Notes

GDG 4

This poem is a meditation on a new painting which Dafydd had seen in some religious establishment, probably a parish church. Painted on a wooden panel, it depicted Christ flanked by his apostles, six on either side. Christ and his apostles are named and described in turn, similar to the opening passage of a poem by Dafydd's younger contemporary, Iolo Goch, on The Twelve Apostles and the Great Judgement (GIG XXVII). One obvious difference is that Iolo names Mathias, who was chosen to replace Judas, rather than the Apostle Paul. The poem ends by conveying the kind of contemplation the painting would have inspired amongst the parishioners on the life, Passion and resurrection of Christ, and on his apostles' mission on his behalf. Lines 5–8 suggest that this was a painting of the crucified Christ, although the convention in this period was to depict John and the Virgin Mary on either side of the cross; see Peter Lord, The Visual Culture of Wales: Medieval Vision (Cardiff, 2003), 167, and cf. John xix.25–6. The painting may have contained symbols of the cross and of the Holy Trinity (9–10).

For a discussion of the poem's context see Dewi Stephen Jones, 'Cywydd Dafydd ap Gwilym i "Luniau Crist a'r Apostolion" ', B xix (1962), 102–8. Note especially the reproduction of a painting of Christ and his apostles on a Catalan altar–panel.

3. tabl   From the English table, see GPC 3403. OED on–line gives the meaning 'a board or other flat surface on which a picture is painted; hence, the picture itself'. The earliest instance in English is dated 1387: þe baner of þe cros wiþ a crucifix i–peynt in a table [L. in tabula depicti]; cf., from the early 15th century, A tabil, ful wele depeynte with an ymage of oure lorde crucifyed.

23. Pedr   Peter, the most prominent of Christ's disciples, is also named first by Iolo Goch, before John, GIG XXVII.1–8.

24. Ieuan wiw awen wych   'John of fine and worthy muse'. Dewi Stephen Jones suggests that the poet, believing John to be the author of the Gospel and the Book of Revelations, recognized the poet among the disciples. John is commonly portrayed holding the Gospel.

25. Phylib oreuwib ras   'Philip of well–travelled grace'. Probably a reference to the apostle's travels as a missionary.

31. Pawl   Paul was not among the original twelve apostles. He was appointed by the resurrected Christ upon his conversion on the road to Damascus, see Acts ix. 3–19.

33–4. Martho- ... –Lamëus   The name of Bartholomew has been divided over two lines. Dewi Stephen Jones suggests that this stylistic device, known as trychiad, is a clever reference to Bartholomew's martyrdom through being skinned alive. In Michelangelo's painting on the wall of the Sistene Chapel he is shown holding the knife that flayed him in his right hand, and in his left hand his own skin in the form of a man. This may explain the words 'he never shirked'. The story is told by Iolo Goch, GIG XXVII.19–22.

35. Mathëus   Matthew the Evangelist, cf. 152.36. Mathias according to some versions of the poem. In the painting described by Dafydd, Mathias has been replaced by the Apostle Paul. Matthew (Mathau) and Mathias are named together by Iolo Goch, GIG XXVII.45–6.

36. Iago   Saint James the Less.

37. Sain Sud   Probably Saint Jude, brother of James the Less, rather than Judas Iscariot. See 8.4n on Simon, Sud. Sud is derived from the English Jude, see EEW 173.