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The group contains manuscript and typescript drafts of most of the poems which appear in the volume with also some material which was unused.
The Roman Quarry and other sequences was edited by Harman Grisewood and René Hague, and first published by Agenda Editions in 1981. (See the foreword and introduction for information on how the material was selected from the archive for publication in this volume.) The volume is made up of some unpublished poetry, but also poetry which may have been part of The Anathemata (1952), The Sleeping Lord (1974), The Kensington Mass (1975) or The Narrows (1981). Most of the papers are from Group B.

The series comprises a manuscript draft and a typescript draft of 'The Roman Quarry'.

The file comprises three similar typescript drafts of the text published in this volume as 'The Dying Gaul'. There are also four manuscript pages in David Jones' hand, and four photocopies of manuscript pages, and notes by René Hague.

The file comprises manuscript drafts of different versions of the Mass poem, with notes by René Hague and Harman Grisewood. They are arranged in the following order: manuscript draft for typing (numbered 108-119) with a copy of The Kensington Mass published by Agenda Editions in 1975 annotated by René Hague, and typescript and proofs for Agenda corrected by David Jones; manuscript draft of the beginning of the Kensington Mass (numbered 120-122); manuscript draft of the Kensington Mass (numbered 123-154); draft letter by David Jones discussing the Mass poem (numbered 155-156); manuscript draft of the Kensington Mass and the BBC Mass (numbered 156-165); manuscript draft of the BBC Mass (numbered 166-180); manuscript draft which is the source of the Kensington Mass (numbered 181-234); and manuscript notes for a poem callled 'The Mass' which is not the Kensington Mass (numbered 235-241).

The file comprises manuscript drafts of the Mass poem, with notes by René Hague. They are arranged in the following order: manuscripts reproduced as facsimiles A-O in The Kensington Mass by Agenda Editions in 1975 (numbered 242-255); manuscripts and photocopies of manuscripts of the Mass and the Kensington Mass continuation (numbered 256-277, 278-282, 283-289, 290-319, 320-324).

The series comprises material actually published in Dai Greatcoat, including copies of David Jones' letters, drafts and settings copies of the book, and related material.

The file comprises typescript and carbon copies of letters from David Jones to René Hague, and occasionally to his wife, Jean Hague, 1933-1974, selected for Dai Greatcoat.

The file comprises a xerox copy of a letter from David Jones to Jim Ede, 1935, which is at Kettle's Yard Cambridge, in which he lists his biographical information 'D. J. life for Jim Ede'; typescript copies of letters from David Jones to Jim Ede and Helen Ede, 1927-1929, 1933-1936; notes to René Hague from Harman Grisewood for the contents of The Dying Gaul and The Roman Quarry, 1976; and a sketch possibly of the last supper by David Jones.

The file comprises copies of work by David Jones: a photograph of a Jaguar at London Zoo, 1931, a photograph of lettering 'A daeth y gair yn gnawd...', and a proof of an engraving of a woman at the foot of the cross. The two photographs were returned to David Jones from the features editor of the Irish Times.

The file comprises a drawing of a chair by A. S. Hartrick, David Jones' art master; a reproduction of David Jones' self-portrait, 'Human Being 1931'; and a photograph of two objects which were always in his room, a knife with 'Ste Paul / O.P.N' carved into the handle and a stone with 'Elri / Cymru' carved into it. (See a letter to Harman Grisewood, 1959, published in Dai Greatcoat, pp.176-178, in which David Jones says that 'I know that an involvement in "Welshness" has an awful lot to do with my intrication with Elri' [Valerie Wynne-Williams]).

The file contains 5 Christmas cards designed by David Jones: 'We wish you a Happy Christmas', W. D. Jones, 1904; 'Greetings. May all Christmas Joys be Yours, a Blwyddyn Newydd da i chwi', Walter Jones, 1907-1908 (2 copies); 'Ye Good Olde Christmas Time. Wishing You ye Good Olde Christmas Wish', W David Jones, 1908-1909; 'Greeting. Nadolig Llawen', W. David Jones, 1918, New Barracks, Limerick, and 1961 Christmas card made for Faber and Faber of a woman playing the violin.

The file comprises two copies of a map or game labelled 'David Jones, Umpire', a sketch of a ship by David Jones, a drawing of Conway castle by T. Wood, a sketch of a design for a chimney kettle handle possibly by Eric Gill, a post card of sculpture of St Sebastian by Eric Gill, a manuscript salvage map dated 1917, and miscellaneous printed engravings and pictures. There are also postcards to David Jones from his father James Jones, 'Mike' (1946), Arthur [Giardelli, 1956], and 'Kathrin'.

The series comprises material relating to David Jones as an artist, with exhibition catalogues, drafts of letters by David Jones principally relating to art, and lists of paintings.

The file comprises exhibition catalogues (some annotated by him) listing David Jones's works, 1927-1963, including the exhibition catalogue of Eric Gill and David Jones at St George's Gallery, London, 1927 (2 copies); 'David Jones watercolours and drawings', The Goupil Gallery, London, 1929; 'The Contemporary Welsh art exhibition', National Library of Wales, 1935; 'Water colours by David Jones' ... et al. at the Redfern Gallery, 1936 (2 annotated copies); 'Watercolours by David Jones' at the Redfern Gallery, 1940; Tate Gallery wartime acquisitions, 1942; Tate Gallery exhibition at Vienna 1946; Festival of Britain loan exhibition at Bristol, 1951; Arts Council of Great Britain Welsh Committee, David Jones exhibition, 1954; Brighton Art Gallery Autumn exhibition, 1956; and 'The Englishness of English painting', Crane Kalman Gallery, London, 1963. Also typescript lists of David Jones' pictures at Redfern Gallery 1936, 1941 and 1945; and two sales catalogues listing David Jones's engraved wood blocks, 1959 and undated.

The series comprises invitations David Jones received to art exhibitions, 1940-1970, in the Tate Gallery, Redfern Gallery and various other galleries, along with printed images and postcards accumulated by him.

The file comprises six linocuts by O. Pollack, Buenos Aires, sent to David Jones with an accompanying letter, 1948.

The file comprises a map of Poo-Tung presented to Mr James Jones, David Jones' father, Chinese lettering, and various pencil sketches and drawings of Chinese scenes, some made by a student of Ningpo [Missionary] College.

The file comprises official documents relating to David Jones as soldier, including certified copy of attestation, 1915, voting card for discharged men, 1919, Out of work donation policy, 1919, and information from the Regimental paymaster, Shrewsbury.

The group (mainly from the '1978 purchase', but also including material from Groups A, B and C where appropriate) comprises the literary manuscripts of David Jones, with manuscript drafts of In Parenthesis: seinnyessit e gledyf ym penn mameu (1937), The anathemata: fragments of an attempted writing (1952), Epoch and Artist: selected writings by David Jones, edited by Harman Grisewood (1959), The Sleeping Lord and other fragments(1974), The Dying Gaul and other writings edited by Harman Grisewood (1978) and The Roman quarry and other sequences edited by Harman Grisewood and René Hague (1981). There are also typescript drafts, proofs, broadcast scripts, and reviews relating to some of the above publications. -- Some literary works published by David Jones were also included in later publications. For material relating to The Fatigue (1965) and The Tribune's Visitations (1969) see Sleeping Lord (1974). For material relating to The Introduction to the Rime of the Ancient Mariner (1972) and Use and Sign (1975) see The Dying Gaul (1978). For material relating to the Kensington Mass (1975) and The Narrows (1981) see The Roman Quarry (1981).