Come, thou fount of every blessing



Text: Origins. The oldest surviving publication of this hymn is in A Collection of Hymns for the Use of the Church of Christ: Meeting in Angel-Alley (London, 1759 | Fig. 1), in four stanzas of eight lines, without music, and unattributed. It is ascribed to Robert Robinson (1735–1790) on the basis of his manuscripts, which included a list of his publications, including the entry, “Mr. Wheatley of Norwich published a hymn beginning ‘Come, thou fount of every blessing’ (1758).” This publication may have been a broadsheet; no known exemplars exist. His manuscripts also included a letter from John Rippon (1751–1836), acknowledging the contribution of this hymn to Rippon’s Selection of Hymns (1787). 


Fig. 1. A Collection of Hymns for the Use of the Church of Christ: Meeting in Angel-Alley (London, 1759 | Fig. 1).


Text: Development. Shortly after its 1759 publication, the hymn appeared in Martin Madan’s Collection of Psalms and Hymns (London, 1760 | Fig. 2), shortened to three stanzas, and containing some key alterations, especially to the first four lines of stanza 2 and the sixth line of stanza 3 (“Here's mine heart”). Madan’s edition also provided several Scripture references for comparison. These alterations were repeated in The Collection of Hymns Sung in the Countess of Huntingdon’s Chapel (1764; 1770 ed. shown in Fig. 3), adding the minor change at 2.8 (“Interpos’d his precious blood”). The common change at the end of stanza 1, “Mount of thy redeeming love,” can be traced to the mid-1800s, but the source of that alteration is unclear.


Fig. 2. Martin Madan, A Collection of Psalms and Hymns (London, 1760).

Fig. 3. The Collection of Hymns Sung in the Countess of Huntingdon’s Chapel (Bath, 1770).


Text: Analysis. Madan’s edition (Fig. 2) lists many important Scripture references. The opening line of the hymn is reflected in James 1:17, “Every good gift and every perfect gift is from above, coming down from the Father of lights” (ESV). The allusion to the Ebenezer stone in 1 Samuel 7:12 is somewhat obscure and is sometimes changed in modern hymnals to a phrase more readily understood by the average worshiper (“Here I raise my grateful tribute,” or something similar). Other adjustments are common in trying to reframe the 18th-century English language for new ears. 

Tunes. This hymn was first set to music in Thomas Knibb’s The Psalm Singers Help: Being a Collection of Tunes in Three Parts (London, ca. 1765 | image pending), with a tune called JEWIN STREET. This pairing was very popular from the late 1700s into the early 1800s and was included, for example, in editions of John Rippon’s Selection of Psalm and Hymn Tunes (1792 and thereafter).

In modern hymnals, this hymn is most widely known with the tune NETTLETON, which was first printed in John Wyeth’s Repository of Sacred Music, Part 2 (Harrisburg, PA, 1813 | Fig. 5), where it was named HALLEUJAH, scored for two parts (melody and bass), and set to Robinson’s text. The change in name to NETTLETON appeared as early as 1868 in Charles Robinson’s Songs for the Sanctuary ( The name is in reference to Asahel Nettleton (1783–1844), and the tune has been erroneously attributed to him in some collections, even though Nettleton is not known to have been a composer, and his collection Village Hymns for Social Worship (1824) contained no music.

Fig. 5. Repository of Sacred Music, Part 2 (Harrisburg, PA: John Wyeth, 1813).

for Hymnology Archive
5 September 2018

Related Resources:

Hymn Tune Index:

John Julian, “Come, thou fount of every blessing,” A Dictionary of Hymnology (London, 1892), p. 252: Google Books

J.R. Watson, “Come, thou fount of every blessing,” Canterbury Dictionary of Hymnology:,-thou-fount-of-every-blessing

“Come, thou fount of every blessing” at