 Mae'r rhwng ymddi, yn y bacholus gyda'r panau at Wadston, ac mae'r cyfnodd cyfnodd yn ymddi'r 80s-90s, oedd bairon fferdon yn ddiddordeb yn ychydig i'w ddweud o'r rhwng Gwyrdyn, ac mae'n ddweud o'r rhwng yn ymddir i'r rhwng yn ymddi'r rhwng. Mae'n holleg o'r rhwng yn ymddir i'r rhwng yn ymddir i'r rhwng yn ymddir i'r rhwng. ac yn ystyried i ddyfans, mae'n gweithio iaith yn y teimlo'r cychwil, yn y dyn nhw'n ei gweithio amgylcheddau. Mae'n gweithio cychwynol, mae'n gweithio, a'r cychwynol mae'n gweithio i ddweud i wneud y gweithio ac yn cydweithio ar y rhaid o'r coul. Wrth gwrs, mae'n document arfer y cwrwp red wedi'u ddwylo'r hynny'n argylcheddau ym 1897 yma. Mae'n ddwylo'r document and the appearance of Wadston in 1897. Unfortunately in the red book, Ferdinand did not write about how he furnished the house. But what is interesting about the smoking room is that in the red book there are six photographs of the interior and of his Renaissance collection in its glass cases. More photographs of this room than any other and we think that's because at the time ond Ferdinand was thinking about and compiling lists of items in that collection that he would later bequeath to the British Museum. The character of this room is different from other parts of the house where in the main house Ferdinand uses 18th century patterns for his textiles. Here in the smoking room he goes back to an early period of time, the period of time when many of the objects in his collection were actually made. Felly, mae'r cyflawn y gwelwch, yw'r cyfrannu yw'r 17th Cymru, ac mae'n gweithio'r texas yma ar y 16th a 17th Cymru. Mae'n gweithio'r eich cyflawn o'r oedd ymwyloedd cyflosiadau, felly mae'n gweithio'r texas yma i'r cyfrannu yma, ond mae'n gweithio'r eich cyfrannu a'n gweithio'r cyfrannu cyfrannu. Mae'n gweithio'r cyfrannu a'r cyfrannu i'r cyfrannu i'r cyfrannu i'r cyfrannu. Fferdinand was very inspired by the idea of a treasury collection and this idea that although things were in glass cases they could be elevated or they could be mounted in some way to enhance their status. When we look at historic photographs of the smoking room in the 19th century we see that not only were objects on plints outside the cases but also in the cases and here we have collected together quite a lot of these historic plints and you can see from the fact that they're covered in velvet and braid and all of these tassels and trimmings that they were quite theatrical and luxurious objects in their own right and these kinds of things would have been mounted on the walls with various sculptures or dishes on them, some of these might have been in the cases with glass or jewellery standing on them. In particular we have a marble bracket which is one of four that is visible in one of the historic photographs of the smoking room and it would have had a large oval shaped limoge enamel dish on top of it probably resting on one of these but these things survive here at Wadston because they weren't included with the Wadston request. This chair is a good example of how Ferdinand was using older textiles in the smoking room and creating 19th century pieces of furniture for comfort and for effect alongside his renaissance museum. The chair is meant to look like it's from the 16th century but in fact the frame, the barley twist frame is a 19th century creation. The seat in the back of this chair have been taken from a type of ecclesiastical vestment called a dalmatic and this is a T shaped robe where you have a rectangular panel at the front and the back here and then panels on each sleeve and because of their shape they lent themselves very well to being cut out and reused for seat furniture if the vestment was sold or confiscated or destroyed or stopped being used for whatever reason and you've got red velvet and then embroidery and applied silk as well and lots of metal threads so they're very luxurious objects in their own right. Ferdinand wrote very eloquently about collecting and how he felt that eventually collections in private hands would pass into public museums and that that was right, that people should have access to these wonderful collections and this was partly his intention in making the Wadston bequest that the collection that he had formed should stay together in his name and be available and accessible to the public. There was also a practical reason for him making the bequest in that death duties had been introduced just a few years before and he was very aware and concerned about the future of Wadston for his heirs and that this gift to the British Museum would offset some of that tax. The Wadston bequest has been on display since 1900 in its own gallery and a catalogue was published as soon as 1902 with wonderful photographs of highlights of the collection and it's being re-displayed in June in a new gallery so that lots of people will be able to see it in its new location on the ground floor of the British Museum.