From : ur-valhalla!cts.com!density4 (That 4th Density Dude)
Subj : Crystal Skulls
Date : Sat, 18 Nov 1995 21:51:36 GMT

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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 carvingit in solid crystal.

Without a doubt the most famous and enigmatic piece of ancient crystal
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 11pounds, 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 submersed 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.

From tiny patterns in the quartz near the carved surfaces, Dorland
determined the skull was first meticulously chiselled into a rough
form, probably using diamonds.  The finer shaping, grinding and
polishing, Dorland believes, was done by applying innumerable
applications of solutions of water and silicon-crystal sand.  The big
problem is, if these were the processes used, then, as Dorland
calculated, it would mean that a total of 300 man-years of continuous
labour was spent in making the skull.  We must accept this almost
unimaginable feat, or admit to the use of some form of lost technology
in the skull's creation the likes of which we have no equivalent
today.

The enigma of the skull, however, does not end with just its making.
The zygomatic 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 experimentsusing 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 counter-weight.  The visual effect is that of
aliving 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 atother 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 psychic door to the absolute.'  He observes, 'crystals continuously
put out electric-like radiowaves.  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 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 carving.  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 technology of a Golden Age.

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