She was born in Edinburgh in 1830, and died near Melrose in 1869. She wrote a number of hymns, and some time after the incident at Free Assembly Hall, Mr. Sankey had the privilege of examining all of them, but only one, besides The Ninety and Nine, was suitable for a musical setting.

This hymn had a peculiar power over the Scotch people. When Moody and Sankey went into a part of Scotland where the words of the song were particularly appreciated, they had "the satisfaction of secing in the great open-air gatherings which they held, grizzled, weather-beaten shepherds, men of the mountains, who had come from long distances, with their staves and rough clothes, standing there with tears rolling down their cheeks as they listened to the song story of the shepherd and the lost sheep. That appealed to them as nothing else could."

I find in a little book printed in Edinburgh, a story to the effect that a few years after Mr. Sankey discovered The Ninety and Nine, Mr. Moody and he were making an evangelistic tour in the "up country," in Michigan, I believe—where rough men were engaged in "lumbering." At one place there lived a man who was not only a skeptic, but a bold, defiant scoffer, and he refused to attend the meetings. But one evening Mr. Sankey sang The Ninety and Nine with masterful tenderness, and the words were wafted to the man's home near by; they caught his ear, and finally sank deep into his heart. The next morning, led by his better nature, he sought the revivalists,

told them his experience, asked for their prayers, and his life became thoroughly changed.

Mrs. Genevra Johnstone-Bishop, formerly of Chicago, a sacred solo singer of great ability and wide reputation, says she does not know of any religious song so popular as The Ninety and Nine. When on concert tours it would be called for more frequently than any other sacred song. Once she visited the Ohio penitentiary at Columbus, when the chaplain requested her to sing this hymn. She responded, and those hardened men sat listening with tears coursing down their faces; and the scene was so intensely affecting that it was only with much difficulty that she finished the hymn.

It is perhaps true that The Ninety and Nine has rapidly attained a high position among modern gospel hymns chiefly because of the pathos and warmth of feeling with which it is always sung by Mr. Sankey and other capable singers of sacred song. And whether this and other beautiful gospel hymns and melodies shall continue to live and touch human hearts, depends on how many Sankeys and JohnstoneBishops and Stebbinses and Blisses can be found in the Churches of the coming generations to dedicate their voices to the singing of helpful mission songs.

In the bright annals of woman in sacred song we find many hymns which have come warm from the heart, but only those which have been born of striking circumstances, or are notable in having made important history, can be considered without depart

ing from the predetermined scope of this volume. Woman's songs in evangelism is a theme of peculiar interest. The lives of those who have made rich contributions to our gospel hymnody, have been splendid anthems of praise. Women often write in the minor key-probably because "what they learn in suffering they teach in song-" but herein lies the secret of the preciousness and power of their songs. As long as human hearts know joy and sorrow, these beautiful hymns--sweet and Christ-like from the souls of women-will be loved and tenderly preserved by the Church.

N

XXX.

"Moody and Sankey Songs."

O hymns have made such striking history during the past thirty years as some of

those familiarly called "Moody and Sankey Songs." That designation, or classification of hymns, while originally restricted to the words and tunes intended for evangelistic purposes, has come to include a vast number of songs that are extensively used in Sunday Schools and in the praise services of the Church.

There has been plenty of debate and wide disagreement over these gospel hymns and tunes. There are many devout persons who can find spiritual uplift and comfort only in the stately and intellectual tones furnished by the masters of verse and music. Their hearts cannot be warmed nor their religious enthusiasm roused by the simple and emotional songs of the more modern writers and composers of revival hymns. In this connection I recall a remark once made by Mr. Sankey and published in the public press, which was to the effect that the "Sankey tunes," as he himself called them, were useful only in kindling momentary enthusiasm, and were not suitable for regular public worship. Many of us bow to the fact that much of the so-called gospel music is hopelessly insipid, yet there is a considerable portion of it that

is helpful as an accompaniment to the progressive, evangelistic, and missionary spirit of the Church. The function of gospel songs is to touch the common throng, and to kindle a fervor of soul in multitudes who cannot be moved by any other class of music.

No evangelist in history more keenly appreciated the power of songs in evangelism than Dwight Lyman Moody. He was not a singer himself; he knew nothing of music; but he could feel music, and was alive to the fact that gospel hymns were a necessary complement to his sermon. He was after immediate results, which could be obtained only by the use of song that would awaken the emotional sympathy of an audience. It made no difference to Mr. Moody how grace or salvation came to women and men so it came by rightful means.

A name preeminent in American gospel hymnody and music is Philip Paul Bliss. He was born at Rome, Pennsylvania, in 1838. "He loved music like a bird." He went to Chicago in 1864 and became associated with the music house of Root & Cady, of which George Frederick Root was the head. Mr. Bliss fell under the charming influence of the noted composer, who conceived a great liking for the young singer. His deep bass voice was as musical and captivating as it was powerful; and it was wholly consecrated to Christian service. In 1874 he was invited to join Major W. D. Whittle in conducting evangelistic meetings in the same way that Mr. Sankey assisted Mr. Moody. They visited all the principal