Ar Drywydd Dic Aberdaron
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-GREETINGS | 0:00:42 | 0:00:44 | |
-THEY CHAT | 0:00:49 | 0:00:51 | |
-His real name -was Richard Robert Jones. | 0:00:59 | 0:01:03 | |
-He could speak over 30 languages. | 0:01:03 | 0:01:07 | |
-He had a lot of hair, a beard... | 0:01:08 | 0:01:10 | |
-..ragged clothes and an overcoat -with books stuffed inside it. | 0:01:11 | 0:01:16 | |
-They say he wore -a horn around his neck... | 0:01:16 | 0:01:20 | |
-..and carried a harp. | 0:01:21 | 0:01:23 | |
-He was fat, with a lot of hair, -a moustache and a beard. | 0:01:31 | 0:01:36 | |
-Every time he bought a new book, -he had to have a new pocket. | 0:01:37 | 0:01:42 | |
-My great-great-uncle -did a family tree. | 0:01:43 | 0:01:47 | |
-He found out that Dic was related -to my great-great-grandmother. | 0:01:48 | 0:01:53 | |
-The linguist and eccentric, Richard -Robert Jones, has gripped... | 0:02:01 | 0:02:05 | |
-..the imagination of people -of all ages, for almost 200 years. | 0:02:05 | 0:02:09 | |
-Art historian, Peter Lord, has -already been to Staffordshire... | 0:02:10 | 0:02:13 | |
-..to find portraits of Dic. | 0:02:13 | 0:02:15 | |
-His latest research indicates... | 0:02:16 | 0:02:17 | |
-..that Dic Aberdaron made a big -contribution to the world of art. | 0:02:18 | 0:02:21 | |
-I was surprised to hear -that there are more portraits... | 0:02:25 | 0:02:28 | |
-..of Dic Aberdaron -than any other Welshman. | 0:02:28 | 0:02:32 | |
-It's strange that an old tramp -attracted artists... | 0:02:32 | 0:02:35 | |
-..more than any other -Welsh man or woman. | 0:02:35 | 0:02:39 | |
-Other figures have -quite a large iconography... | 0:02:39 | 0:02:43 | |
-..for example, Twm o'r Nant, -Christmas Evans... | 0:02:43 | 0:02:46 | |
-..Thomas Charles, of course. | 0:02:46 | 0:02:48 | |
-As far as I can see, apart -from perhaps David Lloyd George... | 0:02:48 | 0:02:52 | |
-..no other Welshman -has such a large iconography. | 0:02:53 | 0:02:56 | |
-David Lloyd George's case -was slightly different. | 0:02:57 | 0:03:00 | |
-As an international figure... | 0:03:00 | 0:03:02 | |
-..he attracted the attention of -political cartoonists, for example. | 0:03:02 | 0:03:06 | |
-But Dic Aberdaron certainly -wins the competition. | 0:03:07 | 0:03:10 | |
-There's a memorial plaque here. | 0:03:10 | 0:03:12 | |
-It says, 'Nearby was Cae'r Eos, -the home of Richard Robert Jones... | 0:03:12 | 0:03:16 | |
-'..Dic Aberdaron, 1780 - 1843.' | 0:03:16 | 0:03:18 | |
-The house stood -in the middle of this field. | 0:03:19 | 0:03:23 | |
-Unfortunately, it's gone now, -but that's where it was. | 0:03:23 | 0:03:27 | |
-According to contemporary evidence, -Dic Aberdaron could speak... | 0:03:32 | 0:03:36 | |
-..at least 14 languages fluently -and had a good grasp of 20 more. | 0:03:36 | 0:03:40 | |
-He left Aberdaron -in his early twenties... | 0:03:40 | 0:03:44 | |
-..and spent time improving -his linguistic skills... | 0:03:44 | 0:03:48 | |
-..in places like London, -Dover and Liverpool. | 0:03:48 | 0:03:51 | |
-But our journey to find -portraits of Dic... | 0:03:51 | 0:03:54 | |
-..begins at the National -Library of Wales, Aberystwyth. | 0:03:55 | 0:03:58 | |
-Peter, there's plenty -of original documentation here. | 0:03:59 | 0:04:03 | |
-Yes, we've found -a number of pictures... | 0:04:03 | 0:04:06 | |
-..and examples of -Dic Aberdaron's handwriting... | 0:04:06 | 0:04:09 | |
-..indicating how the pictures -developed over the years. | 0:04:09 | 0:04:13 | |
-Some of the most interesting -are these by William Roos... | 0:04:14 | 0:04:17 | |
-..an artisan painter, originally -from Anglesey, who knew Dic well... | 0:04:17 | 0:04:21 | |
-..and was a bit -of a tramp, like Dic. | 0:04:21 | 0:04:24 | |
-This is an original drawing, -perhaps for this oil painting... | 0:04:25 | 0:04:28 | |
-..completed after his death. | 0:04:29 | 0:04:31 | |
-Let's move on to this. | 0:04:31 | 0:04:33 | |
-It's extremely interesting. | 0:04:33 | 0:04:36 | |
-This was painted after -Dic Aberdaron's death... | 0:04:36 | 0:04:40 | |
-..for the big Rhuddlan -Eisteddfod, 1850. | 0:04:41 | 0:04:45 | |
-There was link between -the artist, William Roos... | 0:04:45 | 0:04:49 | |
-..and John Jones, Talhaiarn, -the Eisteddfod organiser. | 0:04:49 | 0:04:53 | |
-Roos had painted Talhaiarn that -year, so that was probably the link. | 0:04:53 | 0:04:58 | |
-This picture, with 'Dic Aberdaron' -written in the bardic alphabet... | 0:04:58 | 0:05:04 | |
-..was displayed on stage, -with other famous figures... | 0:05:04 | 0:05:08 | |
-..such as Dafydd Ddu Eryri -and Twm o'r Nant... | 0:05:09 | 0:05:13 | |
-..as a backdrop to the Eisteddfod. | 0:05:13 | 0:05:15 | |
-This shows how deeply -the Dic Aberdaron legend... | 0:05:15 | 0:05:19 | |
-..had seeped into the national -consciousness by that time... | 0:05:19 | 0:05:23 | |
-..seven years after his death. | 0:05:24 | 0:05:26 | |
-These eleven pictures are a -significant discovery, aren't they? | 0:05:40 | 0:05:44 | |
-Yes, they're very interesting, -and unusual too. | 0:05:44 | 0:05:47 | |
-Here, you see 'Ellis Bryn Coch'... | 0:05:48 | 0:05:50 | |
-..that's Ellis Owen Ellis, -one of our artisan painters... | 0:05:50 | 0:05:54 | |
-..who drew all the pictures -in the famous 'Welsh Punch'. | 0:05:54 | 0:05:59 | |
-He began working on pictures, -maybe as a commission... | 0:05:59 | 0:06:04 | |
-..for an illustrated version -of Dic Aberdaron's life... | 0:06:04 | 0:06:08 | |
-..immediately after his death. | 0:06:08 | 0:06:10 | |
-We follow the story to the end - -I'll now turn over this page... | 0:06:11 | 0:06:15 | |
-That's it. | 0:06:17 | 0:06:18 | |
-This is very interesting. | 0:06:19 | 0:06:21 | |
-It shows Dic as he was in Liverpool, -wandering around barefoot. | 0:06:21 | 0:06:25 | |
-Here he is in his wretched lodgings. | 0:06:26 | 0:06:28 | |
-'Richard Robert Jones -in his study at a garret... | 0:06:28 | 0:06:32 | |
-'..in Midghall Street, Liverpool.' | 0:06:32 | 0:06:34 | |
-But we found more than paintings -in the National Library. | 0:06:42 | 0:06:46 | |
-Our research took us -to the bowels of the building. | 0:06:46 | 0:06:50 | |
-Goodness! Is it heavy? | 0:06:53 | 0:06:54 | |
-Goodness! Is it heavy? - -Well! | 0:06:54 | 0:06:55 | |
-It's very heavy. | 0:06:55 | 0:06:56 | |
-Looks like it. | 0:06:56 | 0:06:57 | |
-Looks like it. - -Careful. | 0:06:57 | 0:06:58 | |
-There we are. | 0:06:58 | 0:06:58 | |
-There we are. - -Heavens! | 0:06:58 | 0:06:59 | |
-Can you turn it round a bit? | 0:06:59 | 0:07:01 | |
-Dic Aberdaron. | 0:07:03 | 0:07:04 | |
-It says so here - Dic Aberdaron. | 0:07:04 | 0:07:07 | |
-It has character. | 0:07:07 | 0:07:09 | |
-This is a complete mystery. We know -nothing about this sculpture. | 0:07:09 | 0:07:13 | |
-There are no details in the Library -about its provenance - nothing. | 0:07:14 | 0:07:18 | |
-How old is it? | 0:07:19 | 0:07:20 | |
-With naive work like this, -it's very hard to say. | 0:07:20 | 0:07:24 | |
-I'd date it to the start -of the 20th century. | 0:07:25 | 0:07:29 | |
-Around 1920. | 0:07:31 | 0:07:33 | |
-But it's really hard to say -with something as naive as this. | 0:07:33 | 0:07:38 | |
-If we were in the USA... | 0:07:39 | 0:07:41 | |
-..this would be publicly displayed -in a very prominent position. | 0:07:41 | 0:07:46 | |
-This kind of naive art, -what they call folk art... | 0:07:46 | 0:07:50 | |
-..is considered very important. | 0:07:51 | 0:07:53 | |
-We don't appreciate it in Wales? | 0:07:53 | 0:07:55 | |
-No, we don't. But look at the power -of the image, it's amazing. | 0:07:55 | 0:07:59 | |
-It's just struck me that perhaps -we're looking at the work... | 0:08:04 | 0:08:08 | |
-..of a professional stonemason -who carved lettering on gravestones. | 0:08:08 | 0:08:12 | |
-He was used to that. | 0:08:13 | 0:08:14 | |
-Yes, perhaps it was -for an eisteddfod competition... | 0:08:14 | 0:08:19 | |
-..a 3D sculpture. | 0:08:19 | 0:08:21 | |
-That would account -for the difference... | 0:08:21 | 0:08:25 | |
-..between the style of the lettering -and the more naive work. | 0:08:25 | 0:08:29 | |
-A lot of mythology -has grown around Dic. | 0:08:36 | 0:08:39 | |
-It was said his linguistic skills -were the result of a pact... | 0:08:39 | 0:08:43 | |
-..with the Devil, as were -his skills in all kinds of magic. | 0:08:43 | 0:08:48 | |
-We know for certain that -he was buried here, in St Asaph. | 0:09:03 | 0:09:06 | |
-On our way to Liverpool, -to search for more artworks... | 0:09:07 | 0:09:11 | |
-..we went to the parish church -to see Dic Aberdaron's grave. | 0:09:11 | 0:09:16 | |
-Why was Dic Aberdaron buried here? | 0:09:18 | 0:09:21 | |
-St Asaph is on the way to Liverpool, -on Dic's route from Aberdaron. | 0:09:22 | 0:09:28 | |
-The main reason why he's here -is that he had many friends... | 0:09:29 | 0:09:33 | |
-..and assistants in this area. | 0:09:33 | 0:09:35 | |
-He tried to raise money -to publish a dictionary... | 0:09:36 | 0:09:39 | |
-..his life's work, -a Hebrew-Greek-Welsh dictionary. | 0:09:39 | 0:09:43 | |
-There's an interesting link -with Roos here, through Talhaiarn. | 0:09:43 | 0:09:48 | |
-The 'englyn' carved -on the gravestone is by Talhaiarn... | 0:09:48 | 0:09:53 | |
-..one of the most popular -poets of the day. | 0:09:54 | 0:09:58 | |
-Soon after Dic Aberdaron's death... | 0:09:59 | 0:10:02 | |
-..William Roos painted -two portraits of Talhaiarn. | 0:10:03 | 0:10:07 | |
-This suggests to me that there was -a small crew of intellectuals... | 0:10:08 | 0:10:14 | |
-..artists and poets too. | 0:10:14 | 0:10:16 | |
-They all knew each other... | 0:10:17 | 0:10:19 | |
-..and were all interested -in poor old Dic Aberdaron. | 0:10:19 | 0:10:23 | |
-# Richard, Richard... # | 0:10:23 | 0:10:25 | |
-Liverpool intellectuals were -the first to take an interest... | 0:10:25 | 0:10:29 | |
-..in Dic Aberdaron and -his remarkable language skills. | 0:10:30 | 0:10:34 | |
-200 years after Dic, our journey -also took us to Merseyside. | 0:10:34 | 0:10:38 | |
-. | 0:10:39 | 0:10:39 | |
-888 | 0:10:42 | 0:10:44 | |
-The son of a Pen Lleyn carpenter, -the legendary linguist... | 0:10:53 | 0:10:56 | |
-..Richard Robert Jones came here -to Liverpool in the early 1800s. | 0:10:56 | 0:11:00 | |
-He spent more time here than -anywhere else until he died in 1843. | 0:11:00 | 0:11:05 | |
-Art historian Peter Lord came -with me, to learn more about Dic... | 0:11:06 | 0:11:11 | |
-..and to try -to find more portraits... | 0:11:11 | 0:11:16 | |
-..of the man known as Dic Aberdaron. | 0:11:16 | 0:11:18 | |
-Why was Dic Aberdaron drawn -to Liverpool, time after time? | 0:11:21 | 0:11:27 | |
-Dic first came to Liverpool -in 1804 with his father. | 0:11:27 | 0:11:31 | |
-We were in the middle -of wars with France. | 0:11:32 | 0:11:35 | |
-There was plenty of work -in the docks... | 0:11:35 | 0:11:38 | |
-..while there was -terrible poverty in Wales. | 0:11:38 | 0:11:42 | |
-The harvest had failed -for several years. | 0:11:42 | 0:11:45 | |
-The Welsh moved to Liverpool -in their thousands... | 0:11:46 | 0:11:50 | |
-..and settled here around the docks. | 0:11:50 | 0:11:52 | |
-From Albert Dock, -we went to Midghall Street... | 0:11:56 | 0:11:59 | |
-..where Dic found lodgings, thanks -to the help of influential men... | 0:11:59 | 0:12:03 | |
-..like businessman -and historian William Roscoe. | 0:12:03 | 0:12:06 | |
-This place was named in one -of Ellis Owen Ellis's paintings. | 0:12:07 | 0:12:11 | |
-But the place has changed a lot -since Dic Aberdaron's day. | 0:12:12 | 0:12:15 | |
-Hoping to discover -more artworks of Dic... | 0:12:17 | 0:12:20 | |
-..we went to the Records Office... | 0:12:20 | 0:12:22 | |
-..where we made -a very interesting discovery. | 0:12:22 | 0:12:26 | |
-We have a letter -which we bought at an auction. | 0:12:26 | 0:12:29 | |
-I recognise the handwriting. | 0:12:29 | 0:12:30 | |
-I recognise the handwriting. - -You recognise the handwriting? | 0:12:30 | 0:12:31 | |
-Yes, I do. | 0:12:32 | 0:12:33 | |
-We've also got an obituary here... | 0:12:33 | 0:12:35 | |
-..from the 'Carnarvon Herald'... | 0:12:36 | 0:12:38 | |
-..which calls him Dirty Dic! | 0:12:38 | 0:12:40 | |
-Dirty Dic? | 0:12:41 | 0:12:42 | |
-Roscoe's friends called him -the Literary Pig. | 0:12:43 | 0:12:46 | |
-Oh, dear! | 0:12:46 | 0:12:47 | |
-With the help -of Research Officer, Roger Hull... | 0:12:48 | 0:12:51 | |
-..we found an original letter -by Dic Aberdaron... | 0:12:51 | 0:12:54 | |
-..and a new artwork -to add to the list of portraits. | 0:12:55 | 0:12:59 | |
-Here we have a silhouette. | 0:13:01 | 0:13:02 | |
-Oh! | 0:13:02 | 0:13:03 | |
-Oh! - -That reminds me of... | 0:13:03 | 0:13:04 | |
-I haven't seen that before, -that's new. | 0:13:04 | 0:13:05 | |
-A new version. | 0:13:06 | 0:13:07 | |
-There's one like that, -but I've not seen that one before. | 0:13:07 | 0:13:09 | |
-Is there any indication -of where that came from? | 0:13:09 | 0:13:12 | |
-No! | 0:13:12 | 0:13:13 | |
-That's lovely. There's a very early -profile image of him like that... | 0:13:14 | 0:13:18 | |
-..by William Clements, -the Liverpool artist and engraver. | 0:13:18 | 0:13:21 | |
-But it's not the same as that - -he's not wearing the hat. | 0:13:22 | 0:13:24 | |
-It's a similar style. | 0:13:25 | 0:13:26 | |
-Similar style - it could be -Clements again. It's a woodcut. | 0:13:26 | 0:13:29 | |
-It's a woodcut, so it could be -Clements again. That's a new one! | 0:13:29 | 0:13:33 | |
-Our journey to Liverpool -wasn't in vain. | 0:13:45 | 0:13:48 | |
-Not at all! It was very -exciting to see a new image. | 0:13:48 | 0:13:51 | |
-I didn't expect to see anything new. | 0:13:52 | 0:13:54 | |
-I thought we'd only -find the same prints. | 0:13:54 | 0:13:57 | |
-Seeing that new woodcut -was very exciting... | 0:13:57 | 0:14:00 | |
-..for two reasons. | 0:14:01 | 0:14:03 | |
-We could compare it -to the profile we already have... | 0:14:03 | 0:14:07 | |
-..which looks rather -like a Greek bust. | 0:14:07 | 0:14:11 | |
-The same artist painted both - -perhaps William Clements. | 0:14:12 | 0:14:16 | |
-It was also exciting -to see Dic Aberdaron... | 0:14:16 | 0:14:20 | |
-..in the Liverpool context, -with other popular prints... | 0:14:20 | 0:14:24 | |
-..of the characters who trod -Liverpool's streets in those days. | 0:14:25 | 0:14:28 | |
-That throws new light on him. | 0:14:29 | 0:14:31 | |
-We tend to see Dic -as a unique phenomenon. | 0:14:31 | 0:14:35 | |
-We know a lot -about him as a Welshman. | 0:14:35 | 0:14:39 | |
-But, in Liverpool, he was just one -of a crowd of familiar characters... | 0:14:39 | 0:14:43 | |
-..on the streets. | 0:14:43 | 0:14:45 | |
-Despite being very famous... | 0:14:47 | 0:14:49 | |
-..and getting help -from very influential people... | 0:14:49 | 0:14:53 | |
-..Dic travelled incessantly... | 0:14:53 | 0:14:55 | |
-..in a futile effort -to realise his great ambition... | 0:14:55 | 0:14:59 | |
-..of finding a publisher for -his Welsh-Greek-Hebrew dictionary. | 0:14:59 | 0:15:04 | |
-We too had more travelling to do. | 0:15:04 | 0:15:06 | |
-We returned to Dic -Aberdaron's native village. | 0:15:07 | 0:15:11 | |
-Peter found important works -in Staffordshire and Liverpool... | 0:15:18 | 0:15:22 | |
-..but he had been searching for -one lost work for fifteen years. | 0:15:22 | 0:15:28 | |
-It was another bust of Dic, -sculpted in 1908 by a cobbler... | 0:15:28 | 0:15:32 | |
-..Robert Rhys Jones. | 0:15:33 | 0:15:35 | |
-Mair Evans knows -a lot about local history... | 0:15:35 | 0:15:39 | |
-..and also knew the sculptor. | 0:15:39 | 0:15:41 | |
-This is a picture of -Robert Rhys Jones in Aberdaron... | 0:15:42 | 0:15:45 | |
-..with the sculpture. Can you -remember seeing it in Aberdaron? | 0:15:46 | 0:15:51 | |
-No. | 0:15:51 | 0:15:52 | |
-You can't? | 0:15:52 | 0:15:53 | |
-You can't? - -I knew nothing about the sculpture. | 0:15:53 | 0:15:56 | |
-You knew nothing about it? | 0:15:56 | 0:15:58 | |
-No. | 0:15:59 | 0:15:59 | |
-No. - -Nor anyone else? | 0:15:59 | 0:16:00 | |
-I can't say. | 0:16:01 | 0:16:02 | |
-It was in Carreg Plas. | 0:16:02 | 0:16:04 | |
-It was in Carreg Plas. - -Where is that? | 0:16:04 | 0:16:05 | |
-Carreg Plas is near Porthor. | 0:16:06 | 0:16:09 | |
-Right. | 0:16:09 | 0:16:10 | |
-There was an estate there long ago. | 0:16:10 | 0:16:13 | |
-There was an auction there in 1950. | 0:16:13 | 0:16:16 | |
-Ellis Ship found it. | 0:16:17 | 0:16:21 | |
-This was all new to Peter. | 0:16:24 | 0:16:26 | |
-Mair also had more recent -photographs of the sculpture... | 0:16:26 | 0:16:30 | |
-..because she was friends -with the wife of the former owner. | 0:16:30 | 0:16:34 | |
-I stayed with his wife. | 0:16:35 | 0:16:37 | |
-I was friends with her -because she came from Aberdaron. | 0:16:37 | 0:16:41 | |
-That's what these pictures are? | 0:16:41 | 0:16:43 | |
-Yes, those pictures. | 0:16:43 | 0:16:44 | |
-Yes, those pictures. - -I see. | 0:16:44 | 0:16:45 | |
-The bust looks in good condition. | 0:16:45 | 0:16:47 | |
-It does. | 0:16:47 | 0:16:49 | |
-We know that the sculpture -was displayed... | 0:16:49 | 0:16:53 | |
-..at the Lloyd George Museum -in Llanystumdwy for a while. | 0:16:53 | 0:16:57 | |
-Yes. | 0:16:57 | 0:16:58 | |
-Yes. - -For a year, we think. | 0:16:58 | 0:17:00 | |
-You don't know where it is now? | 0:17:01 | 0:17:03 | |
-No. | 0:17:04 | 0:17:05 | |
-No idea at all? | 0:17:05 | 0:17:07 | |
-No. | 0:17:07 | 0:17:08 | |
-Mair knew of another -portrait of Dic. | 0:17:12 | 0:17:16 | |
-She described a picture -painted by her great uncle... | 0:17:16 | 0:17:20 | |
-..a ship's captain, Thomas Owen. | 0:17:21 | 0:17:23 | |
-Mair thought the picture was lost. | 0:17:23 | 0:17:25 | |
-But after making enquiries -at Gwynedd's Record Office... | 0:17:25 | 0:17:29 | |
-..we found another portrait -of Dic Aberdaron. | 0:17:29 | 0:17:33 | |
-The artist's name was Thomas Owen. | 0:17:33 | 0:17:35 | |
-We couldn't bring -the original picture. | 0:17:38 | 0:17:41 | |
-But we've made -a copy for you to see. | 0:17:41 | 0:17:44 | |
-Here it is. | 0:17:46 | 0:17:47 | |
-Here it is. - -Heavens, that's marvellous. | 0:17:47 | 0:17:49 | |
-The original picture is this size. | 0:17:51 | 0:17:53 | |
-Exactly. | 0:17:53 | 0:17:54 | |
-It's exactly the same. | 0:17:54 | 0:17:56 | |
-It's nice to see it. | 0:17:58 | 0:18:00 | |
-It's nice to see it. - -Indeed it is. | 0:18:00 | 0:18:02 | |
-Our research into the fate -of the sculpture continued. | 0:18:08 | 0:18:11 | |
-We followed another trail suggested -by Mair, searching for a portrait... | 0:18:12 | 0:18:16 | |
-..that had been seen for years at -the Ty Newydd pub in Sarn Mellteyrn. | 0:18:17 | 0:18:20 | |
-The picture was moved -from the pub in the early 1980s. | 0:18:21 | 0:18:24 | |
-After doing more research, -we were invited to a house... | 0:18:24 | 0:18:28 | |
-..in another part of the peninsula. | 0:18:28 | 0:18:30 | |
-My goodness! | 0:18:30 | 0:18:31 | |
-My goodness! - -Isn't it dramatic? | 0:18:31 | 0:18:33 | |
-That's totally unexpected. | 0:18:33 | 0:18:35 | |
-I haven't seen anything -like this before. | 0:18:35 | 0:18:39 | |
-What's that technique, a drawing? | 0:18:39 | 0:18:40 | |
-What's that technique, a drawing? - -I'd say charcoal. | 0:18:40 | 0:18:41 | |
-Charcoal or pencil. -It's been smudged. It's very smooth. | 0:18:42 | 0:18:46 | |
-Yes, compared to the other drawings. | 0:18:46 | 0:18:48 | |
-Yes. It's evidently -based on Clements's picture... | 0:18:49 | 0:18:53 | |
-..the print we've already seen. | 0:18:54 | 0:18:56 | |
-We see once again that -the artist, whoever he or she was... | 0:18:56 | 0:19:00 | |
-..had elaborated -on the original print. | 0:19:00 | 0:19:04 | |
-This time, we see Dic -in a real location. | 0:19:05 | 0:19:09 | |
-There are railings behind him, -he's on a street corner... | 0:19:09 | 0:19:13 | |
-..like an old balladeer, -reading something. | 0:19:14 | 0:19:18 | |
-What strikes one first -is this remarkable frame. | 0:19:19 | 0:19:23 | |
-Well, well. | 0:19:24 | 0:19:26 | |
-Despite the successes... | 0:19:26 | 0:19:28 | |
-..not finding Robert Rhys Jones's -sculpture was a big disappointment. | 0:19:28 | 0:19:32 | |
-The enquiries had followed several -false trails in Wales and England. | 0:19:32 | 0:19:36 | |
-Filming was about to finish. | 0:19:37 | 0:19:39 | |
-After months of correspondence -and phone calls to people... | 0:19:39 | 0:19:43 | |
-..with links to Aberdaron... | 0:19:43 | 0:19:45 | |
-..we heard that the sculpture had -survived, and was privately owned... | 0:19:45 | 0:19:49 | |
-..somewhere in north Wales. | 0:19:50 | 0:19:52 | |
-Here we are! | 0:19:52 | 0:19:53 | |
-Here we are! - -Well. | 0:19:53 | 0:19:54 | |
-After seeing it in photographs... | 0:19:55 | 0:19:57 | |
-How does it compare? | 0:19:57 | 0:19:59 | |
-It's bigger than I thought. -It's more substantial, in a way. | 0:19:59 | 0:20:03 | |
-Wow. | 0:20:03 | 0:20:04 | |
-Wow. - -It's quite primitive, isn't it? | 0:20:04 | 0:20:06 | |
-It is primitive - -I know what you mean. | 0:20:06 | 0:20:09 | |
-It's quite hefty! | 0:20:10 | 0:20:12 | |
-Compared to the one in Aberystwyth, -what do you think of it? | 0:20:26 | 0:20:30 | |
-It's very different, in one sense. | 0:20:31 | 0:20:33 | |
-They're both works -by untrained sculptors. | 0:20:33 | 0:20:38 | |
-They're folk art, in a way. | 0:20:40 | 0:20:42 | |
-But the presence of the Aberystwyth -bust is different from this one. | 0:20:43 | 0:20:47 | |
-This one's more naturalistic. -I hadn't expected that, frankly. | 0:20:47 | 0:20:51 | |
-Now we can see it, -it's more naturalistic. | 0:20:52 | 0:20:55 | |
-The one in Aberystwyth was -very squareish, a solid block. | 0:20:55 | 0:20:58 | |
-More mediaeval in a way. | 0:20:59 | 0:21:01 | |
-Yes. | 0:21:01 | 0:21:02 | |
-This is interesting - it looks -as if it's been on a pillar. | 0:21:02 | 0:21:06 | |
-You see? It's been cut around here. | 0:21:06 | 0:21:09 | |
-It reminds me -of a very famous sculpture. | 0:21:14 | 0:21:18 | |
-You know the sculpture of Llywelyn -the Great, that came from Deganwy? | 0:21:18 | 0:21:22 | |
-This conveys the same -kind of feeling. | 0:21:23 | 0:21:27 | |
-In a mediaeval context, -that bust was very sophisticated. | 0:21:28 | 0:21:33 | |
-It's very striking. | 0:21:35 | 0:21:37 | |
-The process of collecting -works wasn't over yet. | 0:21:53 | 0:21:57 | |
-To see how much awareness -there still was of Dic... | 0:21:57 | 0:22:00 | |
-..and whether he still -appealed as a subject... | 0:22:01 | 0:22:03 | |
-..we asked pupils at -Ysgol Crud y Werin, Aberdaron... | 0:22:03 | 0:22:06 | |
-..to create new portraits, without -looking at any other images... | 0:22:06 | 0:22:10 | |
-..of Dic Aberdaron beforehand. | 0:22:10 | 0:22:12 | |
-The results were striking. | 0:22:12 | 0:22:15 | |
-Tesni, how did you convey -Dic Aberdaron's character? | 0:22:24 | 0:22:28 | |
-I knew his father -was quite cross with him... | 0:22:28 | 0:22:32 | |
-..because he didn't work. | 0:22:33 | 0:22:35 | |
-So I wanted to make him -look a bit sad. | 0:22:35 | 0:22:38 | |
-Ianto, your Dic is quite -a character. Explain the picture. | 0:22:41 | 0:22:45 | |
-I put a horn around his neck... | 0:22:45 | 0:22:48 | |
-..because people said he had a horn. | 0:22:49 | 0:22:53 | |
-When he walked to a small -village, he blew his horn... | 0:22:54 | 0:22:59 | |
-..to get attention. | 0:23:00 | 0:23:02 | |
-Elgan, what elements have you used -to convey Dic's character? | 0:23:05 | 0:23:09 | |
-I tried to make him young. | 0:23:09 | 0:23:11 | |
-I used a mixture -of charcoal and pastels. | 0:23:12 | 0:23:16 | |
-I smudged some black on his face... | 0:23:17 | 0:23:20 | |
-..to make him a bit more realistic. | 0:23:20 | 0:23:23 | |
-How did you want to convey -Dic Aberdaron's character, Morgan? | 0:23:27 | 0:23:31 | |
-Hairy and untidy. | 0:23:31 | 0:23:33 | |
-Scruffy! | 0:23:34 | 0:23:35 | |
-Peter, I feel that you were pleased -to find these works, obviously... | 0:23:44 | 0:23:48 | |
-..but that you also found it -a moving experience. Am I right? | 0:23:49 | 0:23:52 | |
-Yes, especially seeing -the children and their pictures. | 0:23:53 | 0:23:57 | |
-The tradition and myths continue, -and are developed in their work. | 0:23:57 | 0:24:01 | |
-You remember, -in the library in Liverpool... | 0:24:02 | 0:24:04 | |
-..finding that new -picture of Dic Aberdaron? | 0:24:05 | 0:24:09 | |
-That was a very exciting experience -for me - it was a special thrill. | 0:24:09 | 0:24:13 | |
-I tried to work out why. | 0:24:13 | 0:24:15 | |
-What we saw was unremarkable - -it was a piece of street art. | 0:24:16 | 0:24:20 | |
-Why was it so exciting -to find something like that? | 0:24:20 | 0:24:25 | |
-Then, I thought, finding it -was important, naturally. | 0:24:25 | 0:24:29 | |
-That was exciting, obviously. | 0:24:29 | 0:24:31 | |
-But the nature of the image -touches you very directly. | 0:24:31 | 0:24:35 | |
-It's simple and unpretentious, like -all the images of Dic Aberdaron. | 0:24:35 | 0:24:40 | |
-And we have so many works. | 0:24:40 | 0:24:42 | |
-I don't know how many art works -we found on our journey. | 0:24:42 | 0:24:46 | |
-We have enough for an exhibition, -we found so many new things. | 0:24:47 | 0:24:51 | |
-Wouldn't that be fantastic, to bring -all the art works together... | 0:24:51 | 0:24:55 | |
-..to a gallery here! | 0:24:55 | 0:24:57 | |
-To see these visual images -interweaving with the oral myths... | 0:24:58 | 0:25:03 | |
-..that are still remembered -vividly here. That would be great. | 0:25:03 | 0:25:08 | |
-# Richard Robert Jones. | 0:25:08 | 0:25:11 | |
-# Who knows? | 0:25:11 | 0:25:13 | |
-# Richard Robert Jones. | 0:25:14 | 0:25:17 | |
-# Who knows? | 0:25:18 | 0:25:21 | |
-# Richard, | 0:25:22 | 0:25:23 | |
-# Robert, | 0:25:24 | 0:25:25 | |
-# Jones. # | 0:25:26 | 0:25:30 | |
-S4/C Subtitles by GWEAD | 0:25:30 | 0:25:32 | |
-. | 0:25:32 | 0:25:33 |