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Text Identifier:"^the_savior_comes_no_outward_pomp$"✖

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The Savior Comes, No Outward Pomp

Author: William Robertson Meter: 8.6.8.6 D Appears in 21 hymnals Lyrics: 1. The Savior comes, no outward pomp, Bespeaks His presence nigh; No earthly beauty shines in Him, To draw the carnal eye. Refrain All beauty may we ever see, In God’s belovèd Son, The chiefest of ten thousand He, The only lovely One! 2. Rejected and despised of men, Behold a man of woe! Grief was His close companion here, Through all His life below. [Refrain] 3. Yet all the griefs He felt were ours, Ours were the woes He bore; Pangs not His own, His spotless soul, With bitter anguish tore. [Refrain] 4. We all like sheep had gone astray, In ruin’s fatal road; On Him were our transgressions laid; He bore the mighty load. [Refrain] Used With Tune: VOX DILECTI Text Sources: Scottish Translations and Paraphrases, 1745
The Savior Comes, No Outward Pomp

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VOX DILECTI

Meter: 8.6.8.6 D Appears in 299 hymnals Composer and/or Arranger: John Bacchus Dykes Tune Key: g minor Incipit: 55117 33721 11175 Used With Text: The Savior Comes, No Outward Pomp
VOX DILECTI
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WINDSOR

Meter: 8.6.8.6 Appears in 124 hymnals Composer and/or Arranger: G. Kirbye Tune Key: g minor Incipit: 11232 11735 43233 Used With Text: The Saviour comes! no outward pomp
WINDSOR
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CHESHIRE

Meter: 8.6.8.6 Appears in 51 hymnals Tune Key: e minor Incipit: 11233 22113 34755 Used With Text: The Saviour comes! no outward pomp
CHESHIRE

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The Savior Comes, No Outward Pomp

Author: William Robertson Hymnal: The Cyber Hymnal #5942 Meter: 8.6.8.6 D Lyrics: 1. The Savior comes, no outward pomp, Bespeaks His presence nigh; No earthly beauty shines in Him, To draw the carnal eye. Refrain All beauty may we ever see, In God’s belovèd Son, The chiefest of ten thousand He, The only lovely One! 2. Rejected and despised of men, Behold a man of woe! Grief was His close companion here, Through all His life below. [Refrain] 3. Yet all the griefs He felt were ours, Ours were the woes He bore; Pangs not His own, His spotless soul, With bitter anguish tore. [Refrain] 4. We all like sheep had gone astray, In ruin’s fatal road; On Him were our transgressions laid; He bore the mighty load. [Refrain] Languages: English Tune Title: VOX DILECTI
The Savior Comes, No Outward Pomp
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The Savior comes, no outward pomp

Hymnal: Sacred Poetry #H.CCXXXIX (1795)
The Savior comes, no outward pomp
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The Savior comes, no outward pomp

Hymnal: The Lord's Songs #CLI (1805)
The Savior comes, no outward pomp

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John Bacchus Dykes

1823 - 1876 Composer of "VOX DILECTI" in The Cyber Hymnal As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman
John Bacchus Dykes

George Kirbye

1565 - 1634 Person Name: G. Kirbye Composer of "WINDSOR" in Christian Hymns George Kirbye (c. 1565 – buried October 6, 1634) was an English composer of the late Tudor period and early Jacobean era. He was one of the members of the English Madrigal School, but also composed sacred music. Little is known of the details of his life, though some of his contacts can be inferred. He worked at Rushbrooke Hall near Bury St Edmunds, evidently as a tutor to the daughters of Sir Robert Jermyn. In 1598 he married Anne Saxye, afterwards moving to Bury St Edmunds. Around this time he probably made the acquaintance of John Wilbye, a much more famous madrigalist, who lived and worked only a few miles away, and whose style he sometimes approaches. In 1626 his wife died, and he is known to have been a churchwarden during the next several years until his death. Kirbye's most significant musical contributions were the psalm settings he wrote for East's psalter in 1592, the madrigals he wrote for the Triumphs of Oriana (1601), the famous collection dedicated to Elizabeth I, and an independent set of madrigals published in 1597. Stylistically his madrigals have more in common with the Italian models provided by Marenzio than do many of the others by his countrymen: they tend to be serious, in a minor mode, and show a careful attention to text setting; unlike Marenzio, however, he is restrained in his specific imagery. Kirbye avoided the light style of Morley, which was hugely popular, and brought into the madrigal serious style of pre-madrigal English music. He is not as often sung as Morley, Weelkes or Wilbye, but neither was he as prolific; still, some of his madrigals appear in modern collections. --en.wikipedia.org/wiki/
George Kirbye

William Robertson

1686 - 1745 Author of "The Savior Comes, No Outward Pomp" in The Cyber Hymnal Robertson, William, was the son of David Robertson of Brunton in Fife. After finishing his University course he was licensed to preach in 1711. He is said to have been assistant to the minister of the Presbyterian Church of London Wall, London, before his settlement, in 1714, as parish minister of Borthwick, Midlothian. In 1733 he was appointed minister of Lady Yesters, Edinburgh, and in 1736 of Old Greyfriars, and died at Edinburgh, Nov. 16, 1745. He was in 1742 appointed a member of the Committee of the General Assembly of the Church of Scotland, which compiled the Translations and Paraphrases of 1745, and is said to have contributed 3 paraphrases which, in the 1781 collection, are numbered 25, "How few receive with cordial faith" (p. 536, ii.), 42, "Let not your hearts with anxious thoughts" (p. 672, i.), and 43 "You now must hear my voice no more.” [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)
William Robertson
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