The Fossilised Worm Cast Stones of Gemstone Beach and Riverton – Part Three: What Kinds of “Traces” are on These Stones?

“Fossilised worm casts” are trace fossils, and I have found them in stones deposited on the beaches between Orepuki and Riverton at the bottom of the South Island of New Zealand. In the first Post in this series, I noted how these stones are especially associated with Gemstone Beach, near Orepuki. In the second Post, I introduced the idea of “trace” fossils. This Post looks at the shapes of the traces of the “worm casts” in more detail.

The traces on these fossil worm cast stones exhibit different shapes. A handful of the stones are crowded with different shaped traces:

Other stones have only one trace, or a partial trace, or a very faint trace:

It appears that a micro-faultline that has split this trace:

On the occasional stone, the trace is noticeably raised in relation to the rest of the stone:

However, on the vast majority of the stones, the trace has worn away at the same rate as the rest of the stone.

Let’s look more closely at the shape of the traces. One of the stones I collected has these shapes on it: 

traces 1

Are “A” and “B” essentially the same shape, “B” being a bit more stretched out somehow? There are also a number of much smaller and less complex shapes “C” – are these made by a different animal altogether? Or are they parts of shapes similar to “A” and “B”?

In the next stone (below), “D” seems similar to “B” in the previous stone, but “E” and “F” appear to be different from these. “E” is not segmented, and “F” is not lineal. Unless “E” is in effect a side view of “D”, and “F” is a view of “D” from the top or from below. It is important to be aware that a trace will look different depending on whether it is lying along the surface of a stone or “emerging” from it. 

traces 2bb

The next trace shape seems to change along its length, being clearly segmented at the bottom but much less so at the top. Is the very top end part of the same trace? Or is it a different one altogether?

traces 3

On this stone (below), is “G” the same kind of trace as “H”, with “H” being a bit more worn away? Or are they different traces altogether?

traces 4bb

And is this next shape different from all the others?

traces 5

Some of the stones have blank featureless stripes on them, such as “I” on the stone below:

stripe1cc

Is such a stripe a worn, or less-worn, version of the segmented trace to the left of it? Or was a different kind of animal or activity involved?

What are we to make of the trace shapes on this stone (below)? Are the traces all different or are they variations of the same shape? Or are they parts of one shape that has been partly worn away? If they are different shapes, might they have still been made by the same animal?

traces 6

Finally, an example of complexity. The stone below contains a number of trace shapes, many of which we have already seen in the stones above. However, the lineal feature marked “J” is a long complex shape not previously encountered. How would we make sense of it? What kind of animal would have made such marks, and how?   

traces 7bb

The next Post will present the most common shape of the traces on the fossilised worm cast stones I have collected. The Post after that will try to identify this trace based on the literature that examines in detail the kinds of traces left behind by animals on the floor of the sea.

“This place is endless thin…Proterra”

a004 222
Looking from the Back Beach southwards across Foveaux Strait, June 2019

On my last stone collecting trip to Riverton, a storm blew up from the south. The wind roared over Foveaux Strait onto the Back Beach, whipping up sand off the beach and creating small tornadoes of sea foam near the rocks. 

Ironically, one of the most enjoyable parts of collecting stones from south coast beaches is being in the midst of the elements, especially when they are rough and wild. As long as I am warm and dry, well wrapped up in coat and hat and maybe gloves, it is good to experience the power of nature in this way. The world is reduced to that time and place, to the “howling of the wind” and the “crashing of the waves”, as the horizon closes in. 

And “as I walk along these shores, I am the history within”, having walked these beaches since a child. Though they have barely changed even a whit, I have grown older and older with each year. We came here on our annual holidays, more than 50 years ago, and the very first thing we did on arrival was to drive to the Back Beach. Even today, arriving in Riverton, I feel the tug to drive on to the end of the road, to see the wildness of the waves crashing onto the stones.

“Feel So Near” by Dougie MacLean

You’ll find me sitting at this table
With my friend Fin and my friend John
My friend Murdaney tells us stories
Of things long gone, long gone.

And we may take a glass together
The whisky makes it all so clear
It fires our dulled imaginations
And I feel so near, so near

I feel so near to the howling of the winds
I feel so near to the crashing of the waves
I feel so near to the flowers in the fields
Feel so near

The old man looks out to the islands
He says this place is endless thin
There’s no real distance here to mention
We might all fall in, all fall in

No distance to the spirits of the living
No distance to the spirits of the dead
And as he turned his eyes were shining
And he proudly said, proudly said

I feel so near to the howling of the winds
I feel so near to the crashing of the waves
I feel so near to the flowers in the fields
Feel so near

So we build our tower constructions
There to mark our place in time
We justify our great destructions
As on we climb, on we climb

Now the journey doesn’t seem to matter
The destinations faded out
And gathering out along the headland
I hear the children shout, children shout

I feel so near to the howling of the winds
I feel so near to the crashing of the waves
I feel so near to the flowers in the fields
Feel so near…

“Proterra” by Runrig

As I walk along these shores
I am the history within
As I climb the mountainside
Breaking Eden again

Dark the day, dark the night
The warring dust, the morning tribe
Crushed by a million suns
Here the heart of you lies

Over land and sea
I’ll come fighting for you
Over land and sea
A dawn is breaking before us

Proterra, take this hand
The open wound, the promised land
Breaking the waves, spread the oars
Cast our badge for the shore

Over land and sea
I’ll come fighting for you
Over land and sea
A dawn is breaking before us…

The Seven Stages in Tumble Polishing Stones: The Fate of Stones 11 to 15

This is the 13th Post in this series on the tumble-polishing of 40 Riverton stones, which starts with stone collection and goes right through six different tumbling stages. The first Post can be found here.

The previous Post examined how Stones six to ten came through the tumble-polishing process. This Post looks at Stones 11 to 15, discussing how many of them experienced some damage but still polished well enough to come out looking very interesting:

11-15 rough
Stones 11 to 15, rough, as collected
11-15 polished
Stones 11 to 15, after polishing

STONE 11

Stone 11 is probably a sandstone. In general, it has polished very well, and details of the sand grains that make it up have become clearer to see. This, along with the thin red band and darker base, makes it an interesting stone.

There are some problems with it, however. When I inspected it after tumbling in 100 grit, I noted that it had a very minor superficial crack on one side, near its base. After the 220 grit tumble, this had been reduced. This crack remains, though in a reduced state, and can barely be felt when I rub my thumb over it. There are three other similar superficial cracks on the base of the stone, in the dark area. I had seen them at the inspection of the stone after Stage Two but did not think them to be significant. They were not noticeable after the 320 grit tumble. However, they have reappeared, including a long one along the base, and a smaller one on the side can be felt more distinctly than the others.

There are no “imperfections” in the rest of the stone, which is lighter in colour – maybe the darker section is just a little more brittle. The fact that these superficial cracks are still there after the various tumbling stages suggest that further tumbling in, say, 320 grit may not remove them. Maybe it would take a 220 tumble to achieve this, at the expense of making the stone a little smaller. 

STONE 12

Throughout the tumbling process, Stone 12 exhibited some fragility. Small chips were lost from it now and again, caused by bumping into other stones in the barrel. Even in the pre-polish barrel, it lost two or three small pieces. This is a pity because it is a gorgeous stone with a very interesting make-up. It has an obvious crystalline character which means it is probably quartz, stained with shades of cream. And apart from where it was chipped, the stone has polished very well.

I put Stone 12 through to the final polishing stages though normally I would have discarded it or returned it to a 320 tumble once or twice. As a result, there are distinct imperfections with the final polished stone.

STONE 13

Stone 13 has polished very well. There are no scratches or holes obvious to the eye to when I rub my thumb over it. Polishing has brought out a complex pattern of colour, grayish purple patches drifting on a green background, with white quartz veins slashed across it.

When a dry stone, straight off the beach, Stone 13 had a weathered dull look, though when wet it revealed some of its promise (as can be seen in the photos of Stone 13 in The Seven Stages in Tumble Polishing Stones: The Selected 40 Stones). My guess is that Stone 13 is some kind of metamorphic stone but I struggle to identify it further than that.

STONE 14

Stone 14 is pink granite, though at the darker shade end. This identification is made partly on the basis of information provided by Te Hikoi The Riverton Museum. It has developed an outstanding chidren’s rockhounding kit which includes pink granite as one of the kinds of stones that can easily be found along the south coast of Southland. The museum has a display supporting the kit, and has a set of drawers with rock samples in them.

One of the problems with granite, for the tumble polisher, is that it consists of  grains of feldspar, quartz and mica. Depending on how tightly these grains are packed together, the tumbling process may dislodge some as the granite stone bumps against other stones. Furthermore, some of the grains may not polish, or may not polish as well as other grains, preventing the achievement of a consistently polished surface. In the case of Stone 14, the surface feels smooth to my thumb but a close visual inspection shows tiny parts are unpolished. Small chips have also been dislodged from both ends of the stone.

Tumble polishing has made the character of Stone 14 shine out clearly but it is not a perfect polish. Granite often poses this challenge for tumble polishing.

 STONE 15

I observed from the outset that Stone 15  had a small gouge in the side. This gouge got progressively shallower and more smooth as the stone with through the three grit stages but remained larger than I would normally have liked when it went to the polish tumbles. However, the gouge was an indicator of the brittleness of the stone – a close inspection reveals a number of other very small cracks and chips in the stone. They were not as apparent earlier on. It is hard to know whether further tumbling with 320 grit would remove them.

The polish on Stone 15, which is probably some kind of mudstone, is not of the highest quality but again has revealed its patterns in detail.

The Fossilised Worm Cast Stones of Gemstone Beach and Riverton – Part One: Initial Identification

The tourist information on Gemstone Beach near Orepuki, 29 kilometres west of Riverton, sometimes mentions that fossil worm cast stones can be found there. For example: “A few hours beachcombing could easily yield gems such as hydrogrossular, jasper, fossil worm casts and the elusive sapphire” (Heritage Trail website). The Heritage Trail sign that used to stand at Gemstone Beach also mentions fossil worm casts.

Gemstone Beach Heritage Trail
Source: https://talltales.me/2013/02/24/the-south-of-the-south/photo-2-01-13-10-30-21-am

Over the past couple of years, I have believed that the sort of stones being referred to here would have within them, or on them, the fossilised remains left by worms at the bottom of the sea, these remains being the castings excreted by them as they fed. This series of Posts reports on the research I have done to check out this belief.

The photos below show what I have come to think of as fossil worm cast stones. They have all been collected by myself mostly from Gemstone Beach but some also from Riverton beaches:

In a small entry on types of fossils written by Hamish Campbell in 2006 in Te Ara The Encyclopedia of New Zealand, the example of a fossilised worm burrow is very similar to the stone in the photo centre right above. Campbell writes: “The worm-like impression is called a trace fossil, as it shows traces left by a worm burrowing through mud.” 

Te Ara fossil types
Top left is a rock with a fossilised worm burrow. Source: https://teara.govt.nz/en/photograph/9020/three-types-of-fossil

Note that Campbell mentions “burrows”, not “casts”. Maybe the distinction is important – we will return to this in a later Post.

Furthermore, the Riverton Museum Te Hikoi includes two “worm trace fossil” stones in one of it rock drawers (see photo below). They look similar to some of the ones I have collected on Gemstone Beach and Riverton.

Te Hikoi wc
Riverton Museum Te Hikoi display. Photo taken with permission.

Jocelyn Thornton’s (1985) book, “Gemstones”, has a page on “Orepuki Beach Pebbles” (page 36). She refers to a group of stones (number “5” in her diagram) as follows: “Those at the top of this group clearly show layers of mud, worm trails and wave ripples…” (see photos below). She uses the term “trail” and not “cast”. None of these stones really look like the fossil worm cast stones I have found.

The next Post in this series will look more closely at what a “trace” fossil is. Part Three (July 2019) looks in detail at the trace shapes found in the stones. After writing Part Three, I conducted research into the origin and age of these trace fossils. Part Four, written in September 2019, reports on information from someone in the Department of Geology at the University of Otago who knows something about trace fossils. Part Five was not published until July 2024 and describes my research on a number of topics, mainly the role of the Brook Street Terrane in the formation of the trace fossils along the south coast.   

“Valley’s deep and the mountain’s so high…”

“Landscape stone”, collected from a Riverton Beach in 2018, polished mid-2019. I can see valleys and mountains there (the line in the Post title is from the start of “Hymn” by Barclay James Harvest). Such intriguing colours and patterns, layered and criss-crossed with lines of silica. Possibly petrified wood, possibly jasper, possibly something else, mysterious… Reminds me of valleys in the distance, of mountains in the mist, a Japanese watercolour landscape…

Barclay James Harvest, the group that sings this song, is an English “progressive rock” band, formed in 1966. To obtain their name, each of the band members wrote single words on pieces of paper which were drawn out of a hat one by one until only three were left: James, a guy who used to sing with the band, Harvest because they were living in a farmhouse, and Barclay after the bank, because they aspired to make money. These were then rearranged until they arrived at the best-sounding name – “Barclay James Harvest”. “Hymn” appeared on their 1977 album, “Gone to Earth”, and my wife has a vinyl copy of it. 

On its website, the Band says this about “Hymn”: Originally titled “Hymn For A White Lady”, the song is primarily about the dangers of drug abuse, contrasting their illicit thrill with the spiritual “high” of Christianity, although many DJs and listeners have taken it for a straightforward Christmas song. The now traditional shouts of “yeah!” from the fans at the finale of the band’s live shows date back to early performances of the song, where John dedicated it to rock stars who had fallen victim to drugs, saying “let’s hear it for Jimi Hendrix… Paul Kossoff… Janis Joplin…” etc., and fans responded with a roar of approval.

One of the more famous performances of “Hymn” was at a 1980 free concert in front of the Reichstag in West Berlin, with an estimated audience of 250,000 – the version from YouTube posted below. They were the first Western rock band to perform in an open-air concert in East Germany (after Glasnost had begun in the Eastern bloc but over two years before the Berlin Wall fell), playing in Treptower Park, East Berlin in 1987 to more than 170,000 people. 

The original recording (1971), with a slightly different sound (no single leading vocal, more keyboards):

“Hymn” by Barclay James Harvest

Valley’s deep and the mountain’s so high
If you want to see God you’ve got to move on the other side
You stand up there with your head in the clouds
Don’t try to fly you know you might not come down
Don’t try to fly, dear God, you might not come down

Jesus came down from Heaven to earth
The people said it was a virgin birth
Jesus came down from Heaven to earth
The people said it was a virgin birth

He told great stories of the Lord
And said he was the saviour of us all
He told great stories of the Lord
And said he was the saviour of us all

For this we killed him, nailed him up high
He rose again as if to ask us why
Then he ascended into the sky
As if to say in God alone we soar
As if to say in God alone we fly

Valley’s deep and the mountain’s so high
If you want to see God you’ve got to move on the other side
You stand up there with your head in the clouds
Don’t try to fly you know you might not come down
Don’t try to fly, dear God, you might not come down

“Little Things” – The Value of Small Stones

In the sweetness of friendship let there be laughter and sharing of pleasures. For in the dew of little things the heart finds its morning and is refreshed (page 66 of Khalil Gibran, 1923, “The Prophet”).

I recently gave a small “treasure chest” of polished stones to a friend for her birthday. I filled it with 50 little stones, many of them not much larger than one of my fingernails. The stones are from the beaches of the south coast of Southland, mainly from Riverton and Gemstone Beach. Within these 50 are a wide range of the types of stones to be found on these beaches.

Walking along the beach, head down, alert for interesting stones, my eye is often caught by a flash of bright colour belonging to a small stone. At the beginning of my tumble-polishing passion, I collected a lot of such small stones but soon adjusted my eye to pay more attention to larger ones. The smaller ones get even smaller throughout the polishing process. The larger ones promise much more, can be tumbled longer, can be shaped more to remove imperfections and cracks and pits, and are more commanding with their polished presence. So, for a while, I disciplined myself NOT to pick up the smaller stones that caught my eye.

It is also the case, however, that a good mix of different sized stones in a tumble barrel is the ideal. The larger stones need smaller ones to make the process of wearing and shaping more effective. The small stones “carry” the grit or polish to the larger stones, fill up the spaces between them, and balance the load.

Furthermore, some small stones are striking in their pattern or colour or shape, and are valuable in their own right as interesting and beautiful stones. So, now, I allow myself to collect stones of many sizes and do not neglect the smaller ones.

I numbered each of the 50 stones in the birthday “treasure chest” (see photo below, left) and provided a list of the types of stones they were, if I knew.

Included were hydrogrossular stones (#8, #31 and possibly #46), stones with fossilised warm casts or traces (#17 and #49, also maybe #29), a pink rhodonite stone (#1), various quartzites (#18, #35, #38 and #45), smoky quartz (#28), a porpyry (#3), andesite (#13), banded rhyolite [now identified as ignimbrite](#22), other rhyolites (#5, #10, #12 and #23), pink granite (#26), jasper (#7, #9, #21, #30, #40 and #43), breccia (#32 and #39), quartz (#34) and argillite (#15, #20, #47 and #50).

Enjoy the little things, for one day you may look back and realize they were the big things (Robert Brault).

A Three Pound Barrel of Polished Stones from Riverton

Today a 3lb barrel of stones collected from Riverton beaches last year finished the tumble-polishing process. Altogether, 46 stones came out of the barrel, some with the odd blemish, but many in excellent order, well polished and free from chips and cracks.

Some of these stones are impressive on both sides:

Some are colourful and bright:

Others are more muted, darker, but nonetheless fascinating:

The Seven Stages in Tumble Polishing Stones: How Stones Six to Ten Have Polished

This is the 13th Post in this series on the tumble-polishing of 40 Riverton stones, going through each Stage from stone collection on the beach through to the final polish and burnishing. The first Post in the series can be found here.

The previous Post examined how Stones 1 to 5 came through the tumble-polishing process. This Post looks at Stones 6 to 10, giving consideration to how well they have polished:

0 6-10 rough
Stones 6 to 10, rough, as collected
6-10 polished
Stones 6 to 10, after polishing

STONE 6

Stone 6 is the type of stone that shows its character only upon tumbling. When rough and dry, it is unremarkable and inauspicious. Upon smoothing and polishing, its lovely patterns and grain become clearly apparent. There are some breaks in the surface of the polished stone, including chips at one end and on both edges. In all such instances, shiny mica crystals can be seen at the bottom of the chips. I had previously noted that one of these chips occurred during the Pre-Polish tumble, and the others would have been the result of the Pro-Polish and Borax tumbles. They would have been caused when other stones bumped into this one in the barrel, even though I used a lot of plastic beads at these Stages. Tumbling again in 100, 220 and 320 grit might erase these chips but might cause others. The stone has a slightly brittle character – maybe its metamorphism was too brief to bind all the constituents together tightly. 

I have always felt that it is very difficult to guarantee a good smooth polish with this type of stone, though it is possible on very rare occasions and I have done it.

Stone 6 is a foliated metamorphic stone, somewhere along the schist-gneiss continuum. As a source on metamorphic rocks puts it: “Schist is a high degree of metamorphism, characterized by coarse grained foliation and/or lineation, with mica crystals large enough to be easily identified with the unaided eye. Gneiss is a medium to coarse-grained, irregularly banded rock with only poorly developed cleavage. The light and dark bands (gneissic banding) are alternations of felsic vs. mafic layers.” Based on grain size and type of banding, my guess is that Stone 6 is gneiss, while the stone below (which I recently collected on the Back Beach at Riverton and which has gone through a 320 grit tumble) is probably schist. 

STONE 7

This is a gorgeous green mudstone, probably argillite, that has polished without blemish. From the wearing away of the surface, a broad light-coloured stripe has been revealed. This is in fact what is commonly referred to as a “fossilised worm cast”, left behind millions of years ago as a worm-like animal maybe crawled through mud, ingested  material and then excreted it. As sediment layers have piled on top over many many years, and weight and heat built up, the process has turned mud and worm cast into rock.

Fossil worm cast stones can readily be found on Riverton beaches though they are more often associated with Gemstone Beach, near Orepuki, 30 kilometres away. (See later Posts on these types of stones and trace fossils.)

STONE 8

This green stone has also polished well, with only one small area that is not completely smooth.

There are a lot of green stones like this on southern beaches, some of them argillite (which I don’t think this one is), many with interesting patterns in them. They usually polish well.

STONE 9

After the initial tumble in 100 grit (Stage 2), I recorded that Stone 9 had a medium sized pit in its side. After the 220 grit tumble, the pit remained. I would normally have considered discarding the stone at this point, but for the sake of this series of Posts, following these 40 stones from rough to polish, I continued with it. After the 320 grit tumble, I noted there was some smoothing out of the pit, but it remained.

Stone 9 is a breccia, a type of stone where small angular fragments of (a diversity of) rocks are cemented together in a fine-grained matrix. As John Farndon puts it on page 95 of The Complete Illustrated Guide to Rocks of the World (2012), these sharp-edged fragments were caught up in the matrix before there was any time to round off the rough edges. The pit I had noted is in effect one of these fragments sunken below the surface of the stone, probably because it is softer and has worn away more quickly than the rest of the stone (similar to Stone 4, as noted in the previous Post). However, generally speaking, most of Stone 9 has polished well:

The main issue when polishing a breccia is whether all the various fragments will wear away at the same rate and whether they will all polish. The original pit is much shallower now but it is readily felt when a thumb is rubbed over it.

In the course of polishing, two other fragments in the breccia have failed to polish as a result of their relative softness:

STONE 10

This is another breccia, and it has polished quite well.

From the outset of tumbling, however, it has had a small but relatively deep hole in it, where maybe a small fragment has become dislodged. When inspecting it after the 320 grit tumble, I noticed that a couple of small indentations had also become apparent, probably where softer stone fragments had worn away a bit more quickly than the rest of the stone. 

Breccia stones are always interesting, because of the diversity of colour and shape of the embedded fragments. Many of them can be found along the southern coast.

Stones 11 to 15 are dealt with in the next Post in this series.

Second Batch of Stones Taken to Final Stage of Polishing

These stones were picked up from Riverton beaches in February this year (2016). After about five weeks of tumbling, with careful sorting to weed out stones that would not take the polish effectively, this is the result – 58 stones of various sizes, shapes and colours. I thought initially one could be an agate, which would be a rarity from Riverton beaches, but it is much more likely to be quartz.

Stones in the Process of Tumbling

These stones have undergone the first stage of tumbling with 100 grade silicon carbide grit. Most of them are from Riverton beaches, in Southland, but a couple are from the West Coast of the South Island (New Zealand). Some will need more tumbling in this coarse grit because they still have small pits or scratches not yet smoothed away.