varies greatly in the records of the different Evangelists. To
reconcile these discrepancies, is often a very difficult matter, and when
combined with the other principles on which the Harmonies were
constructed must have caused a great deal of trouble, and required much
skilful adaptation. This part of the work can be tested by examining
some one chapter of the Authorized Version, and we can then discover how
the subjects are treated. The eighth chapter of St. Luke's Gospel will
be a good example--

Vers. 1-3: "A general account of Christ's ministry and followers," appear
on p. 102 of the Harmony.

Vers. 4-15: "Parable of the Sower, and explanation," come on pp. 90-93,
being composed of the narratives of the other two Evangelists
interpolated with St. Luke's.

Vers. 16-18 follow in natural order, but

Vers. 19-21: "Christ's mother and brethren," are found on p. 90, _before_
the Parable of the Sower; while

Vers. 22-25: "The Storm on the Lake," come still earlier in the Harmony,
on p. 45.

Vers. 26-39: "The herd of swine drowned," following on p. 47.

Ver. 40. Stands by itself on p. 50, preceeding the events recorded in
St. Luke's fifth chapter.

Vers. 41-56: "The raising of Jairus' daughter," come prior to the events
narrated in St. Luke's sixth and seventh chapters, and appear on p. 56 of
the Harmony.

If we may take Nicholas Ferrar's chronology to be correct, it is clearly
seen that the Harmony is a most valuable aid to the study of the Gospels.

Mention has been made already of the engravings with which the
Concordances are nearly all supplied. On the title-page, after
describing the contents of the book, these words always occur: "to which
are added sundry pictures, expressing either the facts themselves or
their types and figures, or other matters appertaining thereunto."

These "pictures" are in many cases delightfully quaint, and are probably
of considerable value, having been collected by Nicholas Ferrar on his
journey through Holland, Germany, Italy, and Spain in the years 1613 to
1618, it being expressly stated that they were by the best masters of
that time, and that he let nothing valuable of this sort escape him.

Unfortunately, many of these prints have been cut, to make them fit into
the pages, but on others there are the names or monograms of the artist
and engraver. On one the date 1564 appears after the name M. Heern,
invent. Other names occurring are M. de Vos, Joannes Strada, T