The author, Henry Ware, Jr., was born at Hingham, Mass., April 21, 1794; died September 25, 1843, at Framingham, Mass. He was educated at Harvard, and served as minister of the Second Unitarian Church, Boston, 1817 to 1829, with Ralph Waldo Emerson as assistant for a time. From 1829 to 1842, he was Professor of Pulpit Eloquence and Pastoral Care in the Harvard Divinity School. He was editor of the _Christian Disciple_ and later of the _Christian Register_. _MUSIC._ For comments on Lowell Mason, composer of HEBRON, see Hymn 12. 14. The God of Abraham praise _Daniel Ben Judah, 14th century_ _Revised version by Thomas Olivers_, 1725-99 This praise hymn, with its magnificent tune, had its origin in a Jewish synagogue in London. Thomas Olivers, a Welshman and follower of John Wesley, spent fifty years of his life as a Methodist minister, during which time he travelled more than 100,000 miles on horseback in his evangelistic work. His fame, however, rests upon this hymn. While visiting in London, he went to the Great Synagogue in Duke’s Place and heard the cantor sing the Hebrew _Yigdal_ or doxology, in which the articles of the Jewish faith are recited. Upon hearing this, Oliver wrote “The God of Abraham praise,” a Christian version of the _Yigdal_. The original is by Daniel Ben Judah of the 14th century. Oliver then called on the Cantor, Meyer Leoni, who gave him this melody to suit the hymn he had written. _MUSIC._ LEONI, according to Winfield Douglas, is probably not older than the 17th century and is not related to ancient Jewish music. Although written in a minor key, it strikes the note of praise. Its rhythm and vigor of movement adapts it well for use as a processional or recessional hymn. 15. We praise Thee, O God, our Redeemer _Julia Bulkley Cady Cory_ A notable hymn of praise written by Mrs. Julia Cady Cory, who was born and reared in what was reputed to be one of the happiest Christian homes in New York City. Her father, J. Cleveland Cady, was a nationally known architect. A devout Christian, he had a genuine love for boys and girls and was superintendent of the same Sunday school for fifty-two years. Concerning the origin of this hymn, Mrs. Cory has written: Years before I was married (in 1902), the organist of the Brick Presbyterian Church of New York City, knowing of my interest in hymnology, came to me and told me that he had a very fine Netherlands melody associated with most militaristic and unchristian words. He lamented the fact, and requested me to write more suitable words, which could be used for the Thanksgiving service at the Brick Church. The hymn as you see it today, was the result.