Hooper's compositional style was highly idiosyncratic and adventurous by the standards of the day. The best of his full anthems is undoubtedly Behold it is Christ, whose survival in as many as eighteen pre-Restoration manuscripts demonstrates its evident popularity during the seventeenth century. Its unorthodox twists of harmony and strategic use of false relations were emulated by many English composers of the early seventeenth century, with Thomas Tomkins's setting of the same words owing much to Hooper's model. The unusual intensity of expression Hooper achieves in this anthem was, however, rarely equalled by his contemporaries and the remarkable way in which he weaves the motif 'whosoever believeth in him' through the texture demonstrates compositional ability of the highest order.