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Mae’r ffeil yn cynnwys un bocs mynegai gwyrdd (ff. 1-320) a ddefnyddiwyd gan Phyllis Kinney o bosibl ar gyfer ei chyhoeddiad Welsh Traditional Music (2011) yn trafod arferion Mari Lwyd, Hela'r Dryw, a chalennig. Mae’r penawdau wedi eu trefnu yn ôl gwlad (Irish, Manx, Shetland, Orkneys, Scotland, England, Wales) ac yn cynnwys y penawdau Cyfri’r geifr, Gŵyl Fair, Hela’r Dryw / Hunting the Wren, Shrove Tuesday, Tri thrawiad, Un o fy mrodyr i, Calennig, Mari Lwyd, a Compass of 3/4/5/6/7.

The Gospel of St Matthew and a compilation, [c. 1120]-[c. 1133], of copies of charters, saints' Lives and other records and literary material relating to the medieval diocese of Llandaf. The text of the earliest charters appears to date from c. 500, and additions have been made up to c. 1619, but the bulk of the historical, legal and hagiographical material was copied and compiled under the auspices of bishop Urban (consecrated in 1107), with the purpose of using the historical and legal record to provide his newly-styled diocese of Llandaf with antecedents that would assist his efforts to convince the papacy of the ancient primacy of the bishopric over its neighbours, Hereford and St Davids, and also to define its position in relation to the metropolitan claims of Canterbury.

Typescript drafts, [1915x1917], of twenty-three poems by Edward Thomas with collation of texts by R. George Thomas (ff. i-vi). They include two copies of ['Words'], one marked 'unamended' (ff. 34-7), and of 'Lob', one marked 'unrevised' (ff. 38-45), and a copy of 'The Combe' (f. 2) signed 'Edward Eastaway'. The typescripts are working copies used by the poet for revision when selecting poems for inclusion in Poems published in 1917 under the pseudonym 'Edward Eastaway'. Nine of the poems were included in that volume.

Twenty-three letters, 1940-1971, from David Jones, artist and writer, to his friend T. F. (Tom) Burns, nineteen of which date from the period 1940-1944 and form a valuable source for the life and work of the writer during the war years. The principal subjects discussed in the others are the history of Wales, the early history of the compass, Malory's Morte Arthur and the writer's experiences in the First World War. Twelve of these letters were printed, wholly or in part, by René Hague in Dai Greatcoat: A self-portrait of David Jones in his Letters (London, 1980).

A volume, [c. 1595], containing some forty-nine pieces of lute music in an unidentified hand, the song titles originally written in a cypher alphabet but these mainly later erased and transliterated (pp. 7, 13-32, 125-136). Transcripts of verse and miscellanea were added, [c. 1621]-[1669], by Thomas Tanat, of Broxton, Cheshire (see introduction to Spencer & Alexander (1978) and Cheshire Visitation Pedigrees 1613 and 1663 (Publications of the Harleian Society, 59 (1909), pp. 233-234, and 93 (1941), pp. 107-108)) (pp. 5-6, 38-105, 179-192).
Ancilliary materials consisting of photocopies, [1960s], of correspondence, 1962-1964, of B. G. Owens, Keeper of Manuscripts at NLW, concerning enquiries about the Lute Book are filed seperately (Brogyntyn MS I.27a); the correspondents include F. W. Sternfeld (f. 1), Philip Brett (ff. 3-4) and Dr Percy Young (f. 15).

Head and shoulders portrait of Kyffin Williams as a young man.

Thirty-six volumes of the diaries of John Cowper Powys, being an unbroken series dating from 1930 to 1961. Powys began keeping a diary in June 1929 on his departure from New York on a visit to England (see NLW MS 22807A).
The first two volumes have been edited for publication (see The Diary of John Cowper Powys 1930, ed. by Frederick Davies (London, 1987) and The Diary of John Cowper Powys 1931 (London, 1990)) and the period June 1934 to June 1935 has been published in The Dorset Year, ed. by Morine Krissdóttir and Roger Peers (Kilmersdon: The Powys Press, 1998). A selection of the first eleven years has been published in Petrushka and the Dancer: The diaries of John Cowper Powys 1929-1939, ed. by Morine Krissdóttir (Manchester, New York and Paris, 1995).

Studio portrait of a young woman in the uniform of the Women's Land Army.

Half-length portrait of a soldier in the Royal Army Ordnance Corps.

Head and shoulders portrait of a sergeant, with what appears to be a division patch above his sergeants stripes. The motif on the division patch appears to be a crown.

Head and shoulders portrait of a young woman wearing a military uniform with shoulder title and badge, neither displayed clearly. Negative inscribed as per title.

Head and shoulders portrait of a young woman in a nurses uniform with what appears to be a General Nursing Council badge.

Head and shoulders portrait of a young woman in a nurses uniform wearing what appears to be a General Nursing Council badge. Title taken from original.

Half-length studio portrait of a sailor in the Royal Navy. His trade badge - a twin-bladed air screw with letter A below - suggests his involvement with aircraft. His surname and 'Llandyfan' have been written on the negative, unfortunately his name is indistinct but appears to start with the letter 'T.'

Head and shoulders portrait of a servicewoman in uniform. Inscription on negative reads "Doris [unintelligible] Abermarlais."

Head and shoulders portrait of a soldier wearing a beret. He is also wearing a tactical recognition patch on his right shoulder in the form of an inverted 'Y'

Head and shoulders portrait of a smiling soldier. Although he has shoulder titles the inscription is not clearly visible.

Studio portrait of a Leading Aircraftman in the RAF displaying a good conduct stripe and overseas service chevrons.

Head and shoulders portrait of a man in military uniform probably in the Kings Shropshire Light Infantry with a Red Cross shoulder patch.

Studio portrait of a corporal in US Corps of Engineers with numerous medal ribbons and other insignia including overseas service bars. Negative inscribed 'Anthony USA.'