This article explores the production of Gospel harmonies at Little Gidding in the 1630s. By drawing on rarely examined archival letters, documents, and drafts contained in the Ferrar Papers at Magdalene College, Cambridge, the article examines the production processes behind the biblical harmonies, and in particular the cutting up of text and images and the remnant tatters and drafts left behind as the finished Gospel harmonies that have previously preoccupied critics. Little Gidding emerges as a more vibrant, dynamic, and wordly place than previous accounts have suggested: a kind of noisy textual factory.

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