The fossil cave part of the Naracoorte site is more developed than when I saw it way back when.Information about all the caves is here .
Some people leave footprints on our heart. Cats leave fur on our sweaters. Dogs leave drool on our shoes. Families will crap on our doorstep. So when life gives you crap, garden it and make roses.
The fossil cave part of the Naracoorte site is more developed than when I saw it way back when.





Researchers found that at least three major previous conservation treatments were inside the chapel. In 1913, Ernest MacKay replaced a number of plaster fragments and fittled the ceiling with three light iron girders.
In 1914-1915 shows the plaster fragments set into the black muna (bottom pic from Griffith Institute, Ashmolean Museum, Oxford). The top photo from 1966 shows the white repair plaster over the muna substrate to stabilize the fragments. In the 1980s/90s, polyvinyl acetate (a synthetic binder) was mixed with sand and clay to form a mortar in the existing white plaster areas. B72 (Paraloid) was also introduced to stabilize the paintings.
Over the years, the plaster and pinkish PVA had cracked becoming unstable and visually distracting. The previous fills also resulted in the creation of 'haloes' or yellow tidemarks around the losses. Samples of sand and sandstone powders were analyzed to see if they would produce adverse chemical changes in the lime plaster or with the original black muna plaster. After testing and examination with polarized light microscopy they were found safe to use. The colours of different sands were tested and a mixture of lime putty, local sandstone powder, light building sand and a local pinkish sandstone were decided on. The top photo shows the previous repairs being removed.
The loose materials of the fill have to be removed and the surface wetted with a brush to aid adhesion and to slow the drying rate. The sand and limestone putty mixture had to be applied quickly, taking care to avoid contact with the original edges.
The repairs were then cut back under light to ensure an even surface and that the mortar followed the plane of the wall. Then mortar was pushed into the edges of the original plaster to ensure good contact and mimic the original plaster surface.
This is the XRF machine built especially for this project. After a visual examination of the painting, points were selected for study and analysis. As all archaeometric processes work by using the effect of light wave lengths converted to spectral troughs and peaks, nothing touches the painted walls so pigments or matrix remain intact.


Imperial Topaz is in the yellow-orange or reddish-orange (sherry) colour range and has been known since ancient Egypt and Roman times. 
This is a rare example of 'Precious' Topaz as the bi-colour is as it was in the original rough crystal. It is 13.35 carats in weight and measures 27 x 11.8 x 5.42 mm. The yellow pink tone is natural and has not been heat treated. The interior is flawless and it has been cut to enhance the bi-colour.