St Cuthbert Gospel

The St Cuthbert Gospel, also known as the Stonyhurst Gospel or the St Cuthbert Gospel of St John, is an early 8th-century pocket gospel book, written in Latin. Its finely decorated leather binding is the earliest known Western bookbinding to survive, and both the 94 vellum folios and the binding are in outstanding condition for a book of this age. With a page size of only , the St Cuthbert Gospel is one of the smallest surviving Anglo-Saxon manuscripts. The essentially undecorated text is the Gospel of John in Latin, written in a script that has been regarded as a model of elegant simplicity.

The book takes its name from Saint Cuthbert of Lindisfarne, North East England, in whose tomb it was placed, probably a few years after his death in 687. Although it was long regarded as Cuthbert's personal copy of the Gospel, to which there are early references, and so a relic of the saint, the book is now thought to date from shortly after Cuthbert's death. It was probably a gift from Monkwearmouth–Jarrow Abbey, where it was written, intended to be placed in St Cuthbert's coffin in the few decades after this was placed behind the altar at Lindisfarne in 698. It presumably remained in the coffin through its long travels after 875, forced by Viking invasions, ending at Durham Cathedral. The book was found inside the coffin and removed in 1104 when the burial was once again moved within the cathedral. It was kept there with other relics, and important visitors were able to wear the book in a leather bag around their necks. It is thought that after the Dissolution of the Monasteries in England by Henry VIII between 1536 and 1541, the book passed to collectors. It was eventually given to Stonyhurst College, the Jesuit school in Lancashire.

From 1979 it was on long-term loan from the British province of the Jesuit order to the British Library, catalogued as Loan 74. On 14 July 2011 the British Library launched a fundraising campaign to buy the book for £9 million, and on 17 April 2012 announced that the purchase had been completed and the book was now British Library Add MS 89000.

The library plans to display the Gospel for equal amounts of time in London and Durham. It describes the manuscript as "the earliest surviving intact European book and one of the world's most significant books".British Library press release
, "British Library announces £9m campaign to acquire the St Cuthbert Gospel – the earliest intact European book", 13 July 2011, with good photos of the cover, and a video. Accessed 8 March 2012 The Cuthbert Gospel returned to Durham to feature in exhibitions in 2013 and 2014, and was in the British Library's Anglo-Saxon exhibition in 2018/19; it also spends periods "resting" off display. A new book on the gospel was published in 2015, incorporating the results of research since the purchase; among other things this pushed the likely date from the late 7th century to between around 700 and 730.

Description

The St Cuthbert Gospel is a pocket-sized book, 138 by 92 millimetres (5.4 × 3.6 in), of the Gospel of St John written in uncial script on 94 vellum folios. It is bound in wooden cover boards, covered with tooled red leather.

Context

The St Cuthbert Gospel is significant both intrinsically as the earliest surviving European book complete with its original binding and by association with the 7th-century Anglo-Saxon saint Cuthbert of Lindisfarne. A miniature in the Codex Amiatinus, of the Prophet Ezra writing in his library, shows several books similarly bound in red decorated with geometric designs. This miniature was probably based on an original in the Codex Grandior, a lost imported Italian Bible at Jarrow, which showed Cassiodorus and the nine volumes he wrote of commentary on the Bible. Whether the bindings depicted, which were presumably of leather, included raised elements cannot be detected, but the books are stored singly flat in a cupboard, which would reduce the wear on any raised patterns.

Early medieval treasure bindings with a structure in precious metal, and often containing gems, carved ivory panels or metal reliefs, are perhaps better known today than leather bindings, but these were for books used in church services or as "book-icons" rather than for use in libraries. Of treasure bindings from this period, only the lower cover of the Lindau Gospels (750–800, Morgan Library) now survives complete, though there are several references to them, most famously to that of the Book of Kells, which was lost after a theft in 1007. Various metal fragments of what were probably book-mounts have survived, usually adapted as jewellery by Vikings. In the context of the cult of Cuthbert, the lavishly illuminated Lindisfarne Gospels were made at Lindisfarne, probably shortly after the St Cuthbert Gospel, with covers involving metalwork, perhaps entirely made in it, which are also now lost. Plainer, very early bindings in leather are almost as rare as treasure bindings, as the bindings of books in libraries usually wore out and needed to be renewed, and earlier collectors did not consider most historical bindings worth retaining.

Text

The text is a very good and careful copy of the single Gospel of John from what has been called the "Italo-Northumbrian" family of texts, other well-known examples of which are several manuscripts from Wearmouth–Jarrow, including the Codex Amiatinus, and in the British Library the Lindisfarne Gospels and the Gospel Book MS Royal 1. B. VII. This family is presumed to have derived from a hypothetical "Neapolitan Gospelbook" brought to England by Adrian of Canterbury, a companion of Theodore of Tarsus who Bede says had been abbot of Nisida, an equally hypothetical monastery near Naples. In the rubrics of the Lindisfarne Gospels are several that are "specifically Neapolitan", including festivals which were celebrated only in Naples such as The Nativity of St. Januarius and the Dedication of the Basilica of Stephen. The Neapolitan manuscript was probably at Wearmouth–Jarrow.

Apart from enlarged and sometimes slightly elaborated initials opening the Ammonian Sections (the contemporary equivalent of the modern division into verses), and others in red at the start of chapters, the text has no illumination or decoration, but Sir David Wilson, historian of Anglo-Saxon art and sometime Director of the British Museum, used it as his example in writing "some manuscripts are so beautifully written that illumination would seem only to spoil them". Julian Brown wrote that "the capitular uncial of the Stonyhurst Gospel owes its beauty to simple design and perfect execution. The decorative elements in the script never interfere with the basic structure of the letter-forms; they arise naturally from the slanted angle at which the pen was held".

The pages with the text have been ruled with a blind stylus or similar tool, leaving just an impression in the vellum. It can be shown that this was done for each gathering with just two sets of lines, ruled on the outermost and innermost pages, requiring a very firm impression to carry the marks through to the sheets behind. Impressed lines mark the vertical edges of the text area, and there is an outer pair of lines. Each line of text is ruled, only as far as the inner vertical lines, and there are prick marks where the horizontal lines meet the verticals. The book begins with 19 lines on a page, but at folio 42 changes to 20 lines per page, requiring the re-ruling of some pages. This change was evidently a departure from the original plan, and may have been caused by a shortage of the very fine vellum, as two different sorts are used, though the change does not coincide exactly with the change in the number of lines.

Four passages are marked in the margin, which correspond to those used as readings in Masses for the Dead in the Roman lectionary of the mid-7th century. This seems to have been done hastily, as most left offset marks on the opposite pages from the book being closed before the ink was dry. This seems to indicate that the book was used at least once as the gospel book for a Mass for the Dead, perhaps on the occasion of Cuthbert's elevation in 698. In the example illustrated at left, the start of the reading at line 10 is marked with a cross, and ''de mortuorum'' () written beside. The reading ends on the next page, which is also marked.

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 been analysed for the first time, as one benefit of the purchase of the manuscript by the British Library, and identified by Raman spectroscopy as orpiment (yellow) and indigo (grey-blue). 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, although the recent testing suggests this was not the case.

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.

Front cover

The decoration of the front cover is divided into fields bordered by raised lines. The central field contains a plant motif representing a stylised chalice in the centre with a bud and scrolling vine stems leading from it, fruit and several small leaves. Above and below the central motif are fields containing interlace ornament in finely incised lines. The three motifs are enclosed within a border containing further interlacing.

Continuous vine scrolls in a great variety of designs of the same general type as the central motif, with few leaves and round fruits, were very common in slightly later religious Anglo-Saxon art, and are often combined with interlace in the same work, especially on Anglo-Saxon crosses, for example the Bewcastle Cross and the Easby Cross now in the Victoria and Albert Museum. One face of the fragmentary silver cover of the portable altar also recovered from Cuthbert's coffin has a similar combination of elements, with both areas of interlace and, in the four corners, a simple plant motif with a central bud or leaf and a spiral shoot on either side. The combination of different types of ornament within a panelled framework is highly typical of Northumbrian art, above all the Lindisfarne Gospels. Interlace may well have still been believed to have some quasi-magical protective power, which seems to have been its function in pre-Christian Germanic art. The vine motif here differs from the common continuous scroll type in that the stems cross over each other twice on each side, but crossing stems are also seen on the upper north face of the Bewcastle Cross and a cross in the church at Hexham.Wright, 154 Meyer Schapiro compares the motif with one in an initial in the later Book of Kells. It was suggested by Berthe van Regemorter that in the St Cuthbert Gospel this design represents Christ (as the central bud) and the Four Evangelists as the grapes, following , "I am the vine, ye are the branches", but this idea has been treated with caution by other scholars.

The two panels of interlace use the same design, of what David H. Wright describes as the "alternating pair thin-line type" which he calls "perhaps the most sophisticated of Insular interlace types". The panels are symmetrical about a vertical axis, except for the left end of the upper panel, which is different. Whereas the other ends of the pattern finish in a flat line parallel with the vertical framing line, part of a shape like an incomplete D, the top left finishes in two ellipses pointing into the corners. The lines forming the interlace patterns are coloured in the dark blue/black and the bright yellow, but differently. In the lower panel the yellow colours the left half of the design, but the upper panel begins at the (deviant) left in the dark colour, then switches to yellow once the pattern changes to that used for the rest of the panels. It continues in yellow until the central point, then changes to the dark colour for the right hand side of the design.

The transition between the top left, perhaps where the artist began, and the standard pattern, is somewhat awkward, leaving a rather bald spot (for an interlace pattern) to the left of the first curving yellow vertical. The change in pattern pushes the halfway point of the upper panel rather off-centre to the right, whereas in the lower panel it falls slightly to the left of dead centre. These vagaries in the design suggest that it was done freehand, without marking-out the pattern using compasses for example. The lowest horizontal raised line is not straight, being higher at the left, probably because of an error in the marking or drilling of the holes in the cover board through which the ends of the cord run. The simple twist or chain border in yellow between the two raised frames resembles an element in an initial in the Durham Gospel Book Fragment, an important earlier manuscript from Lindisfarne.

Back cover

The back cover is decorated more simply, with no raised elements and purely geometric decoration of engraved lines, which are filled in with two pigments which now appear as the bright yellow and the dark colour, once apparently blue. Within several framing lines making rectangles of similar proportions to the cover itself, a central rectangular panel is marked with pricks to make a grid of 3mm squares, 21 tall and 10 wide. Lines on the grid are engraved and coloured in yellow to form two stepped "crosses", or squares standing on one corner, with additional stepped elements in the four corners and halfway up the vertical sides, between the two "crosses". The vertical axial line down the grid and the two horizontal axes through the crosses are also coloured in the yellow pigment right to the edges of the grid. The remaining lines on the grid and all the lines along the edges of the grid are coloured in the dark colour. This is a simple version of the sort of design found on Insular carpet pages, as well as in Coptic manuscript decoration and textiles, and small stepped crosses decorate the main panels of the famous Sutton Hoo shoulder-clasps. The alignment of the various outer framing lines with the innermost frame and the panel with the grid is noticeably imperfect, as the top framing line was extended too far to the left. Traces of an uncoloured first attempt at this line can be seen on the right hand side, above the coloured line.

Construction

Although the binding had never been taken apart for examination before it was bought by the British Library, a considerable amount can be said about its construction. A combination of looseness through wear and tear, damage in certain places, and the failure of the paste that glued the pages to the inside of the covers, now allow non-intrusive inspection of much of the binding construction, including the rear of the actual wooden front cover board, and some of the holes made through it.

The raised framing lines can be seen from the rear of the front cover to have been produced by gluing cord to the board and tooling the leather over it, in a technique of Coptic origin, of which few early examples survive – one of the closest is a 9th- or 10th-century Islamic binding found in the Mosque of Uqba in Kairouan, Tunisia. There are holes in the board in which the cut-off ends can be seen from behind.

The chalice and plant motif on the front, of which there is no trace from behind, has been built up using some clay-like material underneath the leather, as shown by CT-scans since the purchase. In the 2015 book, Nicholas Pickwoad suggests that this raised decoration was formed using a matrix which was pressed into the damp leather over the clay-like substance and the wooden board. Previous authors had suggested that the material under the relief decoration might have been built up in gesso as well as cord and leather scraps before applying the cover leather. A broadly similar plant motif in similar technique is found on a later Middle Eastern pouch in the Walters Art Museum in Baltimore.

The boards of the covers, previously assumed to be limewood, are now thought to be birch, an unusual wood in later bindings, but one easily available in northern England. Both have four holes where the binding threads were laced through; the two threads were run round the inner edges of the cover and knotted back at the holes. The front cover has an additional 12 holes where the ends of the cords for the raised framing lines went through, at the four corners of the two main frames, and the ends of the horizontal bars between the interlace panels and the central vine motif.

The stitching of the binding uses "Coptic sewing", that is "flexible unsupported sewing (produced by two needles and thread looping round one another in a figure-of-eight sewing pattern)" Coptic sewing uses small threads both to attach the leaves together and, knotted together, to attach the pages to the cover boards. Normal Western binding uses thread for the former and thicker cord running across the spine of the book for the latter, with the thread knotted onto the cords. Coptic sewing is also found in the earliest surviving leather bookbindings, which are from Coptic libraries in Egypt from the 7th and 8th centuries; in particular the design of the cover of one in the Morgan Library (MS M.569) has been compared to the St Cuthbert Gospel. In the techniques used in the binding, apart from the raised decoration, the closest resemblance is to an even smaller Irish pocket gospel book from some 50 years later, the Cadmug Gospels at Fulda, which is believed to have belonged to Saint Boniface. This is also in red goatskin, with coloured incised lines, and uses a similar unsupported or cordless stitching technique. The first appearance of the cords or supports that these "unsupported" bindings lack is found in two other books at Fulda, and they soon became universal in, and characteristic of, Western bookbinding until the arrival of modern machine techniques. The cords run horizontally across the spine, and are thicker than the threads that hold the pages together. They are attached, typically by lacing through holes or glue, to the two boards of the cover, and the threads holding the gatherings are knotted to them, resulting in a stronger binding.

Dating

The manuscript itself carries no date but a rather precise dating has been given to it, based mainly on its palaeography or handwriting, and also the known facts of Cuthbert's burial. The dating was revised after the acquisition by the British Library, who added to their online catalogue entry:

Previously dated to the end of the 7th century (The Stonyhurst Gospel, ed. T. J. Brown (1969), pp. 12–13), R. Gameson dates the script to c. 710–c. 730 and L. Webster dates the decoration on the covers to c. 700–c. 730 (The St Cuthbert Gospel, eds C. Breay and B. Meehan (2015), pp. 33, 80).

The script is the "capitular" form of uncial, with just a few emphasized letters at the start of sections in "text" uncial. Close analysis of the changing style of details of the forms of letters allows the manuscript to be placed with some confidence within a chronological sequence of the few other manuscripts thought to have been produced at Wearmouth-Jarrow. The Northumbrian scribes "imitate very closely the best Italian manuscripts of about the sixth century", but introduced small elements that gave their script a distinct style, which has always been greatly admired. However, there were several scribes, seven different ones working on the Codex Amiatinus, whose scripts may not all have developed at the same pace.

Key to this sequence is the Codex Amiatinus, an almost complete Bible for which we have a very precise '' terminus ante quem'', and within which, because of its size, developments in style can be seen in a single manuscript. The Codex Amiatinus can be precisely located as leaving Wearmouth-Jarrow with a party led by Abbot Ceolfrith on 4 June 716, bound for Rome. The codex was to be presented to Pope Gregory II

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