John 1

Which worship songs are based on John 1?

Beauty — Bethel Music & David Funk (2023) John 1:1-4
The verses identify Christ as the divine Word and source of life, then describe him as embodying grace and truth and making the unseen Father known. This closely follows the language and progression of John's prologue.
In the Beginning Was Love — Jon Guerra (2025) John 1:1-5
The song begins with a declaration that mirrors the opening verses of the Gospel of John, asserting that love is both with God and is God, emphasizing the divine nature of love and its foundational role in creation.
Son of Heaven — Brandon Lake (2020) John 1:1
The opening identifies Jesus as the divine Word who became human and lived among humanity, closely following the prologue of John's Gospel.
Creator — Phil Wickham (2023) John 1:1-3
The description of the Creator entering the world he made reflects John’s identification of the divine Word as both the agent of creation and the one who became human.
Trinity — Stryper (2024) John 1:1
The Son is identified as the divine Word who took on a physical human nature, clearly invoking John's description of the eternal Word becoming flesh.
O Come All Ye Faithful — Carrie Underwood (2020) John 1:1
Jesus is identified as the divine Word now manifested in human flesh, clearly drawing on John’s description of the eternal Word becoming flesh.
Há Poder - Ao Vivo — fhop music (2025) John 1:1-3
The identification of Jesus as the living divine Word who entered human existence strongly invokes John's prologue, where the eternal Word is divine, creates all things, and becomes flesh.
It Could Only Be Jesus — Bridge Worship (2023) John 1:1-5
The bridge identifies Jesus as existing from the beginning and as the light that overcomes darkness, closely following John’s description of the eternal Word and life-giving light.
Está Consumado — Julliany Souza (2025) John 1:1
The song identifies the child as the eternal Word who became incarnate, directly invoking John's prologue and its doctrine of the Word becoming flesh.
The Word (Live) — Anna Golden (2023) John 1:1-5
The opening and second verses directly draw on John's prologue, identifying the eternal Word as God, associating him with light overcoming darkness, and describing his incarnation.
Pages — Jordan Feliz (2018) John 1:1-4
The opening identifies God as the eternal Word and the source of human life, closely reflecting John's description of the Word existing from the beginning and possessing life.
You Are the Word — Sandra McCracken (2020) John 1:1-3
The song identifies Christ as the divine Word, engaging John’s description of the eternal Word who became flesh.
O Come, All Ye Faithful — John Van Deusen (2022) John 1:1
The final verse identifies Jesus as the divine Word and describes that Word becoming visibly embodied, closely paraphrasing John's incarnation language.
Welcome to Our World — Marc Martel & Leigh Nash (2021) John 1:1
Identifying Christ as the divine Word who enters human flesh unmistakably draws on John's description of the eternal Word becoming flesh and dwelling among humanity.
Behold Him - Live — Citizens & Mission House & REVERE (2021) John 1:1-4
The opening presents Jesus as existing before creation and as the source of all created life, closely following John's description of the eternal Word through whom everything was made.
King Of Kings — Brooke Ligertwood (2023) John 1:1
Jesus is identified as the eternal Word who leaves divine glory and enters human life, directly invoking John's account of the Word becoming flesh.
Best Part (feat. Naomi Raine, Chandler Moore & Mav City Gospel Choir) — Maverick City Music & Naomi Raine & Chandler Moore & Mav City Gospel Choir (2021) John 1:1-14
Identifying Jesus as the living Word within a song centered on his human birth evokes John’s presentation of the eternal Word becoming flesh.
O Come All Ye Faithful — Highlands Worship (2022) John 1:1
Jesus is identified as the Father’s eternal Word becoming visibly embodied, directly engaging John’s description of the Word becoming flesh.
The Prologue Carol — Celtic Worship (2022) John 1:1-18
The song closely follows John's prologue by identifying the eternal Son as the creative Word, associating him with life and light, describing the world's failure to recognize him, and presenting his incarnation as the revelation of God. Its language of abundant grace and becoming God's children further confirms this sustained engagement with the passage.
The King Has Come — Kristian Stanfill & Passion (2020) John 1:1-14
The combined imagery of divine light entering darkness and God's Son taking up residence among humanity closely follows John's incarnation prologue.
Son of Heaven (Live) — Brandon Lake (2021) John 1:1
The opening identifies Jesus as the divine Word who became human and lived among humanity, unmistakably invoking the prologue of John’s Gospel.
Arrival — Hillsong Worship (2017) John 1:1-3
The song identifies Jesus as the divine Word and Creator who entered human flesh so that the otherwise unseen God could be known. This closely follows John's presentation of the Word as Creator, incarnate, and revealer of God.
One God — Sam Purpose (2017) John 1:1-3
The song identifies Jesus as the eternal Word who is God and who entered human flesh, directly engaging the opening claims of John's Gospel.
Eyes of Love — Trinity (NL) (2018) John 1:1
The chorus closely follows John's presentation of the eternal Christ becoming human and making the unseen God known. Its assertion that God has never been seen is especially close to John 1:18.
O Come All Ye Faithful — Red Rocks Worship (2019) John 1:1
Jesus is identified as the divine Word who has appeared in human flesh, unmistakably drawing on John's description of the eternal Word becoming flesh.
Fire in My Bones — SEU Worship (2020) John 1:1-5
The opening combines Genesis's account of God creating light by speech with John's presentation of the eternal Word as the agent of creation and source of light.
Across The Lands (Incarnation / Of the Father's Love Begotten) - Live — Keith & Kristyn Getty & Sing! (2019) John 1:1-14
The spoken introduction directly recites John’s prologue, presenting Christ as the eternal divine Word, agent of creation, true light, and incarnate Son.
Prince of Heaven — Hillsong Worship (2017) John 1:1-14
Identifying the infant Jesus as God's incarnate Word directly engages John's teaching that the eternal Word was God and became flesh.
Mary & Joseph — Chris Renzema (2022) John 1:3
The description of Mary carrying the child responsible for creating the world evokes John's identification of the incarnate Word as the one through whom all things were made. The image joins Christ's divine role in creation with his human vulnerability in Mary's womb.
Bayede Kuwe — Joyous Celebration (2017) John 1:3
The declaration addressed to Jesus that all things came into existence through him closely reflects John’s account of the Word as the agent of creation. The song’s designation of him as Creator of heaven and earth reinforces this connection.
In the Bleak Midwinter — Chris Renzema (2025) John 1:4-5
The lyrics express the theme of Jesus as the light that brings life, paralleling the passage that describes the light shining in the darkness.
Way Maker — Mandisa (2020) John 1:4-5
The chorus identifies God as the light present within darkness, closely reflecting John's portrayal of divine light shining in darkness and remaining undefeated by it.
Hope Has Come (Behold Him) — Red Rocks Worship (2022) John 1:4
The association of Christ with light and life for humanity, followed by his coming to dwell among people, closely follows John’s prologue concerning the incarnate Word.
Fire Emoji 2 — 808 BEEZY (2019) John 1:4-9
The portrayal of God's Son as light penetrating darkness closely reflects John's description of the incarnate Word as the true light shining in darkness.
Darkness Dies — Disciple (2020) John 1:4-5
The recurring image of light defeating darkness closely reflects John's description of divine life as a light that darkness cannot overcome. The singer presents himself only as someone who can direct the wounded listener toward that victorious light.
Behold the Lamb of God — Andrew Peterson (2019) John 1:4
The description of Christ as humanity’s life and light directly adopts the language of John’s prologue.
No Other Love - Live — Red Rocks Worship (2019) John 1:4-5
The repeated portrayal of Jesus as light breaking into and overcoming darkness closely reflects John's description of divine light shining where darkness cannot overcome it.
Your Word — Aaron Shust (2019) John 1:4-5
The refrain closely follows John’s description of divine light shining in darkness and remaining unconquered by it.
Tremble — Behold the Beloved (2022) John 1:5
The bridge describes divine light confronting darkness that cannot defeat it, closely paraphrasing John's declaration that the darkness has not overcome the light.
News From Heaven — Greater Vision (2024) John 1:5
The contrast between darkness and light, specifically framed in terms of whether darkness can overcome light, closely echoes John's description of the light shining invincibly in darkness.
Nadie Cómo Tu — Israel & New Breed (2025) John 1:5
The imagery of light dispelling darkness in the lyrics reflects the biblical depiction of Jesus as the light that shines in the darkness, as stated in John.
And It Rages — John Mark McMillan (2025) John 1:5
The description of divine light overcoming personal darkness closely reflects John's proclamation that the light shines in darkness and cannot be overcome by it.
The Devil Is on the Run — Casting Crowns (2022) John 1:5
The repeated declaration that Jesus is the Light whom darkness cannot overcome closely paraphrases John's description of the divine Light shining undefeated in darkness.
Stained Glass — Jordan Feliz (2020) John 1:5
The contrast between divine light shining and darkness being unable to survive closely reflects John's description of light shining in darkness without being overcome.
Into the Light — Raul Hurtado (2021) John 1:5
The song presents light as inherently victorious over darkness, closely paraphrasing John's declaration that the light shines in darkness and cannot be overcome by it.
Mercy — Rhett Walker (2020) John 1:5
The request for God to be an unconcealable light closely echoes John's description of divine light shining in darkness and remaining undefeated by it.
Spotlight — Rita Springer (2020) John 1:5
The opening presents divine light entering darkness and driving it away, closely reflecting John's image of light shining in darkness without being overcome by it.
Never Lost (Live) — CeCe Winans (2021) John 1:5
The spoken interlude explicitly cites John 1:5 and recites its declaration that divine light remains unconquered and uncomprehended by darkness.
Love Is a Miracle (feat. Bri Babineaux & Majesty Rose) — Maverick City Music & Bri Babineaux & Majesty Rose (2020) John 1:5
The second verse closely echoes John's declaration that divine light shines in darkness and cannot be comprehended or overcome by it.
Tremble - Live — Mosaic MSC (2016) John 1:5
The bridge presents Christ's name as unconquerable light before which darkness cannot prevail, closely paraphrasing John's declaration about light shining in darkness and not being overcome.
Tremble — Mosaic MSC (2017) John 1:5
The bridge presents divine light as something darkness cannot defeat, closely paraphrasing John's declaration that the light shines in darkness and is not overcome by it.
Light's Always Stronger — Ellie Holcomb (2018) John 1:5
The recurring claim that Christ’s light continues shining and cannot be defeated by darkness closely parallels John’s description of light shining in darkness without being overcome.
1,000 Names — Phil Wickham (2021) John 1:14
The description of divine glory becoming visible in a human body closely follows John's proclamation that the eternal Word became flesh and revealed divine glory.
The Empathy of God — Chris Renzema (2025) John 1:14
The imagery of Christ as 'the Light of the world' reflects the biblical description of Jesus in John 1:14, where the Word became flesh and dwelt among us, highlighting His divine nature and presence in a broken world.
playlist — Tenroc (2026) John 1:14
The song references the 'Word of God made flesh,' which directly alludes to the incarnation of Christ as described in the Gospel of John, emphasizing the divine nature of the message being conveyed.
Emmanuel — Charity Gayle & Ryan Kennedy (2025) John 1:14
The phrase 'the Word became flesh' directly quotes the biblical account of the incarnation, emphasizing the moment when God became human.
Heaven Is Where You Are — Paul Baloche & Chris Brown (2020) John 1:14
The description of God taking on flesh and coming near clearly invokes John's declaration that the divine Word became human and lived among humanity.
Não Ha Amor Igual - Ao Vivo — MORADA (2020) John 1:14
The description of Christ leaving glory and dwelling among humanity unmistakably invokes John's account of the Word becoming flesh and making his dwelling among us.
The Same Jesus - Live — Matt Redman (2020) John 1:14
The description of Jesus coming to humanity characterized by grace and truth closely follows John's description of the incarnate Word.
What Child Is This? — John Van Deusen (2022) John 1:14
The carol directly uses John's description of the divine Word becoming human, identifying the infant Jesus with the incarnate Word.
O Come All Ye Faithful (His Name Shall Be) — Passion & Melodie Malone (2020) John 1:14
Jesus is identified as the Father's divine Word appearing in human flesh, an unmistakable rendering of John's statement that the Word became flesh.
Joy to the World 2 (He Is Come) — Tommee Profitt & Clark Beckham (2020) John 1:14-17
The distinctive pairing of grace and truth in connection with the Lord's arrival and reign evokes John's description of the incarnate Word and the divine fullness revealed through Jesus Christ.
Crown Him (Christmas) — Chris Tomlin (2021) John 1:14
The song directly invokes John’s description of the divine Word becoming human in the incarnation.
Gloria - Live — Chris Tomlin (2021) John 1:14
The third verse closely restates John's declaration that the eternal Word became human and dwelt among humanity.
MANGER OF MY HEART — TEMITOPE (2022) John 1:14
The description of the incarnate Christ in terms of truth and grace closely reflects John’s portrayal of the Word becoming flesh and dwelling among humanity, full of grace and truth.
One True God — Steven Curtis Chapman (2016) John 1:14
The bridge closely reproduces John's testimony that the incarnate Son's glory has been seen, emphasizing his unique sonship.
He is Worthy - Live — Sovereign Grace Music (2019) John 1:14
The song directly identifies Christ as the divine Word who became human, closely reproducing John's description of the incarnation.
God I'm Just Grateful — Elevation Worship (2025) John 1:16
The song directly uses John’s distinctive expression for the continuing abundance of grace received through Christ.
God I'm Just Grateful - Live — Elevation Worship (2025) John 1:16
The opening uses John’s distinctive expression for the continual abundance of grace received through Christ.
At The Altar — ELEVATION RHYTHM, Tiffany Hudson, Abbie Gamboa (2025) John 1:16
The song directly adopts John’s repeated formulation for the abundant grace received through Christ.
On Repeat / All To Him - Live — Hillsong Worship, Jad Gillies (2022) John 1:16
The bridge uses John’s distinctive expression for the continually abundant grace received through Christ.
At The Altar (acoustic) — ELEVATION RHYTHM (2024) John 1:16
The song uses John’s distinctive expression for the successive and immeasurable abundance of grace received through Christ.
A Million Chances — Jamie MacDonald (2024) John 1:16
The chorus uses John’s distinctive expression for the continuing abundance of grace received through Christ.
Praise Upon Praise — Pat Barrett (2021) John 1:16
The bridge uses John’s distinctive expression for the continually abundant grace received through Christ, pairing that abundance with a multiplying response of praise.
Getaway — TAYA (2022) John 1:16
The bridge repeatedly uses John’s distinctive expression for the continuing abundance of grace received through Christ.
On Repeat — Hillsong UNITED (2022) John 1:16
The bridge uses John’s distinctive expression for the inexhaustible succession of grace received through Christ.
Grace — John Mark Pantana (2017) John 1:16
The chorus directly uses John’s distinctive expression for the continually received abundance of grace through Christ.
Push/Pull — Hillsong Young & Free (2018) John 1:16
The bridge directly adopts John’s distinctive description of believers continually receiving from Christ’s inexhaustible fullness.
Your Spirit — Tasha Cobbs Leonard & Kierra Sheard (2017) John 1:16
The language of grace continually succeeding grace reproduces John’s distinctive description of the fullness received through Christ.
É Ele — Drops INA (2024) John 1:27
The opening adopts John the Baptist’s identity through his mission of preparing the Messiah’s way, his unworthiness to untie Jesus’ footwear, and his declaration that Christ must increase while he decreases.
Still the King — Chris Tomlin (2025) John 1:29
The song references 'the Lamb' in a way that evokes the imagery of Jesus as the sacrificial Lamb of God, which is a direct connection to the description found in John 1:29.
Behold The Lamb Of God - Live — Hillsong Worship (2026) John 1:29
The song directly quotes the phrase 'Behold the Lamb of God, who takes away the sin of the world,' which is a clear reference to John the Baptist's proclamation about Jesus in the Gospel of John.
Living By Grace — John Pape (2023) John 1:29
The title given to Jesus identifies him with John the Baptist's declaration of Christ as God's sacrificial Lamb who bears away sin.
Victory In the Lamb! — Josh Garrels (2025) John 1:29
The repeated mention of 'the Lamb of God' in the song directly quotes the title attributed to Jesus in the Gospel of John, emphasizing His sacrificial role.
Lamb of God — Lurine Cato (2022) John 1:29
The recurring title for Jesus identifies him with John the Baptist’s proclamation of Christ as the sacrificial Lamb who takes away sin.
The Lamb (Alleluia) [Live] — Bethel Music, John Wilds (2025) John 1:29
The phrase 'Behold the Lamb of God' directly quotes John 1:29, where John the Baptist identifies Jesus as the sacrificial Lamb.
Son Of Suffering (Live From Passion 2022) — Passion (2022) John 1:29
The spontaneous section closely reproduces John the Baptist’s identification of Jesus as God’s sacrificial Lamb who removes the world’s sin.
Born A King — Rolling Hills Worship (2025) John 1:29
The phrase 'Lamb of God' in the song evokes the imagery found in John 1:29, where Jesus is identified as the sacrificial lamb, emphasizing His role in salvation.
Just As I Am — Tommee Profitt & Jon Reddick (2026) John 1:29
The song references the 'Lamb of God,' a direct allusion to Jesus as the sacrificial lamb mentioned in John 1:29, emphasizing His role in atonement for sin.
Name Above All Names — Circuit Rider Music & Olivia Stern (2025) John 1:29
The title 'Lamb of God' directly connects to the imagery found in John, where John the Baptist refers to Jesus as the Lamb who takes away the sin of the world, highlighting His sacrificial role.
All the World Awaits (Hosanna) — Chris Tomlin (2020) John 1:29
Jesus is identified as the sacrificial Lamb who removes human sin, directly echoing John the Baptist's identification of Christ.
Eu Vi Alguém Mais Belo - Ao Vivo — fhop music (2024) John 1:29
The bridge directly repeats John the Baptist's designation of Jesus as the Lamb of God, turning his act of identification into a congregational proclamation.
Cry Out (Live From Passion 2024) — Brett Younker & Passion (2024) John 1:29
The song identifies Jesus as the Lamb who removes the world's sin, closely reproducing John the Baptist's declaration about Jesus.
All Glory Forever - Live From Passion 2025 — Passion & Melodie Malone (2025) John 1:29
The reference to 'the Lamb who takes away the sin of all' paraphrases John the Baptist's declaration about Jesus, highlighting His role in redemption.
Lamb Of God — Kings Kaleidoscope & Kings Kaleidoscope Hymns (2025) John 1:29
The song repeatedly uses John the Baptist’s distinctive identification of Jesus as God’s sacrificial lamb. Its surrounding language of sinlessness, sacrifice, and cleansing reinforces the reference.
No Body (Live From Passion 2024) — Passion & Chidima (2024) John 1:29
The opening identifies Jesus as the sacrificial Lamb who removes humanity’s sin, closely following John the Baptist’s declaration about Jesus.
Highest — Matt Crocker (2025) John 1:29
The bridge directly adopts John the Baptist’s identification of Jesus as the sacrificial Lamb who removes the world’s sin.
Quem é Esse? — Julliany Souza (2025) John 1:29
Jesus is identified as the sacrificial Lamb who bears away sin, directly invoking John the Baptist’s identification of Christ as the Lamb of God who removes the world’s sin.
Breathe Miracles — Red Rocks Worship (2021) John 1:29
The song applies John the Baptist’s distinctive sacrificial title for Jesus, identifying him as the one who bears away sin.
Gather the People — Neal Morse (2020) John 1:29
When Jesus appears, John identifies him as the Lamb who removes human sin, directly reproducing John's biblical declaration about Jesus.
Behold The Lamb (Live) — Passion (2019) John 1:29
The refrain directly echoes John the Baptist’s identification of Jesus as God’s sacrificial Lamb, framing his death as the means of redemption.
Nothing More To Say — Cody Carnes (2017) John 1:29
The identification of Jesus as the sacrificial Lamb who removes human sin directly reflects John the Baptist’s declaration about Jesus.
The Gospel — Bizzle (2018) John 1:29
Jesus is identified with John's sacrificial title for the one who deals with the world's sin.
Lamb of God — Vertical Worship (2017) John 1:29
The song uses John the Baptist’s distinctive title for Jesus as the sacrificial one who removes sin, then develops its substitutionary significance.
Just as I Am — Aaron Shust (2019) John 1:29
The song repeatedly addresses Jesus with the sacrificial title John the Baptist applies to him, presenting Christ as the one whose death deals with human sin.
Eastside — 1K Phew & Torey D'Shaun (2025) John 1:46
The question about whether anything good can originate in Nazareth closely reproduces Nathanael's skeptical response upon hearing about Jesus' hometown.
REPENT (feat. Hulvey) — Torey D'Shaun & Hulvey (2024) John 1:46
The outro directly repeats Nathanael’s skeptical question about whether anything good could originate in Nazareth, then applies that prejudice to the artist’s own neighborhood.
I WILL WAIT — Torey D'Shaun & Kimani Jones (2024) John 1:46
The invitation associated with Philip’s response to Nathanael is repeated throughout the song, and the outro explicitly identifies John 1:46 as its source.

John 1 (King James Version)

¹ In the beginning was the Word, and the Word was with God, and the Word was God.

² The same was in the beginning with God.

³ All things were made by him; and without him was not any thing made that was made.

⁴ In him was life; and the life was the light of men.

⁵ And the light shineth in darkness; and the darkness comprehended it not.

⁶ There was a man sent from God, whose name was John.

⁷ The same came for a witness, to bear witness of the Light, that all men through him might believe.

⁸ He was not that Light, but was sent to bear witness of that Light.

⁹ That was the true Light, which lighteth every man that cometh into the world.

¹⁰ He was in the world, and the world was made by him, and the world knew him not.

¹¹ He came unto his own, and his own received him not.

¹² But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name:

¹³ Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God.

¹⁴ And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth.

¹⁵ John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me.

¹⁶ And of his fulness have all we received, and grace for grace.

¹⁷ For the law was given by Moses, but grace and truth came by Jesus Christ.

¹⁸ No man hath seen God at any time; the only begotten Son, which is in the bosom of the Father, he hath declared him.

¹⁹ And this is the record of John, when the Jews sent priests and Levites from Jerusalem to ask him, Who art thou?

²⁰ And he confessed, and denied not; but confessed, I am not the Christ.

²¹ And they asked him, What then? Art thou Elias? And he saith, I am not. Art thou that prophet? And he answered, No.

²² Then said they unto him, Who art thou? that we may give an answer to them that sent us. What sayest thou of thyself?

²³ He said, I am the voice of one crying in the wilderness, Make straight the way of the Lord, as said the prophet Esaias.

²⁴ And they which were sent were of the Pharisees.

²⁵ And they asked him, and said unto him, Why baptizest thou then, if thou be not that Christ, nor Elias, neither that prophet?

²⁶ John answered them, saying, I baptize with water: but there standeth one among you, whom ye know not;

²⁷ He it is, who coming after me is preferred before me, whose shoe’s latchet I am not worthy to unloose.

²⁸ These things were done in Bethabara beyond Jordan, where John was baptizing.

²⁹ The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world.

³⁰ This is he of whom I said, After me cometh a man which is preferred before me: for he was before me.

³¹ And I knew him not: but that he should be made manifest to Israel, therefore am I come baptizing with water.

³² And John bare record, saying, I saw the Spirit descending from heaven like a dove, and it abode upon him.

³³ And I knew him not: but he that sent me to baptize with water, the same said unto me, Upon whom thou shalt see the Spirit descending, and remaining on him, the same is he which baptizeth with the Holy Ghost.

³⁴ And I saw, and bare record that this is the Son of God.

³⁵ Again the next day after John stood, and two of his disciples;

³⁶ And looking upon Jesus as he walked, he saith, Behold the Lamb of God!

³⁷ And the two disciples heard him speak, and they followed Jesus.

³⁸ Then Jesus turned, and saw them following, and saith unto them, What seek ye? They said unto him, Rabbi, (which is to say, being interpreted, Master,) where dwellest thou?

³⁹ He saith unto them, Come and see. They came and saw where he dwelt, and abode with him that day: for it was about the tenth hour.

⁴⁰ One of the two which heard John speak, and followed him, was Andrew, Simon Peter’s brother.

⁴¹ He first findeth his own brother Simon, and saith unto him, We have found the Messias, which is, being interpreted, the Christ.

⁴² And he brought him to Jesus. And when Jesus beheld him, he said, Thou art Simon the son of Jona: thou shalt be called Cephas, which is by interpretation, A stone.

⁴³ The day following Jesus would go forth into Galilee, and findeth Philip, and saith unto him, Follow me.

⁴⁴ Now Philip was of Bethsaida, the city of Andrew and Peter.

⁴⁵ Philip findeth Nathanael, and saith unto him, We have found him, of whom Moses in the law, and the prophets, did write, Jesus of Nazareth, the son of Joseph.

⁴⁶ And Nathanael said unto him, Can there any good thing come out of Nazareth? Philip saith unto him, Come and see.

⁴⁷ Jesus saw Nathanael coming to him, and saith of him, Behold an Israelite indeed, in whom is no guile!

⁴⁸ Nathanael saith unto him, Whence knowest thou me? Jesus answered and said unto him, Before that Philip called thee, when thou wast under the fig tree, I saw thee.

⁴⁹ Nathanael answered and saith unto him, Rabbi, thou art the Son of God; thou art the King of Israel.

⁵⁰ Jesus answered and said unto him, Because I said unto thee, I saw thee under the fig tree, believest thou? thou shalt see greater things than these.

⁵¹ And he saith unto him, Verily, verily, I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man.