A Conversation with Theatr na n'Óg Leisa Williams & Christopher Parry, 4 September 2024 Theatr na n'Óg have had a passion for telling stories for 40 years and have collaborated with several of the Amgueddfa Cymru sites. Together they have collaborated on many projects that have brought the history and culture of Wales to life, inspiring young people and adults across many workshops and performances. In previous years National Museum Cardiff and the National Waterfront Museum have collaborated with them on a variety of projects. In 2009, Alfred Russel Wallace, who’s discoveries spurred Darwin to produce ‘On the Origin of Species’, was the focus. In 2022, the story of Elgan Jones, a 14-year-old boy who was arrested for poaching in 1898, became a court room drama which placed the audience as jurors. Now, in 2024, the National Waterfront Museum is working with them once more on a project exploring the story of the Merthyr Tydfil born boxer, Cuthbert Taylor, in a production called ‘The Fight.’To get a deeper understanding of Theatr na n'Óg, ‘The Fight’, and the role Amgueddfa Cymru plays in the partnership, Leisa Williams, Senior Learning Officer at National Waterfront Museum and Geinor Styles, the Artistic Director at Theatr na n'Óg, sat down for a chat about projects past and present.Use the media player to listen to the conversation in full. Amgueddfa Learn · A Conversation with Theatr na n'Óg | 'The Fight'About ‘The Fight’ |'The Fight' is a brand-new play telling the true story of a Welsh boxing legend.In the deprived valleys of the 1930s, boxing was more than just a sport; it was a way out of poverty. Merthyr-born Cuthbert Taylor, now seen as one of the best boxers of his generation, should have had the opportunity to fight for a British title, but was denied this chance because of the colour of his skin.Written by Geinor Styles, Directed by Kev McCurdyClick here for information on school performances, workshops, learning resources and more.
Volunteering: Get Involved with cataloguing & cleaning collections at the National Slate Museum Chloe Ward, 2 September 2024 We're busy getting ready for the redevelopment project at the National Slate Museum, which is due to start November 2024! We want to give volunteers the opportunity to be a part of this phase of the project by helping us clean, catalogue and pack our collection in the Pattern Loft. To ensure our wonderful industrial collection is protected whilst essential conservation and renovation work is done on the Gilfach Ddu, the collection will be moving. Or at least some of it! Our Collections & Cataloguing Assistants, Osian and Mathew, have been busy labelling and cataloguing items of the collection that haven't before been looked at in such detail. They will be cleaning them, and packing them safely in crates with tissue paper. This is a unique opportunity to welcome volunteers and involve them in new ways. We want to make the most of this opportunity to provide experiences, skills development and help improve people's wellbeing through volunteering. Sound interesting? Want to Take Part? Take a look at the full Collection Volunteer role description on the website. You will be able to volunteer on Tuesdays or Thursdays, 10:00-1:00. We can be flexible to suit public transport. This project will run from 24 September to 31 October, but further collections volunteering opportunities will become available in the new year. Any questions? Get in touch with Chloe Ward, Volunteering & Engagement Coordinator on chloe.ward@museumwales.ac.uk.
Reclaiming Narratives Through Creative Interventions at St Fagans National History Museum Nasia Sarwar-Skuse, 29 August 2024 Perspective(s): Decolonising Heritage Perspective(s) is a decolonisation project commissioned by Amgueddfa Cymru in partnership with Arts Council Wales. As the lead artist at St Fagans National History Museum, I have been collaborating with Ways of Working, a socially conscious arts organisation, to reimagine the museum as a space where narratives of power can both be upheld and dismantled.Decolonising the Museum: Confronting Complex Legacies We began our project by asking a fundamental question: can a museum, an institution so deeply rooted in colonial histories, ever truly be decolonised? Audre Lorde famously said, ‘The master’s tools will never dismantle the master’s house.’ This insight highlights both the complexity and urgency of decolonial work. It requires us to examine whose stories are present, whose voices are heard, and whose legacies are acknowledged within these spaces. Decoloniality, within an institution, manifests in many forms—visibility, inclusivity, and the decentring of dominant narratives, all while holding space for empathy.These critical discussions were enriched by the insights of Professor Corrine Fowler an expert in the legacies of colonialism and Nusrat Ahmed, Head Curator of the South Asian Gallery at Manchester Museum. Their expertise guided us as we engaged with the complexities of decolonising St Fagans.Creating Visibility at St Fagans St Fagans National History Museum tells the stories of the people of Wales. Yet as I walked through its halls, I struggled to see reflections of my heritage. This absence became central to our work. We asked: Who is represented here? Whose stories are told, and whose are missing?In response, we invited the Aurora Trinity Collective—a grassroots group led by women of colour who create textile and embroidery art—to join us. The collective held textile workshops in the museum’s atrium, showcasing their artwork Ncheta, which explores remembrance, language, and the cultural significance of textiles. Through their presence, we reclaimed a space that had previously overlooked their contributions.Unveiling Colonial Legacies at St Fagans CastleMuch of my art practice is research-led, often intersecting with my academic work. During my research, I uncovered a direct link between St Fagans Castle and Clive of India. Through the marriage of Clive’s grandson, Robert Clive, to Harriet Windsor, the wealth accumulated from colonial exploits flowed into the Windsor-Clive family. This wealth funded significant renovations to St Fagans Castle, embedding a colonial legacy within its very walls.To further explore this history, we invited Bethan Scorey, whose doctoral project focuses on the architectural and garden history of St Fagans Castle to share her research. Armed with this broad spectrum of information, we set out to expose the colonial roots that continue to shape the narrative of the castle.Our creative interventions focused on these legacies, particularly those tied to Robert Clive, also known as ‘Clive of India.’ The project brought to light Wales’ often overlooked connection to British imperialism, a history still hidden in plain sight.Engaging Visitors: Interactive Installations Our first intervention is prominently placed in the museum’s atrium, where we invite visitors to engage directly with the uncomfortable truths of colonialism. Posing questions like, ‘The British Empire was...?; and ‘What is the museum’s job within society?’ we encourage the public to reflect on power, history, and the evolving role of museums. This interactive installation—featuring Post-it notes where visitors share their thoughts—sparked meaningful conversations and further ensures that colonialism remains a central topic as they explore the museum.A Colonial Legacy in the Living Room Our second installation recreated a British South Asian living room, a personal memory from my childhood in the 1980s. For many diasporic families, the living room was a haven, a place of community, celebration, and respite from the hostility of the outside world. At the heart of this familiar setting, we placed an eighteenth-century giltwood sofa once owned by Clive of India. Acquired by the National Museum of Wales in the 1950s, its colonial significance had been largely overlooked for decades. By positioning this artefact in a domestic scene, surrounded by family photos and personal objects, we reclaimed the narrative, prompting conversations about colonialism, memory, and how history is remembered and forgotten.Reimagining Tipu Sultan’s Dream Palace Our third installation, Khawaab Mahal (Dream Palace), reimagines Tipu Sultan’s tent, which was looted by Clive’s son, Edward Clive, after Tipu died in battle. This beautiful tent, now housed at Powis Castle, became a symbol of British domination, often used for garden parties—an insult to its original purpose. We created a reinterpretation, using digital images of the original tent, printed on fabric. Also printed inside the tent, are extracts from Tipu’s dream journal. His dreams were dominated by the desire to defeat the British and through this installation, I engaged in a personal dialogue with him. Visitors are invited to immerse themselves in Tipu’s world, surrounded by soundscapes and dreams, reclaiming a space once taken through force.Absent Presence: Reclaiming Space Through Film The fourth installation, Absent Presence, is a site-specific film shot within the grounds of St Fagans Castle. Featuring the dancer Sanea Singh, the film reflects on the castle’s colonial past. Sanea’s fluid movements engaged with the castle’s architecture and gardens, reclaiming the space as her own. The film speaks to the themes of plunder, rebellion, and the silenced stories of South Asia, drawing a connection between the past and present.Reclaiming Histories and Rewriting Narratives Through these installations, we aimed to dismantle the dominant narratives surrounding St Fagans Castle and reclaim the stories that have been erased. For me and Ways of Working, Perspective(s) is more than just a project; it is a reclamation of history, a dialogue across centuries, and a call to recognise the enduring legacies of colonialism that remain embedded in our institutions today. By confronting these legacies, we can begin to reshape how we remember and who gets to tell the stories of our shared history.
Meeting Microscopic Marvels Aron O'Shea, 28 August 2024 I’m currently studying heritage conservation at Cardiff University, so I wanted to undertake his placement as I have a keen interest in how museums digitise their collections for educational purposes and to increase the accessibility of the heritage they safeguard, and I also wanted to explore how museum collections are used for research purposes.What are diatoms?Diatoms are microscopic, single-celled algae that inhabit oceans, rivers, and lakes. They are notable for their intricate cell walls made of silica, which resemble delicate glass shells when viewed under a microscope. These cell walls, called frustules, have unique and complex patterns. Diatoms play a vital role in the environment by performing approximately one-fifth of the total global photosynthesis. This process not only produces a significant portion of the Earth's oxygen but diatoms also form an important part of aquatic food webs, supporting a diverse range of marine and freshwater organisms.Their importance for research lies in their ability to act as bio-indicators in aquatic ecosystems. Analysis of diatom populations and diversity studies have been used to evaluate human impact on freshwater and marine environments. As bio-indicators, diatoms can be used to assess the levels of organic pollution, eutrophication and acidification of their aquatic environment. Different species have differing tolerance levels of environmental conditions like water pH (the acidity or alkalinity of the water) and nutrient concentrations. Several diatom indices have been developed and are used by the Environment Agency to monitor water quality in UK rivers and lakes.Analysis of diatom populations can also be used to demonstrate trends over time, as Ingrid’s work on the restoration of water quality of the rivers Wye and Irfon through periodic liming shows (for more details visit https://www.sciencedirect.com/science/article/pii/S1470160X20309961#ab010). The same case can be made for historical collections stored in museums, which can provide unique insight into historical diatom populations, and which can be used to infer previous environmental conditions and compare them to those found in contemporary studies.In addition to their environmental and research importance, diatoms are incredibly beautiful. So much so, that during the Victorian period, they were often assembled into decorative arrangements on microscope slides. For the uninitiated, I would highly recommend searching for images of Johann Diedrich Möller’s work as well as the more contemporary works of Klaus Kemp; they are truly astounding arrangements. The PlacementUnder Dr. Ingrid Juttner’s excellent guidance I learned basic diatom morphology and how to identify Gomphonema species, which typically display asymmetry along the trans-apical axis (i.e. the top and bottom halves are not usually mirror images of each other).Ingrid took me through the process of diatom analysis in light microscopy, from “cooking” the water samples with hydrogen peroxide to remove organic cell content and preparing the microscope slides, through to photographing, editing and uploading the images to the museum’s diatom website. The photographs featured were taken with a light microscope at x1000 magnification, and measurements (length, width, striae density) were recorded. These images were then edited and prepared as plates to provide an overview of the cell size distribution in the species population. The plates were uploaded to the website with corresponding literature and morphological descriptions. Some notable species I photographed which are now featured on the website are Eunotia arcubus, Eunotia botuliformis and Planothidium incuriatum.Overall, my placement within the Lower Plants section hasProvided me with invaluable insights into scientific and particularly, taxonomic, practicesHighlighted the role that diatoms play in our natural environmentsDemonstrated how museum collections can and are being utilised for the benefit of science as well as being important repositories for mapping changes in biodiversity.Illustrated how projects like the Diatom Flora and Fauna of Britain and Ireland can help create accessible resources for professional and amateur researchers as well as opening up collections to a wider public, who might otherwise be unaware of their existence.Finally, this placement has been an opportunity to admire the exceptional beauty of diatoms.If you would like to know more about the diatom collection at the National Museum of Wales, please see the museum’s Diatom Research page as well as blog posts by Ingrid entitled ‘Scientific expedition to Rara Lake, Nepal’ and ‘Diatom diversity of the Falklands Islands’. I would also highly encourage anyone interested in diatom identification to view the Diatom Flora and Fauna of Britain and Ireland website.My heartfelt thanks go out to Dr. Ingrid Jüttner for her instruction, her wealth of knowledge and, not least, her conversation. I would equally like to thank the various staff members who coordinated and supported this placement at Amgueddfa Cymru, may there be many more such opportunities.
Trilobites in Wales Lucy McCobb, 27 August 2024 Trilobites are the fossils most associated with Wales, and they are found in many parts of the country.Trilobites are some of the oldest animal fossils known, with some being over 500 million years old.The first scientific drawings of trilobites were made in Wales over 300 years ago, by Welsh naturalist Edward Lhwyd in 1698If we asked you to name a fossil from Wales, what would you think of? An ammonite, perhaps, one of those lovely spiral shells you sometimes spot on the beach? Or maybe dinosaurs are more your thing, and you’d choose Dracoraptor, the small meat-eating theropod found near Penarth a few years back?These fossils date from the Jurassic, a time period made famous by a string of Hollywood blockbusters. But did you know that most of the rocks in Wales are much older than that? The fossils within them show us the animals and plants that lived millions of years before the dinosaurs. Among the best known of these ancient creatures are the trilobites, whose fossils were first discovered in Wales over three hundred years ago.What kind of animals were trilobites? The 3 ‘lobes’ of the trilobite body, showing how they got their name. (Rorringtonia kennedyi from near Llandrindod Wells, Ordovician period.) Niobella smithi, Porthmadog area, Ordovician period. We often describe trilobites as looking like giant woodlice because they both have bodies with lots of segments. Although they both belong to a group of animals called ‘arthropods’, they are only very distant cousins. The name arthropod means ‘jointed leg’ because these creatures have lots of those, along with a tough outer shell or skin, known as an exoskeleton. You may not have realized it but you’re sure to have encountered a few arthropods. That includes uninvited scuttling guests such as spiders, silverfish, beetles or other insects. If you enjoy watching butterflies and bees visiting the flowers in your garden or local park, then you’ve been an arthropod fan all along. And wouldn’t you agree that one of the most exciting things you can find in a seaside rock pool is a crunchy-shelled crab armed with fearsome claws?Trilobites are an extinct group of arthropods. They had a hard exoskeleton and jointed legs like the arthropods living today, but their bodies were built quite differently. The name trilobite comes from the fact that their bodies have three distinct ‘lobes’ or areas. The central area is raised and runs down the middle of the trilobite’s head, along the length of its body and down the centre of its tail. The two areas either side are mirror images of each other and are usually lower than the middle one, like plains either side of a mountain ridge. Their outer edges curve under slightly to make a hard rim around the trilobite’s softer underbelly.Trilobite legs are known from only a few, very rare fossils. The legs weren’t hard like the exoskeleton that covered the entire back of the animal, so were less likely to become fossils. They had a pair of jointed legs under each body segment, with a feathery gill for breathing at the top of each leg. They also had a pair of antennae or ‘feelers’ at the front of their head.Trilobite eyes were quite special. They had compound eyes like insects with lots of small lenses stuck together, rather than having one large lens in each eye like us. In trilobite eyes, each lens was made of a crystal of the mineral calcite. We are sometimes lucky enough to find trilobite fossils with their crystal eye lenses intact. We can study them to discover how trilobites saw their ancient world. Trilobite eyes are the oldest complex eyes that we know of in the history of life. How long ago did trilobites live?Trilobites are among the oldest fossil animals known. The oldest trilobite fossils were found in Spain, Morocco, Russia and USA, and are around 521 million years old. Because a lot of the oldest rocks in Wales were squashed and heated, the oldest trilobites we find here aren’t quite so old – around 514 million years. Trilobites appeared early in a time we call the Cambrian period, when lots of shelly animals were found as fossils for the first time. This is known as the ‘Cambrian explosion’, because a great variety of different life forms suddenly appeared in the fossil record for the first time. This huge diversity of life just seemed to ‘explode’ into existence from nowhere, although it is likely that fossils of the animals that lived before just don’t exist because they had entirely soft bodies.Trilobites were a very successful group of animals, which were around for about 270 million years. They died out at the end of the Permian period around 252 million years ago, in the biggest mass extinction event that has ever happened on Earth. However, trilobite numbers had already been falling for some time before this point. Only a few species belonging to one major group were still around when they were finally wiped out in ‘the big dying’, along with over 80% of all species living in the sea at that time!Where did trilobites live and what did they eat? Olenus’ wide body segments may have housed large gills, to help it survive in the stagnant deep sea. Free swimming trilobites like Sagavia had large eyes to allow them see all around. All trilobites lived in the sea, but in a variety of different places and in different ways. Many lived on the sea bed, crawling over or burrowing into it. Others lived among ancient reefs made by corals and other sea creatures. Some were predators, hunting other animals, others lived by scavenging scraps of food and waste, or by filtering food out of the water. While most trilobites lived in relatively shallow water, some were adapted to living at the bottom of deeper oceans. Olenus fossils from North Wales had wide body segments. We think these housed large gills allowing it to survive in deep water where there wasn’t much oxygen. Some palaeontologists even suggest that the gills may have been home to bacteria, which could live on sulphur and provide the trilobites with an alternative source of energy that didn’t need oxygen.Some trilobites were adapted to swim freely above the sea floor in the open water. For others their way of life is still unknown, like the tiny pea-sized trilobites called agnostids. It’s possible that they floated in the open ocean, lived attached to seaweed, or lived as parasites on larger animals.How many different kinds of trilobites were there? The smallest trilobites in Wales include agnostids like Peronopsis from Pembrokeshire. Paradoxides from Pembrokeshire, the largest trilobite known from the UK Free-swimming Degamella had a narrow, streamlined body and large eyes Trinucleus, the first named trinucleid trilobite, a very common group in Wales. Eyeless Cnemidopyge likely used its long spine to sense its surroundings and stay in touch with other trilobites. ‘Strawberry headed’ trilobite Encrinurus was covered in bumps. Stygina’s smooth exoskeleton would have reduced drag. Trilobites evolved into a great variety of different types – over 22,000 species are known from their long history and new species are discovered every year. The average trilobite is around 2-10 cm long, but they came in a much larger range of sizes. The smallest we find in Wales include Peronopsis and Shumardia at less than a centimetre long, and the largest known from the British Isles is the giant Paradoxides at around 50 cm long. The largest complete trilobite found worldwide is the 70 cm long Isotelus rex from Canada, and fragments of a trilobite that may have exceeded 80 cm have been found in Portugal.Trilobite bodies had lots of different features to adapt them to their varied lifestyles. Swimming trilobites like Degamella had narrow, streamlined bodies and huge eyes that allowed them to see all around. Other trilobites had eyes on the end of stalks and may have lived partly buried in the sea bed. Some had very small eyes or none at all, and likely lived down in the dark depths.One very common group of trilobites found in Wales is the trinucleids, which had a very unusual looking head. Trinucleids had a wide sun visor-like brim around a semi-circular head, with rows of holes in it like a sieve. This sieve-like fringe was likely used to filter food out of the water. Spines are common on trilobites and would’ve been useful in lots of ways. Those sticking out around the edges would make predators think twice and would also act like a snow shoe, spreading the weight of the trilobite making it less likely to sink into soft mud. Some blind trilobites like Cnemidopyge had a single long spine sticking out the front of their head which they likely used to sense their surroundings. Intriguing fossils from Morocco show ‘conga lines’ of similar, related trilobites (Ampyx ), using their spines to keep in touch with each other as they moved together across the sea bed. Other trilobites were as prickly as hedgehogs – did these spines simply keep hungry predators at bay or could they also have been used to display to other trilobites?The exoskeletons of many trilobites were covered with bumps or ridges. Perhaps some of these had uses – for camouflage, sensing their environment, controlling water flow, making it easier to dig – or maybe some of them were for display. The bodies of other trilobites were smooth, making it easier to swim or burrow.How did trilobites grow up and get bigger? Llechfaen o gyffiniau Llanfair-ym-Muallt â nifer o Ogyginus o wahanol feintiau (ac oedrannau). From some very small fossils, we know what trilobite babies looked like. They started off life as a larval form that looked very different from the adults, like insects and crabs do today. Then they grew through several more stages, becoming more and more like adult trilobites at each stage. Once adults, they continued to grow bigger.Like all arthropods, trilobites had to moult to allow them to grow, which they did several times throughout their lives. They grew a new exoskeleton underneath the old one, which they then broke open and threw away. They took in water to expand the new larger one to its full size and let it harden. This is similar to how crabs moult and grow today. One reason why we find so many trilobites is that each animal moulted several exoskeletons during its lifetime, each one being a potential future fossil. In mid Wales, we can find lots of different sizes (and ages) of some of the more common trilobites, including Ogyginus corndensis. When were the first trilobites found in Wales? In the past, people believed the tails of trilobite Merlinia were butterflies turned to stone by a magic sprite. The first scientific drawing of a trilobite, Dr Edward Lwyd’s ‘flatfish’ (1698), now known to be Ogygiocarella debuchii. The first scientific drawing of a trilobite, Dr Edward Lwyd’s ‘flatfish’ (1698), now known to be Ogygiocarella debuchii. No doubt people in Wales first noticed trilobites and other fossils centuries ago, although they probably didn’t realise that they were the remains of once living things. They made up stories about the strange shapes they saw in the rock. One such tale was told in the Carmarthen area to explain trilobite tails found in the rocks, which local people thought were butterflies that had turned to stone! The legend goes that the magician Merlin fell in love with a fair sprite, but sadly she did not feel the same way. One day, Merlin was in a cave and the sprite cast a spell to trap him there forever. Some butterflies that were fluttering around got caught up in the magic and were frozen in the rock for all time. Scientists used this story when giving the trilobites their scientific name, Merlinia.Cymru has a long history of studying trilobites. The first ever scientific illustrations of these fossils were drawn by Edward Lhwyd, a Welshman well-known for studying natural history, archaeology and Celtic languages. Lhwyd worked at the Ashmolean Museum in Oxford and travelled around Wales gathering information for a book about its natural history. His letters about his travels in 1698 included drawings of some trilobites he found near Llandeilo in Carmarthenshire, which were published in a scientific journal later that year. He described the largest of these as the ‘sceleton of some flat fish ’ because that was the living creature it most reminded him of, and he had no idea that animals could become extinct. We can tell from Lhwyd’s clear drawing that this was in fact a very common Welsh trilobite now known as Ogygiocarella debuchii. A second type of trilobite illustrated by Lhwyd was labelled ‘Trinucleum’. This is clearly one of the distinctive trinucleid trilobites with a sieve-like fringe. A piece of a third trilobite he drew has since been identified as one known as Atractopyge. In the three centuries since Lhwyd made those first drawings of trilobites, we have learnt that they were arthropods rather than fishes, and dozens of different species have been found in Welsh rocks. But perhaps none of these discoveries has been more exciting than when J. W. Salter found a giant trilobite in Pembrokeshire over 150 years ago. Salter worked for the Geological Survey and visited lots of places for his work looking for fossils. In 1862, he was in a boat off Pembrokeshire, aiming to land at Solva, near St Davids. By good luck, he landed at Porth-y-rhaw by mistake, an inlet a mile to the west. In the rocks there he found fossils of a very large trilobite. Salter named his new discovery Paradoxides davidis and it is the biggest trilobite known from the British Isles, around half a metre long. Where in Wales can we find trilobites? Some Cambrian trilobites from Wales: Bailiella from Pembrokeshire. Meneviella from Gwynedd Parabolina from Gwynedd Solenopleura from Gwynedd Most of the rocks beneath Wales’ rugged landscape are very old. Just the job when we want to look for fossils of trilobites, some of the oldest animals known. Most trilobites in Wales come from rocks from the Cambrian, Ordovician and Silurian periods, which between them make up large parts of the country. These are the three oldest periods of geological time from which we find recognisable fossils. The Cambrian (485-540 million years ago) was named after the Roman name for Wales, Cambria. The Ordovician (444-485 million years ago) and Silurian (419-444 million years ago) were named after ancient Welsh tribes, the Ordovices and the Silures. Three Ordovician Angelina trilobites from North Wales, which look quite different from each other due to their bodies being compressed by forces coming from different directions. Three Ordovician Angelina trilobites from North Wales, which look quite different from each other due to their bodies being compressed by forces coming from different directions. Three Ordovician Angelina trilobites from North Wales, which look quite different from each other due to their bodies being compressed by forces coming from different directions. The oldest trilobites in Wales come from Cambrian rocks in Snowdonia and were discovered in the Penrhyn slate quarries in the 1880s. Slightly younger Cambrian trilobites are found south of Maentwrog in Eryri (Snowdonia), on the Llŷn Peninsula, in the St David’s area of Pembrokeshire and in the Mawddach Valley near Dolgellau. Some Ordovician trilobites from Wales: Gravicalymene from Denbighshire, Some Ordovician trilobites from Wales: Lloydolithus from Carmarthenshire Some Ordovician trilobites from Wales: Marrolithoides from Carmarthenshire Some Ordovician trilobites from Wales: Porterfieldia from Carmarthenshire Some Ordovician trilobites from Wales: Platycalymene from Powys. Some Ordovician trilobites from Wales: Salterolithus from Powys. Mid Wales is famous for Ordovician trilobites, although a lot of the best known collecting localities are on privately owned land. ‘Trilobite Dingle’, near Welshpool, was informally named by 19th century geologist Roderick Murchison in honour of the plentiful fossils found there and is now a protected site (SSSI). Many trilobites from this period have also been found in west Wales, particularly in the areas around Haverfordwest and Carmarthen, in Eryri (a few even from the summit of Yr Wyddfa!), on the Llŷn Peninsula and near Corwen in the north-east. Some Silurian trilobites from Wales: Calymene from Penylan Quarry, Some Silurian trilobites from Wales: Proetus from Monmouthshire Some Silurian trilobites from Wales: Dalmanites from Gwent. Some Silurian trilobites from Wales: Trimerus from Gwent. In the past, Penylan quarry in Cardiff was well known for its fantastic Silurian fossils, including complete examples of trilobites such as Encrinurus. Sadly, the site became partly inaccessible when a major road was built, although the remainder of the site is now protected. Silurian trilobites have also been found in lots of other parts of Wales, including in the Haverfordwest and Llandovery areas of west Wales, in Powys around Meifod, Old Radnor and Builth Wells, near Llanystumdwy on the Llŷn Peninsula, and near Usk in Monmouthshire.The youngest trilobites found in Wales date from the Carboniferous period, around 350 million years ago, and are found rarely on the Gower and Pembrokeshire coasts, in the Merthyr Tydfil area, and near Llangollen. Carboniferous trilobites are also found on the north coast, among the remains of ancient reefs in areas such as Llandudno and Prestatyn.