BIOGRAPHTof GOSPEL SONG and HYMN VPITER5 J.H.HALL FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D, BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY Division ^^^ Section lO'^^O Biography of Gospel Song and Hymn Writers Biography of Gospel S< and Hymn Writers A. By J. H. HALL FULLY ILLUSTRA TED New York Chicago Toronto Fleming H. Revell Company London and Edinburgh ^:r.,Lpr, Copyright, 19M, by FLEMING H. REVELL COMPANY New York: n^S Fifth Avenue Chicago: 125 North Wabash Ave. Toronto: 25 Richmond Street, W. London: 21 Paternoster Square Edinburgh: 100 Princes Street To all gospel song and hymii writers ; to all smgers and lovers of gospel song ; this book of biography is with ap- preciation dedicated by the aiitJwr To hide true worth from public view. Is burying diamonds in their mine. All is not gold that shines, 'tis true ; But all that is gold ought to shine. — Bishop. Prefj ace WHILE books of biograph}^ of men and women in different vocations of life are numerous, including not a few biographical volumes of the old Master Musicians, the present volume is, so far as the author is aware, the first dis- tinctive book of biography to be published of the men and women whose gospel songs and hymns have thrilled the hearts of innumerable hosts, and kindled the fire of the great evangelistic movement all over the world. The author found that to insert all the worthy names of gospel song and hymn writers in a single volume would make it too bulky ; it is hoped it may be possible to follow this work with a second volume. Beginning with Dr. Lowell Mason, the writer has endeavored to give a sketch and portrait of leading representatives of gospel song and hymn writers up to the present time. It is but natural that people should wish to know something of the lives, and be pleased to see the por- traits of the composers whose songs and hymns have brought joy, peace and comfort to their hearts. It is confidently anticipated that the reading of these brief sketches will add new life and power to the gospel in song. The author feels that in a measure "Mr. J. IL Fill- more has made this volume of biography possible, by granting permission to use a number of sketches 11 12 PREFACE published in The Musical Messenger, issued by the Fillmore Bros., Cincinnati, O., and to whom he offers his most sincere appreciation. Credit is due the Musical Million for the sketch of the author. He also wishes to thank all who in any way assisted in securing data, etc., in the preparation of these sketches. Such a work required labor and patience, but if these sketches give interest and pleasure, and a higher conception and ap- preciation of the beauty and power in gospel song, the author will feel abundantly rewarded. J. H. H. Dayton, Va. Contents I. Dr. Lowell Mason II. William B. Bradbury III. Dr. George F. Root IV. Miss Fanny J. Crosby . V. Dr. L. O. Emerson VI. Rev. W. O. Gushing VII. Mrs. Harriet E. Jones . VIII. T. G. O'Kane IX. Theodore E. Perkins X. Rev. Robert Lowry, D. D. XI. Dr. W. H. Doane . Xlt. Dr. H. S. Perkins . XIII. Dr. H. R. Palmer . XIV. L. G. AND Dr. a. B. Everett XV. Dr. R. M. McIntosh XVI. H. R. Ghristie XVII. Rev. Isaiah Baltzell . XVIII. Philip Phillips XIX. T. Martin Towne . XX. William G. Fischer XXI. Theodore Frelinghuysen Seward XXII. H. P. Main . XXIII. John R. Sweney XXIV. Wm. J. Kirkpatrick XXV. Rev. Elisha A. Hoffman XXVI. Frank M. Davls XXVII. E. R. Latta . 13 14 CONTENTS XXVIII. P. P. Bliss ... XXIX. Major D. W. Whittle . XXX. James McGranahan . XXXI. Ira D. Sankey . . . . XXXII. George Coles Stebbins XXXIII. James R. Murray XXXIV. C. C. Case . . . . XXXV. J. H. Tenney . . . . XXXVI. Aldine S. Kieffer . XXXVII. J. H. KURZENKNABE . XXXVIII. W. A. Ogden . . . . XXXIX. B. C. Unseld . . . . XL. J. H. ROSECRANS XLI. Will L. Thompson . XLII. E. E. Rexford . . . . XLIII. George C. Hugg XLIV. W. T. Giffe . . . . XLV. J. H. Fillmore. XLVI. Fred. A. Fillmore . XLVII. Rev. Charles M. Fillmore XLVIII. Mrs. E. L. Ashford XLIX. Dr. D. Brink Towner L. E. O. EXCELL . . . . LI. Mrs. Flora H. Cassel LII. Dr. J. B. Herbert . LIII. Mrs. Laura E. Newell . LIV. E. S. Lorenz . . . . LV. H. H. McGranahan . LVI. J. H. Hall . . . . LVII. Geo. F. Rose he LVIII. Chas. Edw. Prior LIX. Miss E. E. Hewitt . LX. Charles H. Gabriel CONTENTS 15 LXI. Rev. Johnson Oatman, Jr. . -355 LXII. A. J. Show ALTER 361 LXIII. Geo. B. Holsinger . 365 LXIV. Mrs. Carrie B. Adams 369 LXV. Miss Jennie Wilson . 373 LXVI. H. N. Lincoln . 377 LXVII. Charlie D. Tillman 381 LXVIIl. Miss Ida L. Reed 385 LXIX. J. Lincoln Hall 389 LXX. J. S. Fearis 393 LXXL W. E. M. Hackleman . 397 LXXII. Grant C. Tullar . 401 LXXIII. L H. Meredith ■ 405 LXXIV. L Allan Sankey . 409 LXXV. Ira B. Wilson . . 413 LXXVI. Robert Harkness . . 417 I Dr. Lowell Mason DK. LOWELL MASON (the degree was con- ferred by the University of New York) is justly called the father of American church music ; and by his labors were founded the germi- nating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him w^e owe some of our best ideas in religious church music, ele- mentary 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 w^ith 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 w^ork 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 oppor- tunities as .were available to him. At the age of twenty he found himself filling a clerkship in a bank- ing house in Savannah, Ga. Here he lost no oppor- tunity of gratifying his passion for musical advance- 17 18 GOSPEL SONG AND HYMN WRITEKS ment, and was fortunate to meet for the first time a tliorougliij qualified instructor, in tlie person of F. L. Abel. Applying his spare hours assiduouslj^ 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 Bos- ton. 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 AVinchester, of the Handel and Haydn So- ciety, 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, DR. LOWELL MASON 19 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 Win- chester 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 al- ternate 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 con- ductor 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 Amer- ican 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 w^ell 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 coun- try, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Haupt- mann, 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 20 GOSPEL SONG AND HYMN WRITERS 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 su- perior 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 instruc- tion 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 Bos- ton benefited directly by this enthusiastic teacher's in- struction, but he was constantly travelling to other so- cieties 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 18-10 he had developed his idea of " Teachers' Conventions," and, as in these he DR. LOAVELL MASON 21 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 ])roduced. He was a deeply pious man, and was a com- municant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Greg- ory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 18G9. Lowell and Henry were the founders of the great organ manufactory 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 beau- tiful 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. He died full of years and of honor, For honor lies in honest toil. W. B. BRADBURY. II William B. Bradbury THE churchgoing people of to-day are generally familiar with the name Wm. B. Bradbury. Many have cherished that name from child- hood. Most of us began our musical experiences by singing his songs, and as early experiences are the most lasting, we will carry these melodies, with their happy associations, through life. Mr. Bradbury, in his day, created a style of juvenile music, especially Sunday-school music, that swept the country. He set the pattern for his successors in Sun- day-school song-making, and those who have harped on the key-note that he struck have been most successful. True, we have improved some in the way of hymns, and a smoother voicing of the parts, but there are still many Sunday-school song writers who regard Mr. Bradbury's writings as the ideal. William Batchelder Bradbury was born at York, York County, Maine, October 6, 1816. He came of a good family. He spent the first few years of his life on his father's farm, and rainy days would be spent in the shoe-shop, as was the general custom in those days. He loved music, and w^ould spend his spare hours in studying and practicing such music as he could find. In 1830 his parents removed to Boston, where he saw and heard for the first time a piano and organ, as well as various other instruments. The effect was to lead 23 24 GOSPEL SONG AND HYMN WKITERS him to devote bis life to the service of music. Ac- cordingly he took lessons upon the organ, and as early as 183-1: had achieved some reputation as an organist. He attended Dr. Mason's singing classes, and later was admitted into his celebrated Bowdoin Street church choir, and the Doctor proved to be a valuable and steadfast friend. After some months he was asked to preside at the organ of a certain church at a salary of twenty-five dollars per annum. On trying the organ he found it to be one of those ancient affairs which required the keys to be pulled up as well as pressed down, and he sug- gested that his pay should be at least fifty dollars, since the playing required this double duty. It was not long till a better paying situation was offered him — that of one hundred dollars a year. At the age of twenty he was still singing in Dr. Mason's choir, when one evening at recess, the Doctor laid his hand on his shoulder, and said : " Will- iam, I have an application for a teacher at Machias, Maine, to teach three large singing schools, besides private pupils, and I believe you are just the man for the place." He was overjoyed and delighted. He sent his terms, which were accepted, and achieved success. After a busy year and a half of work at Machias, he returned to Boston to marry his sweetheart, and then located at St. Johns, New Brunswick. Here the peo- ple did not take sufficient interest in his work, and he returned to Boston. Then came a call to take charge of the music of the First Baptist Church of Brooklyn. Dr. Mason gave him a letter of introduction. At the time of his taking charge of the organ at the Brooklyn church there was some opposition to the WILLIAM B. BRADBURY 25 organ among the members, lie being aware of it took pains to play it so well, and in such good taste, that he speedily won all to favor its use. After a year's work here the important era in his career began. He took charge of the choir and organ of the Baptist Tabernacle, New York City, and in ad- dition started a singing class for the young. This first class was visited by many superintendents and others interested in Sunday-schools, who were uniformly delighted with what they saw and heard, and the originator of the movement soon found himself en- gaged in many similar schools in various parts of the city. These classes became very popular. In the Spring Street Church there was a class of over six hundred. From these schools sprang the celebrated " Juvenile Musical Festivals," as they were called, held at the Broadway Tabernacle, which, for some years, were such a prominent feature among the musical events of the city. Those annual concerts were occa- sions never to be forgotten by any who were present. The sight itself was a thrilling one. A thousand children were seated on a gradually rising platform, which spread the scene, as it were, most gracefully be- fore the eye. About two-thirds of the class were girls, dressed uniformly in white with a white wreath and blue sash. The boys were dressed in jackets with col- lars turned over, something in the Byron style. When all were ready, a chord was struck on the piano — a thousand children instantly arose, presenting a siglit that can be far more easily imagined than described. Of the musical effect produced by such a chorus we will not attempt to speak. Mr. Bradbury improved every occasion of these large 26 GOSPEL SONG AND HYMN WRITERS gatherings to impress upon the public the necessity of musical instruction in the public schools, and in time he had the satisfaction of seeing music taught as a regular study in the public schools of New York. While he was teaching among the children, he would occasionally compose a song for them, and to their de- light. So he decided to make a book. " The Young Choir " was the result. This was in 1841. Being an inexperienced writer, he got Dr. Hastings to correct his music. The book was a success, and others fol- lowed. Mr. Bradbury had a desire to go to Europe and study with some of the masters there, and on the second day of July, 1847, he took passage for England, accom- panied by his wife and daughter. They were thirty days on the ocean. He remained in London some weeks, and made good use of his time while there. He made the acquaintance of Jenny Lind, then quite un- known to American fame. He arrived in Leipsic, Germany, September 11th, where he made arrangements to begin his studies with- out delay. Wenzel was his teacher for the piano and organ ; Boehme for voice ; and Hauptmann for harmony. This city was the home of Mendelssohn, whose death occurred only a few weeks after Mr. Brad- bury's arrival, and whose funeral he had the sad privi- lege of attending. It need scarcely be stated that Mr. Bradbury pursued his studies with the greatest assiduity. While thus zealously devoting himself to personal culti- vation and improvement, Mr. Bradbury was in no danger of losing sight of the work at home for which he was preparing himself. He visited many public and private WILLIAM B. BRADBURY 27 schools, and familiarized himself thoroughly with all the German methods of popular musical instruction. He also made the acquaintance of many prominent musicians. Pie made a short but very interesting tour across the Alps into Switzerland, After his return to New York, in 1849, he devoted his entire time to teach- ing, conducting conventions, composing, and editing music books. In 1851:, in connection with his brother, E. Gr. Bradbury, he commenced the manufacture of the Bradbury pianos, which at one time were quite popular. Prof. Wm. B. Bradbury was one of the great trio (the other two being Drs. Mason and Root) to which the church and vocal music of this country owe much. Mr. Bradbury was an excellent composer. His melodies have an easy, natural flow, and his harmonies are simple and natural, and many of his hymn -tunes and gospel songs still in use are among the best that American writers have produced. He was unceasingly active, having edited fifty-nine books of sacred and secular music, a large part of which were his own work. Professor Bradbury was an excellent conductor and teacher. He was always kind, patient, and full of sympathy for others. Mr. Bradbury died at his residence, Montclair, N. J., January 8, 1868, leaving a widow, four daughters and a son. He will always occupy a prominent place in American musical history. DR. GEO. F. ROOT. ni Dr. George F. Root THE subject of our sketch was the product of that period in our national life in which the parents devoted themselves preeminently to training their children to habits of industry, and to teaching them the strictest morality and religion. In- heriting a strong physical constitution, and starting out from a typical New England home a pure boy with high aspirations, he attained the highest place among American musicians as a teacher, a theorist and com- poser. George Frederick Eoot was born in Sheffield, Mass., August 30, 1820. His father moved to North Eeading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could '' play a tune " on as many instruments as he was years old. His dream of life was to be a musician, al- though such an ambition was looked down upon by all his relatives and fiiends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured 29 30 GOSPEL SONG AND HYMN WRITERS the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than de- scribed. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Har- mony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, an- swer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He Avorked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most impor- tant event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bow- doin Street choir. Also, on Mr. Johnson's recom- mendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnershi]), by which Mr. Root was to receive one-third of their earnings, and the former was to have DR. GEOEGE F, ROOT 31 the privilege of visiting Germany part of the time if he chose. They then clianged their quarters to tliree rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterwards in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's ab- sence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 18-11:, Mr. Jacob Abbott (father of Lyman Abbott) and his three brothers had established a young ladies' school in ^N^ew York City. They wanted a music teacher, and offered the position to Mr. Root. They also se- 32 GOSPEL SONG AND HYMN WRITERS cured him the organ and choir of the Mercer Street Church, with prospects for other good work. It re- quired pretty strong persuasive arguments to tempt Mr. Root to leave Boston, lie was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be re- linquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1 845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theolog- ical Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time w^as fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer w^ork with Messrs. Mason and Webb in Teachers' Classes. U}) to the year 1849 he had written but little music; only a few hymn tunes wdiile in Boston. He needed more music for the young ladies of his schools, so he made his first book, " The Young Ladies' Choir," of w^hich he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the " Root and Sweetser's Collection." DR. GEORGE F. ROOT 33 Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter care- fully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, " The Flower Queen." At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but " Hazel Dell " and " Rosalie, the Prairie Flower," became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in 'Nqw York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school be- came famous. Sessions were also held at Xorth Read- ing, Mass., a village near Mr. Root's " Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in JSTew York, and devote himself entirely to conven- tions, normal work and authorship. He was eminently 34 GOSPEL SONG AND HYMN WRITERS successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as " Root & Cady," Mr. Root's repu- tation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing w^ar songs, which made him famous. " The Battle Cry of Freedom," " Just Before the Battle, Mother," and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brain- ard's Sons, Cleveland. These sales realized about §130,- 000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work ; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his can- tatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent DR. GEORGE F. ROOT 35 place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spot- less integrity and high Christian character ; and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. " Dead he is not, but departed — for the artist never dies." FANNY J. CROSBY. lY Miss Fanny J. Crosby ONE of the great powers that influence the world is the writer of favorite songs and hymns. Such a person approaches nearer to the hearts of the people than any one else. AVherever the religion of Christ has found lodgment the count- less songs of Fanny Crosby, the subject of this sketch, have brought comfort to Christian hearts and stirred up inspiration that will abide as long as life shall last. 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 Eidgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, Avhere 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, Eoman and American history. This was the great de- veloping period in her life. During the vacations of 1852 and 1853, spent at North Eeading, Mass., she wrote the words to many songs for Dr. Geo. F. Eoot, then the teacher of music at the blind institution. Among them were, "Hazel Dell,'' "The Honeysuckle Glen," "Eosalie, the Prairie Flower," "Music in the Air," '^ Proud 37 38 GOSPEL SONG AND HYMN WRITERS World, Good-bye, I'm Going Home," " All Together," "Never Forget the Dear Ones," and others. Subse- quently she wrote the words for the cantatas of ^' The Flower Queen " and " The Pilgrmi 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 Yan Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Con- cerning 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 ad- dress I carefully avoided any allusion to them, in order not to wound him. When I had finished he drcAV my arm in his, and, addressing the audience, said through his tears : ' This is not the first poem for Avhich 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 splen- did eifort, 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 AYashington. 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, MISS FANNY J. CROSBY 39 and was entitled " The Blind Girl, and Other Poems " ; a second volume, " Monterey, and Other Poems," fol- lowed in 1849, and the third, " A Wreath of Colum- bia's Flowers," in 1858. The fourth, " Bells at Evening and Other Yerses," 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 has supported herself by writing hymns. She has 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 spends regular hours on certain days at the office of The Biglow & Main Co., the firm for which she does most of her writing, and for whom slie has composed 40 GOSPEL SONG AND HYMN WRITERS over four thousand hymns. Her hymns have been in g-reat 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 can compose at any time and does not need to wait for any special inspira- tion, and her best hymns have come on the spur of the moment. She always composes 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 can, and does, 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 s\veet. " Safe in the arms of Jesus," probably one of her best known hymns, is her ow^n favorite. Fanny loves her work, and is happy in it. She is 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 ; MISS FANNY J. CROSBY 41 How luaDy blessiij