Re-creating life in early Wales 2 August 2007 Below is a selection of artists impressions showing scenes of everyday life in Wales. Images range from the Palaeolithic, when humans first set foot in Wales, through to the Roman Conquest. Click on the images below for more detail. Re-creating life in early Wales RomanRoman amphitheatre, Caerleon, Monmouthshire; by J. A. Wright, 1928. Excavated in 1926-27, Wright shows the amphitheatre in the late 1st century AD. At the time it was thought that the auditorium was supported by a bank of earth retained by masonry walls. The original height was determined from the remains of arches and vaulting in the main entrances. RomanCaerwent Roman town, Monmouthshire. Imaginative reconstruction of the supposed post-Roman church; by Alan Sorrell, 1938. More recent reappraisal of the evidence suggests that the building is not of sub-Roman date, but is a post-medieval cottage. RomanCaerwent Roman town, Monmouthshire. Imaginative reconstruction of a raid on the south-west corner of the town; by Alan Sorrell, 1938. RomanRoman forum-basilica at Caerwent, Monmouthshire; by Alan Sorrell, 1955. RomanRomano-Celtic temple, Caerwent Roman town, Monmouthshire; by Alan Sorrell, 1955. The temple had been excavated in 1908. RomanThe Roman town of Venta Silurum (Caerwent), Monmouthshire, in the 4th century AD; by Alan Sorrell, 1937. Based on the plan of the town revealed by the large-scale excavations undertaken in the earlier 20th century. RomanLlantwit Major Roman villa, The Vale of Glamorgan, as it may have looked in the 4th century AD; by Paul Hughes, about 1980. RomanLlantwit Major Roman villa, The Vale of Glamorgan; By Alan Sorrell, 1949. The villa, as shown, dates to the early 4th century AD. RomanBarracks and other buildings in the west corner of the Roman legionary fortress, Caerleon, Monmouthshire, in the 2nd century AD; by Alan Sorrell, 1939. This reconstruction shows one corner of the barracks in Prysg Field, now laid out and on view to the public. RomanRoman amphitheatre, Caerleon, Monmouthshire, in the late 1st century AD; by Alan Sorrell, 1939. This view borrows from the reconstruction by J. A. Wright (1928), but shows more activity and detail in the vicinity of the amphitheatre. RomanThe Roman legionary fortress, Caerleon, Monmouthshire, in the 2nd century AD; by Alan Sorrell, 1939. RomanDrainage wheel in the Roman gold mine at Dolaucothi, Carmarthenshire; by Paul Hughes, about 1980. RomanThe south-west gate of Roman Caerleon, Monmouthshire; by Tony Daly, 1996. RomanThe Fortress Baths, Caerleon, Monmouthshire, as they might have appeared about AD 80; by Paul Jenkins, about 1988. RomanCefn Graeanog native settlement, Gwynedd, in the 4th century AD; by Paul Hughes, about 1980. Iron AgeThe main entrance to the Iron Age hillfort at Llanmelin, Monmouthshire; by Alan Sorrell, 1940. Iron AgeThe east gate of Twyn-y-Gaer hillfort, Cymyoy, Monmouthshire, 3rd century BC; by Paul Hughes, about 1980. Iron AgeMaking offerings at a sacred lake. The wheeled vehicle is based on continental finds and rock engravings. Llyn Fawr, Rhondda Cynon Taff, about 650 BC; by Paul Hughes, about 1980. Iron AgeMoel-y-Gaer hillfort, Rhosesmor, Denbighshire, 4th century BC; by Paul Hughes, about 1980. Bronze AgeBronze Age burial, about 2,000 BC: the last rites at Pond Cairn, Coity, The Vale of Glamorgan; by Alan Sorrell, 1940. Bronze AgeBurial at a stone circle about 1,750 BC based on the Druid's Circle, Penmaenmawr, Gwynedd; by Paul Jenkins, about 1980. Bronze AgeThe preparation of a Bronze Age archer's grave, based on finds from the round barrow at Breach Down at Breach Farm, Llanblethian, The Vale of Glamorgan about 2,000-1,500 BC; by Paul Jenkins, about 1980. Bronze AgeA 'Beaker' Princess wearing a gold lunula from Llanllyfni, Gwynedd (about 2,000 BC); by Paul Jenkins, about 1980. Bronze AgeThe Breiddin Bronze Age hillfort, near Welshpool, Powys, about 1,000 BC; by Paul Jenkins, about 1980. Bronze AgeBronze Age 'Beaker' warriors about 2,500 BC; by Paul Jenkins, about 1980. Bronze AgeThe First Sword-bearers, warriors of the Penard phase, about 1,100 BC; by Paul Jenkins, about 1980. Bronze AgeA Later Bronze Age Metal-worker about 800BC; by Paul Jenkins, about 1980. Bronze AgeEarly Bronze Age ('Beaker') metal-worker about 2000 BC; by Paul Jenkins, about 1980. Bronze AgePottery-making in the Bronze Age (about 1, 750 BC); by Paul Jenkins, about 1980. NeolithicFarming settlement about 4,000 BC by Giovanni Caselli, 1979; Based on excavations at Clegyr Boia, St David's, Pembrokeshire, in 1902 and 1943. NeolithicTinkinswood Neolithic chambered tomb, St Nicholas, The Vale of Glamorgan by Alan Sorrell, 1940; Reconstruction of a burial scene at the Neolithic chamber tomb (about 4,000—3,500 BC). NeolithicBarclodiad y Gawres, Isle of Anglesey, by Paul Jenkins, about 1980; Ritual in a Neolithic passage grave, about 3,000 BC. MesolithicHunting and fishing at The Nab Head, St Brides Bay, Pembrokeshire, about 8,400 BC; By Giovanni Caselli, 1979. PalaeolithicCave Settlement of Neanderthal Man, about 70,000 BC; by Gino D'Achille, about 1980. Based on excavations at Pontnewydd Cave, Denbighshire. PalaeolithicHunting scene, Penylan, Cardiff, about 250,000 BC; By Gino D'Achille, about 1980. PalaeolithicThe ritual burial at Paviland Cave, Gower; by Gino D'Achille, about 1980. This painting was created when the burial was thought to be Aurignacian in date (35-28,000 years ago).
A Beginner's Guide to Welsh 30 July 2007 Hear a few key phrases in Welsh such as Bore Da (Good Morning) and Diolch (Thank You). A chance to learn a few key phrases in Welsh for everyday use such as Bore Da (Good Morning) and Diolch (Thank You). A video from the Geiriau Glo Welsh learner's pack. A video from the Gwau Geiriau Welsh learner's pack. Our Welsh learner packs are available here: /llwybraullafar/ /camaucymraeg/ /geiriauglo/ /gwaugeiriau/
Welsh and Indo-European languages 30 July 2007 What is the connection between some of the main historical languages and how is Welsh related to Bengali? Professor David Crystal explains... Bengali and Welsh belong to the same family of languages – the Indo-European family. This family is huge – from Spanish and Portuguese in Western Europe, across Asia with Russian, and down into the Indian subcontinent with languages like Bengali. How do we know they’re related? Because philologists worked it out. A philologist studies the history of a language. In the 18th century, one of the first, and most famous philologists was the son of a Welshman, and was called William Jones. He was a judge in Bengal and founded a society there. He was an amazing linguist and spoke over 40 languages. He worked out the relationship between the big languages of history, like Sanskrit, Latin and Greek. Everyone thought that Sanskrit was the oldest language, and that the others came from Sanskrit. But it wasn’t like that. He said that Sanskrit, Latin and Greek are sister languages, that they came from an earlier language that perhaps no longer exists. And that language is Indo-European.
The industrial legacy of David Davies 29 July 2007 David Davies (1818-1890) This image shows him in a rare moment of repose. Private collection (Lord Davies) The completed Talerddig cutting, the deepest in the world at that time. Private Collection (Lord Davies) No.1 dock in 1913, when Barry docks exported 11m tons of coal. What appears to be a solid level surface in the right foreground of this scene in is fact water — thick with coal dust. David Davies of Llandinam The gifts and bequests of Gwendoline and Margaret Davies completely transformed the range and quality of Wales's national art collection. The sisters were the granddaughters of David Davies of Llandinam, one of the great entrepreneurs of 19th–century Wales. Gwendoline and Margaret Davies were the granddaughters of David Davies of Llandinam, one of the great entrepreneurs of 19th–century Wales. David Davies started in life as a tenant farmer and sawyer. He made his fortune during the industrialisation of Victorian Wales. He built much of the railway system in mid-Wales, became a pioneer of the coal industry in the Rhondda valley and was the driving force behind the construction of Barry dock in south Wales. Railways Starting with the construction of the Newtown & Llanidloes Railway in 1859, he became involved in the construction of a number of railways in mid-Wales, the Vale of Clwyd and Pembrokeshire. His greatest achievement as a railway engineer was the great Talerddig cutting on the Newtown & Machynlleth Railway, completed in 1862 and the deepest in the world at that time. Not all the ventures in which Davies was involved succeeded — the grandly named Manchester & Milford Railway reached neither destination! Coal – 'Davies yr Ocean' 1864 marked a decisive turning point in David Davies's career when he took out a pioneering mineral lease in the south Wales valleys. It took two years before the first pits were in full production. Five more collieries were opened by 1886. In the following year they were vested in a new public limited company, the Ocean Coal Co. Ltd. At the time of Davies's death in 1890, it was the largest and most profitable coal company in south Wales. From pit to port The crowning achievement of David Davies's career was the construction of the dock at Barry, south Wales. Davies and a number of fellow Rhondda colliery owners came together to solve congestion both on the Taff Vale Railway and at Cardiff's Bute docks. They promoted the construction of a railway from the coalfield to a new dock facility at Barry, then a tiny hamlet. Despite fierce opposition from the Bute faction, the dock opened in 1889. The application of wealth David Davies was a passionate supporter of Calvinistic Methodism — a strict non-conformist faith unique to Wales and distinct from Wesleyan Methodism. Like all of Gwendoline and Margaret's family he was a life-long Sabbatarian and teetotaller. It instilled in him a profound sense of philanthropy and public service. He gave generously to religious and educational causes. Having received a very basic schooling himself, the provision of university education in Wales was a cause close to his heart. He was a staunch supporter of the first college at Aberystwyth, opened in 1872. He served as Liberal MP for Cardigan Boroughs during 1874-86 and was elected to the first Montgomeryshire County Council upon its creation in 1889. After David Davies David Davies died in 1890 and was succeeded by his son Edward, who found the stresses of running the business empire so overwhelming that he died just eight years later. He in turn was succeeded by Gwendoline and Margaret's brother David, later 1st Lord Davies, who had to contend with the depression of the inter-war years. The post-war nationalisation of the coal, dock and railway industries saw the family lose control of their vast undertaking. Today, all the Ocean pits have closed, as has much of the railway system created by David Davies, and Barry dock sees little activity.
The Gregynog Press 29 July 2007 The Davies Sisters of Gregynog The frontispiece to The stealing of the mare (1930), the work of Robert Maynard. One of the outstanding aspects of the Davies sisters' involvement in the arts was the creation of the Gregynog Press. This was the only component of the arts and crafts scheme planned for Gregynog Hall to be implemented, beginning production in 1922. The first book, Poems by George Herbert, was published a year later, the last being published in 1940.The Gregynog Press, like other private presses of the time, produced high quality books in limited editions. Such books were usually superbly printed on handmade paper, using hand presses or small letterpress machinery. Many of the greatest wood engravers of the twentieth century were commissioned to produce illustrations for these books.The sisters already possessed books from some of the finest private press productions of the late nineteenth and early twentieth centuries, such as those from the Kelmscott and Ashendene presses.Staff One of the specially bound copies of the Loyal Address to King George V on the formal opening of the National Museum of Wales on the 21 April 1927. At its peak, the Press employed seventeen staff. Most of the general workforce in the composing room and the bindery was Welsh and local to Gregynog. The artistic staff came mainly from England and Scotland.The Gregynog Press Board had three aims in the production of fine books: to print books in the Welsh language, to publish some of the best examples of Anglo-Welsh literature and to publish translations of Welsh works.From the 1930s the subject matter was more varied. Of the forty-two books, eight were in Welsh, while a further eleven had a Welsh connection. It is this attention to Welsh material that was one of the distinguishing features of the Press.Loyal Address of the King The fables of Esope (1932). Agnes Miller Parker's wood engravings for this book, and XXI Welsh gypsy folk-tales (1933), established her as one of the greatest wood engravers of the twentieth century. One of the more handsome productions was for Amgueddfa Cymru, and undertaken at a few weeks notice. This was the printing of the Loyal Address read at the formal opening of the Museum on 21st April 1927 by King George V, accompanied by Queen Mary. A number of copies were bound in blue levant morocco, decorated in gilt.Printing Illustrated page of Psalm XC from Psalmau Dafydd (1929) The first 'Press' book, Poems by George Herbert, was printed on an Albion hand press. Most of the printing at Gregynog was done on the less labour-intensive Victoria, although William McCance, the second controller of the Press, used the Albion to print his first book, John Milton's Comus, in 1931.The first four books were restricted to a single typeface (Kennerley), but soon it became possible to use a range of types. A Gregynog type was made, but it was only used for one book (Eros and Psyche, 1935).The paper used at Gregynog was handmade. From 1927 to aid the process of printing this was done on dampened paper, a widely used technique.The outstanding quality of the printing of the letterpress and the wood engravings was largely due to Herbert Hodgson, printer from 1927 until 1936.Wood Engravings Illustration from The story of the red-deer (1935/6), a children's book, which was the only book produced at Gregynog where the illustrations were printed in colour. Some of the finest books ever illustrated with wood engravings were printed in Britain between the two world wars. The Press played a major part in this era. In the 1930s, the Gregynog Press saw one of the most outstanding periods of book illustration in Britain, with the sensuous engravings of Blair Hughes-Stanton and the intricate ones of Agnes Miller Parker.A small number of external artists were commissioned to prepare engravings, one of the best known of whom was David Jones; his two engravings were printed in Llyfr y Pregeth-wr, the Book of Ecclesiastes.Bindings Illustrated capital from The stealing of the mare (1930) The Gregynog Press was unique amongst private presses in that the binding of the books was seen as being as important as the printing. Up to 1935 each title was bound in buckram cloth or marbled paper, with one in vellum, but a small number of 'specials', were bound in full leather, of varying colours and designs.Almost all the specials were bound by Fisher, who is recognised as one of the greatest bookbinders of the twentieth century. His versatility is shown at its best in the implementation of the designs prepared by McCance and Hughes-Stanton, notably for The Fables of Esope, The Revelation of Saint John the Divine and The Lamentations of Jeremiah. Other 'specials' were designed by the artistic staff including Maynard and Hughes-Stanton.Images: Gwasg Gregynog/Gregynog Press
