The Cross, a place where the pain of earth and the joy of heaven come together, is a kind of spiritual altar to which we might draw near for refuge and solace. The glory of the Cross, a theme of the refrain, is a common metaphor of Romantic-era hymnody.
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Young notes: “It is one of many texts by Crosby that combine vivid imagery (she was blinded in her childhood) and powerful biblical and evangelical metaphors: the Cross, a fountain of healing streams, free grace, the daily walk of faith, God’s pursuing love and mercy, Jesus, the Lamb of God, beyond the river of death-heaven with its golden streets-and rest for the post-Raptured souls.” Indeed, it was Doane who wrote the music and then gave it to Fanny Crosby to add the text-a practice that was not uncommon in their relationship. Allen, at least two of whom were famous writers of gospel song tunes. This hymn first appeared in the collection Bright Jewels (1869), compiled by Bradbury, Doane, W.F. British hymnals identify her as Frances Van Alstyne, her married name. She married blind musician Alexander Van Alstyne. Crosby composed under a number of pen names. Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane and Ira Sankey. A friend of several presidents, Crosby became one of the most important advocates for the cause of the blind in the United States. She later became a teacher at the New York School for the Blind, where she was a student. Though blind at 6 weeks of age, Crosby began composing texts at age 6. Crosby (1820-1915) was the author of over 8,500 gospel songs.
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