Cuirbouilli was calf or hide, worked with knife, style, or hammer, and then probably boiled in oil, but the exact process that was used is now unknown. It is very strong, and its value was known in England, where it was used to make wrist guards for archery, but as far as I know it was never used here for bindings or covers for bindings. I have heard the calf or sheep bindings of the early sixteenth century, bearing panel stamps, described as cuirbouilli, but they are not so.
The earliest cover still containing its original manuscript is probably that given with other treasure to Theodelinda, Queen of the Lombards, by Pope Gregory the Great, in the seventh century. It is now kept in the cathedral treasury at Monza.
The manuscript is described in a contemporary document as being “theca persica inclusam,” and, so far, its cover resembles the Irish cumdachs. The case is of gold, ornamented with a large cross, outlined with lines of small flat garnets, with sapphires and emeralds, set in cloisons. The body of the cross is richly jewelled with cabochon cut stones and pearls, and at the extremity of each arm is a curious glass bead of millefiori glass, green with a little red flower in the centre.
Between the arms of the cross are four gamma shaped ornaments, each set with small flat jewels. Across the sides are bands of gold on which are engraved the words De Donis Dei offerit Theodelenda reg. gloriosissima sancto Joanni Baptiste in Basilica quem ipsa fundavit in Modicia prope palatium suum. A handsome border with flat garnets enclosed the whole, and the four cameos set near the gammas are a recent addition. Byzantine art is generally considered as a decadent form of Roman art, but in this particular instance there is much Greek feeling, and it is in all respects, excepting perhaps the inscription, a magnificent piece of work.
Fig. 50.—The binding of the Gospels of Lindau, the older side.
The binding of the Gospels of Lindau has now two sides of different dates, each of which has been repaired and added to in recent times. The earlier of the two, far the finer, is probably contemporary with the manuscript, having been made about the later half of the ninth century, as the Abbey of the Noble Canonesses at Lindau was founded by the Emperor Lewis the Pious in A.D. 834. A large golden cross pattée is the chief motive of this beautiful piece of work, and it is ornamented with rare enamels showing bust figures wearing stoles, and jewels in great variety, the borderings being inlaid with small flat pieces of garnet. The spaces between the arms of the cross are filled with bronze plaques elaborately ornamented with Celtic interlacings in chiselled work. The workmanship is probably Irish, and was most likely done abroad, possibly enough at Lindau itself, by some Irish artists who had emigrated. Irish jewellers and enamellers of this early time were justly celebrated, and their services were secured whenever possible.
The later side of the binding is one of the finest existing specimens of Carlovingian art. It is radically different from the earlier side and was probably added about the eleventh or twelfth century.
Fig. 51.—The binding of the Gospels of Lindau, the more recent side.