13. _To light that shines in stars and souls_, (Dedication of a Place of Worship) A number of these hymns have had widespread and long-continued use. Numbers 1, 4, 6, 7, and 9 are included in _Hymns of the Spirit_, 1937, and stand out as some of the finest examples of American hymnody in their lyrical quality and depth of religious feeling. A few of Johnson’s hymns have found acceptance also in England, the most notable example being No. 7, sung at the consecration of the new Anglican cathedral at Liverpool in 1924, an occasion which the words fitted to perfection. But, since even the existence of the obscure minister in Lynn, Massachusetts, was quite unknown to all but very few of those present, the Samuel Johnson to whom it was attributed was commonly supposed to be the famous 18^th century English lexicographer, and the hymn is mistakenly assigned to him in the latest edition of Bartlett’s _Familiar Quotations_! Following its use at Liverpool it was sung in Westminster Abbey at a service for the League of Nations in 1935; at the jubilee service for the 25^th anniversary of the coronation of George V; and was one of seven hymns included in the special service prepared by the Archbishops of Canterbury and York for use in parish churches throughout England at the time of the coronation of George VI. Probably no other hymn of American authorship is so widely known or used in British dominions. J. 604-5, 1583, 1681, 1711 H.W.F. Kimball, Jacob, Topsfield, Massachusetts, February 15, 1761—July 24, 1826, Topsfield. He graduated from Harvard in 1780, studied law, taught school, and tried to make a living at various other occupations, with small success except in the field of music where he was regarded as the outstanding singer, teacher, and composer of his period. He edited _Rural Harmony_, (Boston, 1793) which he followed with _Essex Harmony_, (1800) and _Essex Harmony_, Part II, (1802), which included the only tunes of his own composition which can now be identified as his, except those in the popular _Village Harmony_ (1795) the later editions of which, down to 1821, were probably edited by him. There is evidence that he also wrote poetry, including a number of hymns, some of them perhaps the anonymous ones, otherwise unknown, included in the above-mentioned song books. The one hymn which can be attributed to him with assurance is his excellent metrical version of Psalm 65 which Jeremy Belknap included in his _Sacred Psalmody_ (1795), entitled “A New Version” and beginning _Thy praise, O God, in Zion waits._ The only other hymns by an American author in Belknap’s Collection is Mather Byles’ _When wild confusion wrecks the air_, republished in 1760. See _Jacob Kimball: A Pioneer American Musician_, Essex Institute Historical Collections, XCII, no. 4.