Little Gidding and its inmates in the Time of King Charles I.: with an account of the Harmonies

In Short

This book provides an intimate look at the Little Gidding community, established in 1625 by Nicholas Ferrar. Following a successful career in commerce and politics, Ferrar withdrew from public life to lead his extended family in a structured, religious existence characterized by charity, education, and the creation of elaborate "Harmonies"—meticulously crafted, hand-bound Gospel concordances. The narrative documents their daily routines, the King’s admiration for their work, and the eventual dissolution of the community by Puritan forces, preserving the memory of a unique, short-lived experiment in communal Christian living.

The Story

The narrative begins with the life of Nicholas Ferrar, a man of remarkable early promise. Born in 1592 to a pious, merchant-class family, he excels at Cambridge and travels extensively through Europe, eventually serving as a Member of Parliament. After exposing corruption in the Virginia Company and clearing his associates’ names, Ferrar abruptly abandons his public career. Driven by a long-held desire for a life of religious seclusion, he purchases the decaying estate of Little Gidding in Huntingdonshire.

Ferrar invites his mother, brother, and sister—along with the Collett children—to join him. The community immediately sets to work restoring the dilapidated church and manor. A defining moment occurs when his seventy-three-year-old mother arrives; rather than resting, she insists they first visit the church to offer thanks. This commitment to faith becomes the bedrock of their life, as the family establishes a rigorous, clockwork schedule of prayer, hourly recitation of the Psalms, and charitable outreach to local children.

The community’s unique artistic contribution emerges through the "Harmonies"—ingenious books where the four Gospels are cut and pasted into a single, seamless narrative. With Ferrar’s guidance, his nieces master bookbinding, embroidery, and typography, creating exquisite volumes that capture the attention of King Charles I. The King’s frequent praise and his requests for custom volumes elevate the family’s profile, yet they remain humble, prioritizing education and the care of the poor. They establish a "Little Academy" to discuss virtue, and the younger generation, including young Nicholas Ferrar, displays extraordinary linguistic talents.

However, the shadow of political conflict looms. Despite their quiet existence, the family faces external suspicion and accusations of running a "nunnery"—a charge Ferrar vehemently denies, maintaining that they are simply a devout family. The narrative follows Ferrar through his final years. He remains steadfast in his routines, even as his health declines. In 1637, he calmly prepares for death, directing that his collection of secular literature be burned and ensuring his family continues their work. He passes away on a Sunday, the hour he usually rose for prayer.

Following his death, the community struggles to maintain its spirit. The eventual collapse comes during the English Civil War, when Puritan soldiers invade Little Gidding. They plunder the house, destroy precious manuscripts, and burn the organ for fuel, effectively ending the community’s era. The book concludes by tracing the survival of the remaining Harmonies—many of which reside in major museums or private collections today—serving as a testament to the family's artistic and spiritual dedication.

How It Unfolds

The transition to seclusion The narrative shifts from Ferrar's high-level political career and international travels to his search for a rural, spiritual home. It captures the decisive moment he purchases the forgotten manor and invites his extended family to join him in a life of shared purpose.

The structure of the day The reader is taken through the highly disciplined, daily rhythm of the household. From dawn prayers to the rotation of domestic duties and the instruction of local children, the book details how the family integrated labor with constant religious observation.

The art of the Concordance The focus turns to the "Concordance room," where the family employed technical and artistic skill to synthesize the Gospels. The narrative explains the mechanics of their "splicing" process and the inclusion of antique engravings, showcasing the meticulous patience required for their work.

The Royal connection The book examines the relationship between the community and King Charles I, who deeply valued their work. It details the creation of the Royal volumes and the various commissions that followed, which brought the family fleeting fame.

The final years and legacy The account concludes with Ferrar’s peaceful death and the subsequent destruction of the community by soldiers. It rounds out the story by mapping the provenance of the surviving volumes, providing a physical link between the past and the present.

The People

Nicholas Ferrar is the driving force of the community. A man of immense intellectual and administrative talent, he purposefully renounces worldly power to lead his family in a life of service. His leadership is marked by a blend of austerity and gentle encouragement, though he remains firm in his theological convictions.

Mrs. Ferrar, his mother, acts as the moral center of the family. Her presence provides the household with a sense of maternal stability; her wisdom and devotion to the Scriptures inspire the family’s daily practice, and her influence persists even after her death.

The nieces, specifically Mary and Ann Collett, are the primary executors of the community's creative labor. They are depicted as skilled artisans whose needlework and bookbinding define the physical beauty of the Little Gidding legacy. Their dedication to the "Little Academy" discussions and their technical precision reveal them to be as intellectually capable as they are industrious.

King Charles I appears as a benefactor and sincere admirer. He provides a fascinating contrast to the reclusive Ferrars, representing the outside world that views their work as a "rich and rare jewel."

In Its Own Voice

"How happy a king were I, if I had many more such workmen and workwomen in my kingdom! Their art and ability is excellent."

The King expresses his profound appreciation for the quality of the books produced by the Little Gidding family.

"He then directed that all the books of comedies, tragedies, love-hymns, etc. (three great hampers full, which had been locked up for many years), should be burnt on the place marked for his grave."

Ferrar makes a final, decisive break with his past by ordering the destruction of his youthful library of secular literature before his death.

"The industrious man hath no leisure to sin; and the idle man hath no power to avoid sin."

The family inscribed these words on the walls of their workspace as a guiding principle for their life of constant, purposeful activity.

What It's Really About

The book explores the tension between worldly ambition and spiritual withdrawal. It asks whether it is possible to cultivate a pocket of perfection in a fractured society and what happens when the values of such a community clash with the political upheaval of the wider world. Underlying the narrative is a profound argument for the dignity of labor; the Ferrars treat the physical act of bookbinding as a form of prayer, suggesting that precision and beauty are not merely decorative but essential expressions of faith. It raises quiet questions about the legacy of individual conviction, showing how even a short-lived, "failed" experiment can leave behind objects of lasting intellectual and artistic value.

Why Read It Today

This book is a quiet, contemplative read that rewards those interested in religious history, the craft of bookmaking, or the lives of eccentric, dedicated families. Its tone is earnest and respectful, reflecting the author’s genuine affection for the Ferrar family. Readers who enjoy the feeling of "uncovering" a hidden corner of history will find the details about the Harmonies—and the modern-day locations of these surviving volumes—particularly rewarding.

However, the book demands patience. It is filled with the specific, sometimes repetitive, customs of a seventeenth-century household, and it reflects the formal, slightly detached prose style common to scholarly biographical sketches of the late nineteenth and early twentieth centuries. There is no modern fast-paced drama here; instead, the value lies in the slow, detailed accumulation of information. It does not shy away from the harsh realities of the family's persecution, but it focuses primarily on the beauty of their daily persistence. If you appreciate biographies that treat their subjects with a sense of gentle reverence, and if you are drawn to the aesthetic of hand-wrought, physical objects, you will find this a deeply satisfying, if modest, read. It remains with you as a meditation on how a small, committed group can carve out beauty from the chaos of their time.