Dangos 8967 canlyniad

A manuscript of the second half of the thirteenth century containing 'Y Gododdin', a series of awdlau lamenting warriors slain in battle at Catraeth, and believed to have been originally composed by Aneirin at the end of the sixth century (pp. 1-24). The awdlau are followed by four poems known as the gorchanau: Gorchan Tudfwlch (pp. 25-26), Gorchan Adebon (p. 26), Gorchan Cynfelyn (pp. 26-28) and Gorchan Maeldderw (pp. 28-38).
The manuscript was written by two scribes: scribe A (pp. 1.1-23.5, 25.1-30.11) and scribe B (pp. 23.6-24.21, 30.12-38.22). The hand of scribe B is also responsible for Peniarth MS 14, pp. 1-44 and Peniarth MS 17; see Ingo Mittendorf, 'Sprachliche und orthographische Besonderheiten eines mittelkymrischen Textes aus dem 13. Jahrhundert (Gwyrthyeu e Wynvydedic Veir)', in Akten des Zweiten Deutschen Keltologen-Symposiums, ed. S. Zimmer, R. Ködderitzsch and A. Wigger, Buchreihe der Zeitschrift für celtische Philologie, 17 (Tübingen, 1999), p. 129. Daniel Huws suggests the Cistercian abbey of Aberconwy as a likely location of the scriptorium; see Medieval Welsh Manuscripts (Cardiff and Aberystwyth, 2000), 75.

Keith Andrew stares directly out of the canvas at the artist.

Entrance to Victoria Park with a man selling ice cream from a handcart on the left hand side.

Two notebooks containing annotations on the Lord's Prayer; moral verses; a list of cattle at Rhûg, 1661; apothegms; Latin-English phraseology; Latin verses; an inventory of linen; etc.

The file includes a letter, dated October 1915, containing information on Allied attacks on German positions in France, and an undated letter documenting a soldier's experiences between March and July 1915 and the injuries he sustained at Dardanelles.

A transcript, [mid 20 cent.], of the diary, 26 July 1914-22 April 1916, of a soldier from Llanelli, Carmarthenshire, serving with the Royal Engineers in the First World War, including a record of his experiences on active service in the Dardanelles.
On the basis of information supplied by Mr Gwyn Jenkins, Talybont, January 2012, the writer of the diary has been identified as Hubert Cole, a Sapper with the 1st Welsh Field Company Royal Engineers. He married Kate Eveline Webb at St Luke's Bayswater on 1 November 1914.

A photograph, 2016, of Emily Hawkins working on the audio recording of Erin Kavanagh's reading of the ‘King of the Sea Trees’ poem; photograph by Erin Kavanagh.

A photograph, January 2018, of Dafydd Eto (David Moore) about to sing the ‘King of the Sea Trees’ shanty at the ‘Layers in Lampeter’ exhibition during the ‘Penrolio’ event; photograph by Erin Kavanagh.

The Welsh poster design, 2017, for the ‘Borth's Lost Legends / Chwedlau'r Borth a Gollwyd’ exhibition.

The English poster design, 2017, for the ‘Borth's Lost Legends’ exhibition.

A photograph, 2017, of the carved wooden ‘Brenin y Coed Môr’ (‘King of the Sea Trees’) sign designed and made by Mark Sawyer which was used in the project exhibitions; photograph by Erin Kavanagh.

A poster, 2017, designed by Martin Bates containing a schematic geologic cross-section of Borth beach indicating the layers of sediments beneath the submerged forest; the poster was used in the project exhibitions.

A postcard image, 2017, of ‘Sandstorm’, comprising a poem and a photograph of Borth beach, both by Erin Kavanagh; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A postcard image, 2017, of the ‘King of the Sea Trees’, drawn and designed by Erin Kavanagh with an extract from her poem of the same name; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A postcard image, 2017, of the prehistoric red deer antlers discovered at Borth; the postcard was produced by the ‘Layers in the Landscape’ project and used in the project exhibitions.

A photograph, 2017, of the submerged forest at Borth, used in the project exhibitions; photograph by Erin Kavanagh.

A photograph, 2017, of Valerie Price and her sculpture ‘Mammoth’, which was used in the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

A poster, 2017, explaining ‘Haenau yn y Tirwedd’ (the Welsh title for the ‘Layers of the Landscape’ project) in Welsh, designed by Erin Kavanagh; the poster was used in the project exhibitions.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.

A photograph, 2017, of one side of a leaflet designed by Erin Kavanagh to raise public awareness of the ‘Layers in the Landscape’ project.