In 1863, a fragment of an early Christian high cross was found in a garden wall adjacent to Aberlady kirkyard.  Recent research has highlighted the importance of this cross fragment to our understanding not only the origins and early history of Aberlady, but also of its relationship with the Holy Island of Lindisfarne and the evolution of the early church in these islands.

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This magnificent carved cross would have stood nearly five metres tall when originally raised on the high ground of the present kirkyard.  The intricate carvings of Mediterranean vine scrolls, intertwined beasts and seabirds and key patterns in the cross fragment bear a strikingly close relationship with the illuminated artwork that characterises the Lindisfarne Gospels, made on Holy Island around 720 AD and surely one of the world's greatest works of art in book form.   Its fabulously beautiful painting and calligraphy were the work of one lone genius, Bishop Eadfrith, while the book was brought to completion by two of his brethren: Brother Aethilwold made the binding, while the hermit Billfrith the Anchorite was responsible for the metal and jewellery work on its cover, now lost.  Although on remote island sites, the monasteries of Iona and Lindisfarne to which Aberlady had strong connections were not at all cut off in any way but were powerful seats of learning with wide contact with the known world of the time; the Lindisfarne Gospels reflect many influences- native British, Celtic, Germanic, Roman, Byzantine, North African and Middle Eastern.

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In particular, the interlaced seabird design carved into the Aberlady stone, and that of the rare diagonal key pattern directly below it, are directly paralleled in the Carpet Pages of the Lindisfarne Gospels.

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Close examination of the cross fragment by staff at the National Museum of Scotland suggests strongly that the neat holes that appear in the eyes of the birds, beasts and humanoid figures were expertly drilled.  Expert opinion is that they were inserted to hold glass or metallic eyes which, with perhaps silver foil at their base, would have reflected light and appeared more lifelike.

A stunning reconstruction of how the original cross may have looked has now been completed and stands within the village Memorial Garden.  Although it might not correspond with our modern tastes, it is probable too that the original cross would have been painted in the same vivid colours as those so painstakingly applied by Bishop Eadfrith to the illuminated pages of the Lindisfarne Gospels. The images on the cross, after all, conveyed the meanings of the early gospels to a largely illiterate population.

The Aberlady Angel

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