To Thy Cross we look and live.
The hymn is notable for the felicity with which it combines imagery and reality. Figure and fact are always in sight of each other.
Josiah Conder was born in London, September 17, 1789. He edited the Eclectic Review, and was the author of numerous prose works on historic and religious subjects. Rev. Garrett Horder says that more of his hymns are in common use now than those of any other except Watts and Doddridge. More in proportion to the relative number may be nearer the truth. In his lifetime Conder wrote about sixty hymns. He died Dec. 27, 1855.
THE TUNE.
The tune “Corsica” sometimes sung to the words, though written by the famous Von Gluck, shows no sign of the genius of its author. Born at Weissenwang, near New Markt, Prussia, July 2, 1714, he spent his life in the service of operatic art, and is called “the father of the lyric drama,” but he paid little attention to sacred music. Queen Marie Antoinette was for a while his pupil. Died Nov. 25, 1787.
“Wilmot,” (from Von Weber) one of Mason's popular hymn-tune arrangements, is a melody with which the hymn is well acquainted. It has a fireside rhythm which old and young of the same circles take up naturally in song.
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“HERE, O MY LORD, I SEE THEE FACE TO FACE.”
Written in October, 1855, by Dr. Horatius Bonar. James Bonar, brother of the poet-preacher, just after the communion for that month, asked him to furnish a hymn for the communion record. It was the church custom to print a memorandum of each service at the Lord's table, with an appropriate hymn attached, and an original one would be thrice welcome. Horatius in a day or two sent this hymn:
Here, O my Lord, I see Thee face to face,