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Crystal skulls are fashioned from large pieces of crystal, usually from the mineral quartz. They are often life-sized and bear the same distinguishing characteristics as a human skull with eye sockets, a nasal cavity, and a rounded cranium. The most exquisite crystal skulls have finely crafted jaws with removable mandibles.
In addition to claims of paranormal activity, controversy concerning crystal skulls centers on their origins. More than a dozen of them were claimed to have been discovered in Mexico and Central America and are dated by
their founders or those who currently possess them as being hundreds, perhaps thousands of years old. Common methods for dating artifacts can neither confirm nor refute claims about when these crystal skulls were crafted, but, generally speaking, skulls sculpted with metal tools cannot be more than a few centuries old if they originated in Mexico and Central America.
Some crystal skulls are attributed to the Mayan culture that thrived in southern Mexico and Central America during the first millennium C.E. However, as established through studies of recurring symbols, artifacts, or references in hieroglyphics, there is no known cultural tradition among the Mayans that relate to crystal skulls or any kind of skull worship or fascination. There is some evidence of skulls being symbolically important in Aztec culture, which flourished earlier and further north than Mayan civilization, yet there are far fewer claims among crystal skull enthusiasts that connect the objects to Aztec culture. Radio-carbon testing is not applicable to crystal, because the method works only on previously animate objects.
Crystal skulls are credited by believers for having the ability to awaken human consciousness to a higher level of being. Some people assert that they experience a psychic connection when viewing a crystal skull, and commonly declare that they were infused with positive energy. Skulls of quartz crystal, like other quartz objects, are believed by mystic crystal enthusiasts to have the ability to record events, thoughts, and emotions that occur in their presence.
Some believers in mystical qualities of crystals credit ancient peoples with having crafted crystal skulls. According to them, ancients used the skulls to predict the future, to control the weather, as healing devices, as oracles to receive cosmic wisdom, as receivers of universal knowledge, and as a tool meant for future use to gain divine knowledge.
There is a crystal skull on display at the London Museum of Mankind, and the Paris Crystal Skull is on display at the Trocadero Museum. Both skulls can be traced back to Mexico, where records show they were purchased in the 1890s. The London Museum acquired its skull through Tiffanys of New York in 1898. Tests conducted in 1995 revealed scratches from steel tools, perhaps a jeweler's wheel, confirming the skull must be of modern origin. The date of the skull was moved from ancient Aztec times to the more recent period after the Spanish conquest of Mexico in 1520. Night workers at the museum reportedly refused to work near the skull unless it was covered, citing vibrations, colors appearing in the skull, or a simple association of skulls and death.
The Amethyst Crystal Skull and the Mayan Crystal Skull were found in Guatemala in the early 1900s. The latter skull received its name because it was found at the site of Mayan ruins. "Maya" is kept by a psychic who uses the skull to assist her in readings.
Two skulls exhibit particularly exquisite craftsmanship. The Rose Quartz Crystal Skull, found along the Guatemala-Honduras border, includes removable mandibles, as does the Mitchell-Hedges skull, the most famous and notorious of crystal skulls. Named after its founders and keepers, F. A. Mitchell-Hedges (1882–1959) and his daughter Anna (1910– ), it is considered the finest example of a crystal skull. Fashioned from clear quartz, the Mitchell-Hedges Crystal Skull is realistic in size (the cranium approximates that of an average female adult), and its jaws were formed from the same piece of crystal as the skull. The jaws fit neatly into sockets and maintain a perfect balance with the skull.
The two biggest mysteries of the Mitchell-Hedges skull concern the craftsmanship used to make it and the story surrounding its discovery. The skull is believed to have been formed from a large block of crystal that was carved into a rough shape of a skull and then smoothed into its final shape with water and a solution of silicon-crystal sand or, perhaps, through some unknown technology. There are no scratches on the Mitchell-Hedges skull that would indicate the work of metal tools. Shafts within the skull are said to channel light from the base of the skull to the eye sockets in a manner similar to modern optic technology, and the sockets have concave forms that reflect light to the upper cranium. Internal prisms and light tunnels are believed to be the reason why objects are magnified and brightened when held beneath the skull.
Like other crystal skulls, the Mitchell-Hedges skull reportedly changes color, sometimes clouding up white, and other times growing from a small patch of black to intensely black. Many of those who have viewed it report strange visions when looking in, and some have detected a faint hum or a scent. Like other mystical crystal objects, the Mitchell-Hedges version has been reputed to have oracular and healing powers, to be able to accumulate natural magnetism, and to amplify and transmit energy. Its keeper and early publicist, F. A. Mitchell-Hedges, also claimed it had the power to kill, citing several of his enemies who died before he did.
Mitchell-Hedges was an explorer and gambler who wrote books about his searches for remnants of lost tribes and the lost continent of Atlantis (Lands of Wonder and Fear, 1931) as well as his encounters with sea monsters (Battles with Giant Fish, 1923, and Battles with Monsters of the Sea, 1937). In 1927, Mitchell-Hedges and his daughter Anna were clearing debris atop a temple in the ancient Mayan city of Lubaantum (modern-day Belize) when Anna discovered what became known as the Mitchell-Hedges Crystal Skull on her seventeenth birthday. Weeks later, near the same site, she found the jaw of the skull.
Mitchell-Hedges did not publicize the skull until 1943, when he began referring to it as the Skull of Doom and claimed it was 3,600 years old. Curiously, he barely mentioned the skull in his autobiography, Danger, My Ally (1954). After he died in 1959, daughter Anna became the keeper of the skull.
It is now generally accepted that Anna Mitchell-Hedges did not discover the fabled crystal skull in the ruins of a Mayan city in 1927, but Mitchell-Hedges bought the artifact at an auction at Sothebys in London in 1943. Such claims have been verified by records at the British Museum, which had bid against Mitchell-Hedges for ownership of the object.
In 1970, the Mitchell-Hedges skull was examined by art conservator and restorer Frank Dorland. He claimed to have seen a spirit after studying the skull late at night in his home. According to Dorland, tests conducted at Hewlitt-Packard laboratories in Santa Clara, California, vouched for its craftsmanship including an absence of scars that would indicate metal tool work, and evidence that it was cut against the crystal axis. The validity of the tests has been questioned, as has the whole story of how the Mitchell-Hedges Crystal Skull was found and how far back it dates.
Jo Ann and Carl Parks became owners of the famous Texas Crystal Skull, whom they affectionately call Max, in 1980 when a Tibetan healer bestowed the artifact on them in payment of a debt. Admittedly unaware at first of the significance of this object, Carl and Jo Ann, residents of Houston, placed the skull in a closet for the next seven years. Not until they came into contact with F. R. "Nick" Nocerino of Pinole, California, one of the world's foremost authorities of crystal skulls and director of the Society of Crystal Skulls, did they learn what an important artifact it was. Nocerino had been searching for that skull since the 1940s. He knew of its existence, but its actual location had sent him on a quest that had led him around the world.
Of the 13 crystal skulls known to researchers that are the actual true size of a human head, Max is the largest, weighing 18 pounds compared to the others, which weigh nine to 11 pounds. Max was found in a Mayan tomb at a site in Guatemala, and it has been estimated that Max came from a 50-to-60-pound piece of crystal that was more than a half a million years old. Other than Max and the crystal skull owned by Anna Mitchell-Hedges of Canada, all the others, each differing somewhat in size and detail, are held in museums or private collections.
People claim that being in Max's proximity provokes images and visions within them.
They believe to see scenes from the past history of Earth, and frequently they perceive UFO-related scenes and messages. "Whether you believe any of that or not, if you simply look at the artifact on a scientific and archaeological level, you cannot help being over-whelmed and awed at the skilled worksmanship that was involved in creating him," Jo Ann Parks has commented.
The British Crystal Skull on display at the London Museum of Mankind is considered to be a nineteenth-century artifact. Scientists, at least, are convinced that all evidence weighs toward recent origins of all crystal skulls. Until convincing evidence that a known civilization venerated such an object, or that crystal skulls are remnants of a vanished civilization, belief in special qualities of the skulls are in the minds of beholders of mysticism.
Many works and objects that are found worldwide makes the most renowned scholars and researchers crazy to study their mysteries, just as some of these artifacts could not have been made at the time they were created.
One of the most mysterious objects that have been found are the Crystal Skulls. Thirteen pieces that intrigued many scholars around the world.
During the course of the last century, archaeologists found several skulls made of crystal in different parts of the world. Each was carved from a single piece of crystal, but the details in each one cause they are a mystery with no answer, for only with a current technology could be manufactured as perfect a piece.
Each of the skulls weighs 5 pounds and measures 13 cm by 18 cm deep and 13 cm wide. The details of each piece is intriguing science, because the complexity of them is amazing, some of the skulls even have moving jaws that moves with an incredible lightness, so that the precision of its construction is only achieved today with more advanced machines.
Still there is a bigger mystery surrounding these skulls, which can be considered unexplained so amazing, something that not even study and current technologies are capable of responding.
Inside the skull there are three-dimensional holographic images, which recently was dominated by humans. Thus how could a people who lived thousands of years ago have inserted in these works such kind of images?
This is a question for which there is simply no answers, not even an explanation that is the least plausible.
The lack of a logical explanation meant that the researcher Joshua Shapiro, tried a new approach to the skulls. For this he enlisted the help of psychics, which capture the energy that exists on the skulls to try to answer questions that science does not know the answer.
Strange as this attempt may seem, there may be a certain logic. According to the chemist Don Robins, the crystals have a certain energy that is released at the touch of a human being, and has information that can be deciphered.
“Paranormal whom we have worked with say that the skulls were human bone initially and they turned into crystals by the power of the mind. They still believe that the skulls are connected in some way the people living inside the Earth”, revealed Joshua.
Of course this is still unattainable, but who knows one day be possible to discover what information and keep these stones because they have a system that makes the light hitting on them is sent through the mouth and eyes, as if each of these skulls were a part of a larger scheme involving all of them.
Finally, several mysteries surrounding the crystal skulls, but the answers to all questions around these stones is beyond human reach.
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Patchwork Merchant Mercenaries had its humble beginnings as an idea of a few artisans and craftsmen who enjoy performing with live steel fighting. As well as a patchwork quilt tent canvas. Most had prior military experience hence the name.
Patchwork Merchant Mercenaries.
Vendertainers that brought many things to a show and are know for helping out where ever they can.
As well as being a place where the older hand made items could be found made by them and enjoyed by all.
We expanded over the years to become well known at what we do. Now we represent over 100 artisans and craftsman that are well known in their venues and some just starting out. Some of their works have been premiered in TV, stage and movies on a regular basis.
Specializing in Medieval, Goth , Stage Film, BDFSM and Practitioner.
Patchwork Merchant Mercenaries a Dept of, Ask For IT was started by artists and former military veterans, and sword fighters, representing over 100 artisans, one who made his living traveling from fair to festival vending medieval wares. The majority of his customers are re-enactors, SCAdians and the like, looking to build their kit with period clothing, feast gear, adornments, etc.
Likewise, it is typical for these history-lovers to peruse the tent (aka mobile store front) and, upon finding something that pleases the eye, ask "Is this period?"
A deceitful query!! This is not a yes or no question. One must have a damn good understanding of European history (at least) from the fall of Rome to the mid-1600's to properly answer. Taking into account, also, the culture in which the querent is dressed is vitally important. You see, though it may be well within medieval period, it would be strange to see a Viking wearing a Caftan...or is it?
After a festival's time of answering weighty questions such as these, I'd sleep like a log! Only a mad man could possibly remember the place and time for each piece of kitchen ware, weaponry, cloth, and chain within a span of 1,000 years!! Surely there must be an easier way, a place where he could post all this knowledge...
Traveling Within The World is meant to be such a place. A place for all of these artists to keep in touch and directly interact with their fellow geeks and re-enactment hobbyists, their clientele.
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