This study is designed to investigate the structure and characteristics of Chinese Gospel Harmony entitled Sishiyoubian (四史攸編) which emerged under the initiative of Jean Basset(白日昇 1662-1707) in collaboration with Jean Xu(徐若翰, ?-1734) in the early eighteenth century and to elucidate its marked features by comparing Tianzhu jiangsheng yanxing jìlue (天 主降生言行紀略) and contemporary Gospel harmonies in the West. Although this Harmony follows the western harmonized gospels in its large framework as long as it weaves the narratives of the four Gospels into one, its structure considerably deviates from that of typical Gospel harmonies of the age. Basset’s Gospel harmony does not create new harmonized texts by assimilating textual differences among the four Gospels, nor display their parallel texts in the form of four columns. It selects the representative texts from one of the canonical Gospels and organizes them in sequence. It places the event of Jesus’s cleansing the temple at the end of his public life once, and arranges the most of his works in Galilee before his healing at Bethzatha. In this respect, Sishiyoubian gets closer to the Tatian’s Diatessaronic tradition than the tradition of the Gospel harmony which began with Jean Gerson’s Monotessaron and then prevailed in the sixteenth and seventeenth centuries. The Gospel harmony whose structure and characteristics are sufficiently similar to Basset’s harmonized Gospel to regard it as its possible original has not been found, but requires further research.