Hymn Desk
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Lift High the Cross

Lift high the cross, the love of Christ proclaim

The hymn proclaims the centrality of Christ's cross as the means of redemption and the object of Christian devotion and witness. For Lutherans, it emphasizes the cross as God's decisive act of justification and the basis for the Christian's call to faithful discipleship.

History & Background

Written by George William Kitchin, Dean of Durham Cathedral, in 1873 as a processional hymn for use in Anglican worship. The hymn was paired with the tune CRUCIFER by Sydney Hugo Nicholson in 1916, becoming one of the most recognizable processional hymns in Christian worship.

George W. Kitchin (b. Naughton, Suffolk, England, 1827; Scripture References d. Durham, England, 1912) wrote the original version of this text st. 1 = Matt. 16:24 in 1887 for the Society for the Propagation of the Gospel. The 1 Pet. 2:21 hymn was intended to be used for a festival service at Winchester st. 2 = Rev. 7:3 Cathedral, England. Michael R. Newbolt (b. Dymock, st. 3 = Ps. 107:1-3 Gloucestershire, England, 1874; d. Bierton, Buckinghamshire, st. 4= John 12:32 England, 1956) revised the text in twelve couplets for the 1916 st. 5 = Matt. 1:21 Supplement to Hymns Ancient and Modern where it was set to st. 6 = Ps. 103:19 CRUCIFER. Eight of his couplets are included in the seven stanzas Matt. 25:31 and refrain. st. 7 = 2 Cor. 2:14 Perhaps similar to Constantine’s vision of Christ’s cross, this Col. 2:15 text makes clear that the cross is a symbol of Christ’s love. As ref. =John 3:14 Stanley L. Osborne states, “[The text’s] images are biblical, its moods expectant, its promises courageous, and its demands costly” (If Such Holy Song, 321). “Lift High the Cross” reveals many implications of Christ’s cross: Christ rallies his people behind him (st. 1-2); Christ gathers his people from throughout the world (st. 3-5); Christ gives healing to the despair of the world (st. 6); Christ’s victory enjoins our praise to him (st. 7). A scholar and Anglican clergyman, Kitchin spent most of his life in academic institu­ tions. Educated at Christ Church, Oxford, England, he was ordained in the Church of England in 1852. He served initially as a headmaster in Twyford, Hampshire, and then as a tutor at Oxford (1863-1883). Dean of Winchester Cathedral from 1883 to 1894 and of Durham Cathedral from 1894 to 1912, Kitchin was also chancellor of Durham University the last few years of his life. His publications include A Life ofPope Pius II (1881), a threevolume work entided A History ofFrance (1877), and archeological writings. Michael R. Newbolt was educated at St. John’s College, Oxford, and ordained as priest in the Church of England in 1900. He ministered at several churches during the early part of his career and then became principal of the Missionary College in Dorchester (1910-1916). From 1916 to 1927 he served St. Michael and All Angels Church in Brighton and from 1927 to 1946 was canon of Chester Cathedral. Newbolt wrote several theological works, including a commentary on the Book of Revelation. 529 THE PSALMS, BIBLE SONGS, AND HYMNS

Hymnal Appearances

  • Baptist Hymnal — 585
  • Chalice Hymnal — 108
  • Evangelical Lutheran Worship — 660
  • Glory to God — 826
  • The Hymnal 1982 — 473
  • Lutheran Book of Worship — 377
  • Lutheran Service Book — 837
  • Lift Up Your Hearts — 179
  • Lutheran Worship — 311
  • New Century Hymnal — 198
  • United Methodist Hymnal — 159
  • Voices Together — 390

Liturgical Use

Lent; Holy Week; profession of faith; baptism and similar consecration/renewal worship services; missions (thus for Epiphany or Pentecost); many other occasions, especially as an opening or closing hymn.

Bulletin Note

Composed by English clergyman George William Kitchin in 1873, this hymn crystallizes the medieval tradition of exalting the cross while centering it as the heart of Christian discipleship and evangelical witness.

Preaching Connection

This hymn anchors the Gospel's promise—that Christ's cross is God's decisive act of justification—while summoning believers to the Law's demand: "take up your cross and follow," made possible only by the grace that cross procures.

Stanza Arc

The narrative or theological arc traced by this tune's stanzas: From public witness of Christ's love, to discipleship and identification with Christ, to eschatological hope in Christ's drawing power

Themes

Christ's redemptive work The cross as victory Witness and proclamation Christian discipleship

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