where he died, in January, 1792. His piety uttered itself when near his happy death, and his last words were a Gloria.

All hail the power of Jesus' namel

Let angels prostrate fall;
Bring forth the royal diadem,

To crown Him Lord of all.
Ye seed of Israel's chosen race,

Ye ransomed of the fall,
Hail Him Who saves you by His grace,

And crown Him Lord of all.
Sinners, whose love can ne'er forget

The wormwood and the gall,
Go, spread your trophies at His feet,

And crown Him Lord of all.
Let every tribe and every tongue

That bound creation's call,
Now shout the universal song,

The crowned Lord of all. With two disused stanzas omitted, the hymn as it stands differs from the original chiefly in the last stanza, though in the second the initial line is now transposed to read —

Ye chosen seed of Israel's race. The fourth stanza now reads

Let every kindred, every tribe

On this terrestrial ball
To Him all majesty ascribe,

And crown Him Lord of all. And what is now the favorite last stanza is the one added by Dr. Rippon

O that with yonder sacred throng

We at His feet may fall,
And join the everlasting song,

And crown Him Lord of all.

THE TUNE. Everyone now calls it Old Coronation,” and it is entitled to the adjective by this time, being considererably more than a hundred years of age. It was composed in the very year of Perronet's death and one wonders just how long the hymn and tune waited before they came together; for Heaven evidently meant them to be wedded for all time. This is an American opinion, and no reflection on the earlier English melody of “Miles Lane," composed during Perronet's lifetime by William Shrubsole and published with the words in 1780 in the Gospel Magazine. There is also a fine processional tune sung in the English Church to Perronet's hymn.

The author of “Coronation" was Oliver Holden, a self-taught musician, born in Shirley, Mass., 1765, and bred to the carpenter's trade. The little pipe organ on which tradition says he struck the first notes of the famous tune is now in the Histor

ical rooms of the Old State House, Boston, placed there by its late owner, Mrs. Fanny Tyler, the old musician's granddaughter. Its tones are as mellow as ever, and the times that “Coronation” has been played upon it by admiring visitors would far outnumber the notes of its score.

Holden wrote a number of other hymn-tunes, among which “Cowper,” “Confidence," and Concord” are remembered, but none of them had the wings of “Coronation,” his American Te Deum.” His first published collection was entitled The American Harmony, and this was followed by the Union Harmony, and the Worcester Collection. He also wrote and published “Mt. Vernon,” and several other patriotic anthems, mainly for special occasions, to some of which he supplied the words. He was no hymnist, though he did now and then venture into sacred metre. The new Methodist Hymnal preserves a simple four-stanza specimen of his experiments in verse:

They who seek the throne of grace
Find that throne in every place:
If we lead a life of prayer

God is present everywhere. Sacred music, however, was the good man's passion to the last. He died in 1844.

“Such beautiful themes!” he whispered on his death bed, “Such beautiful themes! But I can write no more.”

The enthusiasm always and everywhere aroused by the singing of “Coronation,” dates from the time it first went abroad in America in its new wedlock of music and words. “This tune," says an accompanying note over the score in the old Carmina Sacra, "was a great favorite with the late Dr. Dwight of Yale College (1798). It was often sung by the college choir, while he, catching, as it were, the music of the heavenly world, would join them, and lead with the most ardent devotion.”


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This hymn of six stanzas is abridged from a longer one indited by the Rev. William Hammond, and published in Lady Huntingdon's Hymn-book. It was much in use in early Methodist revivals. It appears now as it was slightly altered by Rev. Martin Madan

Awake and sing the song

Of Moses and the Lamb;
Join every heart and every tongue
To praise the Savior's name.

* * * * * * The sixth verse is a variation of one of Watts' hymns, and was added in the Brethren's Hymn. book, 1801

There shall each heart and tongue

His endless praise proclaim,
And sweeter voices join the song

Of Moses and the Lamb. The Rev. William Hammond was born Jan. 6, 1719, at Battle, Sussex, Eng., and educated at St. John's College, Cambridge. Early in his ministerial life he was a Calvinistic Methodist, but ultimately joined the Moravians. Died in London, Aug. 19, 1793. His collection of Psalms and Hymns and Spiritual Songs was published in 1745.

The Rev. Martin Madan, son of Col. Madan, was born 1726. He founded Lock Hospital, Hyde Park, and long officiated as its chaplain. As a preacher he was popular, and his reputation as a composer of music was considerable. There is no proof that he wrote any original hymns, but he amended, pieced and expanded the work of others. Died in 1770.

THE TUNE. The hymn has had a variety of musical interpretations. The more modern piece is “St. Philip,” by Edward John Hopkins, Doctor of Music, born at Westminster, London, June 30, 1818. From a member of the Chapel Royal boy choir he became organist of the Michtam Church, Surrey, and afterwards of the Temple Church, London. Received his Doctor's degree from the Archbishop of Canterbury in 1882.


The writer of this hymn was William Goode, who helped to found the English Church Missionary Society, and was for twenty years the Secretary of the "Society for the Relief of Poor Pious Clergy

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