The Philosophers Stone
The Crystal Skull is considered by some to be the most mysterious and beautiful artifact ever unearthed by man. It was “reportedly” found under a tumbled down altar in an ancient Mayan temple, in 1924, by F.A. Mitchell-Hedges, a mystic and soldier of fortune that wrote the book on his life of mystery and intrigue, “Danger is my Ally”. It was originally created as an "idealized" human skull, more perfectly formed than a human skull, more symmetrical, more perfectly proportioned and definitely more beautiful. It's as though it could be the first created shape or prototype, from which the human skull was originally created by the hand of the Master Artisan of us all.
Eighty years later, the myths surrounding the origins and purpose of the Skull, still remains an unsolved mystery. One of the finest crystals research and development laboratories in the world, Hewlett Packard, in Santa Clara, California, studied the skull, testing it with the most sophisticated, precision equipment available in the world today. They concluded they could not reproduce the craftsmanship, artistry or knowledge that went into the creation of this wholly unique object. The internal lenses, light pipes, and prisms, display a technical competence that we, as humans, have only achieved in recent history. Scientists that studied it at that time concluded that “this thing should not even exist”.
What meaning does this exquisite artifact hold? Might it be a vault whose door will open by a cosmic time clock, ticking inaudibly to our limited range of hearing? Some believe the Crystal Skull is an unearthly computer or data base, an untapped resource, containing hallowed knowledge of mans origins as well as his destiny. Also believed by some is that encoded within the crystal is a vast library of information waiting to be accessed by a yet undiscovered methodology, requiring a new paradigm of thinking and feeling, along with new knowledge of our true position in the realm of the spirit surrounding the mystery of God and His plan for mankind.
Through meditation and deep contemplation, combined with bio-energetic exercises designed to release latent human potentialities, and powers, it is possible to penetrate through the layers of cultural biases, and mental and emotional rigor mortis that plagues modern man. Let us explore together this New Frontier using the ancient maps and charts that have been m preserved since the dawn of man.
We have the Alchemical charts and tables, outlining the processes necessary to achieve the transformation of the base elements of our human psycho/biological organism into the pure gold of the Spirit We have the Acupuncture meridians or channels, from the Chinese Sages, showing the pathways the streams of energy must travel to maximize the electromagnetic current required, to accomplish the transformation process. We a;lo now have the heavily enshrouded Qabbalistic traditions and symbols, describing the metaphysical "densities" separating man from his Source, and encouraging the adventuresome souls to move deep within, to begin the Great Work. All we lack is the "catalyst" or power to do the "burning" required, to release the heavily encumbered Creative Spirit within , which I believe is represented by the Crystal Skull in conjunction with the sun, our source of light and heat and power unlimited, rediscovered in our time for just that purpose.
One can speculate it was lingering to be discovered by the mystics and dedicated scholars of the twentieth century. If so, it could very well be the Herald of a Renaissance, or a Golden Age, predicted by philosophers and prophets since the dawn of man.
Contemplation of this form can bring you nearer to the truth behind the mystery and closer still to solving the "Riddle and the Mystery of the Crystal Skull."
GRAAL Manicheans, Persia
{Gorr "precious stone"
Al} "splinter, stylus" (Precious engraved stone)
Crystal Skulls
At times, the Ancients did indeed reflect on the crystalline nature of our body and spirit, for they imitated the human form and its energy patterns by carving it in solid crystal.
Without a doubt the most famous and enigmatic piece of ancient crystal sculpture discovered to date is the Mitchell-Hedges crystal skull.
One day in 1927,
adventurer-explorer F.A. Mitchell-Hedges was clearing debris from atop a
ruined temple at the ancient Mayan city of Lubaantum, located in British
Honduras, now Belize, when his seventeen-year old daughter Anna, who had accompanied him, suddenly saw something shimmering in the dust below. Anna found an exquisitely carved and polished skull made of rock crystal, with the jaw piece missing. Three months later, she located the jaw in an excavation about 25 feet from the first site.
The skull was made from a single, unusually large block of clear quartz
crystal, and measured 5 inches high, 7 inches long, and 5 inches wide,
weighing 11 pounds, 7 ounces. It closely corresponds in size to a small
human cranium, with near perfect detail, even to rendering the skull without the globular prominence or superciliary ridges, which are characteristics of a female.
In 1970, art conservator and restorer Frank Dorland was given permission by the Mitchell-Hedges estate to submit the quartz skull to tests conducted at the Hewlett-Packard Laboratories at Santa Clara, California. From these tests, and from careful studies done by Dorland himself, the skull revealed a whole array of anomalies.
When submerged in a benzyl alcohol bath, with a beam of light passing
through, it was noted that both the skull and jaw piece had come from the
same quartz block. What was astounding to the testers, however, is they
found that the skull and jaw had been carved with total disregard to the
natural crystal axis in the quartz. In modern crystallography, the first
procedure is always to determine the axis, to prevent fracturing and
breakage during the subsequent shaping process. Yet, the skull's maker
appears to have employed methods by which such concerns were not necessary.
The unknown artist also used no metal tools. Dorland was unable to find
signs of any tell-tale scratch marks on the crystal, under high-powered
microscopic analysis. Indeed, most metals would have been ineffectual, for
the crystal has a specific gravity of 2.65, and a Mohs hardness factor of 7.
In other words, even a modern penknife cannot make a mark on it.
The enigma of the skull, however, does not end with just its making. The
zygotic arches (the bone arch extending along the sides and front of the
cranium) are accurately separated from the skull piece, and act as light
pipes, using principles similar to modern optics, to channel light from the
base of the skull to the eye sockets. The eye sockets in turn are miniature
concave lenses that also transfer light from a source below, into the upper
cranium. Finally, in the interior of the skull is a ribbon prism and tiny
light tunnels, by which objects held beneath the skull are magnified and
brightened.
Richard Garvin, who authored a book about the crystal skull, believes the
skull was designed to be placed over an upward shining beam. The result,
with the various light transfers and prismatic effects, would illuminate the
entire skull and cause the sockets to become glowing eyes. Dorland performed experiments using this technique, and reported the skull 'lights up like it was on fire.'
Still another finding about the crystal skull reveals knowledge of weights
and fulcrum points. The jaw piece fits precisely onto the skull by two
polished sockets, which allow the jaw to move up and down. The skull itself can be balanced exactly where two tiny holes are drilled on each side of its base, which probably once held suspending supports. So perfect is the balance at these points that the slightest breeze causes the skull to nod
back and forth, the jaw opening and closing as counterweight. The visual
effect is that of a living skull, talking and articulating.
The question, of course, is what purpose did this serve? was it only
designed by its artist as a clever toy or conversation piece, or, as Dorland
believes, was the talking skull meant to be used as an oracular device,
through strange phenomena associated with the crystal skull, that defy
logical explanation.
Observers have reported that, for unknown reasons, the skull will change
colour. Sometimes the frontal cranium clouds up, looking like white cotton,
while at other times it turns perfectly clear, as if the space within
disappears into an empty void. Over a period from 5 to 6 minutes, a dark
spot often begins forming on the right side and slowly blackens the entire
skull, then recedes and disappears as mysteriously as it came. Other
observers have seen strange scenes reflected in the eye sockets, scenes of
buildings and other objects, even though the skull is resting against a
black background. Still others have heard ringing noises emanating from
within, and at least on one occasion, a distinct glow from no known light
source surrounded the skull like an aura for up to six minutes.
The sum total of the skull appears to take in all five physical senses of
the brain. It changes colour and light, it emits odours, it creates sound,
it gives off sensations of heat and cold to those who touch it, even though
the crystal has always remained at a physical temperature of 70 degrees F
under all conditions, and has even produced sensations of thirst and
sometimes of taste in a few cases.
Dorland is of the opinion that what is happening in all this phenomena is
that the "crystal stimulates an unknown part of the brain, opening a dormant psychic, door to the absolute." He observes, "crystals continuously put out electric-like radio waves. Since the brain does the same thing, they
naturally interact." He has found, too, that periodic happenings in the
crystal skull are due to the positions of the sun, moon and planets in the
sky.
Researcher Marianne Zezelic agrees that the skull was primarily used to
stimulate and amplify the psychic abilities in its handlers. She observes:
Crystal serves as an accumulator of terrestial magnetism. By gazing at the
crystal, the eyes set up a harmonic relation stimulating the magnetism
collected in that portion of the brain known as the cerebellum. The
cerebellum therefore becomes a reservoir of magnetism which influences the quality of the magnetic outflow through the eyes, thus setting up a
continuous flow of magnetism between gazer and crystal. The amount of energy entering the brain eventually increases to such a proportion as to affect the poles of the brain, a region extending just above the eyes, contributing to psychic phenomena.'
Going a step further, Tom Bearden, an expert in the field of psychotronic
studies, believes that, in the hands of a skilled meditator and mental
focaliser, the crystal skull also served not only as a vehicle to transform
life field energy into electromagnetic energy and other physical effects,
but also aided in healing, by the altering of its crystalline resonance to
match that of a patient's mind and body frequencies, and affecting curing
energies on the skull that would manifest in the patient's auric field. The
skull should thus be used as an amplifier and a transmitter of psychic, (or spiritual ) and earth energy forces.
When looking at the sum total of skill and knowledge incorporated in the
Mitchell-Hedges skull, modern science is stumped as to how to explain it.
Author Richard Garvin summarised the findings in these words:
'It is virtually impossible today -- in the time when men have climbed
mountains on the moon -- to duplicate this achievement. The lenses, light
pipes, and prisms alone display a technical competence that the human race
only achieved recently. In fact, there is no one on the globe today who
could attempt to duplicate the ca rving. It would not be a question of skill, patience and time. It would simply be impossible. As one crystallographer from Hewlett-Packard said, 'the damned thing simply shouldn't be.'
But it does exist, and while we cannot explain it in terms of any known form of technology, we can explain it only as the product of a technology far advanced to our own, but which vanished and was forgotten long ago -- the harbinger of the technology of a Golden Age.