Ursi's Eso Garden

Vajra Weavers:
Working on the physical, emotional and mental bodies and aligning them back to their perfect divine nature. This sacred tool is used like a pendulum - simply hold it over anything or anyone, clear your mind and allow the Etheric Weaver to spin freely as it works to realign the Etheric Field and transmute any negativity, aligning the individual to the Soul, also known as Buddha Nature.

Much more than just a crystal, the Etheric Weaver can be handed to anyone to use for their own self-healing or meditation and constantly cleans itself energetically.

Etheric Weaver

The physical changes documented in crop circle plants by Michigan biophysicist W.C. Levengood have been determined by evaluating hundreds of sample plants -- both downed and standing -- taken from inside the overall perimeter of each formation against hundreds of control plants taken at varying distances outside each formation, in several directions. More than 250 individual crop formations from multiple countries, over a 10-year period were examined in-depth. Although many of the formations studied were relatively "simple" in overall design and/or relatively "small" in overall size, many larger and more "complex" formations -- those whose overall design included intricate geometric shapes with multiple design elements of varying sizes -- are represented here.

THE Hermetic Mystery- upon the higher interpretation of which I have spoken at considerable length in the previous paper and have created an analogy between its hidden meaning and that which I should term the centre of the Religions Mystery in Christendom- is the only branch of mystic and occult literature which lent itself to the decorative sense. I suppose that there are few people comparatively who at this day have any notion of the extent to which that sense was developed in the books of the adepts. It will be understood that in speaking now upon this subject I am leaving my proper path, but though the fact does not seem to have been registered, it is so utterly curious to note how a literature which is most dark and inscrutable of all has at the same time its lighter side- a side, indeed, of pleasant inventions, of apologue, of parable, of explicit enigma, above all of poetry. The fact is that alchemy presented itself as an art, its books were the work of artists; and for the sympathetic reader, even when he may understand them least, they will read sometimes like enchanting fables or legends. When in this manner some of the writers had exhausted their resources in language, they had recourse to illustrations, and I wonder almost that no one has thought to collect the amazing copper-plates which literally did adorn the Latin and other tracts of the seventeenth century.

‘The Green Man’, a name coined by Lady Raglan in 1939, is a mediaeval image usually found in churches. Carved in stone or wood, depicted on stained glass, illuminated manuscripts and where else, he can be recognised as a face, often grotesque, with foliage sprouting from his mouth, nose, eyes or ears. Alternatively, he may be a face composed entirely of leaves. Exterior or interior, he features on capitals, corbels, choir stalls, bench ends, fonts, screens, roof bosses - indeed, any surface open to ornamentation.

The Green Man is one of the commonest decorative motifs which we can put a name to, yet there is very little indication of its meaning. We know what an angel is; we know what a mermaid and a dragon are but we know almost nothing about the face made out of leaves.

The Search for the Green Man
by Nigel Rushbrook.

Many pictures from the Green Man in Canterbury, Kent, Devon and Green Man Curiosities.

Many pictures from the Green Man in Bremen, Köln, Dessau, Erfurt, Frabkfurt and more.

A sequence of medieval Heads-with-Leaves (aka Green Men, Foliate Heads etc.) from Chester Cathedral, UK; filmed by Sabrina Eden with music by Sedayne.

For more see:
Heads with Leaves

Many pictures and 6 clips at the bottom of the page.