Two writers, twelve verses, one tune: the story of “Crown Him with Many Crowns”

Some hymns are quiet and personal. “Crown Him with Many Crowns” is the opposite. It is a hymn for full organs, processions and large congregations, a celebration of Christ as King inspired by the book of Revelation.

Revelation and Bridges

The hymn’s opening image comes from Revelation 19:12, which describes the rider on a white horse: “on his head were many crowns”. The hymn imagines those crowns as symbols of Christ’s many titles and victories. The first version was written by Matthew Bridges and published in 1851. Bridges was an English writer who later became a Roman Catholic. His verses crown Christ as the Lamb, the Virgin’s Son, the Lord of love and other titles.

Thring and two versions

Godfrey Thring, an Anglican clergyman and hymn writer, later wrote his own set of six verses on the same theme, with different wording and emphasis. As a result, the hymn exists in two six-verse versions, sharing the same melody and theme. Many modern hymnals combine verses from both writers, so congregations often sing a mix without knowing it.

The tune, Diademata, was composed by Sir George Job Elvey, organist at St George’s Chapel, Windsor. Its name comes from the Greek word for crowns, and its strong, rising melody suits the hymn’s triumphant mood.

The words and Ghana

“Crown him with many crowns, the Lamb upon his throne; hark! how the heavenly anthem drowns all music but its own.” Each verse adds another title and another reason for praise. The hymn is popular at Easter, Ascension, Christ the King Sunday, ordinations and church anniversaries, when congregations want to express joy and confidence. Mission-founded churches in Ghana and Nigeria sing it at harvest services, synods and major celebrations, often with brass bands and full choirs.

Singing it well

The hymn’s history quietly brings together two traditions: a Catholic convert and an Anglican priest both writing verses for the same song. Today, it is sung across many denominations. Choir directors often advise a steady, stately tempo, allowing the long notes at the end of each line to ring out. Descants on the final verse are common at festival services.

“Crown Him with Many Crowns” was not written by one person at one moment. It grew as others added to it. That seems fitting for a hymn about a King honoured by countless voices across the centuries.