70. Nason, American Evangelists, p. 122.
71. Sankey, My Life, pp. 150, 173–175.
72. Sankey, My Life, p. 170.
73. Detty (Centennial Sketch, pp. 24–28) gives an account of the unveiling ceremony and a photograph of the monument or cenotaph.
74. See Fanny J. Crosby, Memories of Eighty Years: The Story of Her Life . . . History of Her Songs and Hymns (1906), p. 128; and Stebbins, Reminiscences, p. 210.
75. Day, Bush Aglow, p. 177.
76. Thus did Fanny Crosby (Memories, p. 128) refer to them, but in England, according to Sankey (My Life, p. 77) and Ludwig (Sankey Still Sings, p. 14), a penny edition of his Sacred Songs and Solos was known as "little Sankey's." William R. Moody, however, gave his father such credit for the publication of Sacred Songs and Solos and for Bliss's and Sankey's Gospel Hymns and Sacred Songs that he referred to them collectively as the "Moody and Sankey Hymnbook" (W. R. Moody, Life of Dwight L. Moody, pp. 170–181, and D. L. Moody, pp. 198–209). Compare Sankey's different account of the origin of Sacred Songs and Solos in his My Life, pp. 47, 53–54. Day (Bush Aglow, p. 178) combines W. R. Moody's account with Sankey's.
77. The correspondent probably was William Earl Dodge, the elder, who was very close to Moody, but it could have been his son, whose interests were similar to his father's. On the elder Dodge (1805–1883), see William B. Shaw's biographical sketch in DAB (vol. 3, pp. 352–353) and the unsigned sketch in the National Cyclopaedia of American Biography (vol. 3, pp. 174–175). On the younger Dodge (1832–1903), see National Cyclopaedia of American Biography, vol. 13, p. 352; Day, Bush Aglow, pp. 178–179; and W. R. Moody, Life of Dwight L. Moody, pp. 173–175, 572–575; and D. L. Moody, pp. 202–204.
78. Letter, Sherman to Dodge, 22 June 1875, in reply to a letter of 12 June. French, Two Wars, p. 262; and Fred E. Brown, "The Battle of Allatoona," p. 297.
79. See "The Great Revival," Harper's Weekly, vol. 20 (11 March 1876), pp. 201, 210.
80. Daniels, Moody, pp. 60–61. Exterior and interior views of the Boston Tabernacle are in Nason, American Evangelists, pp. 206, 208.
81. Daniels, Moody, p. 510.
82. Nason, American Evangelists, p. 211.
83. See I. A. M. Cumming, Tabernacle Sketches (1877); and Ludwig, Sankey Still Sings, p. 111.
84. Cumming, Tabernacle Sketches, p. 11. The words of this song, also known as "Sowing the Seed" and sometimes attributed to Bliss, were by Emily Sullivan Oakey, although Bliss wrote the music. See Sankey, My Life, p. 336, and Hymns Historically Famous, p. 245; Memoirs of Philip P. Bliss, pp. 63–64 [where Mrs. Oakey is referred tn as Emily L. Oakey]; and Appleton's Cyclopaedia of American Biography (revised edition, 1898), vol. 4, p. 548.
85. Cumming, Tabernacle Sketches, p. 11.
86. Cumming, Tabernacle Sketches, pp. 18–19.
87. On Tourjée, see Nason, American Evangelists, pp. 291–300.
88. Cumming, Tabernacle Sketches, pp. 76–77.
