St Cuthbert Gospel - Binding

Binding

The original tooled red goatskin binding is the earliest surviving intact Western binding, and the virtually unique survivor of decorated Insular leatherwork. The decoration of the front cover includes colour, and the main motif is raised, which is unique among the few surviving Early Medieval bindings. The panels of geometrical decoration with two-stranded interlace closely relate to Insular illuminated manuscripts, and can be compared to the carpet pages found in these. Elements of the design also relate to Anglo-Saxon metalwork in the case of the general origin of interlace in manuscripts, and Coptic and other East Mediterranean designs.

The decoration of the covers includes three pigments filling lines engraved with a sharp pointed instrument, which now appear as two shades of yellow, one bright and the other pale, and a dark colour that now appears as blue-grey, but was recorded as blue in the earliest descriptions. The front cover includes all three colours, but the pale yellow is not used on the back cover. The pigments have not been analysed, and one benefit of the intended purchase of the manuscript by the British Library is that more research will be possible. The balance of the designs on both covers is now affected by what appears to be the greater fading of the dark blue-grey pigment. The bookbinder Roger Powell speculated that the "pale lemon-yellow ... may once have been green", giving an original colour scheme of blue, green and yellow on the red background.

Given the lack of surviving objects, we cannot know how common the techniques employed were, but the quality of the execution suggests that the binder was experienced in them. At the same time an analysis by Robert Stevick suggests that the designs for both covers were intended to follow a sophisticated geometric scheme of compass and straightedge constructions using the "two true measures of geometry", the ratio between Pythagoras' constant and one, and the golden section. However slips in the complicated process of production, some detailed below, mean that the finished covers do not quite exhibit the intended proportions, and are both slightly out of true in some respects.

Although it seems clear from the style of the script that the text was written at Monkwearmouth-Jarrow, it is possible that the binding was then added at Lindisfarne; the form of the plant scrolls can be compared to those on the portable altar also found in Cuthbert's coffin, presumed to have been made there, though also to other works of the period, such as the shaft of an Anglo-Saxon cross from Penrith and the Vespasian Psalter. Small holes in the folds of each gathering seem to represent a "temporary sewing" together of the pages, one explanation of which is a journey made by the unbound pages.