The Four Evangelists by Jacob Jordaens, 1625–1630, Louvre

A gospel harmony is an attempt to compile the canonical gospels of the Christian New Testament into a single account.[1] This may take the form either of a single, merged narrative, or a tabular format with one column for each gospel, technically known as a synopsis, although the word harmony is often used for both.[1]

Harmonies are constructed for a variety of purposes: to create a readable and accessible piece of literature for the general public,[2] to establish a scholarly chronology of events in the life of Jesus as depicted in the canonical gospels, or to better understand how the accounts relate to each other.[3]

Among academics, the construction of harmonies has been favoured by conservative scholars, though one scholar, B. S. Childs, opposes this.[4] Students of higher criticism see the divergences between the gospel accounts as reflecting the construction of traditions by the early Christian communities.[5] Among modern academics, attempts to construct a single story have largely been abandoned in favour of laying out the accounts in parallel columns for comparison, to allow critical study of the differences between them.[6]

The earliest known harmony is the Diatessaron by Tatian in the 2nd century and variations based on the Diatessaron continued to appear in the Middle Ages.[7][8] The 16th century witnessed a major increase in the introduction of gospel harmonies and the parallel column structure became widespread.[9] At this time visual representations also started appearing, depicting the life of Christ in terms of a "pictorial gospel harmony", and the trend continued into the 19th–20th centuries.[10][11]

Overview

A gospel harmony is an attempt to collate the Christian canonical gospels into a single account.[1] Harmonies are constructed by some writers in order to make the gospel story available to a wider audience, both religious and secular.[2] Harmonies can be studied by scholars to establish a coherent chronology of the events depicted in the four canonical gospels in the life of Jesus, to better understand how the accounts relate to each other, and to critically evaluate their differences.[3][6]

The terms harmony and synopsis have been used to refer to several different approaches to consolidating the canonical gospels.[1] Technically, a "harmony" weaves together sections of scripture into a single narrative, merging the four gospels. There are four main types of harmony: radical, synthetic, sequential and parallel.[1] By contrast, a "synopsis", much like a parallel harmony, juxtaposes similar texts or accounts in parallel format, synchronized by time, while preserving their individual identity, usually in columns.[1] Harmonies may also take a visual form and be undertaken to create narratives for artistic purposes, as in the creation of picture compositions depicting the life of Christ.[10]

The oldest approach to harmonizing consists of merging the stories into a single narrative, producing a text longer than any individual gospel.[3] This creates the most straightforward and detailed account, and one that is likely to be most accessible to non-academic users, such as lay churchgoers or people who are reading the gospels as a work of literature or philosophy.

There are, however, difficulties in the creation of a consolidated narrative. As John Barton points out, it is impossible to construct a single account from the four gospels without changing at least some parts of the individual accounts.[12]

One challenge with any form of harmonizing is that events are sometimes described in a different order in different accounts – the Synoptic Gospels, for instance, describe Jesus overturning tables in the Temple at Jerusalem in the last week of his life, whereas the Gospel of John records a counterpart event only towards the beginning of Jesus's ministry. Harmonists must either choose which time they think is correct, or conclude that separate events are described. Lutheran theologian Andreas Osiander, for instance, proposed in Harmonia evangelica (1537) that Jesus must have been crowned with thorns twice, and that there were three separate episodes of cleansing of the Temple.[13] On the other hand, commentators have long noted that the individual gospels are not written in a rigorously chronological format.[14][15] This means that an event can be described as falling at two different times and still be the same event, so that the substantive details can be properly brought together in a harmony, although the harmonist will still have the task of deciding which of the two times is more probable.

A less common but more serious difficulty arises if the gospels diverge in their substantive description of an event. An example is the incident involving the centurion whose servant is healed at a distance. In the Gospel of Matthew the centurion comes to Jesus in person;[16] in the Luke version he sends Jewish elders.[17] Since these accounts are clearly describing the same event, the harmonist must decide which is the more accurate description or else devise a composite account.[18][19]

The modern academic view, based on the broadly accepted principle that Matthew and Luke were written using Mark as a source, seeks to explain the differences between the texts in terms of this process of composition. For example, Mark describes John the Baptist as preaching the forgiveness of sins, a detail which is dropped by Matthew, perhaps in the belief that the forgiveness of sins was exclusive to Jesus.[20]

The modern popularizing view, on the other hand, while acknowledging these difficulties, deemphasizes their importance. This view suggests that the divergences in the gospels are a relatively small part of the whole, and that the accounts show a great deal of overall similarity.[1] The divergences can therefore be sufficiently discussed in footnote in the course of a consolidated narrative, and need not stand in the way of conveying a better overall view of the life of Jesus[1] or of making this material more accessible to a wider readership.

To illustrate the concept of parallel harmony, a simple example of a "synopsis fragment" is shown here, consisting of just four episodes from the Passion.[21] A more comprehensive parallel harmony appears in a section below.

Event Matthew Mark Luke John
Crown of thornsMatthew 27:29Mark 15:17John 19:2–5
Blood curseMatthew 27:24–25
Carrying the crossMatthew 27:27–33Mark 15:20–22Luke 23:26–32John 19:16–17
Crucifixion of JesusMatthew 27:34–61Mark 15:23–47Luke 23:33–54John 19:18–38

Early Church and Middle Ages

A 6th–7th-century use of the Eusebian Canons to organize the contents of the gospels in the London Canon Tables

Tatian's influential Diatessaron, which dates to about AD 160, was perhaps the very first harmony.[1][7][22] The Diatessaron reduced the number of verses in the four gospels from 3,780 to 2,769 without missing any event of teaching in the life of Jesus from any of the gospels.[1] Some scholars believe Tatian may have drawn on one or more noncanonical gospels.[23] The Gospel of the Ebionites, composed about the same time, is believed to have been a gospel harmony.[24]

Variations based on the Diatessaron continued to appear in the Middle Ages, e.g. Codex Sangallensis (based on the 6th century Codex Fuldensis) dates to 830 and has a Latin column based on the Vulgate and an Old High German column that often resembles the Diatessaron, although errors frequently appear within it.[8] The Liege harmony in the Limburg dialect (Liege University library item 437) is a key Western source of the Diatessaron and dates to 1280, although published much later.[8][25] The two extant recensions of the Diatessaron in Medieval Italian are the single manuscript Venetian from the 13th or 14th century and the 26 manuscript Tuscan from the 14th–15th century.[8][25]

In the 3rd century Ammonius of Alexandria developed the forerunner of modern synopsis (perhaps based on the Diatessaron) as the Ammonian Sections in which he started with the text of Matthew and copied along parallel events.[1][26] There are no extant copies of the harmony of Ammonius and it is only known from a single reference in the letter of Eusebius to Carpianus.[26] In the letter Eusebius also discusses his own approach, i.e. the Eusebian Canons in which the texts of the gospels are shown in parallel to help comparison among the four gospels.[26]

In the 5th century, Augustine of Hippo wrote extensively on the subject in his book Harmony of the Gospels.[27] Augustine viewed the variations in the gospel accounts in terms of the different focuses of the authors on Jesus: Matthew on royalty, Mark on humanity, Luke on priesthood and John on divinity.[28]

Clement of Llanthony's Unum ex Quatuor (One from Four) was considered an improvement on previous canons at the time,[29] although modern scholars sometimes opine that no major advances beyond Augustine emerged on the topic until the 15th century.[9] Throughout the Middle Ages harmonies based on the principles of the Diatessaron continued to appear, e.g., the Liege harmony by Plooij in Middle Dutch, and the Pepysian harmony in Middle English.[25][26] The Pepysian harmony (Magdalene college, Cambridge, item Pepys 2498) dates to about 1400 and its name derives from having been owned by Samuel Pepys.[25]

15th–20th centuries

The cover of Branteghem's 1537 visual gospel harmony, Antwerp[30]

In the 15th and the 16th centuries some new approaches to harmony began to appear, e.g. Jean Gerson produced a harmony which gave priority to the Gospel of John.[26] Cornelius Jansen (Bishop of Ghent) also published his harmony (1549), focusing on the four gospels and even referring to the Acts of the Apostles.[31] On the other hand John Calvin's approach focused on the three synoptic Gospels, and excluded the Gospel of John. [32][33]

By this time visual representations had also started appearing, for instance, the 15th-century artist Lieven de Witte produced a set of about 200 woodcut images that depicted the Life of Christ in terms of a "pictorial gospel harmony" which then appeared in Willem van Branteghem's harmony published in Antwerp in 1537.[10][30] The importance of imagery is reflected in the title of Branteghem's well known work: The Life of Jesus Christ Skillfully Portrayed in Elegant Pictures Drawn from the Narratives of the Four Evangelists[30]

The 16th century witnessed a major increase in the introduction of gospel harmonies. In this period the parallel column structure became widespread, partly in response to the rise of biblical criticism.[9] This new format was used to emphasize the trustworthiness of the gospels. It is not clear who produced the very first parallel harmony, but Gerhard Mercator's 1569 system is a well-known example.[9][34] In terms of content and quality, Johann Jacob Griesbach's 1776 synopsis was a notable case.[9][34]

At the same time, the rise of modern biblical criticism was instrumental in the decline of the traditional apologetic gospel harmony. The Enlightenment writer, Gotthold Ephraim Lessing, observed:

Oh that most excellent Harmony, which can only reconcile two contradictory reports, both stemming from the evangelists, by inventing a third report, not a syllable of which is to be found in any individual evangelist![35]

W. G. Rushbrooke's 1880 Synopticon is at times considered a turning point in the history of the synopsis, as it was based on Markan priority, i.e. the assumption that the Gospel of Mark was the first to be written.[9] Thirteen years later, John Broadus used historical accounts to assign priorities in his harmony, while previous approaches had used feasts as the major milestones for dividing the life of Christ.[9]

Towards the end of the 19th century, after extensive travels and study in the Middle East, James Tissot produced a set of 350 watercolors which depicted the life of Christ as a visual gospel harmony.[11] Tissot synthesized the four gospels into a singular narrative with five chapters: "the Holy Childhood, the Ministry, Holy Week, the Passion, and the Resurrection". He also made portraits of each of the four evangelists to honor them.[36]

In the 20th century, the Synopsis of the Four Gospels by Kurt Aland[37] came to be seen by some as "perhaps the standard for an in-depth study of the Gospels."[9] A key feature of Aland's work is the incorporation of the full text of the Gospel of John.[9] John Bernard Orchard's synopsis (which has the same title)[38] was of note in that it took the unusual approach of abandoning Markan priority and assuming the synopics were written with Matthean priority and Markan posteriority .[9]

An example parallel harmony

The following table is an example of a parallel harmony. The order of events, especially during the ministry period, has been the subject of speculation and scholarly debate. The order below is based on those of Anglican William Newcome in 1778[39] and Baptists Steven L. Cox and Kendell H Easley in 2006.[40]

This table is incomplete; you can help by expanding it.
Seq Event Type Matthew Mark Luke John
1Pre-existence of Christmiscellaneous1:1–18
2Genealogy of Jesusnativity1:1–173:23–38
3Birth of John the Baptistnativity1:5–25
4Annunciationnativity1:26–38
5Visitation of Marynativity1:39–56
6Birth of Jesusnativity1:18–252:1–7
7Annunciation to the shepherdsnativity2:8–15
8Adoration of the shepherdsnativity2:16–20
9Circumcision of Jesusnativity2:21
10Infant Jesus at the Templenativity2:22–38
11Star of Bethlehemnativity2:1–2
12Visit of the Maginativity2:1–12
13Flight into Egyptnativity2:13–15
14Massacre of the Innocentsnativity2:16–18
15Herod the Great's deathmiscellaneous2:19–20
16Return of the family of Jesus to Nazarethyouth2:21–232:39
17Finding Jesus in the Templeyouth2:41–51
18Ministry of John the Baptistmiscellaneous3:1–121:1–83:1–201:19–34
19Baptism of Jesusmiscellaneous3:13–171:9–113:21–221:29–39
20Temptation of Jesusmiscellaneous4:1–111:12–134:1–13
21Marriage at Canamiracle2:1–11
22Temple Cleansingministry2:13–25
23Jesus & Nicodemusministry3:1–21
24Return of Jesus to Galileeministry4:12–121:14–144:1–3
25Exorcism at the Synagogue in Capernaummiracle1:21–284:31–37
26The Growing Seedparable4:26–29
27Rejection of Jesusministry13:53–586:1–64:16–30
28First disciples of Jesusministry4:18–221:16–205:1–111:35–51
29Miraculous draught of fishesmiracle5:1–11
30Beatitudessermon5:2–126:20–23
31Young Man from Nainmiracle7:11–17
32The Two Debtorsparable7:41–43
33The Lamp under a Bushelparable5:14–154:21–258:16–18
34Expounding of the Lawsermon5:17–486:29–42
35Seventy Disciplesministry10:1–24
36Discourse on ostentationsermon6:1–18
37Parable of the Good Samaritanparable10:30–37
38Jesus at the home of Martha and Maryministry10:38–42
39The Lord's Prayerministry6:9–1311:2–4
40The Friend at Nightparable11:5–8
41The Rich Foolparable12:16–21
42Samaritan Woman at the Wellministry4:4–26
43The Birds of the Airministry6:25–3412:22–34
44Discourse on judgingsermon7:1–56:41–42
45Discourse on holinesssermon7:13–27
46The Test of a Good Personsermon7:15–206:43–45
47The Wise and the Foolish Buildersparable7:24–276:46–49
48Cleansing a lepermiracle8:1–41:40–455:12–16
49The Centurion's Servantmiracle8:5–137:1–104:46–54
50Healing the mother of Peter's wifemiracle8:14–171:29–344:38–41
51Exorcising at sunsetmiracle8:16–171:32–344:40–41
52Calming the stormmiracle8:23–274:35–418:22–25
53Gerasenes demonicmiracle8:28–345:1–208:26–39
54Paralytic at Capernaummiracle9:1–82:1–125:17–26
55Calling of Matthewministry9:92:13–145:27–28
56New Wine into Old Wineskinsparable9:17–172:22–225:37–39
57Daughter of Jairusmiracle9:18–265:21–438:40–56
58The Bleeding Womanmiracle9:20–225:24–348:43–48
59Two Blind Men at Galileemiracle9:27–31
60Exorcising a mutemiracle9:32–34
61Commissioning the twelve Apostlesministry10:2–43:13–196:12–16
62Not peace, but a swordministry10:34–3612:49–53
63Messengers from John the Baptistministry11:2–67:18–23
64Paralytic at Bethesdamiracle5:1–18
65Lord of the Sabbathministry12:1–82:23–286:1–5
66Man with withered Handmiracle12:9–133:1–66:6–11
67Exorcising the blind and mute manmiracle12:22–283:20–3011:14–23
68Parable of the strong manparable12:29–293:27–2711:21–22
69Eternal sinministry12:30–323:28–2912:8–10
70Jesus' True Relativesministry12:46–503:31–358:19–21
71Parable of the Sowerparable13:3–94:3–98:5–8
72The Taresparable13:24–30
73The Barren Fig Treeparable13:6–9
74An Infirm Womanmiracle13:10–17
75Parable of the Mustard Seedparable13:31–324:30–3213:18–19
76The Leavenparable13:33–3313:20–21
77Parable of the Pearlparable13:44–46
78Drawing in the Netparable13:47–50
79The Hidden Treasureparable13:52–52
80Beheading of John the Baptistministry14:6–126:21–299:7–9
81Feeding the 5000miracle14:13–216:31–449:10–176:5–15
82Jesus' walk on watermiracle14:22–336:45–526:16–21
83Healing in Gennesaretmiracle14:34–366:53–56
84Discourse on Defilementsermon15:1–117:1–23
85Canaanite woman's daughtermiracle15:21–287:24–30
86Deaf mute of Decapolismiracle7:31–37
87Feeding the 4000miracle15:32–398:1–9
88Blind Man of Bethsaidamiracle8:22–26
89Confession of Peterministry16:13–208:27–309:18–21
90Transfiguration of Jesusmiracle17:1–139:2–139:28–36
91Boy possessed by a demonmiracle17:14–219:14–299:37–49
92Coin in the fish's mouthmiracle17:24–27
93Bread of Life Discoursesermon6:22–59
94The Little Childrenministry18:1–69:33–379:46–48
95Man with dropsymiracle14:1–6
96Counting the Costparable14:25–33
97The Lost Sheepparable18:10–1415:4–6
98The Unforgiving Servantparable18:23–35
99The Lost Coinparable15:8–9
100Parable of the Prodigal Sonparable15:11–32
101The Unjust Stewardparable16:1–13
102Rich man and Lazarusparable16:19–31
103The Master and Servantparable17:7–10
104Cleansing ten lepersmiracle17:11–19
105The Unjust Judgeparable18:1–8
106Pharisee and the Tax Collectorparable18:9–14
107Divorce and celibacyministry19:1–15
108Jesus and the rich young manministry19:16–3010:17–3118:18–30
109Jesus and the woman taken in adulteryministry8:2–11
110The Workers in the Vineyardparable20:1–16
111Jesus predicts his deathministry20:17–198:31
9:31
10:32–34		18:31–34
112The Blind at Birthmiracle9:1–12
113Son of man came to serveministry20:20–2810:35–45
114The Good Shepherdministry10:1–21
115Blind near Jerichomiracle20:29–3410:46–5218:35–43
116Raising of Lazarusmiracle11:1–44
117Jesus and Zacchaeusministry19:2–28
118Palm Sundayministry21:1–1111:1–1119:29–4412:12–19
119Temple Cleansingministry21:12–1311:15–1819:45–48
120Cursing the fig treemiracle21:18–2211:12–14
121Authority of Jesus Questionedministry21:23–2711:27–3320:1–8
122The Two Sonsparable21:28–32
123The Wicked Husbandmenparable21:33–4112:1–920:9–16
124The Great Banquetparable22:1–1414:16–24
125Render unto Caesar...ministry22:15–2212:13–1720:20–26
126Woes of the Phariseesministry23:1–3912:35–3720:45–47
127Widow's mitesermon12:41–4421:1–4
128Second Coming Prophecyministry24:1–3113:1–2721:5–36
129The Budding Fig Treeparable24:32–3513:28–3121:29–33
130The Faithful Servantparable24:42–5113:34–3712:35–48
131The Ten Virginsparable25:1–13
132The Talents or Minasparable25:14–3019:12–27
133The Sheep and the Goatsparable25:31–46
134Anointing of Jesusministry26:1–1314:3–97:36–5012:2–8
135Bargain of Judasmiscellaneous26:14–1614:10–1122:1–6
136The Grain of Wheatministry12:24–26
137Last Supperministry26:26–2914:18–2122:17–2013:1–31
138Promising a Paracleteministry16:5–15
139Gethsemanemiscellaneous26:36–4614:32–4222:39–46
140The kiss of Judaspassion26:47–4914:43–4522:47–4818:2–9
141Healing the ear of a servantmiracle22:49–51
142Arrest of Jesuspassion26:50–5614:46–4922:52–5418:10–12
143Sanhedrin Trial of Jesuspassion26:57–6814:53–6522:63–7118:12–24
144Blood cursepassion27:24–25
145Carrying the crosspassion27:27–3315:20–2223:26–3219:16–17
146Crucifixion of Jesuspassion27:34–6115:23–4723:33–5419:18–38
147Myrrhbearers/Mary Magdalene at the Tombresurrection appearance28:116:124:1
148Empty tombresurrection appearance28:2–816:2–824:2–1220:1–13
149Resurrection of Jesusresurrection appearance28:9–1016:9–1124:1–820:14–16
150Noli me tangereresurrection appearance20:17–17
151Road to Emmaus appearanceresurrection appearance24:13–32
152Resurrected Jesus appears to Apostlesresurrection appearance16:9–1224:36–4320:19–20
153Great Commissionresurrection appearance28:16–2016:14–18
154Doubting Thomasresurrection appearance20:24–29
155Catch of 153 fishmiracle21:1–24
156Ascension of Jesusresurrection appearance16:1924:50–53
157Dispersion of the Apostlesmiscellaneous28:19–2016:20

See also

References

Citations

  1. 1 2 3 4 5 6 7 8 9 10 11 Steven L. Cox, 2007 Harmony of the Gospels B&H Publishing ISBN 0805494448 pp. 3–4
  2. 1 2 Averitt, Neil (2015). The Single Gospel. Wipf and Stock. pp. xix–xx. ISBN 978-1498221580.
  3. 1 2 3 Steven L. Cox, 2007 Harmony of the Gospels B&H Publishing ISBN 0805494448 p. 18
  4. ↑ France, R.T. "Chronological Aspects of 'Gospel Harmony'," Vox Evangelica 16 (1986): 33–60.
  5. ↑ Cox & Easley 2007, pp. 1–2.
  6. 1 2 The Encyclopedia of Christianity, vol. 4, Eerdmans, 2005, p. 39.
  7. 1 2 Aune, David Edward (2003), The Westminster Dictionary of New Testament and Early Christian Literature, p. 190, ISBN 0664219179.
  8. 1 2 3 4 Tatian and the Jewish Scriptures by Robert F. Shedinger (2002) ISBN 9042910429 pp. 28–32
  9. 1 2 3 4 5 6 7 8 9 10 Steven L. Cox, Kendell H Easley, 2007 Harmony of the Gospels ISBN 0805494448 pp. 6–8
  10. 1 2 3 Seeing Beyond the Word: Visual Arts and the Calvinist Tradition by Paul Corby Finney 1999 ISBN 080283860X p. 398
  11. 1 2 Tissot, James (2009), Dolkart, Judith F; Jacques, James (eds.), The Life of Christ : the complete set of 350 watercolors, pp. 70–71, ISBN 978-0872731646
  12. ↑ John Barton, The Old Testament: Canon Literature and Theology Collected Essays of John Barton (Ashgate Publishing, 2013) p. 59.
  13. ↑ Graham Stanton, Gospel Truth? New Light on Jesus and the Gospels (HarperCollins, 1995) p. 8; John S. Kloppenborg Verbin, "Is There a New Paradigm?", in Horrell, Tuckett (eds), Christology, Controversy, and Community: New Testament Essays in Honour of David R. Catchpole (Brill, 2000), p. 39.
  14. ↑ Fitzmyer, Joseph A. (1991). A Christological Catechism (quoting Augustine). Paulist Press. p. 158.
  15. ↑ Carson, D.A. (1984). "Introduction to Matthew," in The Expositor's Bible Commentary vol. VIII. Zondervan. pp. 38–39.
  16. ↑ Matthew 8:8–9
  17. ↑ Luke 7:6–8
  18. ↑ Mark Allan Powell, Jesus as a Figure in History: How Modern Historians View the Man from Galilee (Westminster John Knox Press, 1998), pp. 12–13.
  19. ↑ Zegarelli, Gregg (2017). ONE: The Unified Gospel of Jesus, Second Ed. OUG Press. ISBN 978-1548461263.
  20. ↑ Francis Watson, "Must the Gospels Agree?" in Stuart G. Hall, Jesus Christ Today: Studies of Christology in Various Contexts (Walter de Gruyter, 2009) pp. 72–73.
  21. ↑ Steven L. Cox, Kendell H Easley, 2007 Harmony of the Gospels ISBN 0805494448 pp. 207–211
  22. ↑ The Westminster Dictionary of New Testament and Early Christian Literature by David Edward Aune (2003) ISBN 0664219179 pp. 127, 211
  23. ↑ Bart Ehrman, Zlatko Plese, The Apocryphal Gospels: Texts and Translations (Oxford University Press, 2011) p. 231.
  24. ↑ Ron Cameron, The Other Gospels: Non-canonical Gospel Texts (Westminster John Knox Press, 1982) p. 103.
  25. 1 2 3 4 Patristic and Text-Critical Studies by Jan Krans and Joseph Verheyden (2011) ISBN 9004192891 pp. 188–190
  26. 1 2 3 4 5 Encyclopedia Christianity: v. 4 by Erwin Fahlbusch (2004) ISBN 0802824161 p. 41
  27. ↑ Augustine through the ages: an encyclopedia by John C. Cavadini 1999 ISBN 080283843X p. 132
  28. ↑ Christology, Controversy and Community by David G. Horell and Christopher M. Tuckett (2000) ISBN 9004116796 pp. 37–40
  29. ↑ Smalley (1981), p. 250.
  30. 1 2 3 The Authority of the Word: Reflecting on Image and Text in Northern Europe, 1400–1700 by Celeste Brusati, Karl A. E. Enenkel and Walter S. Melion (2011) ISBN 9004215158 pp. 2–6
  31. ↑ François, W. (2012). Augustine and the Golden Age of Biblical Scholarship in Louvain (1550–1650). In: Gordon B., McLean M. (Eds.), bookseries: Library of the Written Word, vol: 20, Shaping the Bible in the Reformation: Books, Scholars and Their Readers in the Sixteenth Century. Leiden: Brill, 235–289 [252].
  32. ↑ John Calvin And the Printed Book by Jean François Gilmont (2005) ISBN 1931112568 p. 50
  33. ↑ A Harmony of the Gospels: Matthew, Mark, and Luke by John Calvin, David W. Torrance, (1995) ISBN 0802808026
  34. 1 2 What Have They Done to the Bible?: A History of Modern Biblical Interpretation by John Sandys-Wunsch (2005) ISBN 0814650287 p. 35
  35. ↑ Gotthold Ephraim Lessing Werke, 8.51–52, cited in Francis Watson, Gospel Writing: A Canonical Perspective (Wm. B. Eerdmans Publishing, 2013), p. 80.
  36. ↑ "James Tissot: Saint Luke (Saint Luc) (1886)". Brooklyn Museum. Retrieved 25 October 2014.
  37. ↑ Kurt Aland, 1982 Synopsis of the Four Gospels United Bible Societies ISBN 0826705006
  38. ↑ John Bernard Orchard, 1983 Synopsis of the Four Gospels T&T Clark Publishers ISBN 056709331X
  39. ↑ William Newcome (1834), Edward Robinson (ed.), A harmony of the Gospels in Greek, in the general order of Le Clere & Newcome, with Newcome's notes: Printed from the text and with the various readings of Knapp, Gould and Newman, pp. v–xviii
  40. ↑ Steven L. Cox; Kendell H. Easley (2006), "Analytical Outline of the Harmony", HCSB Harmony of the Gospels, B&H Publishing, p. xviii, ISBN 978-0805494440

Bibliography

Further reading

  • Thomson, Charles, A Synopsis of the Four Evangelists (1815)
  • Robinson, Edward, Greek Harmony of the Gospels (1845; second edition, 1851)
  • Robinson, Edward, English Harmony of the Gospels (1846)
  • Orville Daniel, A Harmony of the Four Gospels, 2nd Ed, Baker Books Pub, 1996.
  • R. Thomas & S. Gundry, The NIV Harmony of the Gospels, HarperCollins Pub, 1988.
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