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He comes with clouds descending" is a Christian hymn by Charles Wesley (1707–1788), based on an earlier hymn, "Lo! He cometh, countless Trumpets" by John Cennick (1718–1755). Most commonly sung at Advent , the hymn derives its theological content from the Book of Revelation relating imagery of the Day of Judgment .
It was further decided that Sister Emma Smith proceed to make a selection of Sacred Hymns, according to the revelation; and that President W.W. Phelps be appointed to revise and arrange them for printing. [3] It appears that final publication of the new hymnal may have been pushed back into early 1836. The book is small – just 3" by 4 1 ⁄ 2 ...
Depiction of Fleuve de Vie, the "River of Life", from the Book of Revelation, Urgell Beatus, (f°198v-199), c. 10th century. In Christianity the term "water of Life" (Greek: ὕδωρ ζωῆς hydōr zōēs) is used in the context of living water, specific references appearing in the Book of Revelation (21:6 and 22:1), as well as the Gospel of John. [1]
Lord God Almighty!) references Isaiah 6:3 and Revelation 4:8 [3] and mirrors the opening line of the Sanctus (Holy, Holy, Holy, Lord God of hosts). Described as a "reverent and faithful paraphrase of Revelation 4:8–11" and of the Johannine vision of unending worship in Heaven, it is an example of Heber's dutiful attempt to avoid excessive ...
"Revelation Song" is a song written by Jennie Lee Riddle with lyrics adapted from Revelation 4 of the New Testament.The song first gained exposure on U.S. Christian radio through a Christ for the Nations Institute recording, "Glorious" in 2004, as well as on Gateway Worship's debut album, Living for You in 2006, and subsequently included on Kari Jobe's self-titled album.
In 2017, The Church published Christian Science Hymnal: Hymns 430–603. This hymnal complements the 1932 edition, and includes contemporary and traditional hymns, and hymns from around the world. The 2017 edition consists of 174 hymns, including 30 from the 2008 Supplement and 17 new settings of poems by Mary Baker Eddy. [12]
The beginning part of this section (verses 9–10) forms a parallel with Revelation 17:1–3, which is similar to the parallel between Revelation 19:9–10 and Revelation 22:6–9, indicating a distinct marking of a pair of passages about Babylon and the New Jerusalem with Revelation 19:11–21:8 as a transition from the destruction of Babylon ...
Alexander Ewing composed the tune for the Aberdeen Harmonic Choir for use with "For Thee, O Dear, Dear Country", another hymn derived from Neale's translation of De Contemptu Mundi. [6] The score first appeared in 1853 as a leaflet. In 1857 it was included in A Manual of Psalm and Hymn Tunes and it was published in 1861 in Hymns Ancient and Modern.