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Avebury stone circle– at one time three stone circles– is one of the most studied repositories of earth energies. At the entrance, two strategically-placed monoliths mark the exact paths of both masculine and feminine magnetic lines, which then proceed towards the center of the southeastern circle, once marked by an obelisk. The lines then roll over each other in a cosmic dance, exchanging positions as they meet at the northeast circle. Here they separate and exit through different dips along the earthen embankment.
Both lines were re-discovered in the 1960s and mapped by Broadhust and Miller, who found their crossing points met at dozens of sacred sites along the south of Britain. The two lines became known as the Michael and Mary lines, due to the disproportionate amount of post-Celtic churches built along them named after St. Michael and St. Mary. But while dowsing at one of their repositories, at St. Michael’s Mount in Cornwall, they encountered two more magnetic lines which would take them on an uncharted journey across Europe.
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The two researchers found the entry point of these two previously unknown energy lines on a lonely outcrop of basalt off the coast of Ireland called Skellig Michael, atop which sits a 2000-year old monastery. Interestingly they meet beside a Celtic cross erected by the monks.
Broadhurst and Miller followed the snaking paths and discovered the same behaviour as the Michael and Mary lines: that they intersect at dozens of ancient temples and those since built above them. They meet at mounds and dolmens, the outcrop of St. Michael's Mount built on an ancientsacred site, then across the English Channel to its French equivalent, Mont St. Michel. The lines continue their journey through Europe, connecting Gothic cathedrals, pre-Christian churches, standing stones and so on, and finally cross the MEditerranean to gather at the temples of Dodogna, Delphi, several island temples off the Grek coast, and finally the temple at Meggido, today called Armageddon.
The two lines became known as the Apollo and Athena.
Like Michael and Mary, these magnetic paths also created a perfect straight alignment from the air (a Ley Line), revealing an ancient art of deliberate alignment of temples according to the underlying energy that flowed through the land.
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That the builders of these temples were well aware of their craft is evidenced by the manner in which certain details were incorporated into the structure of each site. In stone circles, stones that stand out to the eye inevitably hold the location of the magnetic lines: the tall, slender one being masculine, the rounder one being feminine.
Later, in temples such as the imposing Mont St. Michel, the clues were left behind by Masons as details that deviated from normal building practise. Sometimes the pilgrim will see an architecturally superfluous hole in the middle of a pillar— much like the holes in stone walls in Ireland that indicate the path of a fairy line. In the subterranean Lady Chapel of Mont St. Michel— one of its original structures— the feminine line passes along the chamber and into a semi-circular chamber once used for toning. An unusual octagonal-tiled portion of the floor, almost resembling a spiral in its layout, marks the meeting place of the sacred alchemy with the masculine line.
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On a much simpler level are the tall sets of standing stones that dot northern and western Europe. These menhirs, which can stand as much as 9-feet tall, are spread just wide enough to have been touched by people of similar stature, making one wonder if the traditions associating the construction of these sites with tall people are indeed true. Certainly the skeletons of such tall people were discovered in aptly named giant’s graves.
In the Presceli hills of Wales, the source for the Stonehenge bluestones, a pair of such menhirs each mark the paths of masculine and feminine magnetic lines. Standing between them one can feel a spiral flow from pillar to pillar. Dowsing the stones reveals a flow of energy between them, in six movements, and forming an infinity symbol.
©Freddy Silva. No unauthorized reproduction.
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