The hymn "When I Survey the Wondrous Cross" was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first couplet of the second verse paraphrases Galatians 6:14a and the second couplet of the fourth verse paraphrases Gal. 6:14b. The poetry of "When I surveyâ¦" may be seen as English literary baroque.
The second line of the first stanza originally read "Where the young Prince of Glory dy'd". Watts himself altered that line in the 1709 edition of Hymns and Spiritual Songs, to prevent it from being mistaken as an allusion to Prince William, Duke of Gloucester, the heir to the throne who died at age 11.
The hymn's fourth stanza ("His dying crimson...") is commonly omitted in printed versions, a practice that began with George Whitefield in 1757.
In the final stanza, some modern variations substitute the word "offering" for "present".
The hymn is usually sung to either "Rockingham" or "Hamburg", the former being more closely associated with the text in British and Commonwealth hymnals. Another alternative, associated with the text in the 19th and 20th centuries, is "Eucharist" by Isaac B. Woodbury. Additionally, the hymn is often sung to the tune "O Waly Waly" (also known as "The Water Is Wide" a folk melody of Scottish origin from the 1600-1700s). Using this melody for the hymn seems to have become popular since the 1980s.
"Rockingham" was written by Edward Miller, the son of a stone mason who ran away from home to become a musician, being a flautist in Händel's orchestra. It has long been associated with Watts' text in British and Commonwealth hymnals, first being associated with the text in the seminal Hymns Ancient and Modern (1861), and appearing again in the 1906 English Hymnal:
"Hamburg" is an adaptation of a plainchant melody by American composer Lowell Mason, and it remains the most frequent pairing in the United States. First written in 1824 and published a year later, it was not set to this text until The Sabbath Hymn and Tune Book (1859), and even then it did not gain wide traction until late in the 19th century. Paul Westermeyer notes, however, that the tune is sometimes seen as less than an ideal match for the text, and that it is "dull to the analyst, but often appreciated by congregations."