William Brickey

William Brickey (circa 1880s) was a late nineteenth-century American gospel song writer and lyricist whose literary contributions hold a specialized, highly respected position within early Adventist hymnody and the broader Second Advent movement. Though extensive details of his private life, education, and professional career remain unrecorded in secular biographical archives, Brickey's identity is firmly preserved through his sharp focus on the specific structural ordinances and core theological expectations of his faith community.

Operating during the explosive growth of the American gospel song movement, he penned direct, scripturally grounded verses that captured the dual themes of solemn liturgical practice and urgent, prophetic anticipation.

The Liturgical Ordinance of Footwashing

Brickey’s most enduring and widely recognized contribution to corporate church music is his deeply devotional ordinance hymn, "In imitation, Lord, of Thee." First published in The Seventh-Day Adventist Hymn and Tune Book (1886), the text was written explicitly to accompany the "Ordinance of Humility" (the practice of ceremonial footwashing), which traditionally precedes the celebration of the Lord's Supper within the Seventh-day Adventist Church and other specialized evangelical bodies.

                    ┌───────────────────────────────────────┐
                    │      THE REPERTOIRE OF WM. BRICKEY    │
                    └───────────────────┬───────────────────┘
                                        │
         ┌──────────────────────────────┴──────────────────────────────┐
         ▼                                                             ▼
  LITURGICAL DEVOTION                                           PROPHETIC EXPECTATION
  "In imitation, Lord, of Thee" frames the ritual               "Have you heard the joyful news Christ is coming" 
  of footwashing as a sweet, binding duty of grace.              rallies assemblies around the Second Advent.

Rather than treating the ritual as an uncomfortable or obscure obligation, Brickey's elegant Long Meter text frames it as a graceful, binding act of Christian fellowship. Rooted directly in the Gospel of John 13:14–15, the poem treats physical service as a primary channel for spiritual renewal, pleading for the Holy Spirit to vitalize the flame of love among participants. Paired primarily with the tune MCCABE by E.S. Widdemer, this text has achieved unique permanence, surviving multiple denominational revisions to remain actively preserved as a standard liturgical piece in the modern Seventh-day Adventist Hymnal (1985).

Second Advent and Prophetic Repertoire

Beyond his specialized sacramental writing, Brickey's broader catalog reveals an unshakeable alignment with nineteenth-century premillennial eschatology (the theology of Christ's literal return to earth). His lyrics are characterized by a bright, trumpet-like clarity, calling congregations to awaken and prepare for imminent cosmic transformation.

In works like "Have you heard the joyful news Christ is coming" and "He is coming, yes, he's coming," Brickey utilized the fast-paced, highly engaging rhythmic structures of the Gilded Age gospel song to spread the message of the Second Advent. His work gained traction outside his immediate regional circles when prominent gospel musicians and composers, including the legendary William J. Kirkpatrick, began selecting his texts for inclusion in popular revival collections such as The Golden Sheaf.

Hymn Excerpt: The Grace of Humility

In imitation, Lord, of Thee,

This solemn service we repeat;

For Thine example, full of grace,

Has made this humble duty sweet.

Our great example Thou shalt be,

In washing Thy disciples' feet;

And as we follow Thy command,

Make Thou our fellowship complete.

Summary of Core Hymnological Contributions

A Lasting Witness in Humble Service

While the specific details of William Brickey's daily travels, personal struggles, and local church assignments have slipped into the background of history, his voice continues to serve a vital role in corporate worship. He remains an excellent example of a songwriter whose long-term impact rests not on the sheer volume of his output, but on his ability to provide a definitive, beautifully crafted musical vocabulary for a specific, sacred moment of Christian devotion. Every time an Adventist community prepares for communion by kneeling to wash one another's feet, the quiet writer from the 1880s continues to make that humble duty sweet.