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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.

Papers, [1903]-[1922], of Jack Haines relating to Edward Thomas, comprising: an apparently unpublished holograph book review by Thomas, [?early 1903], entitled 'Pioneers! O Pioneers', reviewing Gerald Stanley Lee, The Lost Art of Reading (New York and London, 1902) (ff. 1-4); a carbon copy typescript of 'The West Wind', being an abbreviated, and otherwise unknown, version of 'The Wind's Song', consisting of the last ten lines only of that poem ('The Wind's Song', composed in April 1916, is No. 110 in The Collected Poems of Edward Thomas, ed. by R. George Thomas (Oxford, 1978), pp. 300-301) (f. 5); a carbon copy typescript of the poem 'Lights Out', written in early November 1916, first published in Edward Thomas ("Edward Eastaway"), Poems (London, 1917), pp. 59-60, and No. 139 in The Collected Poems of Edward Thomas, pp. 366-7 (f. 6); a typescript copy of the poem 'Out in the dark', written on Christmas Eve 1916, first published in Edward Thomas, Last Poems (London, 1918), p. 96, and No. 143 in The Collected Poems of Edward Thomas, pp. 374-5 (f. 7); a manuscript copy, undated and in an unidentified hand, of the poem beginning 'I may come near loving you', first published as 'P.H.T.' in Edward Thomas, Collected Poems (Fifth Impression) (London, 1949) and No. 99 in The Collected Poems of Edward Thomas, pp. 272-3 (f. 8); a letter, [28] June 1915, from Edward Thomas, at Bablake School, Coventry, to Haines, sending a [?typescript] draft of his poem 'Words' (the poem is not named in the letter and is no longer present; Thomas also sent a revised version to Haines on 30 June 1915, see NLW, R. George Thomas (Edward Thomas) Research Papers /1) (f. 9); a letter card, 10 September 1915, from E[dward] T[homas], Balham, to Haines (f. 10); and a letter, [1922], from Helen Thomas, Otford, Sevenoaks, to Haines, discussing her marriage to Edward Thomas and his friendship with Robert Frost, and sending Haines the manuscript now NLW MS 24122B (f. 11-12).

Twelve letters, 1900-1902, from Edward Thomas to Sir Owen M. Edwards, his erstwhile tutor at Lincoln College, Oxford, written shortly after Thomas had left university, their main purpose being to ask for guidance in seeking employment; they also reflect his attachment to Wales and his interest in the Welsh language.

Autograph sonnets and other poems composed during T. E. Nicholas's incarceration in Swansea and Brixton prisons, 11 July-22 Oct. 1940; there is also a short, typewritten preface to the collection by the author.

A photograph, 2016, of the antlers belonging to a 3,1000-3,300 year-old red deer stag that were discovered at Borth by visitors in the summer of 2016, seen here at Tan-y-bwlch, Aberystwyth, where they were drawn by contributors to the ‘Layers in the Landscape’ project; photograph by Erin Kavanagh.

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

A photograph, November 2017, of 'Haenau'r Tirlun', an englyn composed by Mererid Hopwood for the ‘Layers in Lampeter’ exhibition; photograph by Jacob Whittaker.

Author's proof copy, 2018, of 'Re-thinking the conversation: a geomythological deep map' by Erin Kavanagh in which she describes the conceptual framework behind her ‘deep mapping’ of Cardigan Bay and explains the activities undertaken by the ‘Layers in the Landscape’ project.

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

The file includes a letter, dated 12 January, describing in detail the movements of a soldier in Egypt.

The file includes a letter, dated 19 June, describing a soldier's experiences on the front line near Gaza.

The file includes letters, dated 18 July and 19 July, describing conditions in France.