Come, Thou Almighty King

"Lift up your heads, O ye gates; even lift them up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory? The Lord of Hosts, He is the King of Glory." — Psalm 24:9–10 (KJV)

Come, Thou Almighty King stands as one of the most beloved hymns traditionally used as a call to worship, yet its origins remain shrouded in mystery. The hymn first appeared anonymously in London around 1757, reportedly in celebration of Trinity Sunday. Its early association with the national hymn God Save Our Gracious King is especially notable. For a time, both texts were sung to the same tune, which in the United States later became exclusively associated with My Country, ’Tis of Thee—using the melody known as America. Eventually, Come, Thou Almighty King was paired permanently with the tune Italian Hymn, a setting that has endured to the present day.

There has been considerable speculation about the hymn’s anonymous authorship. Some suggest it may have been written as a subtle act of protest against the royal anthem, providing a spiritual alternative—a prayer directed not to an earthly monarch, but to the heavenly King. This theory posits that the author may have chosen anonymity to avoid political repercussions. Others believe the hymn may have been intended as a theological sequel to God Save the King, transitioning the focus from national loyalty to divine sovereignty. Though the hymn has frequently been attributed to Charles Wesley—largely because it appeared in a 1757 pamphlet published by his brother John Wesley that also contained a hymn by Charles—many hymnologists dispute this claim. The use of an irregular meter, uncommon in Wesleyan texts, argues against Charles Wesley’s authorship.

An intriguing story from the era of the American Revolutionary War highlights the hymn’s enduring spirit and flexibility. According to tradition, British troops once interrupted a church service and demanded the congregation sing God Save Our Gracious King. In a clever and reverent act of defiance, the American worshipers sang the requested tune—but with the words of Come, Thou Almighty King instead. The hymn itself is deeply Trinitarian in structure and theology. Each of the first three stanzas addresses a distinct Person of the Godhead—Father, Son, and Holy Spirit—while the fourth stanza affirms the mystery and unity of the Trinity as a whole. As such, it is vital that all four stanzas be sung together; omitting any would diminish its doctrinal integrity. In his book The Knowledge of the Holy, theologian A. W. Tozer described the doctrine of the Trinity as “truth for the heart,” a truth that could not be devised by human reason but only revealed by divine revelation.

The hymn’s lasting union with the tune Italian Hymn has contributed greatly to its popularity. The music was composed in 1769 by Felice de Giardini, an Italian-born musician born in Turin on April 12, 1716. De Giardini later settled in London, where he gained recognition as a prominent violinist in operatic circles. His musical career eventually took him to Moscow, Russia, where he served as an opera conductor. He died there in 1796. The pairing of his jubilant melody with this fervent text has helped secure Come, Thou Almighty King as a staple in Christian worship, especially on occasions that emphasize God’s sovereign majesty and Trinitarian glory.