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Dorothy Frances Gurney

1858 - 1932 Person Name: Dorothy F. Gurney, 1858-1932 Hymnal Number: 320b Author of "O perfect Love, all human thought transcending" in The New English Hymnal Blomfield, Dorothy F. , was born at 3 Finsbury Circus, Oct. 4, 1858. Miss Blomfield is the eldest daughter of the late Rev. F. G. Blomfield, sometime Rector of St. Andrew's Undershaft, London, and granddaughter of the late Dr. Blomfield, Bishop of London. Her very beautiful hymn for Holy Matrimony, “O perfect Love, all human thought transcending," was written for her sister's marriage in 1883, and was intended to be sung to Strength and Stay, in Hymns Ancient & Modern, No. 12. Subsequently it was set as an anthem by J. Barnby for the marriage of the Duke of Fife with the Princess Louise of Wales, on July 27, 1889. In 1889 it was included in the Supplemental Hymns to Hymns Ancient & Modern, and in 1890 in the Hymnal Companion. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =============== Gurney, Dorothy Frances, née Blomfield, p. 1553, ii. Married to Mr. Gerald Gurney. Mrs. Gurney's personal account of her hymn, "O perfect Love," &c, is given in detail in the Rev. J. Brownlie's Hymns and Hymn Writers of The Church Hymnary, 1899, p. 248. Her hymn is given in most hymn books published since 1889. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William J. Kirkpatrick

1838 - 1921 Person Name: W. J. Kirkpatrick, 1838-1921 Hymnal Number: 22 Composer of "CRADLE SONG" in The New English Hymnal William J. Kirkpatrick (b. Duncannon, PA, 1838; d. Philadelphia, PA, 1921) received his musical training from his father and several other private teachers. A carpenter by trade, he engaged in the furniture business from 1862 to 1878. He left that profession to dedicate his life to music, serving as music director at Grace Methodist Church in Philadelphia. Kirkpatrick compiled some one hundred gospel song collections; his first, Devotional Melodies (1859), was published when he was only twenty-one years old. Many of these collections were first published by the John Hood Company and later by Kirkpatrick's own Praise Publishing Company, both in Philadelphia. Bert Polman

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Felix Mendelssohn-Bartholdy, 1809-47 Hymnal Number: 26 Composer of "MENDELSSOHN" in The New English Hymnal Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

Jeremiah Clarke

1669 - 1707 Person Name: Jeremiah Clarke, c. 1673-707 Hymnal Number: 134 Composer of "ST MAGNUS" in The New English Hymnal

Frederick Lucian Hosmer

1840 - 1929 Person Name: Frederick Hosmer, 1840-1929 Hymnal Number: 500 Author of "Thy kingdom come! on bended knee" in The New English Hymnal Hosmer, Frederick Lucian, B.A., was born at Framingham, Mass., in 1840, and educated at Harvard, where he graduated B.A. in 1869. Entering the Unitarian Ministry in 1872 he has held charges in Quincy, Ill., 1872-77; Cleveland, Ohio, 1878-92; St. Louis, 1894-99; and since 1899, at Berkeley, Cal. His Way of Life, 1877, was a compilation of Prayers and Responsive Services for Sunday Schools. Of Unity Hymns and Carols, 1880, he was joint editor with W. C. Gannett and J. V. Blake. His hymns were published jointly by him and W. C. Gannett (q.v.), as The Thought of God in Hymns and Poems (Boston: Little, Brown & Co.), 1st Series, 1885; 2nd Series, 1894. Of his 56 hymns in this work the following have come into common use, for the most part during the past ten years:— 1. Father, to Thee we look in all our sorrow. [Trust in God.] Written in 1881 upon the death of a member of the author's congregation, and published in The Thought of God, 1st Series, 1885. 2. From age to age how grandly rise. [Unity.] Written for the annual festival of the Free Religious Assoc, Boston, June 2, 1899, and first published in Souvenir Festival Hymns, 1899. Subsequently altered by the author to "From age to age the prophet's vision." 3. From age to age they gather, all the brave of heart and strong. [Victory of Truth.] "Written in 1891 for the Dedication of Unity Church, Decorah, Iowa, and published in The Thought of God, 2nd Series, 1894. 4. From many ways and wide apart. [College or School Reunion.] Dated in The Thought of God, 2nd Series, 1894, as having been written in 1890. 5. Go not, my soul, in search of Him. [God Within.] Written in 1879, printed in the Boston Christian Register, May 31, 1879, and included in The Thought of God, 1st Series, 1885, with the title, "The Indwelling God." 6. I cannot think of them as dead. [Eternal Life.] Written in 1882, and first published in The Thought of God, 1st Series, 1885, and entitled "My Dead." in the English collections it is usually given as "We cannot think of them as dead." 7. I little see, I little know. [Trust.] "A Psalm of Trust," written in 1883, first appeared in the Boston Christian Register, and again in The Thought of God, 1st Series, 1885. 8. Immortal by their deed and word. [The Spirit of Jesus.] Written in 1880, and first published in Unity Hymns and Carols, Chicago, Ill., 1880, and then in The Thought of God, 1st Series, 1885. 9. Many things in life there are. [Mystery in all Things.] Written in 1885, and first published in The Thought of God, 1st Series, 1885, with the title "Passing Understanding," and the quotation "The Peace of God which passeth all understanding." 10. Not always on the mount may we. [On the Mount.] This lesson from the Transfiguration was written in 1882, and published in the Chicago Unity, April 1, 1884. After revision by the author, it was included in the 1st Series of The Thought of God, 1885. 11. Not when, with self dissatisfied. [Lent.] Written in 1891, and given in The Thought of God, 2nd series, 1894, p. 33. It is in The Public School Hymn Book, 1903, and others. 12. O beautiful, my country. [National Hymn.] As “Our Country," written in 1884, and published in the Chicago Unity Festivals, 1884; and again in The Thought of God, 1885. 13. O Light, from age to age the same. [Dedication Anniversary.] Written in 1890 for the fiftieth anniversary of the Second Congregational Church (Unitarian), Quincy, 111. Included in The Thought of God, 2nd Series, 1894, and entitled "From Generation to Generation." 14. O Lord of Life, where'er they be. [Life in God.] "Written in 1888 for Easter service in Author's own church," and first published in the Chicago Unit, and again in The Thought of God, 2nd Series, 1894. The "Alleluia!" refrain, which is added in some collections to each verse, is appended, in the original, to the last verse only. 15. O Name, all other names above. [Trust in God.] Under the title "Found. 'They that know Thy name will put their trust in Thee!’ this hymn, written in 1878, was given in The Thought of God, 1st Series, 1885. 16. O Prophet souls of all the years. [Unity.] “Written in 1893 for, and sung at, the Unitarian gathering in connection with The World's Parliament of Religions (World's Fair), Chicago, Sep., 1893," and included in The Thought of God, 2nd Series, 1894, and entitled "One Law, One Life, one Love." 17. O Thou, in all Thy might so far. [God All in All.] This hymn, given in The Thought of God, 1st Series, 1885, with the title "The Mystery of God," was written in 1876, and first published in the New York Inquirer. 18. O thou in lonely vigil led. This encouragement for lonely workers was written for the "Emerson Commemoration, W. U. C, 1888," and included in The Thought of God, 2nd Series, 1894. 19. O Thou, Who art of all that is. [Divine Guidance.] Under the title "Through unknown paths," this hymn was included in The Thought of God, 1st Series, 1885. It was written in 1877. 20. O Thou, Whose Spirit witness bears. [Dedication of a Place of Worship.] Written for the Dedication of First Unitarian Church, Omaha, Feb. 6, 1891, and published in The Thought of God, 2nd Series, 1894, with the title "The Inward Witness," and the subscription "For T. K., Omaha, 1801." 21. On eyes that watch through sorrow's night. [Easter] A Carol for Easter Morn, written in 1890 for the author's congregation, and published in The Thought of God, 2nd Series, 1894. 22. One thought I have, my ample creed. [The Thought of God.] This is the initial hymn to the collection The Thought of God, 1st Series, 1885, and supplies the title to the work. It was written in 1880, and first published in the Chicago Unity Hymns and Carols, 1880, and then in The Thought of God, 1885. 23. The rose is queen among the flowers. [Flower Service.] "Written in 1875, first published in The Sunnyside, a song book for Sunday Schools, and again in The Thought of God, 1st Series, 1885, under the title "Flower Sunday." 24. Thy kingdom come, — on bended knee. [Missions.] "Written in 1891 for the Commencement of the Meadville Theological School (Meadville, Pa.), June 12, 1891, and published in The Thought of God, 2nd Series, 1894," under the title "The Day of God," and the subscription, "M. T. S., June 12, 1891." 25. We pray no more, made lowly wise, For miracle and sign. [Greater Faith Desired.] Written in 1879, and first published in The Christian Register (Boston), Mar. 22 of that year, under the title 'The Larger Faith.'" Included under the same title in The Thought of God, 1st Series, 1885. Sometimes given as "Made lowly wise, we pray no more." 26. When courage fails, and faith burns low. [Victory of Truth.] Under the title "Loyalty," this hymn was given in The Thought of God, 1st Series, 1885. It was written in 1881. 27. Where men on mounts of vision Have passed the veil within. [Dedication of a Place of Worship.] "Written in 1891 for the Dedication of First Unitarian Church, Oakland, California." Included in The Thought of God, 2nd Series, 1894, entitled "Holy Places," and subscribed " For C. W. W., Oakland, Cal., 1891." These annotations are from manuscript notes supplied to us by the author. Of these hymns all are in common use in America, and more than one half in Great Britain, mainly by Unitarians and Congregationalists. Amongst Unitarian hymn-writers of the last twenty years Mr. Hosmer is the most powerful and original known to us. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Bright

1824 - 1901 Person Name: William Bright, 1824-1901 Hymnal Number: 273 Author of "And now, O Father, mindful of the love" in The New English Hymnal Bright, William, D.D., born at Doncaster, Dec. 14, 1824, and educated at University College, Oxford, where he graduated B.A. (first class in Lit. Hum.) in 1846, M.A. in 1849. In 1847 he was Johnson's Theological Scholar: and in 1848 he also obtained the Ellerton Theological Essay prize. He was elected Fellow in 1847, and subsequently became Tutor of his College. Taking Holy Orders in 1848, he was for some time Tutor at Trinity College, Glenalmond; but in 1859 he returned to Oxford, and in 1868 became Regius Professor of Ecclesiastical History and Canon of Christ Church. His publications include:— (1) Ancient Collects, selected from various Rituals, 1857, 2nd ed., 1862; (2) History of the Church from the Edict of Milan to the Council of Chalcedon, 1860; (3) Sermons of St. Leo the Great on the Incarnation, translated with notes, 1862; (4) Faith and Life, 1864-66; (5) Chapters of Early English Church History, 1877; (6) Private Prayers for a Week; (7) Family Prayers for a Week; (8) Notes on the Canons of the First tour Councils. He has also edited (9) Eusebius' Ecclesiastical History, 1872; (10) St. Athanasius's Oration against the Arians, &c, 1873; (11) Socrates' Ecclesiastical Hist.; (12) with the Rev. P. G. Medd, Latin Version of the Prayer Book, 1865-69. His poetical works are, (13) Athanasius and other Poems, by a Fellow of a College, 1858; and (14) Hymns & Other Poems, 1866; revised and enlarged, 1874. The last two works contain original hymns and translations. To the hymn-books he is known through his original compositions, seven of which are given in the revised edition of Hymns Ancient & Modern and some are found elsewhere. In addition to “And now the wants are told," and "At Thy feet, O Christ, we lay" (q.v.), there are:— 1. And now, 0 Father, mindful of the love. Holy Communion. Published in Hymns Ancient & Modern1875. Part of a composition in his Hymns, &c. 2. Behold us, Lord, before Thee met. Confirmation. Printed in the Monthly Packet, Nov. 1867, and, in a revised form, in the Appendix to Hymns Ancient & Modern, 1868. 3. How oft, O Lord, Thy face hath shone. St. Thomas. Published in Hymns Ancient & Modern, 1875. 4. Once, only once, and once for all. Holy Communion. Written in 1865, and published in his Hymns, &c, 1866, in 6 stanzas of 4 lines. It was given in the Appendix to Hymns Ancient & Modern, 1868; the new edition, 1875, and several other collections. 5. We know Thee, Who Thou art. Prayer after Pardon. Written in 1865, and published in his Hymns , &c, 1866, in 5 stanzas of 4 lines. It was included in the Appendix to Hymns Ancient & Modern, 1868, &c. Canon Bright's hymns merit greater attention than they have received at the hands of compilers. He died March 6, 1901. -- John Julian, Dictionary of Hymnology (1907) =================== Bright, William, p. 182, i. Other hymns in common use are:— 1. God the Father, God the Son. Litany of the Resurrection. Second stanza, "Risen Lord, victorious King." From Iona, &c, 1886. 2. Pie sat to watch o'er customs paid. St. Matthew. In the 1889 Supplemental Hymns to Hymns Ancient & Modern. 3. Holy Name of Jesus. Name of Jesus. From Iona, &c., 1886. 4. Now at the night's return we raise. Evening. Rugby School Hymn Book, 1876, and others. 5. Thou the Christ for ever one. Mission to the Jews. In the 1889 Supplemental Hymns to Hymns Ancient & Modern. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, 1792-1872 Hymnal Number: 72 Composer of "OLIVET" in The New English Hymnal 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 19G9. 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). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Brian A. Wren

b. 1936 Person Name: Brian Wren, b. 1936 Hymnal Number: 177 Author of "Christ, upon the mountain peak" in The New English Hymnal Brian Wren (b. Romford, Essex, England, 1936) is a major British figure in the revival of contemporary hymn writing. He studied French literature at New College and theology at Mansfield College in Oxford, England. Ordained in 1965, he was pastor of the Congregational Church (now United Reformed) in Hockley and Hawkwell, Essex, from 1965 to 1970. He worked for the British Council of Churches and several other organizations involved in fighting poverty and promoting peace and justice. This work resulted in his writing of Education for Justice (1977) and Patriotism and Peace (1983). With a ministry throughout the English-speaking world, Wren now resides in the United States where he is active as a freelance lecturer, preacher, and full-time hymn writer. His hymn texts are published in Faith Looking Forward (1983), Praising a Mystery (1986), Bring Many Names (1989), New Beginnings (1993), and Faith Renewed: 33 Hymns Reissued and Revised (1995), as well as in many modern hymnals. He has also produced What Language Shall I Borrow? (1989), a discussion guide to inclusive language in Christian worship. Bert Polman

Anonymous

Hymnal Number: 22 Author of "Away in a manger, no crib for a bed" in The New English Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Catherine Winkworth

1827 - 1878 Person Name: Catherine Winkworth, 1827-78 Hymnal Number: 105a Translator of "Christ the Lord is risen again!" in The New English Hymnal Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church