Each of the selections in this section is taken from one of the volumes in the Welsh history and its sources series. Each book contained an introductory overview followed by a series of essays. Each one of these essays was linked and cross-referenced to documentary source material that the author had investigated when writing her/his essay.The introductory essays from each of the seven volumes are included here, along with one essay from each volume and the source materials that are related to it. Each essay can be accessed by selecting the view document option. The essay will then be presented as a PDF document in a separate window.Throughout the essays, you will see words in italics. Some of the authors use italics for the Welsh language, but italics also indicate entries in the glossary in Section 9. If you look up these words in the glossary, you will find some more information about them.2.1.1 Edward I and WalesThis is the introductory essay to the volume Edward I and Wales. It was written by Professor R.R. Davies, at that time Professor of History at the University College of Wales, Aberystwyth.Click below to open ‘Edward I and Wales’ (8 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.2 The Edwardian Conquest and its Military ConsolidationThis chapter from Edward I and Wales is by Dr Ifor Rowlands. Dr Rowlands uses a range of thirteenth-century documentary texts, maps and statistical tables to support his essay.Click below to open ‘The Edwardian Conquest and its Military Consolidation’ (26 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.3 Tudor WalesThis is the introductory essay to the volume Tudor Wales. It was written by Professor Gareth Elwyn Jones, one of the co-editors of the Welsh History and its Sources series.Click below to open ‘Tudor Wales’ (7 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.4 The Lower OrdersThis chapter from Tudor Wales is by Brian Howells of the University College of Wales, Aberystwyth. Brian Howells' contribution is impressive because of the range of sources he has marshalled about ordinary people whose activities are usually less well documented than their social superiors.Click below to open ‘The Lower Orders’ (21 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.5 The Remaking of Wales in the Eighteenth CenturyThis is the introductory essay to the volume The Remaking of Wales in the Eighteenth Century. It was written by Peter D.G. Thomas, Professor of History at the University College of Wales, Aberystwyth.Click below to open ‘The Remaking of Wales in the Eighteenth Century’ (5 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.6 Beginnings of RadicalismThis chapter from The Remaking of Wales in the Eighteenth Century was written by Professor Gwyn Alf Williams of Cardiff University. In his chapter Professor Williams traces the origins of the radicalism that was to surface in its fullest form in Wales in the nineteenth century.Click below to open ‘Beginnings of Radicalism’ (28 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.7 People and Protest: Wales 1815–1880This is the introductory essay to the volume People and Protest: Wales 1815–1880. It was written by Professor Ieuan G. Jones of the University College of Wales, Aberystwyth.Click below to open ‘People and Protest Wales 1815–1880’ (5 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.8 Parliament and People in Mid-Nineteenth Century WalesLike the previous essay, this chapter from People and Protest: Wales 1815–1880 is also by Ieuan G. Jones, who was a pioneering historian of politics and nonconformity in nineteenth-century Wales.Click below to open ‘Parliament and People in Mid-Nineteenth Century Wales’ (25 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.9 Wales 1880–1914This is the introductory essay to the volume Wales 1880–1914. It is by Professor Gareth Elwyn Jones, one of the co-editors of the Welsh History and its Sources series.Click below to open ‘Wales 1880–1914’ (7 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.10 From Riots to Revolt: Tonypandy and The Miners' Next StepThis chapter from Wales 1880–1914 is by Professor David (Dai) Smith. Professor Smith made a famous study of the Tonypandy riots of 1910 and many of his sources are reprinted here.Click below to open ‘From Riots to Revolt: Tonypandy and The Miners’ Next Step’ (23 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.11 Wales between the WarsThis is the introductory essay to the volume Wales between the Wars. Like the chapter ‘From Riots to Revolt’ from the previous volume, it is by Professor David (Dai) Smith.Click below to open ‘Wales Between the Wars’ (9 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.12 Social Reactions to Economic ChangeThis chapter from Wales between the Wars is by Deian Hopkin, then of the University College of Wales, Aberystwyth. Dr Hopkin draws on a wide range of sources from different parts of Wales to support his arguments.Click below to open ‘Social Reactions to Economic Change’ (41 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.13 Post-War WalesThis is the introductory essay to the volume Post-War Wales. It was written by Professor Gareth Elwyn Jones, one of the co-editors of the Welsh History and its Sources series.Click below to open ‘Post-War Wales’ (7 pages). Make sure to open the link in a new tab/window so you can easily return here.2.1.14 Wales and the Wider WorldThis chapter from Post-War Wales is by Christopher Harvie of the University of Tübingen, Germany. Unlike the other volumes, the chapters in Post-War Wales did not include ‘Discussion’ or ‘Debating the Evidence’ sections, so the chapter consists of Christopher Harvie's essay and sources.Click below to open ‘Wales and the Wider World’ (17 pages). Make sure to open the link in a new tab/window so you can easily return here.3 Welsh history: audio resources3.1 Introduction
The following audio resource files are extracts from a series of seventeen BBC Radio Wales programmes first broadcast in 1999. They include discussion by eminent Welsh historians, many of whom have contributed to the essays presented in the previous text resources section.It is important to point out that these are extracts from longer and more detailed discourses about the history of Wales, but they each contain important views and information that illustrate the nature of historical investigations into Welsh topics. The Welsh history and its sources site contains additional information about most of the periods and in some cases the topics that are the subjects of discussion. In addition the glossary and timelines will help you to contextualise the material.To get the most out of this material it is worth listening to each audio clip more than once. In between each listening you should ask yourself what the key issues are about the subject that the speaker is addressing.3.2 The Normans in Wales3.2.1 The Welsh experience of the Norman conquestHuw Pryce discusses the Welsh experience of the Norman Conquest. The contemporary poem Rhigyfarch's Lament describes the conquest of Dyfed.This extract is from Programme 1, The Normans in Wales, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 1 (duration 3:09)
3.3 Crown, conquest and communities3.3.1 The ‘warlike Welsh’Huw Pryce discusses the militarism of the Welsh in the twelfth century.This extract is from Programme 2, Crown, conquest and communities, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 2 (duration 0:56)
3.3.2 Llywelyn ap GruffyddA.D. Carr discusses the career of Llywelyn ap Gruffydd, ‘the Last Prince of Wales’, and in particular Llywelyn’s final uprising against Edward I, and the deaths of Llywelyn and his brother Dafydd.This extract is from Programme 2, Crown, conquest and communities, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 3 (duration 5:45)
3.3.3 The conquest of WalesA.D. Carr discusses the impact of the ‘conquest’ of Wales, and Edward I's programme of castle-building. Nancy Edwards describes the planning of Edward's new towns.This extract is from Programme 2, Crown, conquest and communities, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 4 (duration 4:25)
3.4 Tudor Wales3.4.1 The aftermath of the Glyndwr rebellionA.D. Carr and Matthew Griffiths describe the aftermath of Owain Glyndwr's rebellion.This extract is from Programme 3, Tudor Wales, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 5 (duration 1:33)
3.4.2 The TudorsGareth Elwyn Jones examines the significance of the Tudors and the Acts of Union, and in particular the language clause of the 1536 Act of Union.This extract is from Programme 3, Tudor Wales, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 6 (duration 2:19)
3.5 People and belief3.5.1 The Welsh New TestamentA discussion of the translation of the New Testament into Welsh, and of the state of Welsh spiritual life at the time of the Reformation.This extract is from Programme 4, People and Belief, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 7 (duration 1:47)
3.5.2 Welsh religious life before the ReformationGlanmor Williams discusses pre-Reformation piety in Wales.This extract is from Programme 4, People and Belief, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 8 (duration 2:16)
3.5.3 The Reformation in WalesGlanmor Williams examines the changes under Henry VIII and Edward VI including the use of the Prayer Book. He describes the removal of images of the saints. Gareth Elwyn Jones discusses the translation of the Prayer Book and Bible into Welsh.This extract is from Programme 4, People and Belief, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 9 (duration 3:16)
3.6 Love and learning3.6.1 Eighteenth-century tourism of WalesPhilip Jenkins discusses changes in English attitudes to the landscape of Wales in the 1760s with the development of the Romantic movement.This extract is from Programme 6, Love and learning, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 10 (duration 1:55)
3.7 Crisis3.7.1 Welsh nonconformityNeil Evans discusses Nonconformist religion in nineteenth-century Wales.This extract is from Programme 8, Crisis, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 11 (duration 0:49)
3.8 From blue books to white gloves3.8.1 Public housesNeil Evans describes the function of pubs in Wales in the nineteenth century.This extract is from Programme 9, From blue books to white gloves, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 12 (duration 1:11)
3.8.2 Social unrestNeil Evans discusses the response of the state to rebellions in Wales in the nineteenth century.This extract is from Programme 9, From blue books to white gloves, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 13 (duration 1:08)
3.8.3 Iolo MorganwgPhilip Jenkins examines the influence of Iolo Morganwg in Wales.This extract is from Programme 9, From blue books to white gloves, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 14 (duration 2:07)
3.9 Work and play3.9.1 MealtimesElin Jones discusses the impact of industrialisation and shift work on mealtimes in nineteenth-century Wales.This extract is from Programme 10, Work and play, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 15 (duration 1:28)
3.9.2 The chapelRussell Davies examines the role of chapels in Wales.This extract is from Programme 10, Work and play, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 16 (duration 0:53)
3.9.3 The Sunday Closing ActRussell Davies discusses the impact and consequences of the Sunday closing of public houses in Wales.This extract is from Programme 10, Work and play, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 17 (duration 1:59)
3.9.4 Welsh rugbyGareth Williams describes some of the characteristics of Welsh rugby.This extract is from Programme 10, Work and play, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 18 (duration 3:19)
3.10 Secret sins3.10.1 Rural WalesBill Jones discusses conditions in nineteenth-century rural Wales, and the attractions of urban areas.This extract is from Programme 11, Secret sins, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 19 (duration 2:26)
3.11 Triumph and tragedy3.11.1 Colliery disastersBill Jones examines the impact of colliery disasters on communities in Wales.This extract is from Programme 12, Triumph and tragedy, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 20 (duration 0:55)
3.12 To hell and back3.12.1 The impact of World War IKeith Strange describes the impact of the Great War on the political, economic and cultural life of Wales.This extract is from Programme 13, To hell and back, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 21 (duration 1:09)
3.12.2 Welsh women in World War IBob Morris, Keith Strange and Deirdre Beddoe focus on the role of Welsh women during the First World War, in particular on their new independence and munitions work.This extract is from Programme 13, To hell and back, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 22 (duration 3:07)
3.12.3 Coal cuttingBrian Davies describes the process of coal cutting and the conditions in which miners worked.This extract is from Programme 13, To hell and back, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 23 (duration 1:09)
3.12.4 The coalfield communityBrian Davies talks about life in the community of the South Wales coalfield in the 1920s and 1930s.This extract is from Programme 13, To hell and back, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 24 (duration 0:47)
3.13 The Great Depression3.13.1 Women's lives in the Great DepressionIoan Matthews, Deirdre Beddoe and Sian Rhiannon Williams discuss the experience of women in Wales during the depression of the 1930s.This extract is from Programme 14, The Great Depression, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 25 (duration 1:47)
3.14 A new Jerusalem3.14.1 Wales in the 1950s and 1960sChristine Stephens discusses the effect of increasing affluence and the influence of the USA. Rock’n’roll arrives in Wales.This extract is from Programme 16, A new Jerusalem, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 26 (duration 2:15)
3.15 On a border in history3.15.1 The Welsh language movementChris Williams discusses the impact of Saunders Lewis's 1962 radio broadcast Tynged yr Iaith (The Fate of the Language).This extract is from Programme 17, On a border in history, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 27 (duration 1:01)
3.15.2 A golden age of Welsh rugbyChris Williams discusses Welsh rugby in the 1950s, 1960s and 1970s, and Welsh rugby supporters' shared sense of unity and identity.This extract is from Programme 17, On a border in history, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 28 (duration 1:26)
3.15.3 Welsh identityChris Williams discusses the emergence of a new understanding of Welsh identity in the 1970s and 1980s.This extract is from Programme 17, On a border in history, of the BBC Radio Wales Millennium History series, The People of Wales (1999).
Audio 29 (duration 1:18)
4 Welsh history: video resourcesIn this section two video resources, describing different aspects of Welsh history, are presented. These complement the materials presented in the previous text and audio sections. They also offer you a visual context for some important aspects of Welsh history.4.1 Introduction
The first video resource is a set of short extracts from the first three BBC/Open University television series Coast, originally broadcast between 2005 and 2007. They explore some of the historical stories that make up the unique character of the Welsh coastline.The second video resource is taken from Open University course AA302 From composition to performance: musicians at work, and shows how the musical and cultural identity of a Welsh Victorian brass band was reconstructed from a range of sources.4.2 <i>Coast</i> video extractsExtract 1The development of the port of Cardiff and the community of Tiger Bay (Coast, Series 1, Programme 3, 2005).
Video 1 (duration 4:08)
Extract 2Conquering the Menai Straits: Edward I tried to dominate the Menai Straits by building Caernarfon Castle; the engineers Thomas Telford and Robert Stephenson did it by constructing the world's first suspension and box-girder bridges (Coast, Series 1, Programme 4, 2005).
Video 2 (duration 11:44)
Extract 3The story of the Anglesey bonesetters and the birth of modern orthopaedics (Coast, Series 2, Programme 2, 2006).
Video 3 (duration 6:06)
Extract 4‘Copperopolis’: Swansea's rise and decline as the centre of the world's copper industry. (Coast, Series 3, Programme 4, 2007).
Video 4 (duration 6:59)
4.3 The celebrated Cyfarthfa bandIn the middle of the nineteenth century, Merthyr Tydfil was the world's greatest supplier of iron and the largest town in Wales. It was dominated by Cyfarthfa Castle, the huge and ostentatious home of the greatest of the iron barons, Robert Thompson Crawshay.In the mid-nineteenth century, Crawshay established a band: a brass band that was to become one of the greatest musical ensembles of the Victorian period.This programme, from the Open University course AA302 From composition to performance: musicians at work, shows how the musical and cultural identity of this band was reconstructed from a range of sources.Professor Trevor Herbert, who first identified the sources for this story, was interested in addressing three key questions:When did this band come into being and how was it run?What did the band sound like?Why was such a band formed in a place like Merthyr Tydfil?
Video 5 The celebrated Cyfarthfa band (duration 23:45)
[MUSIC PLAYING] CONDUCTOR:Number one, with lots of silence at the end. [MUSIC PLAYING] NARRATOR:This is a sound which was lost for a hundred years, dance music written for
the first and greatest Victorian private band. These leading professional players are recording it for a CD on instruments of the
period. The reconstruction of the band and its repertoire is the culmination of 10 years of
musical and historical research. The Cyfarthfa Band was formed in Merthyr Tydfil in the early years of Queen
Victoria's reign. Merthyr was the largest town in Wales and one of the world's most
important centres of iron production. The biggest iron works in the town was the great
Cyfarthfa Works, owned by the Crawshay family. [IRONWORKS SOUNDS] By the 1820s, when these watercolours were painted, the Crawshays were massively
wealthy. They built a castle on the hill overlooking the Works, at a cost of 30,000 pounds.
Here, they lived a life of luxury and entertained the rich and influential. With its
spacious grounds and opulent fittings, Cyfarthfa Castle was a cultural oasis from the
desolate town below. WILLIAM KAY (VOICEOVER):Street after street of low, confined tenements with roads
unformed, without footpaths, undrained, presenting a mass of mud and filth, and destitute of
the slightest provision for carrying off the refuse of a teeming population. NARRATOR:It was in these circumstances that a brass band was formed by Robert
Thompson Crawshay, who took over as Iron Master of Cyfarthfa in the 1830s. A portrait of his
band master, George Livsey still hangs in the castle, which is now a museum. Little was known about Crawshay's band. History books always described it as being
formed in 1844, about the time when amateur working class bands were being set up all over
Britain. The assumption was that this was just another works band, like any other. But then, in 1986, the curator of the castle phoned Trevor Herbert at the Open
University and asked him to come and look at some musical items he'd found in an attic. They
included a most unusual collection of brass instruments. On the rim of the bells was
engraved the name of the owner of the Cyfarthfa Ironworks. These were some of the lost
instruments of the Cyfarthfa Band. And as Trevor Herbert examined them, he realised that the
widely held assumptions about the band must be wrong. TREVOR HERBERT:Until well into the 19th century, the players in this band were
playing on keyed instruments, like this one. Even when they changed to more modern
instruments, they bought foreign imports, mainly from Vienna, with rotary valves. Now, this
runs directly contrary to the pattern that was occurring throughout the rest of the country. Brass bands were being set up. And they tended to play, exclusively, instruments with
piston valves, just like this. This, I think, is very interesting, because it suggests that
the Cyfarthfa Band was different. It was not just any brass band. It was not a part of the
great amateur working class brass band movement. NARRATOR:Piston valves were widely available in Britain from the mid 1840s. The
instruments were cheap and easy to play. So they encouraged the spread of brass bands in
working class communities. Trevor Herbert's suspicion that the Cyfarthfa Band was different
was supported by receipt which he found in the Crawshay Archives. It lists older
instruments, such as ophicliedes and keyed bugles. Robert Crawshay bought three 8-keyed bugles with tuning slides in 1840. This means
that he had an established band before the spread of piston valves. This is confirmed by
Crawshay's obituary in a Merthyr newspaper. It gives a date for the founding of the band,
1838. [MUSIC - ARTHUR SULLIVAN, "THE LOST CHORD"] Robert Crawshay's personal taste was a crucial element in the makeup of his band. As
late as the 1860s, he was still using the old keyed instruments, together with the newer
valve instruments, as they came in. Trevor Herbert had already worked on several projects
with the virtuoso trumpeter John Wallace. And they decided to reconstruct the sound of the
band around 1860, because of its unique mix of sonorities. JOHN WALLACE (VOICEOVER):I think it's the most interesting period of the band's
history. But with all most interesting periods, you have the most problems. Although some of
the instruments were in the museum, finding 20 mid-19th century instruments in working
order, I thought, would be beyond us. But in the end, the [INAUDIBLE] process took between
three and four years. [MUSIC PLAYING] NARRATOR:One of the problems was to choose a pitch which would suit all the
instruments. JOHN WALLACE (VOICEOVER):All of the keyed instruments, at the time, were built much
closer to modern pitch, whereas as the new valve instruments coming in were built at a sort
of military band pitch, much, much higher. And so they must have come to some compromise. The valved instruments played with lots of crooks, had long tuning slides, and they
had the capacity to pull out, to flatten them. So it was a compromise in the end. But I feel
fairly sure it's a historically accurate compromise, because the state of pitch was in flux
at that point in the 1850s, in the brass world. CONDUCTOR:D flats and F naturals and [SINGING], yeah. That. It's just through the
first, so we can try and get the F's together. Just that fourth bar, please. [BRASS PLAYING]Can we get the D natural higher? Yeah. Yeah. Again. Yeah. That's it. Bar five again,
please. Yeah. That's better. NARRATOR:Just how good were Crawshay's players? A variety of documentary sources
helped to build up a picture of the band in the mid-19th century. TREVOR HERBERT:For most of the 19th century, Merthyr was the largest Welsh town. So
it was well-served by newspapers. And many of these newspapers contained references to the
band. This copy of the Merthyr Express contains a letter from Dan Godfrey, the famous
conductor of the Grenadier Guards Band. DAN GODFREY (VOICEOVER):"I can say that their performance on that occasion was in
every respect excellent and quite equal to that of former years." NARRATOR:Crawshay's obituary refers to the introduction of foreigners into the band. DAN GODFREY (VOICEOVER):"Mr. Crawshay picked up first class men, wherever he found
them, and, in this way, perfected his corp." NARRATOR:All this points to something much more than an amateur works band. But the
most conclusive evidence was the band parts, which were rediscovered at Cyfarthfa Castle at
the same time as the instruments. They contain a large and sophisticated repertoire, more
than 350 pieces of handwritten music. One of Trevor Herbert's biggest tasks was to catalogue
them all. TREVOR HERBERT:Now, band books, particularly when they're [INAUDIBLE] parts, are
very, very important, because they give us a very clear indication of how well the players
could play. This music was written especially for individual players. They were bespoke
arrangements. Therefore, they give us an idea of the outer limitations of the player's
ability. It is clear from these books that the players were virtuoso. [MUSIC PLAYING] CHARLES DICKENS (VOICEOVER):"I had the pleasure of hearing them play and was
astonished at their proficiency. The band master had them under excellent control. He
everywhere took the time well. And the instruments preserved it, each taking up his lead
with spirit and accuracy. In short, I have seldom heard a regimental band more perfect than
this handful of workmen located in the mountains of Wales." NARRATOR:Clearly, the Cyfarthfa Band was far more than a handful of workmen. As
Robert Crawshay brought in professional players, it became, in effect, the first private
virtuoso brass band in Britain. JOHN WALLACE:Like the original band, we used fully professional players in our
modern reconstruction of the band. Now, the thing about contemporary British players is that
they have an extremely steep learning curve. They learn phenomenally quickly. So before the filmed rehearsal, we only had one rehearsal before that, when they'd
already had the instruments for private practise for some time. But rehearsal, a few days
before the filmed rehearsal, was the moment of truth for a lot of players, when they
realised how much work they had to do. [MUSIC PLAYING]NARRATOR:There were no conductor scores. And the individual parts often needed
correcting. JOHN WALLACE (VOICEOVER):There were still a lot of mistakes in the parts and bars
missing, quite an amazing amount, really, when you think from the evidence of the parts how
dog-eared a lot of them are how often they were played. [MUSIC - GC BAWDEN, "CYFARTHFA QUADRILLES"] CONDUCTOR: [SINGING] B flat. A natural. [MUSIC PLAYING] [SINGING]. NARRATOR:This is the first opportunity for the players to hear how this unique
combination of instruments is sounding. So it's an anxious moment. [INTERPOSING VOICES] CONDUCTOR: We think we can hear everything. [INTERPOSING VOICES] ADRIAN FARMER:Thing is I got replies from baritones were missing were in long
sustained notes. I can hear it when they're together with the cornets and bugles again.
[SINGING], or whatever. But there is some marvellous caudal writing in the middle. CONDUCTOR: Yeah, probably my fault. Cause where I am, I hear an awful lot of them. ADRIAN FARMER:Really? CONDUCTOR:I mean, I don't get a balance like you're getting in here, cause I'm so
close to them. So I'm saying shush, shush, shush. And in fact, I don't need to. JOHN WALLACE:We're just worried a little bit about the definition on the bass end,
on the tubas. They say it sounds gloopy. ADRIAN FARMER:Gloopy? JOHN WALLACE:Gloopy. ADRIAN FARMER:That will be a technical term. [MUSIC PLAYING] NARRATOR:There's a large collection of dance music in the band books. They played
for grand balls, which the Crawshays held in the waggon shed of the works. This photograph is taken in 1871, at the marriage of Robert Crawshay's daughter. The
importance of the band in the household is shown by their inclusion in the photograph. At
this picnic at Tenby, you can just make out the band standing in their customary square
Formation. On the band masters' music stand is a page of Beethoven's "First Symphony." The band
books contain a very wide repertoire of 19th century art music, including several complete
symphonies and excerpts from the latest Italian operas. The "Tydfil Overture" was composed especially for the band. Joseph Perry was born in
Merthyr and became the first professor of music at the University of Wales. This is probably
the earliest work written for brass band by a composer of this stature. By the 1870s, when this music was written, the fortunes of the Crawshay family, and
their ironworks, were in decline. Robert Crawshay had been deaf since a stroke in 1859. But
he continued to support the band and to run the ironworks. In 1866, his father wrote to him
about his management of the works. WILLIAM CRAWSHAY (VOICEOVER):"You have made the damnedest mess of them that ever man
made of a good consour. Not one farthing profit did you make last year. Your deafness unfits
you for anything but fishing. But you will not see this or your utter want of success. Your
affectionate father, William Crawshay." NARRATOR:In fact, the odds had been stacked against the Cyfarthfa Ironworks for some
years. There was strong competition from the other works in the area and from abroad. And
the demand for iron was in decline. In 1874, prices slumped. There was a strike over wage
cuts. And the works were closed. In 1877, the workers gathered outside the Castle, hoping to
persuade Robert Crawshay to change his mind, but in vain. He told him that the Cyfarthfa
Works would never open again in his lifetime. His beloved band was there in the crowd. Two years later, Robert Thompson Crawshay, known as the last of the Iron Kings, died.
He was taken from the Castle to a church in the hills, which Crawshay himself had built. MAN (VOICEOVER):Every window had its blind down and all the shops were closed. The
schoolchildren, drawn up in rows on each side, awaited the cortege, having had the
permission of the family to do so, and through bunches of flowers, under the break. The burial ground was kept pretty well clear, but there was a deep belt of people
crowding the boundary walls all around. The sun shone brilliantly and tempered by his genial
rays, the inclement north wind, which blew with quite wintery severity. TREVOR HERBERT:Crawshay was buried in a coffin made from wood that he had supervised
the cutting of. He was buried in a grave exactly 14 feet deep. He left instructions that no
one should ever share his grave and that it be covered by a single stone of no less than
five tonnes in weight. NARRATOR:The significance of the inscription is obscure. Some said that Crawshay was
a tyrannical employer. Perhaps he carried guilt for the failure of the Ironworks. What is
now established is that he created a unique musical institution, which he developed
according to his own taste and sustained with passion to the very end of his life, despite
his deafness. In accordance with his instructions, the waggon which took him to his grave
carried only one passenger, George Livsey, conductor of the celebrated Cyfarthfa Band. [SOLEMN MUSIC] CONDUCTOR:Thank you very much indeed. Back at 2:30. 2:30. Back at 2:30. Thank you
very much indeed. 2:30. 2:30. 5 Welsh history: case study of David Lloyd George5.1 Overview
Capel Mawr This section contains a short ‘taster’ from The Open University's fifteen-week course A182 Small country, big history: themes in the history of Wales. The sample material presented in this section looks at the life of David Lloyd George.5.2 IntroductionThis extract of material is taken from the opening section of the final case study in A182 Small country, big history: themes in the history of Wales. In it Professor Chris Williams discusses the extent to which the Welshness of David Lloyd George, the only Welshman ever to have become Prime Minister of the United Kingdom, was seen as important either by Lloyd George himself or by others.Though it is not evident from this sample, the course focuses on the way that this theme is developed by Kenneth O. Morgan, one of the greatest historians of the period. Students are invited to read Morgan's essay ‘David Lloyd George and Wales’ and many of the sources that were used in writing it, and to answer key questions about the function of historical biography and the way that individual lives are treated by historians.5.3 ‘The Greatest Welshman Yet Born’? David Lloyd George and Wales‘Lloyd George Knew My Father, Father Knew Lloyd George’My first ever acquaintance with the name of David Lloyd George came through hearing my paternal grandmother sing the line ‘Lloyd George Knew My Father, Father Knew Lloyd George’, over and over again, to the tune of ‘Onward Christian Soldiers’. This music-hall ditty originated as a satirical comment on the controversy that surrounded the ‘honours scandal’ of 1922, when the Lloyd George government was accused of trading honours such as OBEs (Order of the British Empire), knighthoods, baronetcies and peerages in return for financial donations.A much more profound and educational engagement with the life and times of Lloyd George came in 1981, when the BBC screened an impressive nine-part drama. It is an interesting exercise to reflect on how our historical knowledge of individuals or events is constructed through layers of cultural memory.Activity010What do you know already about the life of Lloyd George? Without referring to any additional materials, jot down as many facts about him as you can think of.There is no ‘right’ answer for this activity: everyone is likely to have a different range of ideas and knowledge about Lloyd George's life. Of course, some of those ideas might be ‘wrong’, but let's not worry about that at the moment. I tried to come up with facts about Lloyd George that might fit the bill of ‘strange, but true’; here are three.Although we see Lloyd George quite clearly as a Welshman and a fluent speaker of the Welsh language, he was actually born in 1863 at 5 New York Place, Chorlton upon Medlock, Manchester.Lloyd George is one of relatively few Welsh politicians to have a mountain named after him: Mount Lloyd George, 2,938 metres high, in northern British Columbia, Canada.Who do you think Lloyd George termed ‘the George Washington of Germany’ after taking tea with him in 1936? I'm afraid that it was Adolf Hitler. It is only fair to note that Lloyd George revised his opinion by the end of the decade.5.4 Lloyd George, Wales and the worldWhat I hope the activity in Section 5.3 reveals is that a full appreciation of David Lloyd George's political career would take us well beyond the confines of Wales and the Welsh nation. As Prime Minister of the United Kingdom of Great Britain and Ireland (1916–22) he presided over the expansion of the British Empire to its maximum extent, while at the same time negotiating the settlement of the ‘Irish Question’ and the recasting of the UK as that of Great Britain and Northern Ireland. Along with President Woodrow Wilson of the United States of America and Prime Minister Georges Clemenceau of France, he played a critical role in the peace settlements that followed the First World War, and which not only redrew the map of Europe but also those of the Middle and Far East. Later, while in opposition, Lloyd George was instrumental in introducing the ultimately highly influential economic initiatives of John Maynard Keynes to a wider audience. To study Lloyd George's life in the round, therefore, would be a fascinating and highly worthwhile exercise, and I recommend strongly that if you have time you should read at least one of the shorter biographical studies, such as those by Pugh (1988) or Wrigley (1992) listed in Section 5.6.Our focus in this section, however, is on Lloyd George's relationship with Wales, and what a study of Lloyd George can tell us about the emergence of a modern sense of Welsh nationality. Contemporaries were very confident that Lloyd George's political ascent held a significance wider than that of the man himself. One of Lloyd George's earliest biographers, J. Hugh Edwards, went so far as to produce a multi-volume work entitled The Life of David Lloyd George, with a Short History of the Welsh People, which started with ‘the origins of the Cymric race’ (Edwards, 1913–24, vol. I, p. 1) and ended with Lloyd George's premiership! The justification for such an arrangement was the claim that Lloyd George was ‘the product of Welsh nationality – the resultant [sic] of those forces which have kept alive the language and tradition of Wales through long centuries of oppression and scorn’ (Edwards 1913–24, vol. I, p. xxiii). It was just such a mood that allowed the liberal-nationalist monthly the Welsh Outlook to proclaim Lloyd George ‘the greatest Welshman yet born’ in 1919 (cited in Morgan, Modern Wales, p. 361).Modern historians tend to be rather more restrained in their evaluations. I once took part in a radio programme which debated whether Lloyd George was ‘hero or villain’. Each side was represented by a professional historian and a Member of Parliament (one Liberal Democrat, one Labour). The judge was historian and broadcaster Peter Stead, and when the fury of the debate had subsided his decision was that Lloyd George was a villain! Yet in the online poll conducted in 2003–04 by Culturenet Cymru to identify ‘100 Welsh heroes’, Lloyd George came in a very respectable eighth place.Between 8 September 2003 and 23 February 2004, Culturenet Cymru received over 80,000 nominations for ‘Welsh heroes’.When the polls closed the top ten places were as follows:Aneurin Bevan (2426 votes)Owain Glyndŵr (2309)Tom Jones (2072)Gwynfor Evans (1928)Richard Burton (1755)Gareth Edwards (1685)Dylan Thomas (1630)David Lloyd George (1627)Robert Owen (1621)Saunders Lewis (1601)(Culturenet Cymru, 2003–4)It is interesting that a more recent (but less extensive) poll produced a slightly different set of results. Who would be your top ten Welsh heroes? Would the list include any women?5.5 The individual in historyJudging any politician as either ‘hero’ or ‘villain’ is inevitably a subjective exercise, conditioned by our own ideological preferences. It is also a highly artificial device, as few individuals are so good or so bad as to fit neatly into either category. As historians, therefore, we need to aim for a more balanced assessment, which takes into account not just the actions or beliefs of the individual in question, but also the contexts and environments in which they operated.This brings me onto another key theme in this section: the importance of the individual historical actor. The Victorian writer Thomas Carlyle suggested that ‘the history of what man has accomplished in this world, is at bottom the History of Great Men who have worked here’ (1907, p. 1). In the nineteenth century every great man had to have at least one biography, usually a multi-volumed work written by an admirer, associate or relative, replete with extensive quotations from letters and speeches. Such works tended to be largely uncritical and enthusiastic endorsements of the importance of their subject, verging on hagiography. Today such volumes appear quaint: dusty tomes with thick, often uneven pages, overwhelmingly interested in the public life of the individual, occasionally concerned to whitewash dubious or controversial dimensions of their stories. They sat uneasily alongside the increasing professionalisation of history with a capital ‘H’, history as a discipline, ostensibly objective, evidence-based, and concerned with wider trends and grander themes than individual lives.Karl Marx, a very different kind of Victorian, famously wrote that ‘Men make their own history, but they do not make it just as they please; they do not make it under circumstances chosen by themselves, but under circumstances directly encountered, given and transmitted from the past.’ (1954, p. 10). The role of individual action was thus tightly circumscribed: the Napoleons of history were understood as part of broader trends, as representative of particular moments. Individuals played key roles in history, but their specific identity was almost irrelevant – if it had not been a Napoleon it would have been another French general, so the argument ran.Yet can such a perspective ever be fully satisfactory? As Richard Evans has pointed out, ‘To reduce every human being to a statistic, a social type, or the mouthpiece of a collective discourse is to do violence to the complexity of human nature, social circumstance and cultural life’ (1997, p. 189).Historical biography is vital because it places people at the centre of the processes by which we understand the past. Of course biography cannot be severed from its broader historical moorings. No life can be understood apart from the society in which it was lived. Yet we can also agree that the individual life may reveal much about the moment in which it was lived. One of Marx's more rarely quoted aphorisms appears relevant here: ‘Every social epoch needs its great men and if it does not find them it invents them’ (1979, p. 92).
Figure 1: David Lloyd George
Figure 1Figure 15.6 References and further readingCarlyle, T. ([1841] 1907) On Heroes, Hero-Worship and the Heroic in History, London, Chapman and Hall.Edwards, J.H. (1913–24) The Life of David Lloyd George, with a Short History of the Welsh People, London, Waverley Book Company.Evans, R.J. (1997) In Defence of History, London, Granta.Marx, K. ([1850] 1979) The Class Struggles in France 1848 to 1850, Moscow, Progress.Marx, K. ([1852] 1954) The Eighteenth Brumaire of Louis Bonaparte, Moscow, Progress.Morgan, K.O. (1995) Modern Wales: Politics, Places and People, Cardiff, University of Wales Press.Pugh, M.D. (1988) Lloyd George, London, Longman.Wrigley, C.J. (1992) Lloyd George, Oxford, Blackwell.6 Welsh history: map and diagram resources6.1 Introduction
The following map and diagram resources are taken from the seven Welsh History and its Sources books mentioned in Section 1.1. They were specially drawn for the Welsh History and its Sources volumes. Some appear in the essays presented in Section 2. They cover many aspects of Welsh history, as well as presenting a geographical and statistical context for the various historical events.6.2 Edward I and WalesResource 1: Principal physical features of WalesFrom: Edward I and WalesResource 2: Wales in 1267From: Edward I and WalesResource 3: Wales in 1277From: Edward I and WalesResource 4: Wales in 1284From: Edward I and WalesResource 5: Edward I's Campaign 1276–77From: Edward I and WalesResource 6: Edward I's Campaign 1282–83From: Edward I and WalesResource 7: Edwardian castles in WalesFrom: Edward I and WalesResource 8: Plan of Conwy CastleFrom: Edward I and WalesResource 9: Caernarfon Castle and townFrom: Edward I and WalesResource 10: The impressment of men for the King's works in Wales, 1282–3 (see also Resource 11)From: Edward I and WalesResource 11: The impressment of men for the King's works in Wales, 1282–3 (see also Resource 10)From: Edward I and WalesUse the link below to download all the maps and diagrams from Edward I and Wales as a collection.From: Edward I and Wales
Resource collection
6.3 Tudor WalesResource 1: Main physical features of WalesFrom: Tudor WalesResource 2: Humphrey Lhuyd’s map of Wales 1573. (Source: National Library of Wales.)From: Tudor WalesResource 3: Map of Pembrokeshire by George Owen of Henllys. (Source: National Library of Wales.)From: Tudor WalesResource 4: Purchasing power of wages 1450–1499From: Tudor WalesResource 5: John Speed’s map of Caernarfon, 1611. (Source: National Library of Wales.)From: Tudor WalesResource 6: Index of Prices of Basket of Consumables 1400–1700From: Tudor Wales Resource 7: Baptisms and Burials in Conway, 1541–1640From: Tudor WalesResource 8: Density of population in Wales c.1550From: Tudor WalesResource 9: Map of Barry Manor in 1622 by Evans Mouse, based on original in Glamorgan Record Office. (Source: H.J. Evans.)From: Tudor WalesResource 10: New Radnor in the early seventeenth century; map published in John Speed’s Theatre of the Empire of Great Britain, 1611From: Tudor WalesResource 11: Main Welsh towns, c.1550From: Tudor WalesResource 12: Welsh Monastic housesFrom: Tudor WalesResource 13: Independent Wales in the early thirteenth centuryFrom: Tudor WalesResource 14: Wales in the reign of Henry VIIFrom: Tudor WalesResource 15: The Shires of Wales after the Acts of UnionFrom: Tudor WalesUse the link below to download all the maps and diagrams from Tudor Wales as a collection.From: Tudor Wales
Resource collection
6.4 The remaking of Wales in the eighteenth centuryResource 1: Place-name map of WalesFrom: The remaking of Wales in the eighteenth centuryResource 2: Food riots in Wales, 1793–1801From: The remaking of Wales in the eighteenth centuryResource 3: Resistance to enclosuresFrom: The remaking of Wales in the eighteenth centuryResource 4: Disaffection during the Napoleonic WarsFrom: The remaking of Wales in the eighteenth centuryUse the link below to download all the maps and diagrams from The remaking of Wales in the eighteenth century as a collection.From: The remaking of Wales in the eighteenth century
Resource collection
6.5 People and protestResource 1: Country populations in Wales as shown by census returnsFrom: People and protestResource 2: Wales, showing the pre-1974 county boundariesFrom: People and protestResource 3: Chapel building of Protestant denominations 1801–1850 (Public Record Office, Census of Religious Worship 1851. Enumerators’ Returns for Wales, HO 129/29/576–623.)From: People and protestResource 4: Growth Rates in Wales — (4 Main Denominations)From: People and protestResource 5: The North Wales slate mining districtFrom: People and protestUse the link below to download all the maps and diagrams from People and protest as a collection.From: People and protest
Resource collection
6.6 Wales 1880–1914Resource 1: Place-name map of WalesFrom: Wales 1880–1914Resource 2: Total population 1881From: Wales 1880–1914Resource 3: Total population 1911From: Wales 1880–1914Resource 4: Welsh speaking population, 1911From: Wales 1880–1914Resource 5: Linguistic areas in the central borderland counties of Wales during the mid-nineteenth century according to the language used at Sunday Schools. (Source: G. J. Lewis and National Library of Wales. Reproduced from NLW Journal XXI.)From: Wales 1880–1914Resource 6: General Election Result, 1910 (based on Madgwick and Balsom, National Atlas of Wales.)From: Wales 1880–1914Use the link below to download all the maps and diagrams from Wales 1880–1914 as a collection.From: Wales 1880–1914
Resource collection
6.7 Wales between the WarsResource 1: Map of Welsh countiesFrom: Wales between the WarsResource 2: South Wales: the shaded area shows the coalfieldFrom: Wales between the WarsResource 3: Output of coal from the south Wales coalfield, 1923–1948, showing (above) levels of unemployment during the same periodFrom: Wales between the Wars,Resource 4: County populations, Wales 1911–51From: Wales between the Wars,Use the link below to download all the maps and diagrams from Wales between the Wars as a collection.From: Wales between the Wars
Resource collection
6.8 Post-War WalesResource 1: The main administrative units of Wales, showing the ‘old’ (pre-1974) and ‘new’ (1974–1996) county boundaries. (Source: D. Huw Owen (ed.), Settlement and Society in Wales, Cardiff, 1989.)From: Post-War WalesResource 2: Number of Welsh speakers, 1991. (Source: Aitchison and H. Carter, A Geography of the Welsh Language 1969–1991, 1994.)From: Post-War WalesResource 3: Percentage of the population able to speak Welsh, 1991. (Source: Aitchison and H. Carter, A Geography of the Welsh Language 1969–1991, 1994.)From: Post-War WalesUse the link below to download all the maps from Post-War Wales as a collection.From: Post-War Wales
Resource collection
7 Welsh history: image resources7.1 IntroductionThe following image resources are taken from the seven Welsh History and its sources books mentioned in Section 1.1. Some appear in the essays presented in Section 2. They cover many aspects of Welsh history, as well as presenting a visual context for various people, places and events of Wales through time.7.2 Edward I and WalesImage 1: Idealized sculpture of Llywelyn ap Gruffudd in Cardiff City Hall. (Source: Cardiff City Council.)From: Edward I and WalesImage 2: Littere Wallie. (Source: Public Record Office.)From: Edward I and WalesImage 3: Caernarfon Castle. (Source: Cadw: Welsh Historic Monuments. Crown Copyright.)From: Edward I and WalesImage 4: The Theodosian Wall of Constantinople. (Source Cadw: Welsh Historic Monuments. Crown Copyright.)From: Edward I and WalesImage 5: Payments to building workers at Caernarfon Castle, 1316–17. (Source: Public Record Office.)From: Edward I and WalesImage 6: Thirteenth-century sculpture believed to be the head of the youthful Edward I. (Source: Dean and Chapter of Westminster.)From: Edward I and WalesImage 7: Rhuddlan Castle. (Source: Cadw: Welsh Historic Monuments. Crown Copyright.)From: Edward I and WalesImage 8: An early twentieth-century representation of Gerald of Wales. (Source: Cardiff City Council.)From: Edward I and WalesImage 9: Bangor Cathedral. (Source: National Monuments Record for Wales.)From: Edward I and WalesImage 10: Valle Crucis. (Source: National Monuments Record for Wales.)From: Edward I and WalesImage 11: Brut y Tywysogyon or The Chronicle of the Princes. (Source: National Library of Wales.)From: Edward I and WalesImage 12: Illustration from the Anian Pontifical, Bangor. (Source: Dean and Chapter of Bangor Cathedral.)From: Edward I and WalesImage 13: Harlech Castle. (Source: Welsh Historic Monuments Crown Copyright.)From: Edward I and WalesUse the link below to download all the images from Edward I and Wales as a collection.From: Edward I and Wales
Image collection
7.3 Tudor WalesImage 1: Katheryn of Berain – the Llewesog Portrait. (Source: National Museum of Wales.)From: Tudor WalesImage 2: Tombs of the gentry family of the Mansels of Margam, in Margam Abbey Church. (Source: Glamorgan Archive Serviced)From: Tudor WalesImage 3: Sir John Wynn of Gwydir. (Engraving by Robert Vaughan.) (Source: National Museum of Wales.)From: Tudor WalesImage 4: Beaupré Castle, home of the Basset family of Beaupré (or Bewper). (Source: National Monuments Record for Wales.)From: Tudor WalesImage 5: The type of house favoured by south Wales yeomen during the ‘great rebuilding’. (Source: Cambridge University Press.)From: Tudor WalesImage 6: The type of house commonly favoured in the Severn valley during the ‘great rebuilding’. (Source: Cambridge University Press.)From: Tudor WalesImage 7: Reaping scene from Holinshed’s Chronicles, 1577. (Source: BBC Hulton Picture Library.)From: Tudor WalesImage 8: Aerial photograph New Radnor, 1967. (Source: University of Cambridge, Committee for Aerial Photography.)From: Tudor WalesImage 9: The title page of Yny Lhyvyr Hwnn (Source: National Library of Wales.)From: Tudor WalesImage 10: Bishop William Morgan. (Source: National Library of Wales.)From: Tudor WalesImage 11: The title page of the Bible, 1588. (Source: National Library of Wales.)From: Tudor WalesImage 12: Sir Henry Sidney in 1573. (Artist unknown.) (Source: National Portrait Gallery.)From: Tudor WalesImage 13: Robert Dudley, Earl of Leicester, c.1575. (Artist unknown). (Source: National Portrait Gallery.)From: Tudor WalesImage 14: Henry Herbert, second Earl of Pembroke (c. 1534–1601). (Artist unknown). (Source: National Museum of Wales.)From: Tudor WalesUse the link below to download all the images from Tudor Wales as a collection.From: Tudor Wales
Image collection
7.4 The remaking of Wales in the eighteenth centuryImage 1: Sir Watkin Williams Wynn: a portrait by Thomas Hudson, 1740. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 2: Pembroke town and castle, painted by Richard Wilson. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 3: Mid-eighteenth-century wine glasses engraved with Jacobite insignia and mottoes. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 4: Richard Jones Gwynne of Taliaris, Sea Serjeant. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 5: The Calvinistic Methodist Fathers. (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 6: The Welch Curate. (Source: British Museum.)From: The remaking of Wales in the eighteenth centuryImage 7: The Welch Parson. (Source: British Museum.)From: The remaking of Wales in the eighteenth centuryImage 8: Lewis Morris. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 9: Howel Harris’s map of his travels. (Source: National Library of Wales and the Historical Society of the Presbyterian Church of Wales.)From: The remaking of Wales in the eighteenth centuryImage 10: Title page of John Evans’s Some Account of the Welch Charity Schools. (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 11: Griffith Jones’s tables of schools and scholars in Welch Piety, 1759. (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 12: A cartoon of 1763 portraying preachers as greedy men and their congregations as lewd and disorderly. (Source: British Museum.)From: The remaking of Wales in the eighteenth centuryImage 13: The First Methodist Association (Sasiwn) in 1743. (Source: National library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 14: Engraving showing an iron forge between Dolgellau and Barmouth, 1776. (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 15: Coal staithe and a copper works at Landore, near Swansea, 1792, a watercolour by J.C. Ibbetson. (Source: The Wernber Collection, Luton.)From: The remaking of Wales in the eighteenth centuryImage 16: Token coin of the ironworks of Carmarthen and Cwmdwyfran in the late eighteenth century, showing the tapping of the furnace and the forging into bar iron. (Source: Carmarthen Museum.)From: The remaking of Wales in the eighteenth centuryImage 17: The Parys Copper Mine, Anglesey, c. 1785, a watercolour by J.C. Ibbetson. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 18: Penrhyn Slate Quarry in 1808. (Source: Gwynedd Archives Service.)From: The remaking of Wales in the eighteenth centuryImage 19: The Darren Lead Mine, Cardiganshire, c.1670. (Source: Welsh Industrial and Maritime Museum.)From: The remaking of Wales in the eighteenth centuryImage 20: Copper works in the Greenfield Valley, near Holywell, Flintshire, 1792. (Source: Clwyd Record Office.)From: The remaking of Wales in the eighteenth centuryImage 21: The White Rock Copper and Brass Works, near Swansea, in 1744From: The remaking of Wales in the eighteenth centuryImage 22: Title page of Cylchgrawn Cymraeg (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 23: Title page of Seren tan Gwmmwl (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 24: Title page of Toriad y Dydd (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 25: A memento of Fishguard in 1797From: The remaking of Wales in the eighteenth centuryImage 26: Edward Williams (Iolo Morganwg). (Source: National Library of Wales.)From: The remaking of Wales in the eighteenth centuryImage 27: Portrait of Lady Llanover (1802–96) painted by Mornewicke in 1862. (Source: National Museum of Wales.)From: The remaking of Wales in the eighteenth centuryImage 28: An Arch Druid in His judicial Habit, a coloured aquatint from S.R. Meyrick and C.H. Smith, The Costume of the Original Inhabitants of the British Islands, 1815. (Source: BBC Button Picture Library.)From: The remaking of Wales in the eighteenth centuryImage 29: The druidic priest as portrayed by the Revd Henry Rowlands in his Mona Antiqua Restaurata, 1723From: The remaking of Wales in the eighteenth centuryImage 30: The Bard by Philippe J. de Loutherbourg, published in 1784 as the frontispiece to Musical and Poetical Relicks of the Welsh Bards by Edward Jones.From: The remaking of Wales in the eighteenth centuryImage 31: Druidical Remains in Anglesey, an engraving by J.Smith in William Sotheby’s A Tour Through Parts of Wales, 1794From: The remaking of Wales in the eighteenth centuryUse the link below to download all the images from The remaking of Wales in the eighteenth century as a collection.From: The remaking of Wales in the eighteenth century
Image collection
7.5 People and protestImage 1: Newtown, Montgomeryshire, c. 1900. (Source: National Library of Wales.)From: People and protestImage 2: Swansea in the 1850sFrom: People and protestImage 3: Thomas Gee. (Source: National Library of Wales.)From: People and protestImage 4: Henry Richard. (Source: BBC Hulton Picture Library.)From: People and protestImage 5: Henry Austin Bruce. (Source: BBC Hulton Picture Library.)From: People and protestImage 6: Capel Newydd Nanhoron, Llŷn. Built in 1770. (Source: National Monuments Record for Wales.)From: People and protestImage 7: Kindred spirits? Aberdare. (Source: Cynon Valley Libraries.)From: People and protestImage 8: Temperance quiverFrom: People and protestImage 9: Revd Christmas Evans, aged 59, in 1835. (Source: National Library of Wales.)From: People and protestImage 10: Capel Pembroke Terrace, Calvinistic Methodist church, Cardiff. Built in 1877From: People and protestImage 11: 1843 drawing of the Rebecca riots as depicted in the Paris magazine L’Illustration. (Source: Mary Evans Picture Library.)From: People and protestImage 12: Appeal of the gentry to the followers of Rebecca. (Source: Dyfed Archives, Carmarthen Record Office, Bryn Myrddin Collection.)From: People and protestImage 13: Contemporary drawing of a Chartist meeting. (Source: The Mansell Collection.)From: People and protestImage 14: John Frost’s broadsheet supporting the People’s Charter. (Source: Newport Central Library.)From: People and protestImage 15: North Wales Quarrymen’s Union bannerFrom: People and protestImage 16: The (Tithe) Martyrs. (Source: National Library of Wales.)From: People and protestImage 17: Threshing at Star, Gaerwen. (Source: Gwynedd Archives Service.)From: People and protestUse the link below to download all the images from People and protest as a collection.From: People and protest
Image collection
7.6 Wales 1880–1914Image 1: Binding corn into sheaves, Brechfa, Dyfed, c. 1898. (Source: Welsh Folk Museum.)From: Wales 1880–1914Image 2: Title page of the Preliminary Report of the 1881 Census. (Source: Glamorgan Archive Service.)From: Wales 1880–1914Image 3: A page from the Preliminary Report of the 1881 Census. (Source: Glamorgan Archive Service.)From: Wales 1880–1914Image 4: Dockers unloading pit wood, Barry, c. 1911. (Source: Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 5: Women hauliers at Abergorki Colliery, Treorchy, c.1880. (Source: Cyril Batstone.)From: Wales 1880–1914Image 6: Haulier driving a tram at a south Wales colliery, c.1905. (Source: Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 7: A Doubler at work at the Clayton Tinplate Works, Glamorgan, c.1920. (Source: Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 8: The Puddling Furnace, Cwmbran Ironworks, from the original oil painting in the Department of Industry, National Museum of Wales. (Source: Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 9: Slate splitting, Dinorwig Quarries, c. 1910. (Source: Gwynedd Archive Service)From: Wales 1880–1914Image 10: Hand milking at Felin Newydd, Cardigan, c.1900. (Source: Welsh Folk Museum.)From: Wales 1880–1914Image 11: The wagon shop, Rhymney Railway Locomotive Works, Caerphilly, c.1906. (Source: E. R. Mountford.)From: Wales 1880–1914Image 12: Examples of the ‘Welsh Not’. (Source: Welsh Folk Museum.)From: Wales 1880–1914Image 13: Evan Roberts and colleague revivalists from Loughor. (Source: National Library of Wales.)From: Wales 1880–1914Image 14: Crumlin Football Team, 1900From: Wales 1880–1914Image 15: O. M. Edwards. (Source: Urdd Gobaith Cymru.)From: Wales 1880–1914Image 16: Souvenir programme, printed on silk, for the first performance at the Empire Theatre of Varieties, Tonypandy, 15 November 1909. (Source: Cyril Batstone.)From: Wales 1880–1914Image 17: Title page of The Miners’ Next Step. (Source: South Wales Miners’ Library.)From: Wales 1880–1914Image 18: Tonypandy, early twentieth century. (Sources: Welsh Industrial and Maritime Museum and Cyril Batstone.)From: Wales 1880–1914Image 19: Tonypandy, early twentieth century. (Sources: Welsh Industrial and Maritime Museum and Cyril Batstone.)From: Wales 1880–1914Image 20: Tonypandy after the riots. (Sources: Cyril Batstone and Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 21: Tonypandy after the riots. (Sources: Cyril Batstone; and Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 22: Tonypandy after the riots. (Sources: Cyril Batstone and Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 23: Tonypandy after the riots. (Sources: Cyril Batstone and Welsh Industrial and Maritime Museum.)From: Wales 1880–1914Image 24: Troops assembled in Pontypridd in 1910. (Source: Cyril Batstone.)From: Wales 1880–1914Image 25: Report in the Western Mail, 9 November 1910. (Source: National Library of Wales.)From: Wales 1880–1914Image 26: David Lloyd George, 1903. (Source: BBC Hulton Picture Library.)From: Wales 1880–1914Image 27: Tom Ellis, Liberal MP for Merioneth. (Source: National Library of Wales.)From: Wales 1880–1914Image 28: Lloyd George’s funeral, Llanystumdwy, 1945. (Source: National Library of Wales.)From: Wales 1880–1914Image 29: Lloyd George speaking at Killerton Park, Devon, in 1925. (Source: BBC Hulton Picture Library)From: Wales 1880–1914Use the link below to download all the images from Wales 1880–1914 as a collection.From: Wales 1880–1914
Image collection
7.7 Wales between the WarsImage 1: Cardiff Docks, 1923. (Source: County of South Glamorgan Libraries.)From: Wales between the WarsImage 2: Dowlais iron and steel works in 1912, on the occasion of a visit by King George V and Queen Mary. (Source: Welsh Industrial and Maritime Museum.)From: Wales between the WarsImage 3: Unemployed men clearing dumps in south WalesFrom: Wales between the WarsImage 4: Queen Street, Cardiff, c. 1939. (Source: BBC Hulton Picture Library.)From: Wales between the WarsImage 5: Coleg Harlech, 1939From: Wales between the WarsImage 6: Emrys Davies and Arnold Dyson, inter-war Glamorgan batsmenFrom: Wales between the WarsImage 7: Tommy Farr. (Source: BBC Hulton Picture Library.)From: Wales between the WarsImage 8: Aneurin Bevan and Jenny Lee on their wedding day. (Source: BBC Hulton Picture Library.)From: Wales between the WarsImage 9: Lewis Valentine, Saunders Lewis (centre), and D.J. Williams. (Source: National Library of Wales.)From: Wales between the Wars, page 83Image 10: James Griffiths. (Source: BBC Hulton Picture library.)From: Wales between the WarsImage 11: Rachel Thomas as ‘the Welsh Mam’ in Blue Scar, 1948. (Source: MacQuitty Collection.)From: Wales between the WarsImage 12: Late evening in the kitchen. Bill Brandt, 1936. (Source: Copyright estate of Bill Brandt — courtesy of Noya Brandt.)From: Wales between the WarsImage 13: Pencil-making in Port Penrhyn, c. 1940. (Source: Gwynedd Archives Service.)From: Wales between the WarsImage 14: Cookery book cover, c. 1930From: Wales between the WarsImage 15: 1934, Welsh hunger marchers resting. (Source: Dora Cox.)From: Wales between the Wars, page 108Image 16: Paul Nash illustration for a cover of The Labour WomanFrom: Wales between the WarsImage 17: 1934, Welsh hunger marchers. (Source: Dora Cox.)From: Wales between the WarsImage 18: A poignant image from the 1930s – empty coal trucks from Ralph Bond’s 1937 film Today We LiveFrom: Wales between the Wars,Image 19: An audience in a cinema in the 1930s. (Source: BBC Hulton Picture Library.)From: Wales between the WarsImage 20: Poster for The Proud Valley (Source: Weintraub Entertainment (Administration) Limited.)From: Wales between the WarsImage 21: Haggar’s Cinema, Aberdare. (Source: Aberdare Central Library.)From: Wales between the WarsImage 22: Lewis Jones (centre) greets Arthur Griffiths on his release from prison in 1936. (Source: South Wales Miners’ Library.)From: Wales between the Wars, page 145Image 23: Kate Roberts. (Source: Welsh Arts Council.)From: Wales between the WarsImage 24: Gwyn Jones. (Source: Welsh Arts Council.)From: Wales between the WarsImage 25: Idris DaviesFrom: Wales between the WarsImage 26: D. Gwenallt Jones (Gwenallt). (Source: Welsh Arts Council.)From: Wales between the WarsImage 27: Gwyn Thomas. (Source: Welsh Arts Council.)From: Wales between the WarsImage 28: Raymond Williams. (Source: Welsh Arts Council.)From: Wales between the WarsUse the link below to download all the images from Wales between the Wars as a collection.From: Wales between the Wars
Image collection
7.8 Post-War WalesImage 1: Leaflet advertising events to celebrate the nationalization of the coal industry in 1947. (Source: Welsh Industrial and Maritime Museum)From: Post-War WalesImage 2: Gwynfor Evans arriving at Westminster following his victory in the Carmarthen by-election, 1966. (Source: Plaid Cymru/National Library of Wales.)From: Post-War WalesImage 3: Leaflet published by the National Union of Mineworkers (South Wales Area) during the 1984–5 strike. (Source: NUM South Wales Area)From: Post-War WalesImage 4: George Thomas, Labour candidate for Cardiff West, talking to voters outside the Grand Avenue Polling Station in Ely during the 1964 General Election campaign. (Source: Western Mail & Echo Ltd.)From: Post-War WalesImage 5: Front page of the South Wales Echo, 2 March 1979. (Source: Western Mail & Echo Ltd.)From: Post-War WalesImage 6: A march from St Asaph to Bangor calling for a Welsh-language television channel, 1971. (Source: National Library of Wales.)From: Post-War WalesImage 7: Filming the Welsh-language soap opera, Pobol y Cwm, 1993. (Source: BBC Wales.)From: Post-War WalesImage 8: Shopping in Canton, Cardiff. (Source: Mary Giles)From: Post-War WalesImage 9: At work in the Sony Plant at Bridgend, 1975. (Source: Sony Manufacturing UK.)From: Post-War WalesImage 10: Miners’ wives protesting against pit closures, c.1984. (Source: Hazel Gillings/Tondu Photo Workshop.)From: Post-War WalesImage 11: A Women’s Aid refuge. (Source: Mary Giles.)From: Post-War WalesImage 12: Salem Chapel, Winchestown, Nantyglo, on a visit to Aberystwyth on August Bank Holiday, 1952. (Source: Welsh Industrial and Maritime Museum.)From: Post-War WalesImage 13: Gareth Edwards, who played at half-back for Wales 1967–78. (Source: Western Mail & Echo Ltd.)From: Post-War Wales, page 80Image 14: Chairing the Bard at the 1991 National Eisteddfod at Mold. (Source: Wales Tourist Board.)From: Post-War Wales, page 84Image 15: A male-voice choir competing at the National Eisteddfod in the 1970s. (Source: Wales Tourist Board.)From: Post-War WalesImage 16: The Capitol Theatre and Cinema, Cardiff, 1956. (Source: Welsh Industrial and Maritime Museum.)From: Post-War WalesImage 17: ‘Greetings from Wales’. (Source: J. Arthur Dixon.)From: Post-War WalesImage 18: The Abbey Works at Margam, Port Talbot, 1961. (Source: Welsh Industrial and Maritime Museum.)From: Post-War WalesImage 19: Wales, the ‘Land of a Thousand Castles’. (Source: Arthur Dixon.)From: Post-War WalesImage 20: Above Carneddi 2 by Kyffin Williams. (Source: Kyffin Williams/National Library of Wales.)From: Post-War WalesImage 21: Constructing the Severn Bridge, c.1965. (Source: Welsh Industrial and Maritime Museum.)From: Post-War WalesImage 22: Aerial view of Cathays Park, Cardiff, showing the Welsh Office and the Temple of Peace, c. 1960. (Source: Welsh Industrial and Maritime Museum.)From: Post-War WalesImage 23: Llangollen International Eisteddfod. (Source: Wales Tourist Board.)From: Post-War WalesImage 24: Leaflets issued during the 1975 referendum about EEC membership. (Source: a private collection.)From: Post-War WalesUse the link below to download all the images from Post-War Wales as a collection.From: Post-War Wales