Happy was the surprise which came with the next hymn. Mrs. W. R. Moody, daughter-in-law of D. L. Moody, seated herself at the keyboard of a small instrument which, before it was opened up, looked like a big packing case. Really it was the small organ which accompanied Moody and Sankey during their nation-wide evangelistic campaigns; for the latter always wanted, if possible, to have his own instrument with him. Hence the little organ was made for this purpose. The instrument had been on display in the Moody exhibit at Moody’s boyhood home during the special days of the Moody Centennial. Visitors could there sit in the spacious chair used by Moody himself, sign their names; and, by permission, play on Sankey’s organ. Musicians loved to do so. The Westminster singers now rendered the beloved gospel song: “There were ninety and nine that safely lay In the shelter of the fold, But one was out on the hills away, Far off from the gates of gold— Away on the mountains wild and bare Away from the tender Shepherd’s care.” Joy beamed on the countenance of Mrs. Moody as she led the singers on the historic little organ; and the song continued through the lines: “But all through the mountains, thunder-riven, And up from the rocky steep, There arose a glad cry to the gate of heaven.” The conductor at this point gave a signal to the enraptured audience, and everybody joined the special singers in the triumphant lines: “‘Rejoice! I have found my sheep!’ And the angels echoed around the throne, Rejoice, for the Lord brings back His own.” This musical climax was dramatic. The great company had evidently coveted the privilege of singing with Sankey’s organ, and particularly in joining in this song. Now it came, and they made the most of it. “Singing such as that I never expect to hear again this side of heaven,” said a woman whose soul had caught a vision of the lost sheep which had, at last, been found. Just one more hymn remained to be sung before the Choral Benediction of Peter Lutkin was rendered by the great chorus. This was the familiar hymn of Isaac Watts, which we sang to the tune of Hamburg: “When I survey the wondrous cross, On which the Prince of Glory died, My richest gain I count but loss, And pour contempt on all my pride.” “Both hymn and tune are universal favorites,” affirmed Dr. Charles A. Boyd after he examined sixteen hymnals and found the hymn in each of them. In all but two it was set to Hamburg. Three verses of the hymn were sung, as requested, very softly. Then the last verse was sung louder, until, in mighty volume, the long-remembered service closed with the lines of personal consecration: “Love so amazing, so divine, Demands my soul, my life, my all.” CHAPTER V HYMNS OF COMFORT