Jesus, Keep Me Near the Cross

Please enjoy another wonderful hymn!

Title: Jesus, Keep Me Near the Cross

Tune: Near the Cross

Meter: 6.6.7.6

Composer: William H. Doane (February 3^rd, 1832-December 24^th, 1915

Author: Fanny J. Crosby (March 24^th 1820-February 12^th, 1915)

               This hymn first appeared in the collection Bright Jewels for the Sunday School (New York, 1869), which was edited by Robert Lowry and W.F. Sherwin (see “Break Thou the Bread of Life”). For the author of this text, Fanny J. Crosby, the cross held special meaning. Edith Blumhofer says, “for Crosby the cross held a special appeal as a place for centering proximity to Christ. Since something good happened to one near there, what better place to 'Linger'?” (Westermeyer, 2010, p. 129). Known as one of the best gospel hymn writers, Crosby was born into a Puritan Reformed world in northern Connecticut, near the New York Border. Her lineage can be traced back to the time of Magna Carta in the early thirteenth century. Much of her family also can be found in the Massachusetts Bay colony in the early 17^th century. From her family, we can tracer her descendants to the 20^th century crooner, Bing Crosby. When Crosby was only six weeks old, she went completely blind due to maltreatment of her eyes during a bout of illness. At the age of eight, Crosby moved with her family to Eidgefiled, Connecticut, around the same time she began writing verse. Seven years later, in 1835, Crosby entered into the New York City institution for the Blind. After studying at the school for over ten years, Crosby eventually became a teacher at the institution (1847-1858).

               While serving as a teacher at the institution, Crosby met her husband, Alexander Van Alstyne, who was also a blind musician. The two were married in 1858 when Crosby was 38 years old, and she is sometimes known (mostly in England) by her married name. Crosby began writing hymns when she was only 24 (1844) years old, but it wasn't until she was 44 years old (1864) that she discovered her true vocation as a hymn writer. Her first hymn was a Sunday-School hymn written for Wm. B. Bradbury entitled We are Going, We are Going, to a Home Beyond the Skies. The hymn was written on February 5^th of that year, and was also performed at Bradbury's funeral in 1868. From that point on, Crosby supported herself with her writings for the publishing company, Biglow & Maine Co., where she wrote nearly 4,000 hymns. Her hymns were very popular, and were inspiring to many prominent composers of that time (Rev. Robert Lowry, Wm. B. Bradbury, Geo F. Root, and many others). Crosby was so proficient at writing hymns, she did not need to wait for any sort of inspiration to come to her. She always composed with an open book in her hand, most times with a copy of Golden Hymns, held closely over her eyes and upside down (http://www.hymnary.org/person/Crosby_Fanny, Paragraph 7).

               Though Crosby grew up with connections in the Presbyterian church as well as being influence by the Holiness movement, she did not formally join a church until 1887—Cornell Methodist Episcopal Church in New York City, New York. Crosby was a very small women, standing only four feet, nine inches, and weighing less than 100 pounds. Because she worked among many who were marginalized, Crosby kept her language simple and idiomatic, making it easy for others to understand. Having spent most of her life writing hymns, it is said that Crosby has written around 8,000 hymns, but this number could be more. Some of Crosby's hymns may have been lost in the nearly 200 different pseudonyms she published her work under. Before the age of ten, Crosby had the first four books of the bible, as well as the four gospels, committed to memory. Her mental capacity was astounding, often times editing her poems in her head while dictating several others, allowing her to compose nearly seven hymns a day. Edith Blumhofer has divided Crosby's hymns into four distinct categories: salvation, consecration, service, and heaven. Through out all 95 years of Crosby's life, she has come across many important figures, including Henry Clay, of who she wrote a special poem for clay on the anniversary of his son's death in the Civil War. To learn more about Crosby, see “Blessed Assurance: Jesus is Mine.”

               As Crosby did several times, the text of this hymn was written to fit the tune, which then took its name from the text. The tune, written by William H. Doane uses a compound rhythm with a very simple harmonic structure. Doane, who often signed his name as W. Howard, was one of the most prominent collaborators with Fanny Crosby for providing tunes to accompany her texts. Much like Crosby, Doane's lineage can be traced back to English settlers in the early 1700's from Cape Cod Massachusetts, soon after the Mayflower. Born to the head of the cotton manufacturer Doane & Treat, Doane grew up in Connecticut as well. From an early age, Doane's interest in music was very clear, being influence by singing schools and learning to play many different instruments including the Violin, Flute, and Double Bass. At the age of 14, Doane attended the Woodstock Academy, where he directed the student choir. Though he never abandoned music entirely, Doane became a very successful businessman who gave generously as a Baptist lay person, having followed his mothers Baptist roots instead of his fathers Congregational roots. In 1851, Doane joined J.A. Fay & Company, which was a company that manufactured woodworking machinery. For the next several years, Doane would have many different jobs as well as events. In 1857, he married Francis Treat, the daughter of his father's business partner, in 1858, Doane moved to Chicago to continue his work for the Fay company filing patent claims. In 1861, he moved as a partner to the company headquarters in Cincinnati, and finally in 1866 was named president of the company.

               During his time in Cincinnati, Doane became a civic leader as well as a benefactor, and for 25 years, he held the position of superintendent of the Sunday School at Mount Auburn Baptist Church. In his home in Mount Auburn, Doane included a music room, which contained a pipe organ and many pianos. His home also had a large library with manuscripts from composers such as Haydn, Handel, Mozart, Beethoven, and Mendelssohn (Westermeyer, p. 130). Having written nearly 200 pieces of music throughout his career, most of them being hymn tunes, Doane was able to publish over 40 different song books. After the death of William B. Bradbury, Doane resumed Bradbury's work, with the help of Robert Lowry, composing Sunday School hymns. The collection Silver Spray, published in 1869. outsold all other similar collections, allowing Lowry and Doane to donate enough money to the YMCA in Cincinnati so that they may buy a large pipe organ.

The Text:

1. Jesus, keep me near the cross,
   there a precious fountain,
   free to all, a healing stream,
   flows from Calvary's mountain.
   
   Chorus:
   In the cross, in the cross,
   be my glory ever;
   'til my raptured soul shall find,
   rest beyond the river.
   
   (2) Near the cross, a trembling soul,
   love and mercy found me;
   there the bright and morning star
   sheds its beams around me.
   
   Chorus
   
   (3) Near the cross! O Lamb of God,
   bring its scenes before me;
   help me walk from day to day,
   with its shadows over me.
   
   Chorus
   
   (4) Near the cross I'll watch and wait,
   hoping, trusting ever,
   'til I reach the golden strand,
   just beyond the river.
   
   

My Take on the Hymn:

               This hymn is incredibly powerful, asking Christ to take us and keep us near to him every day. This him is a reminder of what happened on the Cross, both when we as humans failed to see what we were doing, and what God was doing for us in that moment. The first verse tells us that the river of life flows from Christ's side and down Calvary to all of us. If we are not near the Cross, we would not be able to feel the stream of life that comes from the river that Christ sheds for us. The second verse reminds us that we are all lost until we find Christ. When we come to the Cross, we find that we are nervous, we are lost, and we are weak, but through Christ on the Cross, we become found, and we are shown the light, the truth, and the way. The third verse talks about the Cross giving us strength in every day life. Each and every one of us has been given something in life that we may consider a burden  That burden is our Cross to bear. Through finding our Cross, we will see how strong we can truly become by facing our problems with the help of Christ. The fourth verse shows reverence for the Cross. Until our dying day, we must turn towards the Cross and face Christ. It is in facing Christ and seeing God within his only son that we can see our true potential, and know God gave his only son so that we may be free of sin and be taken into our heavenly home, if we only face what we have done!

The Hymn:

If you cannot read music, just start the Youtube video and follow along!

Bibliography:

Julian, John. "Near the Cross." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 16 Feb. 2013.

Julian, John. "Fanny Crosby." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 16 Feb. 2013.

Psalter, Hymnal Handbook. "NEAR THE CROSS (Doane)." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 16 Feb. 2013.

Julian, John. "W. Howard Doane." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 16 Feb. 2013.

"Hymn Jesus Keep Me Near The Cross Lyrics." JESUS KEEP ME NEAR THE CROSS Lyrics. Elyrics.net, n.d. Web. 16 Feb. 2013.

Westermeyer, Paul. "Lent." Hymnal Companion to Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 129-31. Print.

Lord, to Thee Alone We Turn

As we begin this Lenten season, don’t forget we are not alone through our journey!

Title: Lord, to Thee Alone we turn

Tune: Ramoth

Meter: 7.7.7.7. Doubled

Composer: John Baptiste Calkin (March 16^th, 1827-April 15^th, 1905)

Author: Albert Eubule Evans (1839-1896)

                Very little is actually known about this hymn, but it is apparent that in his day, Albert E. Evans was a busy man. Having published numerous hymns throughout the latter half of the 19^th century, Evans was a well-known protestant writer. Evans was educated in St. Mary’s Hall in Oxford, England, where he earned his B.A. in 1866. Two years prior to earning his degree, Evans took holy orders, holding Curacies at Slough, New Windsor, and Walmer. A few years later, Evans became the Secretary of the South American Missionary Society, and eventually became an assistant Examiner to the Civil Service Commissioners. In 1875, Evans became Rector of Kirk-Hallam, Ilkston which would be his last post of note. Some of his most known works are Pietas Peurilis (1865), and The Fourfold Message of Advent (1870). Several of Evans’ hymns were found in a collection published by Rev. R Brown-Brothwick entitled Sixteen Hymns (1870), Brown-Brothwick’s Select Hymns for Church and Home (1871), Dr. Martineau’s Hymns (1873), and in the Society for Christian Knowledge’s Church Hymns (1871).

                The tune “Ramoth,” was composed by John Baptiste Calkin, who got most of his early musical training from his father, James Calkin (1786-1862), who was a well-known pianist, cellist, and composer.  In 1853, Calkin began working as the Organist, Preceptor, and Choirmaster at the St. Collumba’s College in Dublin. After some time in Dublin, Calkin returned to London where he held the post of Church Organist at several different churches. During his life, Calkin became a professor at the Guildhall School of Music and Drama, as well as a professor at the Croydon Conservatory in London. Though not much is known about Calkin, he is known for writing the setting for the famous Christmas hymn, “I Heard the Bells on Christmas Day,” which the text was composed by Henry Wadsworth.

The Text:

(1)    Lord, to Thee alone we turn,
To Thy cross for safety fly;
There, as penitents, to learn
How to live and how to die.
Sinful on our knees we fall;
Hear us, as for help we plead;
Hear us when on Thee we call;
Aid us in our time of need.

(2)    In the midst of sin and strife,
In the depths of mortal woe,
Teach us, Lord, to live a life
Meet for sojourners below.
Though the road be oft times dark,
Though the feet in weakness stray,
Lead us, Savior as the ark
Led Thy chosen on their way.

(3)    Weak and weary and alone
When the vale of death we tread,
Then be all Thy mercy shown,
Then be all Thy love displayed;
Guard us in that darksome hour,
Lead us to the land of rest,
Where, secure from Satan’s power,
We may lie upon Thy breast.

My Take on the Hymn:

                The title of this hymn says it all for me. We come across strife each and every day of our lives, but we can never truly deal with our struggles without Christ. The text of this hymn asks Christ to help us stay true to him and stay focused on Him alone. For many people, lent is very difficult, especially having to sacrifice something for 40 days (I gave up my laptop, so all of these posts will be coming to you from the first floor of the Minnesota State University, Mankato library!). If we simply turn our hearts to Christ and let Him take our struggles, we will live a life free of regret, free of sin, and free of stress from things that are menial. The first stanza offers up the first sign of faithfulness when the author says “to thy cross for safety fly.” Christ asks us to come to the cross with our sins so that we may, through his death, be rid of all of our sins. The second stanza shows reverence to Christ by asking Him to teach us how to live out our lives as faithfully as possible. By asking Christ to show us his mercy and show his light on the road ahead of us, we are giving Him control and letting our lives be lead to a greater purpose! The third stanza is the most desperate of all. In the darkest hour of our lives, we must turn to Christ to take away our pain, but that is when turning to Christ is the hardest. We can turn from God, and look to the world for comfort, but everything on this earth is a temporary fix, and it is only through Christ that our struggles will end, and we will find an eternal home to rest when it is our time!

The Hymn:

Unfortunately, there is no Youtube video to accompany the music.

Bibliography:

Julian, John. "A. Eubule Evans." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Unkown. "RAMOTH." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Unkown. "John Baptiste Calkin." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

"Lord, to Thee Alone We Turn." Lord, to Thee Alone We Turn. Cyber Hymnal, n.d. Web. 14 Feb. 2013.

Searcher of Hearts, From Mine Erase

Here is another hymn at the beginning of the season of Lent!

Title: Searcher of Hearts, From Mine Erase         

Tune: Beatitudo

Meter: 8.6.8.6.

Composer: John Bacchus Dykes (March 10^th, 1826-January 22^nd, 1876)

Author: George Pope Morris (October 10^th, 1802-July 6^th 1864)

                Born in Philadelphia in 1802, George Pope Morris was a well-known American poet. Early in his life, Morris moved to New York, where he became the editor of a Magazine entitled the Mirror (1823-42). From this magazine, several other periodicals were published as well, such as the New Mirror, and the Night Mirror. These short periodicals played an important role in publishing early works by several American poets such as Bryant, Poe, Halleck, Paulding, Willis, Hoffman, and many others. In 1845, three years after the Mirror was finished, Morris started writing another periodical entitled National Press. This periodical was short lived and lasted only until Morris began collaborating with N.P. Willis to create a new periodical in 1846 entitled the Home Journal. Morris is known for being a song writer, especially for composing the ballade “Woodman, Spare That Tree,” which was a story based off of true events. Though Morris doesn’t have many hymns published, “Searcher of Hears, From Mine Erase” was published in Songs for the Sanctuary (1865) and Methodist Hymnal (1878). Morris would have lived in New York from 1822 until his death in 1864.

                The tune “Beatitudo” was composed by John B. Dykes, and was original published in the second edition of Hymns Ancient and Modern (1875), where the tune was originally coupled with Isaac Watts’ text “How Bright Those Glorious Spirits Shine.” The word Beatitudo was originally coined by Cicero and means “the condition of blessedness.” The tune offers up a chromatic harmonization to the verses, and is usually sung in harmony for the outside stanzas, and in unison for the inner stanzas. John B. Dykes was born in Hull, England in 1826, where he would eventually become a successful musician and composer. Dykes began studying in Wakefield at St. Catherine’s Hall in Cambridge in 1843. While Dykes was attending St. Catherine’s, he became one of the foremost recognized students in the Music School. Before Dykes began his college career, he studied under Skelton, the organist at St. John’s Church (Hull), which was built by his grandfather, Reverend Thomas Dykes. In 1847, Dykes graduated from St. Catherine’s college, and was appointed Curate at Malton, Yorkshire. In 1849, Dykes became the minor canon and precentor at Dunham Cathedral. To learn more about Dykes and his hymns, see “Eternal Father, Strong to Save.”

The Text:

(1)    Searcher of hearts, from mine erase

All thoughts that should not be,

And in its deep recesses trace

My gratitude to Thee.

(2)    Hearer of prayer, O guide aright

Each word and deed of mine;

Life’s battle teach me how to fight,

And be the vict’ry Thine.

(3)    Giver of allfor ev’ry good

In the Redeemer came

For raiment, shelter, and for food,

I thank Thee in His Name.

(4)    Father, and Son, and Holy Ghost,

Thou glorious Three in One,

Thou knowest best what I need most,

And let Thy will be done.

My Take on the Text:

                This hymn is a good reminder to give everything up to Christ. Without Christ and without God, we would be nothing at all, and to them, we owe everything we have. The first verse asks God to help the voice focus on what is important, and not on the trivial things. Life is very difficult for people at some points, because there is so much going on. When life gets distracting or hectic, our minds tend to stray from what we should be focusing on, God. C.S. Lewis shows a great example of this in his book A Grief Observed (1961). In this book, Lewis discusses his reactions to the death of his wife. Throughout the book, one of the main themes is focusing on God, and how that will help you heal. God never leads us astray, and if we ask Him to rid our mind of thoughts that are harmful, we will find a clear and distinct message to how we should be living our lives. The second verse asks God to show us how to be victorious over everyday life. Sometimes our thoughts are clear, but life will throw things at us without warning, and it is because we have God on our side that we can handle these Challenges. The third verse thanks God for everything He has given us, and reminds us all that we should pray and be thankful for the things that God has placed in our lives in order to honor his name! The fourth verse is the most prominent to me, because it is surrendering to God’s will. God knows best. God will not leave us hanging, and He will not lead us astray. Sometimes, we spend so much time trying to hear what it is God is telling us, that we forget to stop and listen to him. We all are blessed to be a part of God’s greater plan, and when we accept that he loves us for that plan, we can accept the plans he has for us, and see how we fit in to the plan with others as well. God will guide us, we just need to focus our mind on what is important, ask God to guide us through our ever y day struggles, thank God for the gifts He has given us, and surrender our hearts to God’s will and testament!

The Hymn:

Here is the Hymn. unfortunately there is no Youtube video to accompany the image.

Bibliography:

Psalter, Hymnal Handbook. "Searcher of Hearts, from Mine Erase." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Julian, John. "George P. Morris." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Julian, John. "BEATITUDO." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Julian, John. "John Bacchus Dykes." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 14 Feb. 2013.

Dyer, Arthur Edwin. "Dykes, Rev. John Bacchus." Grande Musica • A Digital Library for Music Lovers • Musical Biographies. Grande Musica, n.d. Web. 14 Feb. 2013.

Unkown. "Searcher Of HeartsHymn Lyrics." Searcher Of Hearts Hymn Lyrics. Hymns.Me, n.d. Web. 14 Feb. 2013.

Break Thou the Bread of Life

Here is another hymn! Sorry for the delay once again, but with school starting again, time is scarcely found for extra things. In any case, please enjoy this next hymn!

Title: Break Thou the Bread of Life

Tune: Bread of Life

Meter: 6.4.6.4. D

Composer: William F. Sherwin (14 March, 1826-14 April, 1888)

Author: Mary A. Lathbury (10 August, 1841-20 October, 1913), Alexander Groves, St. 3 and 4 (1842-1909)

                  This popular hymn written by Mary A. Lathbury is one of two hymns that remain popular today from Lathbury. They hymn, originally written at the request of Bishop John H. Vincent, was used for worship services at the Chautauqua Assembly. The assembly was known in the late nineteenth and early twentieth century conference center, in which people could find a wide variety of bible studies, Sunday school method classes, concerts, and plays. Lathbury penned the first two stanzas of this hymn in 1877, and eventually had them published the following year in Chautauqua Carols. The Lutheran Book of Worship, published in 1978, offers an updated version of the hymn, updating the language used and adding two stanzas written by Alexander Groves. Groves’ two stanzas were published posthumously in September 1913 in the Wesleyan Methodist Magazine. Though most hymnals use all four verses, the current Evangelical Book of Worship uses Lathbury’s two stanzas and only one of Groves’ stanzas.  Though much is not known about Grove, it is known that his career path took many different forms. At different points in his life, Groves was a grocer, an accountant as well as a trustee, auditor, and actuary for Henley Savings Bank. Groves served as the organist for the Henley Wesleyan Chapel, but eventually became a part of the Anglican Church in Henley.

                  Born the daughter of a Methodist preacher, Mary Artemisia Lathbury grew up in Manchester, Ontario County, New York. From an early age, it was clear that Lathbury was very interested in art, which led her to attend the recently founded School of Design in Worcester, Massachusetts when she was 18 years old. From 1861 until 1874, Lathbury held a career as a teacher in many different locations. In 1861, she taught French and Ornamentals at Newbury Seminary in Vermont, which would eventually become the Boston School of Theology. From 1862 to 1867, Lathbury taught French and fine arts at the Fort Edward Institute in New York, and from 1867 until 1873, Lathbury taught Literature and Art at Drew Ladies’ Seminary in Carmel, New York. In 1874, under the calling of John H. Vincent, the secretary of the Methodist Sunday School Union and editor of The Sunday School Journal, Lathbury became the assistant editor of the journal. Deciding to take a different route in life, Lathbury set off in 1878 with her watercolors and a few books that she had illustrated. John H. Vincent founded the Lake Chautauqua Institution in upper New York right on the banks of Lake Chautauqua. Eventually the institution was transformed from a camp meeting to an assembly where Bible Studies, teaching methods, and plays were held (Westermeyer, 2010, p. 346). Lathbury remained partners with Vincent from the beginning (1875-1886) and wrote several hymns, of which “Break Thou the Bread of Life,” is one. Because of her literary abilities, Lathbury earned the nickname of “Poet Laurate of Chautauqua (Julian, 1907, paragraph 1).”

                  William Fisk Sherwin composed the tune “Bread of Life,” in 1877, the same year Lathbury penned the text. The two were published together the next year (1878) in the Chautauqua Carols. The tune is very meditative and fits the idea of what Sherwin’s teacher, Lowell Mason, considered to be a “Chaste” European model with “Scientific improvement” and “correct” tunes (Westermeyer, p. 347). Sherwin was born in Buckalnd, Massachusetts as a Baptist lay person. Throughout his life, Sherwin studied under a few big name people such as Lowell Mason and George Webb. Eventually, Sherwin became the music director at the Pearl Street Baptist Church in Albany, New York, and was a teacher at the Albany Female Seminary as well as the New England Conservatory. In 1874, Bishop Vincent asked Sherwin to organize as well as direct the amateur choirs at the Chautauqua assembly. Sherwin would maintain this post until the end of his life in 1888. With the help of Robert Lowry, some of Sherwin's compositions ended up in a short Sunday School hymn book entitled Bright Jewels, which was published in 1869 (Westermeyer, p. 347).  Though he is not known for his hymns, some of Sherwin’s compositions are used in England, thanks to the publication of I.D. Sankey’s Sacred Songs and Solos, where each hymn tune was given Sherwin’s signature.

The Text:

(1) Break Thou the bread of life, dear Lord, to me,


As Thou didst break the loaves beside the sea;


Beyond the sacred page I seek Thee, Lord;


My spirit pants for Thee, O living Word!

(2) Bless Thou the truth, dear Lord, to me, to me,


As Thou didst bless the bread by Galilee;


Then shall all bondage cease, all fetters fall;


And I shall find my peace, my all in all.

(3) Thou art the bread of life, O Lord, to me,


Thy holy Word the truth that saveth me;


Give me to eat and live with Thee above;


Teach me to love Thy truth, for Thou art love.

(4) O send Thy Spirit, Lord, now unto me,


That He may touch my eyes, and make me see:


Show me the truth concealed within Thy Word,


And in Thy Book revealed I see the Lord.

My Take on the Hymn:

                 The text for this hymn is found in John 6, where the gospel talks about the body of Christ being the only way into heaven. The bread of life is what feeds us every day, and my not be actual bread, but rather the word of Christ that is given us every day. God is a gift to each and every one of us, and we can accept His gift through the consuming of the Communion and the Eucharist. The second stanza refers to being freed from all of the problems of the world because Christ feeds us, giving us true peace of mind on Earth. The differences between the first and second stanzas, and the third and fourth stanzas are quite apparent. The first two stanzas talk about finding God throughout life outside of the bible, where the second two stanzas refer to finding God through the bible. It is important to have a good combination of the two, because without the word of God, the actual bread means nothing and without the bread, we are not reminded of the new covenant that Christ made with us the night before his death. The bread of life is a simple gift, but it is one that everyone can receive. Through the simple act of accepting the bread through the word, and accepting the bread through communion, our lives can be changed forever, and we can become citizens of Christ that reflect the light of which we have been shown!

The Hymn:

If you cannot read music, just play the Youtube video and follow along!

Bibliography:

Julian, John. "Break Thou the Bread of Life." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 08 Feb. 2013.

Julian, John. "Mary A. Lathbury." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 08 Feb. 2013.

Handbook, Psalter Hymnal. "BREAD OF LIFE (Sherwin)." Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 08 Feb. 2013.

Julian, John. "William F. Sherwin." - Hymnary.org. Calvin Institute of Christian Worship, n.d. Web. 08 Feb. 2013.

"Break Thou the Bread of Life." Break Thou the Bread of Life. Cyber Hymnal, n.d. Web. 08 Feb. 2013.

Westermeyer, Paul. "Word of God." Hymnal Companion to Evangelical Lutheran Worship. Vol. 1. Minneapolis, MN: Augsburg Fortress, 2010. 345-47. Print.

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