Senzacapelli Sphynx Cattery

Canada

Consumer reviews about Senzacapelli Sphynx Cattery

Brian Forester

Jul 2, 2012

Amazing Cats

Amazing cats from Senza Capelli. Friendly, outgoing, playful and cute as cute can be. What a please it is to have a Senza Capelli kitten as a loving pet.

Shamoon Abudir

Jul 9, 2012

Dedication to Beautiful Cats

Hi Susan,

Thank-you so much for our recent additions to our family. With us both working in the veterinary field we do see a lot of kittens. We have never been happier with the purchase of our 2 new kittens. They have been a huge pleasure for the entire family. Their health and disposition is PURR-FECT! They have brought us hours of entertainment. Your socialization before we got them is great. They are not shy or timid with company, or when we take them to work at the veterinary hospital.
I want to Thank-you from our hearts for these two perfect angels. I am attaching a few images we have of them and if you want we can send more as
they grow

Shamoon Abudir

Jul 9, 2012

Beautiful Kittens from a Beautiful Lady

Apparently someone named Carrie Hallum who lives in Western canada has been slamming breeders such as SenzaCapelli, Beeblebrox, Wizardgate, And LaDiva Crimson Rose. Don't pay any attention to this as it is all bogus. The same complaint has been posted against all of these breeders. I would suggest you contact them if you see this. They are jointly filing a complaint for loss of business against Carrie Hallum.

LeslieJ

Mar 4, 2013

Senzacapelli Sphynx

I really can't thank you enough for helping me adopt the greatest cat that ever was or will be. She's so sweet and cuddly and surprisingly trainable for a gal her age - I've taught her to sit on command and we're working on giving high-fives! She's getting along great with the kitten I adopted, he's about 5 1/2 months old now and it's so endearing to see them play, eat and sleep together. But - I think next time I'm in need of a companion I will definitely be calling you - I am SOOO allergic to the furry guy it's unbelievable! He gets brushed every day, a bath once a month and I'm constantly vacuuming... but you just can't beat the convenience of not having to deal with the fur at all.I got my Sphynx cat from Susan almost 12 yrs ago. My Sphynx is the love of my life. The Sphynx is a wonderful breed: affectionate and intelligent. They love people and must have lots of attention. Senza Capelli is a very reputable Sphynx breeder. I have seen Susan's home; it is spotless. I believe she takes the business of Sphynx breeding seriously. It is a big part of her life.I really can't thank you enough for helping me adopt the greatest cat that ever was or will be. She's so sweet and cuddly and surprisingly trainable for a gal her age - I've taught her to sit on command and we're working on giving high-fives! She's getting along great with the kitten I adopted, he's about 5 1/2 months old now and it's so endearing to see them play, eat and sleep together. But - I think next time I'm in need of a companion I will definitely be calling you - I am SOOO allergic to the furry guy it's unbelievable! He gets brushed every day, a bath once a month and I'm constantly vacuuming... but you just can't beat the convenience of not having to deal with the fur at all.I got my Sphynx cat from Susan almost 12 yrs ago. My Sphynx is the love of my life. The Sphynx is a wonderful breed: affectionate and intelligent. They love people and must have lots of attention. Senza Capelli is a very reputable Sphynx breeder. I have seen Susan's home; it is spotless. I believe she takes the business of Sphynx breeding seriously. It is a big part of her life.I really can't thank you enough for helping me adopt the greatest cat that ever was or will be. She's so sweet and cuddly and surprisingly trainable for a gal her age - I've taught her to sit on command and we're working on giving high-fives! She's getting along great with the kitten I adopted, he's about 5 1/2 months old now and it's so endearing to see them play, eat and sleep together. But - I think next time I'm in need of a companion I will definitely be calling you - I am SOOO allergic to the furry guy it's unbelievable! He gets brushed every day, a bath once a month and I'm constantly vacuuming... but you just can't beat the convenience of not having to deal with the fur at all.I got my Sphynx cat from Susan almost 12 yrs ago. My Sphynx is the love of my life. The Sphynx is a wonderful breed: affectionate and intelligent. They love people and must have lots of attention. Senza Capelli is a very reputable Sphynx breeder. I have seen Susan's home; it is spotless. I believe she takes the business of Sphynx breeding seriously. It is a big part of her life.

Joe Mycowski

Mar 5, 2013

Senzacapelli Sphynx Cats

Greg Stow

Mar 5, 2013

Senzacapelli Sphynx Cats

Ren has been a wonderful addition to my family. My nephew and niece adore her and are constantly inviting their friends to play with her. The first night she was with me, she curled up under my chin, put her face on my cheek and promptly fell asleep. She's absolutely adorable! She's very playful and super friendly and boy can she purr up a storm !

I had absolutely no problems getting her to use her litter. I took her to New York and she would come sit in the hotel lobby with me and was on best behaviour. She would even let me know when she needed to use her litter and wait till we got up to the room. Peoples reactions to her were brilliant! And I'm pretty sure there are a few who are now going to get a sphynx kitten after having met her.

She's constantly wanting to cuddle and such a smart little girl. I even taught her how to kiss ! She rubs her nose on yours and sometimes gives you a quick lick ;) . She follows me everywhere around the house . . she's almost like a dog in a cats body only better. Thank you Susan, for giving me such a wonderful, beautiful , healthy, playful , adorable kitten. She's charmed the pants off everyone who's met her.

For anyone out there thinking of getting one . . I highly recommend getting one from Susan. They're not as high maintenance as people would have you believe. Yes, you have to bath them once a week, and they are more delicate than other cats. But they're absolutely wonderful ! And Susan has been brilliant :)

Once again, Thanks Susuan :)
LouLou

Greg Stow

Mar 5, 2013

susan monteleone of Senza Capelli

Lynne Macintyre

Mar 5, 2013

senza capelli

In 2003 I bought a blue Sphynx kitten from you. I named her Venus (for the blue planet) and purchased her as a sister to Galaxy (orange) who was 11/2 yrs older. Susan, I want you to know of the unlimited joy that Venus brought into our lives. I'm wheelchair bound and my husband is retired. Our cats are our everything. They rule the household. We are here to serve them. We have only spent one night apart from them and that was because of our granddaughter's wedding. Even then, I had my daughter come to Orillia to cat sit them. Our girls are exceptionally intelligent and programmed. They know treat time, bedtime, leash time. They have total run of the house and spend much of their time riding on someone's shoulders. We live on beautiful Lake Simcoe so they enjoy the dock, gardens, but always on a leash. I thank you again for making our lives so much fuller.

Shelly M

Mar 6, 2013

senza capelli

I would like to say that this breeder goes above and beyond. I did NOT get my cat from susan which makes this even more wonderful. My boy had a really nast y rash and sores. I contacted her on facebook and she gave me a diet and some recommendations on what to give my boy. I had been to the vet on numerous occassions and nothing seemed to help him. But she told me what to do and in 24 hours i had already noticed a difference. I know she is trained in holistic health but she gave me this information and never asked for any compensation for her knowledge. I think that shows a true love of the breed. I told her i might want a new kitten in the future and she told me that she would be happy to sell me a kitten but she also recommended other breeders who she thought were doing all the right things, Beeblebrox Sphynx was one of them. Thank you again Susan

Lodebearing wall

Mar 6, 2013

senza capelli amazing cats

got a kitten from Susan M about a year ago. This little girl has added so much joy to our life. Thank you Susan for this little gift of joy in our life. Our kitten was well socialized when we received her and she was trained perfectly. We had some questions along the way and Susan was always very quick to answer phone and email questions. We are getting ready to add another addition to our family and are on Susan's wait list for the upcoming litter in June. We just can't wait to see what our next little sphynx will be like.

Lodebearing wall

Mar 6, 2013

senza capelli amazing cats

Paul B

Mar 7, 2013

senza capelli

ItsJustMeYouSillyGoose

Mar 8, 2013

Senzacapelli

I want to say I am happy with my cat. I have had a great joy raising this kitten. Friendly and happy. I wasn't sure at first about having a cat cause i have alergies but things worked out well. I bath Sydney every couple weeks and all seems to be great. I wold recomend this breeder any day.

craftsy betty

Mar 10, 2013

senza capelli nice kittens

Pretty kittens on your page Susan. I have always loved looking at your site. Dorby is 7 now, and is still the love of our lives. We are thinking of a new kitten soon, a friend to keep Dorby young. You have been wonderful Susan. I sent you an email today asking you about your new litter. I sure hope we can get something soon.

Miu Hartack

Mar 11, 2013

Senza capelli kittens

I have kitten from this cattery. My cat is nice and I love her so much. We always take our cat for walk on harness and she love the neighborhood. She like to chase mice too, the furry kind. I buy lazer and she chase it around the house. Very playful, very friendly. I never think I like cats as much as I like sphynx. Really is a pleasure to have met this breeder. She very nice lady.

cindy steward

Mar 12, 2013

senza capelli

I would like to commend Susan on her kittens. They are so friendly and well socialized. I have two of her kittens and she gave me the honour of breeding last one before I fixed her as a pet. I sure learned quickly that it isn't easy to raise kittens. I did have some sniffles and eye issues but she gave me some natural remedies and they turned out to be healthy happy little sphynx.
Susan asked nothing in return and was more than happy to help me every step of the way. I kept one of the kittens for a pet so now we are a family of four sphynx cats and they are all doing amazingly well.
No expense was spared in helping me raise my babies.
I would leave a message and get an answer immediately.
I really don't know what I can say except that Susan is exceptional. And by the way, she is NOT Susan Capelli, that is a breeder out west.
Hats off to someone who has such a love for these cats. And for those who have anything negative to say, I would tell them to speak to Susan and find out just how wonderful she is. She has the respect of the Sphynx community. After all, if it wasn't for people like Susan who took the time to develop the breed and get them accepted in CFA, we wouldnt be where we are today. Judges are respectful of Susan. And I have a kitten from Carol at Pretty Bald. Susan got Carol started in Sphynx and she is the most successful breeder to this date with many national winning cats and awards.
Cynthia

cindy steward

Mar 12, 2013

Senzacapelli Sphynx Cats

When Mark Lehner was a teenager in the late 1960s, his parents introduced him to the writings of the famed clairvoyant Edgar Cayce. During one of his trances, Cayce, who died in 1945, saw that refugees from the lost city of Atlantis buried their secrets in a hall of records under the Sphinx and that the hall would be discovered before the end of the 20th century.

In 1971, Lehner, a bored sophomore at the University of North Dakota, wasn’t planning to search for lost civilizations, but he was “looking for something, a meaningful involvement.” He dropped out of school, began hitchhiking and ended up in Virginia Beach, where he sought out Cayce’s son, Hugh Lynn, the head of a holistic medicine and paranormal research foundation his father had started. When the foundation sponsored a group tour of the Giza plateau—the site of the Sphinx and the pyramids on the western outskirts of Cairo—Lehner tagged along. “It was hot and dusty and not very majestic,” he remembers.

Still, he returned, finishing his undergraduate education at the American University of Cairo with support from Cayce’s foundation. Even as he grew skeptical about a lost hall of records, the site’s strange history exerted its pull. “There were thousands of tombs of real people, statues of real people with real names, and none of them figured in the Cayce stories,” he says.

Lehner married an Egyptian woman and spent the ensuing years plying his drafting skills to win work mapping archaeological sites all over Egypt. In 1977, he joined Stanford Research Institute scientists using state-of-the-art remote-sensing equipment to analyze the bedrock under the Sphinx. They found only the cracks and fissures expected of ordinary limestone formations. Working closely with a young Egyptian archaeologist named Zahi Hawass, Lehner also explored and mapped a passage in the Sphinx’s rump, concluding that treasure hunters likely had dug it after the statue was built.

No human endeavor has been more associated with mystery than the huge, ancient lion that has a human head and is seemingly resting on the rocky plateau a stroll from the great pyramids. Fortunately for Lehner, it wasn’t just a metaphor that the Sphinx is a riddle. Little was known for certain about who erected it or when, what it represented and precisely how it related to the pharaonic monuments nearby. So Lehner settled in, working for five years out of a makeshift office between the Sphinx’s colossal paws, subsisting on Nescafé and cheese sandwiches while he examined every square inch of the structure. He remembers “climbing all over the Sphinx like the Lilliputians on Gulliver, and mapping it stone by stone.” The result was a uniquely detailed picture of the statue’s worn, patched surface, which had been subjected to at least five major restoration efforts since 1,400 B.C. The research earned him a doctorate in Egyptology at Yale.

Recognized today as one of the world’s leading Egyptologists and Sphinx authorities, Lehner has conducted field research at Giza during most of the 37 years since his first visit. (Hawass, his friend and frequent collaborator, is the secretary general of the Egyptian Supreme Council of Antiquities and controls access to the Sphinx, the pyramids and other government-owned sites and artifacts.) Applying his archaeological sleuthing to the surrounding two-square-mile Giza plateau with its pyramids, temples, quarries and thousands of tombs, Lehner helped confirm what others had speculated—that some parts of the Giza complex, the Sphinx included, make up a vast sacred machine designed to harness the power of the sun to sustain the earthly and divine order. And while he long ago gave up on the fabled library of Atlantis, it’s curious, in light of his early wanderings, that he finally did discover a Lost City.

The Sphinx was not assembled piece by piece but was carved from a single mass of limestone exposed when workers dug a horseshoe-shaped quarry in the Giza plateau. Approximately 66 feet tall and 240 feet long, it is one of the largest and oldest monolithic statues in the world. None of the photos or sketches I’d seen prepared me for the scale. It was a humbling sensation to stand between the creature’s paws, each twice my height and longer than a city bus. I gained sudden empathy for what a mouse must feel like when cornered by a cat.

Nobody knows its original name. Sphinx is the human-headed lion in ancient Greek mythology; the term likely came into use some 2,000 years after the statue was built. There are hundreds of tombs at Giza with hieroglyphic inscriptions dating back some 4,500 years, but not one mentions the statue. “The Egyptians didn’t write history,” says James Allen, an Egyptologist at Brown University, “so we have no solid evidence for what its builders thought the Sphinx was....Certainly something divine, presumably the image of a king, but beyond that is anyone’s guess.” Likewise, the statue’s symbolism is unclear, though inscriptions from the era refer to Ruti, a double lion god that sat at the entrance to the underworld and guarded the horizon where the sun rose and set.

The face, though better preserved than most of the statue, has been battered by centuries of weathering and vandalism. In 1402, an Arab historian reported that a Sufi zealot had disfigured it “to remedy some religious errors.” Yet there are clues to what the face looked like in its prime. Archaeological excavations in the early 19th century found pieces of its carved stone beard and a royal cobra emblem from its headdress. Residues of red pigment are still visible on the face, leading researchers to conclude that at some point, the Sphinx’s entire visage was painted red. Traces of blue and yellow paint elsewhere suggest to Lehner that the Sphinx was once decked out in gaudy comic book colors.

For thousands of years, sand buried the colossus up to its shoulders, creating a vast disembodied head atop the eastern edge of the Sahara. Then, in 1817, a Genoese adventurer, Capt. Giovanni Battista Caviglia, led 160 men in the first modern attempt to dig out the Sphinx. They could not hold back the sand, which poured into their excavation pits nearly as fast as they could dig it out. The Egyptian archaeologist Selim Hassan finally freed the statue from the sand in the late 1930s. “The Sphinx has thus emerged into the landscape out of shadows of what seemed to be an impenetrable oblivion,” the New York Times declared.

The question of who built the Sphinx has long vexed Egyptologists and archaeologists. Lehner, Hawass and others agree it was Pharaoh Khafre, who ruled Egypt during the Old Kingdom, which began around 2,600 B.C. and lasted some 500 years before giving way to civil war and famine. It’s known from hieroglyphic texts that Khafre’s father, Khufu, built the 481-foot-tall Great Pyramid, a quarter mile from where the Sphinx would later be built. Khafre, following a tough act, constructed his own pyramid, ten feet shorter than his father’s, also a quarter of a mile behind the Sphinx. Some of the evidence linking Khafre with the Sphinx comes from Lehner’s research, but the idea dates back to 1853.

That’s when a French archaeologist named Auguste Mariette unearthed a life-size statue of Khafre, carved with startling realism from black volcanic rock, amid the ruins of a building he discovered adjacent to the Sphinx that would later be called the Valley Temple. What’s more, Mariette found the remnants of a stone causeway—a paved, processional road—connecting the Valley Temple to a mortuary temple next to Khafre’s pyramid. Then, in 1925, French archaeologist and engineer Emile Baraize probed the sand directly in front of the Sphinx and discovered yet another Old Kingdom building—now called the Sphinx Temple—strikingly similar in its ground plan to the ruins Mariette had already found.

Despite these clues that a single master building plan tied the Sphinx to Khafre’s pyramid and his temples, some experts continued to speculate that Khufu or other pharaohs had built the statue. Then, in 1980, Lehner recruited a young German geologist, Tom Aigner, who suggested a novel way of showing that the Sphinx was an integral part of Khafre’s larger building complex. Limestone is the result of mud, coral and the shells of plankton-like creatures compressed together over tens of millions of years. Looking at samples from the Sphinx Temple and the Sphinx itself, Aigner and Lehner inventoried the different fossils making up the limestone. The fossil fingerprints showed that the blocks used to build the wall of the temple must have come from the ditch surrounding the Sphinx. Apparently, workmen, probably using ropes and wooden sledges, hauled away the quarried blocks to construct the temple as the Sphinx was being carved out of the stone.

That Khafre arranged for construction of his pyramid, the temples and the Sphinx seems increasingly likely. “Most scholars believe, as I do,” Hawass wrote in his 2006 book, Mountain of the Pharaohs, “that the Sphinx represents Khafre and forms an integral part of his pyramid complex.”

But who carried out the backbreaking work of creating the Sphinx? In 1990, an American tourist was riding in the desert half a mile south of the Sphinx when she was thrown from her horse after it stumbled on a low mud-brick wall. Hawass investigated and discovered an Old Kingdom cemetery. Some 600 people were buried there, with tombs belonging to overseers—identified by inscriptions recording their names and titles—surrounded by the humbler tombs of ordinary laborers.

Near the cemetery, nine years later, Lehner discovered his Lost City. He and Hawass had been aware since the mid-1980s that there were buildings at that site. But it wasn’t until they excavated and mapped the area that they realized it was a settlement bigger than ten football fields and dating to Khafre’s reign. At its heart were four clusters of eight long mud-brick barracks. Each structure had the elements of an ordinary house—a pillared porch, sleeping platforms and a kitchen—that was enlarged to accommodate around 50 people sleeping side by side. The barracks, Lehner says, could have accommodated between 1,600 to 2,000 workers—or more, if the sleeping quarters were on two levels. The workers’ diet indicates they weren’t slaves. Lehner’s team found remains of mostly male cattle under 2 years old—in other words, prime beef. Lehner thinks ordinary Egyptians may have rotated in and out of the work crew under some sort of national service or feudal obligation to their superiors.

This past fall, at the behest of “Nova” documentary makers, Lehner and Rick Brown, a professor of sculpture at the Massachusetts College of Art, attempted to learn more about construction of the Sphinx by sculpting a scaled-down version of its missing nose from a limestone block, using replicas of ancient tools found on the Giza plateau and depicted in tomb paintings. Forty-five centuries ago, the Egyptians lacked iron or bronze tools. They mainly used stone hammers, along with copper chisels for detailed finished work.

Bashing away in the yard of Brown’s studio near Boston, Brown, assisted by art students, found that the copper chisels became blunt after only a few blows before they had to be resharpened in a forge that Brown constructed out of a charcoal furnace. Lehner and Brown estimate one laborer might carve a cubic foot of stone in a week. At that rate, they say, it would take 100 people three years to complete the Sphinx.

Exactly what Khafre wanted the Sphinx to do for him or his kingdom is a matter of debate, but Lehner has theories about that, too, based partly on his work at the Sphinx Temple. Remnants of the temple walls are visible today in front of the Sphinx. They surround a courtyard enclosed by 24 pillars. The temple plan is laid out on an east-west axis, clearly marked by a pair of small niches or sanctuaries, each about the size of a closet. The Swiss archaeologist Herbert Ricke, who studied the temple in the late 1960s, concluded the axis symbolized the movements of the sun; an east-west line points to where the sun rises and sets twice a year at the equinoxes, halfway between midsummer and midwinter. Ricke further argued that each pillar represented an hour in the sun’s daily circuit.

Lehner spotted something perhaps even more remarkable. If you stand in the eastern niche during sunset at the March or September equinoxes, you see a dramatic astronomical event: the sun appears to sink into the shoulder of the Sphinx and, beyond that, into the south side of the Pyramid of Khafre on the horizon. “At the very same moment,” Lehner says, “the shadow of the Sphinx and the shadow of the pyramid, both symbols of the king, become merged silhouettes. The Sphinx itself, it seems, symbolized the pharaoh presenting offerings to the sun god in the court of the temple.” Hawass concurs, saying the Sphinx represents Khafre as Horus, the Egyptians’ revered royal falcon god, “who is giving offerings with his two paws to his father, Khufu, incarnated as the sun god, Ra, who rises and sets in that temple.”

Equally intriguing, Lehner discovered that when one stands near the Sphinx during the summer solstice, the sun appears to set midway between the silhouettes of the pyramids of Khafre and Khufu. The scene resembles the hieroglyph akhet, which can be translated as “horizon” but also symbolized the cycle of life and rebirth. “Even if coincidental, it is hard to imagine the Egyptians not seeing this ideogram,” Lehner wrote in the Archive of Oriental Research. “If somehow intentional, it ranks as an example of architectural illusionism on a grand, maybe the grandest, scale.”

If Lehner and Hawass are right, Khafre’s architects arranged for solar events to link the pyramid, Sphinx and temple. Collectively, Lehner describes the complex as a cosmic engine, intended to harness the power of the sun and other gods to resurrect the soul of the pharaoh. This transformation not only guaranteed eternal life for the dead ruler but also sustained the universal natural order, including the passing of the seasons, the annual flooding of the Nile and the daily lives of the people. In this sacred cycle of death and revival, the Sphinx may have stood for many things: as an image of Khafre the dead king, as the sun god incarnated in the living ruler and as guardian of the underworld and the Giza tombs.

But it seems Khafre’s vision was never fully realized. There are signs the Sphinx was unfinished. In 1978, in a corner of the statue’s quarry, Hawass and Lehner found three stone blocks, abandoned as laborers were dragging them to build the Sphinx Temple. The north edge of the ditch surrounding the Sphinx contains segments of bedrock that are only partially quarried. Here the archaeologists also found the remnants of a workman’s lunch and tool kit—fragments of a beer or water jar and stone hammers. Apparently, the workers walked off the job.

The enormous temple-and-Sphinx complex might have been the pharaoh’s resurrection machine, but, Lehner is fond of saying, “nobody turned the key and switched it on.” By the time the Old Kingdom finally broke apart around 2,130 B.C., the desert sands had begun to reclaim the Sphinx. It would sit ignored for the next seven centuries, when it spoke to a young royal.

cindy steward

Mar 12, 2013

senzacapelli beautiful sphynx

Oh, Yess and When Mark Lehner was a teenager in the late 1960s, his parents introduced him to the writings of the famed clairvoyant Edgar Cayce. During one of his trances, Cayce, who died in 1945, saw that refugees from the lost city of Atlantis buried their secrets in a hall of records under the Sphinx and that the hall would be discovered before the end of the 20th century.

In 1971, Lehner, a bored sophomore at the University of North Dakota, wasn’t planning to search for lost civilizations, but he was “looking for something, a meaningful involvement.” He dropped out of school, began hitchhiking and ended up in Virginia Beach, where he sought out Cayce’s son, Hugh Lynn, the head of a holistic medicine and paranormal research foundation his father had started. When the foundation sponsored a group tour of the Giza plateau—the site of the Sphinx and the pyramids on the western outskirts of Cairo—Lehner tagged along. “It was hot and dusty and not very majestic,” he remembers.

Still, he returned, finishing his undergraduate education at the American University of Cairo with support from Cayce’s foundation. Even as he grew skeptical about a lost hall of records, the site’s strange history exerted its pull. “There were thousands of tombs of real people, statues of real people with real names, and none of them figured in the Cayce stories,” he says.

Lehner married an Egyptian woman and spent the ensuing years plying his drafting skills to win work mapping archaeological sites all over Egypt. In 1977, he joined Stanford Research Institute scientists using state-of-the-art remote-sensing equipment to analyze the bedrock under the Sphinx. They found only the cracks and fissures expected of ordinary limestone formations. Working closely with a young Egyptian archaeologist named Zahi Hawass, Lehner also explored and mapped a passage in the Sphinx’s rump, concluding that treasure hunters likely had dug it after the statue was built.

No human endeavor has been more associated with mystery than the huge, ancient lion that has a human head and is seemingly resting on the rocky plateau a stroll from the great pyramids. Fortunately for Lehner, it wasn’t just a metaphor that the Sphinx is a riddle. Little was known for certain about who erected it or when, what it represented and precisely how it related to the pharaonic monuments nearby. So Lehner settled in, working for five years out of a makeshift office between the Sphinx’s colossal paws, subsisting on Nescafé and cheese sandwiches while he examined every square inch of the structure. He remembers “climbing all over the Sphinx like the Lilliputians on Gulliver, and mapping it stone by stone.” The result was a uniquely detailed picture of the statue’s worn, patched surface, which had been subjected to at least five major restoration efforts since 1,400 B.C. The research earned him a doctorate in Egyptology at Yale.

Recognized today as one of the world’s leading Egyptologists and Sphinx authorities, Lehner has conducted field research at Giza during most of the 37 years since his first visit. (Hawass, his friend and frequent collaborator, is the secretary general of the Egyptian Supreme Council of Antiquities and controls access to the Sphinx, the pyramids and other government-owned sites and artifacts.) Applying his archaeological sleuthing to the surrounding two-square-mile Giza plateau with its pyramids, temples, quarries and thousands of tombs, Lehner helped confirm what others had speculated—that some parts of the Giza complex, the Sphinx included, make up a vast sacred machine designed to harness the power of the sun to sustain the earthly and divine order. And while he long ago gave up on the fabled library of Atlantis, it’s curious, in light of his early wanderings, that he finally did discover a Lost City.

The Sphinx was not assembled piece by piece but was carved from a single mass of limestone exposed when workers dug a horseshoe-shaped quarry in the Giza plateau. Approximately 66 feet tall and 240 feet long, it is one of the largest and oldest monolithic statues in the world. None of the photos or sketches I’d seen prepared me for the scale. It was a humbling sensation to stand between the creature’s paws, each twice my height and longer than a city bus. I gained sudden empathy for what a mouse must feel like when cornered by a cat.

Nobody knows its original name. Sphinx is the human-headed lion in ancient Greek mythology; the term likely came into use some 2,000 years after the statue was built. There are hundreds of tombs at Giza with hieroglyphic inscriptions dating back some 4,500 years, but not one mentions the statue. “The Egyptians didn’t write history,” says James Allen, an Egyptologist at Brown University, “so we have no solid evidence for what its builders thought the Sphinx was....Certainly something divine, presumably the image of a king, but beyond that is anyone’s guess.” Likewise, the statue’s symbolism is unclear, though inscriptions from the era refer to Ruti, a double lion god that sat at the entrance to the underworld and guarded the horizon where the sun rose and set.

The face, though better preserved than most of the statue, has been battered by centuries of weathering and vandalism. In 1402, an Arab historian reported that a Sufi zealot had disfigured it “to remedy some religious errors.” Yet there are clues to what the face looked like in its prime. Archaeological excavations in the early 19th century found pieces of its carved stone beard and a royal cobra emblem from its headdress. Residues of red pigment are still visible on the face, leading researchers to conclude that at some point, the Sphinx’s entire visage was painted red. Traces of blue and yellow paint elsewhere suggest to Lehner that the Sphinx was once decked out in gaudy comic book colors.

For thousands of years, sand buried the colossus up to its shoulders, creating a vast disembodied head atop the eastern edge of the Sahara. Then, in 1817, a Genoese adventurer, Capt. Giovanni Battista Caviglia, led 160 men in the first modern attempt to dig out the Sphinx. They could not hold back the sand, which poured into their excavation pits nearly as fast as they could dig it out. The Egyptian archaeologist Selim Hassan finally freed the statue from the sand in the late 1930s. “The Sphinx has thus emerged into the landscape out of shadows of what seemed to be an impenetrable oblivion,” the New York Times declared.

The question of who built the Sphinx has long vexed Egyptologists and archaeologists. Lehner, Hawass and others agree it was Pharaoh Khafre, who ruled Egypt during the Old Kingdom, which began around 2,600 B.C. and lasted some 500 years before giving way to civil war and famine. It’s known from hieroglyphic texts that Khafre’s father, Khufu, built the 481-foot-tall Great Pyramid, a quarter mile from where the Sphinx would later be built. Khafre, following a tough act, constructed his own pyramid, ten feet shorter than his father’s, also a quarter of a mile behind the Sphinx. Some of the evidence linking Khafre with the Sphinx comes from Lehner’s research, but the idea dates back to 1853.

That’s when a French archaeologist named Auguste Mariette unearthed a life-size statue of Khafre, carved with startling realism from black volcanic rock, amid the ruins of a building he discovered adjacent to the Sphinx that would later be called the Valley Temple. What’s more, Mariette found the remnants of a stone causeway—a paved, processional road—connecting the Valley Temple to a mortuary temple next to Khafre’s pyramid. Then, in 1925, French archaeologist and engineer Emile Baraize probed the sand directly in front of the Sphinx and discovered yet another Old Kingdom building—now called the Sphinx Temple—strikingly similar in its ground plan to the ruins Mariette had already found.

Despite these clues that a single master building plan tied the Sphinx to Khafre’s pyramid and his temples, some experts continued to speculate that Khufu or other pharaohs had built the statue. Then, in 1980, Lehner recruited a young German geologist, Tom Aigner, who suggested a novel way of showing that the Sphinx was an integral part of Khafre’s larger building complex. Limestone is the result of mud, coral and the shells of plankton-like creatures compressed together over tens of millions of years. Looking at samples from the Sphinx Temple and the Sphinx itself, Aigner and Lehner inventoried the different fossils making up the limestone. The fossil fingerprints showed that the blocks used to build the wall of the temple must have come from the ditch surrounding the Sphinx. Apparently, workmen, probably using ropes and wooden sledges, hauled away the quarried blocks to construct the temple as the Sphinx was being carved out of the stone.

That Khafre arranged for construction of his pyramid, the temples and the Sphinx seems increasingly likely. “Most scholars believe, as I do,” Hawass wrote in his 2006 book, Mountain of the Pharaohs, “that the Sphinx represents Khafre and forms an integral part of his pyramid complex.”

But who carried out the backbreaking work of creating the Sphinx? In 1990, an American tourist was riding in the desert half a mile south of the Sphinx when she was thrown from her horse after it stumbled on a low mud-brick wall. Hawass investigated and discovered an Old Kingdom cemetery. Some 600 people were buried there, with tombs belonging to overseers—identified by inscriptions recording their names and titles—surrounded by the humbler tombs of ordinary laborers.

Near the cemetery, nine years later, Lehner discovered his Lost City. He and Hawass had been aware since the mid-1980s that there were buildings at that site. But it wasn’t until they excavated and mapped the area that they realized it was a settlement bigger than ten football fields and dating to Khafre’s reign. At its heart were four clusters of eight long mud-brick barracks. Each structure had the elements of an ordinary house—a pillared porch, sleeping platforms and a kitchen—that was enlarged to accommodate around 50 people sleeping side by side. The barracks, Lehner says, could have accommodated between 1,600 to 2,000 workers—or more, if the sleeping quarters were on two levels. The workers’ diet indicates they weren’t slaves. Lehner’s team found remains of mostly male cattle under 2 years old—in other words, prime beef. Lehner thinks ordinary Egyptians may have rotated in and out of the work crew under some sort of national service or feudal obligation to their superiors.

This past fall, at the behest of “Nova” documentary makers, Lehner and Rick Brown, a professor of sculpture at the Massachusetts College of Art, attempted to learn more about construction of the Sphinx by sculpting a scaled-down version of its missing nose from a limestone block, using replicas of ancient tools found on the Giza plateau and depicted in tomb paintings. Forty-five centuries ago, the Egyptians lacked iron or bronze tools. They mainly used stone hammers, along with copper chisels for detailed finished work.

Bashing away in the yard of Brown’s studio near Boston, Brown, assisted by art students, found that the copper chisels became blunt after only a few blows before they had to be resharpened in a forge that Brown constructed out of a charcoal furnace. Lehner and Brown estimate one laborer might carve a cubic foot of stone in a week. At that rate, they say, it would take 100 people three years to complete the Sphinx.

Exactly what Khafre wanted the Sphinx to do for him or his kingdom is a matter of debate, but Lehner has theories about that, too, based partly on his work at the Sphinx Temple. Remnants of the temple walls are visible today in front of the Sphinx. They surround a courtyard enclosed by 24 pillars. The temple plan is laid out on an east-west axis, clearly marked by a pair of small niches or sanctuaries, each about the size of a closet. The Swiss archaeologist Herbert Ricke, who studied the temple in the late 1960s, concluded the axis symbolized the movements of the sun; an east-west line points to where the sun rises and sets twice a year at the equinoxes, halfway between midsummer and midwinter. Ricke further argued that each pillar represented an hour in the sun’s daily circuit.

Lehner spotted something perhaps even more remarkable. If you stand in the eastern niche during sunset at the March or September equinoxes, you see a dramatic astronomical event: the sun appears to sink into the shoulder of the Sphinx and, beyond that, into the south side of the Pyramid of Khafre on the horizon. “At the very same moment,” Lehner says, “the shadow of the Sphinx and the shadow of the pyramid, both symbols of the king, become merged silhouettes. The Sphinx itself, it seems, symbolized the pharaoh presenting offerings to the sun god in the court of the temple.” Hawass concurs, saying the Sphinx represents Khafre as Horus, the Egyptians’ revered royal falcon god, “who is giving offerings with his two paws to his father, Khufu, incarnated as the sun god, Ra, who rises and sets in that temple.”

Equally intriguing, Lehner discovered that when one stands near the Sphinx during the summer solstice, the sun appears to set midway between the silhouettes of the pyramids of Khafre and Khufu. The scene resembles the hieroglyph akhet, which can be translated as “horizon” but also symbolized the cycle of life and rebirth. “Even if coincidental, it is hard to imagine the Egyptians not seeing this ideogram,” Lehner wrote in the Archive of Oriental Research. “If somehow intentional, it ranks as an example of architectural illusionism on a grand, maybe the grandest, scale.”

If Lehner and Hawass are right, Khafre’s architects arranged for solar events to link the pyramid, Sphinx and temple. Collectively, Lehner describes the complex as a cosmic engine, intended to harness the power of the sun and other gods to resurrect the soul of the pharaoh. This transformation not only guaranteed eternal life for the dead ruler but also sustained the universal natural order, including the passing of the seasons, the annual flooding of the Nile and the daily lives of the people. In this sacred cycle of death and revival, the Sphinx may have stood for many things: as an image of Khafre the dead king, as the sun god incarnated in the living ruler and as guardian of the underworld and the Giza tombs.

But it seems Khafre’s vision was never fully realized. There are signs the Sphinx was unfinished. In 1978, in a corner of the statue’s quarry, Hawass and Lehner found three stone blocks, abandoned as laborers were dragging them to build the Sphinx Temple. The north edge of the ditch surrounding the Sphinx contains segments of bedrock that are only partially quarried. Here the archaeologists also found the remnants of a workman’s lunch and tool kit—fragments of a beer or water jar and stone hammers. Apparently, the workers walked off the job.

The enormous temple-and-Sphinx complex might have been the pharaoh’s resurrection machine, but, Lehner is fond of saying, “nobody turned the key and switched it on.” By the time the Old Kingdom finally broke apart around 2,130 B.C., the desert sands had begun to reclaim the Sphinx. It would sit ignored for the next seven centuries, when it spoke to a young royal.

cindy steward

Mar 12, 2013

senza capelli

like I said When Mark Lehner was a teenager in the late 1960s, his parents introduced him to the writings of the famed clairvoyant Edgar Cayce. During one of his trances, Cayce, who died in 1945, saw that refugees from the lost city of Atlantis buried their secrets in a hall of records under the Sphinx and that the hall would be discovered before the end of the 20th century.

In 1971, Lehner, a bored sophomore at the University of North Dakota, wasn’t planning to search for lost civilizations, but he was “looking for something, a meaningful involvement.” He dropped out of school, began hitchhiking and ended up in Virginia Beach, where he sought out Cayce’s son, Hugh Lynn, the head of a holistic medicine and paranormal research foundation his father had started. When the foundation sponsored a group tour of the Giza plateau—the site of the Sphinx and the pyramids on the western outskirts of Cairo—Lehner tagged along. “It was hot and dusty and not very majestic,” he remembers.

Still, he returned, finishing his undergraduate education at the American University of Cairo with support from Cayce’s foundation. Even as he grew skeptical about a lost hall of records, the site’s strange history exerted its pull. “There were thousands of tombs of real people, statues of real people with real names, and none of them figured in the Cayce stories,” he says.

Lehner married an Egyptian woman and spent the ensuing years plying his drafting skills to win work mapping archaeological sites all over Egypt. In 1977, he joined Stanford Research Institute scientists using state-of-the-art remote-sensing equipment to analyze the bedrock under the Sphinx. They found only the cracks and fissures expected of ordinary limestone formations. Working closely with a young Egyptian archaeologist named Zahi Hawass, Lehner also explored and mapped a passage in the Sphinx’s rump, concluding that treasure hunters likely had dug it after the statue was built.

No human endeavor has been more associated with mystery than the huge, ancient lion that has a human head and is seemingly resting on the rocky plateau a stroll from the great pyramids. Fortunately for Lehner, it wasn’t just a metaphor that the Sphinx is a riddle. Little was known for certain about who erected it or when, what it represented and precisely how it related to the pharaonic monuments nearby. So Lehner settled in, working for five years out of a makeshift office between the Sphinx’s colossal paws, subsisting on Nescafé and cheese sandwiches while he examined every square inch of the structure. He remembers “climbing all over the Sphinx like the Lilliputians on Gulliver, and mapping it stone by stone.” The result was a uniquely detailed picture of the statue’s worn, patched surface, which had been subjected to at least five major restoration efforts since 1,400 B.C. The research earned him a doctorate in Egyptology at Yale.

Recognized today as one of the world’s leading Egyptologists and Sphinx authorities, Lehner has conducted field research at Giza during most of the 37 years since his first visit. (Hawass, his friend and frequent collaborator, is the secretary general of the Egyptian Supreme Council of Antiquities and controls access to the Sphinx, the pyramids and other government-owned sites and artifacts.) Applying his archaeological sleuthing to the surrounding two-square-mile Giza plateau with its pyramids, temples, quarries and thousands of tombs, Lehner helped confirm what others had speculated—that some parts of the Giza complex, the Sphinx included, make up a vast sacred machine designed to harness the power of the sun to sustain the earthly and divine order. And while he long ago gave up on the fabled library of Atlantis, it’s curious, in light of his early wanderings, that he finally did discover a Lost City.

The Sphinx was not assembled piece by piece but was carved from a single mass of limestone exposed when workers dug a horseshoe-shaped quarry in the Giza plateau. Approximately 66 feet tall and 240 feet long, it is one of the largest and oldest monolithic statues in the world. None of the photos or sketches I’d seen prepared me for the scale. It was a humbling sensation to stand between the creature’s paws, each twice my height and longer than a city bus. I gained sudden empathy for what a mouse must feel like when cornered by a cat.

Nobody knows its original name. Sphinx is the human-headed lion in ancient Greek mythology; the term likely came into use some 2,000 years after the statue was built. There are hundreds of tombs at Giza with hieroglyphic inscriptions dating back some 4,500 years, but not one mentions the statue. “The Egyptians didn’t write history,” says James Allen, an Egyptologist at Brown University, “so we have no solid evidence for what its builders thought the Sphinx was....Certainly something divine, presumably the image of a king, but beyond that is anyone’s guess.” Likewise, the statue’s symbolism is unclear, though inscriptions from the era refer to Ruti, a double lion god that sat at the entrance to the underworld and guarded the horizon where the sun rose and set.

The face, though better preserved than most of the statue, has been battered by centuries of weathering and vandalism. In 1402, an Arab historian reported that a Sufi zealot had disfigured it “to remedy some religious errors.” Yet there are clues to what the face looked like in its prime. Archaeological excavations in the early 19th century found pieces of its carved stone beard and a royal cobra emblem from its headdress. Residues of red pigment are still visible on the face, leading researchers to conclude that at some point, the Sphinx’s entire visage was painted red. Traces of blue and yellow paint elsewhere suggest to Lehner that the Sphinx was once decked out in gaudy comic book colors.

For thousands of years, sand buried the colossus up to its shoulders, creating a vast disembodied head atop the eastern edge of the Sahara. Then, in 1817, a Genoese adventurer, Capt. Giovanni Battista Caviglia, led 160 men in the first modern attempt to dig out the Sphinx. They could not hold back the sand, which poured into their excavation pits nearly as fast as they could dig it out. The Egyptian archaeologist Selim Hassan finally freed the statue from the sand in the late 1930s. “The Sphinx has thus emerged into the landscape out of shadows of what seemed to be an impenetrable oblivion,” the New York Times declared.

The question of who built the Sphinx has long vexed Egyptologists and archaeologists. Lehner, Hawass and others agree it was Pharaoh Khafre, who ruled Egypt during the Old Kingdom, which began around 2,600 B.C. and lasted some 500 years before giving way to civil war and famine. It’s known from hieroglyphic texts that Khafre’s father, Khufu, built the 481-foot-tall Great Pyramid, a quarter mile from where the Sphinx would later be built. Khafre, following a tough act, constructed his own pyramid, ten feet shorter than his father’s, also a quarter of a mile behind the Sphinx. Some of the evidence linking Khafre with the Sphinx comes from Lehner’s research, but the idea dates back to 1853.

That’s when a French archaeologist named Auguste Mariette unearthed a life-size statue of Khafre, carved with startling realism from black volcanic rock, amid the ruins of a building he discovered adjacent to the Sphinx that would later be called the Valley Temple. What’s more, Mariette found the remnants of a stone causeway—a paved, processional road—connecting the Valley Temple to a mortuary temple next to Khafre’s pyramid. Then, in 1925, French archaeologist and engineer Emile Baraize probed the sand directly in front of the Sphinx and discovered yet another Old Kingdom building—now called the Sphinx Temple—strikingly similar in its ground plan to the ruins Mariette had already found.

Despite these clues that a single master building plan tied the Sphinx to Khafre’s pyramid and his temples, some experts continued to speculate that Khufu or other pharaohs had built the statue. Then, in 1980, Lehner recruited a young German geologist, Tom Aigner, who suggested a novel way of showing that the Sphinx was an integral part of Khafre’s larger building complex. Limestone is the result of mud, coral and the shells of plankton-like creatures compressed together over tens of millions of years. Looking at samples from the Sphinx Temple and the Sphinx itself, Aigner and Lehner inventoried the different fossils making up the limestone. The fossil fingerprints showed that the blocks used to build the wall of the temple must have come from the ditch surrounding the Sphinx. Apparently, workmen, probably using ropes and wooden sledges, hauled away the quarried blocks to construct the temple as the Sphinx was being carved out of the stone.

That Khafre arranged for construction of his pyramid, the temples and the Sphinx seems increasingly likely. “Most scholars believe, as I do,” Hawass wrote in his 2006 book, Mountain of the Pharaohs, “that the Sphinx represents Khafre and forms an integral part of his pyramid complex.”

But who carried out the backbreaking work of creating the Sphinx? In 1990, an American tourist was riding in the desert half a mile south of the Sphinx when she was thrown from her horse after it stumbled on a low mud-brick wall. Hawass investigated and discovered an Old Kingdom cemetery. Some 600 people were buried there, with tombs belonging to overseers—identified by inscriptions recording their names and titles—surrounded by the humbler tombs of ordinary laborers.

Near the cemetery, nine years later, Lehner discovered his Lost City. He and Hawass had been aware since the mid-1980s that there were buildings at that site. But it wasn’t until they excavated and mapped the area that they realized it was a settlement bigger than ten football fields and dating to Khafre’s reign. At its heart were four clusters of eight long mud-brick barracks. Each structure had the elements of an ordinary house—a pillared porch, sleeping platforms and a kitchen—that was enlarged to accommodate around 50 people sleeping side by side. The barracks, Lehner says, could have accommodated between 1,600 to 2,000 workers—or more, if the sleeping quarters were on two levels. The workers’ diet indicates they weren’t slaves. Lehner’s team found remains of mostly male cattle under 2 years old—in other words, prime beef. Lehner thinks ordinary Egyptians may have rotated in and out of the work crew under some sort of national service or feudal obligation to their superiors.

This past fall, at the behest of “Nova” documentary makers, Lehner and Rick Brown, a professor of sculpture at the Massachusetts College of Art, attempted to learn more about construction of the Sphinx by sculpting a scaled-down version of its missing nose from a limestone block, using replicas of ancient tools found on the Giza plateau and depicted in tomb paintings. Forty-five centuries ago, the Egyptians lacked iron or bronze tools. They mainly used stone hammers, along with copper chisels for detailed finished work.

Bashing away in the yard of Brown’s studio near Boston, Brown, assisted by art students, found that the copper chisels became blunt after only a few blows before they had to be resharpened in a forge that Brown constructed out of a charcoal furnace. Lehner and Brown estimate one laborer might carve a cubic foot of stone in a week. At that rate, they say, it would take 100 people three years to complete the Sphinx.

Exactly what Khafre wanted the Sphinx to do for him or his kingdom is a matter of debate, but Lehner has theories about that, too, based partly on his work at the Sphinx Temple. Remnants of the temple walls are visible today in front of the Sphinx. They surround a courtyard enclosed by 24 pillars. The temple plan is laid out on an east-west axis, clearly marked by a pair of small niches or sanctuaries, each about the size of a closet. The Swiss archaeologist Herbert Ricke, who studied the temple in the late 1960s, concluded the axis symbolized the movements of the sun; an east-west line points to where the sun rises and sets twice a year at the equinoxes, halfway between midsummer and midwinter. Ricke further argued that each pillar represented an hour in the sun’s daily circuit.

Lehner spotted something perhaps even more remarkable. If you stand in the eastern niche during sunset at the March or September equinoxes, you see a dramatic astronomical event: the sun appears to sink into the shoulder of the Sphinx and, beyond that, into the south side of the Pyramid of Khafre on the horizon. “At the very same moment,” Lehner says, “the shadow of the Sphinx and the shadow of the pyramid, both symbols of the king, become merged silhouettes. The Sphinx itself, it seems, symbolized the pharaoh presenting offerings to the sun god in the court of the temple.” Hawass concurs, saying the Sphinx represents Khafre as Horus, the Egyptians’ revered royal falcon god, “who is giving offerings with his two paws to his father, Khufu, incarnated as the sun god, Ra, who rises and sets in that temple.”

Equally intriguing, Lehner discovered that when one stands near the Sphinx during the summer solstice, the sun appears to set midway between the silhouettes of the pyramids of Khafre and Khufu. The scene resembles the hieroglyph akhet, which can be translated as “horizon” but also symbolized the cycle of life and rebirth. “Even if coincidental, it is hard to imagine the Egyptians not seeing this ideogram,” Lehner wrote in the Archive of Oriental Research. “If somehow intentional, it ranks as an example of architectural illusionism on a grand, maybe the grandest, scale.”

If Lehner and Hawass are right, Khafre’s architects arranged for solar events to link the pyramid, Sphinx and temple. Collectively, Lehner describes the complex as a cosmic engine, intended to harness the power of the sun and other gods to resurrect the soul of the pharaoh. This transformation not only guaranteed eternal life for the dead ruler but also sustained the universal natural order, including the passing of the seasons, the annual flooding of the Nile and the daily lives of the people. In this sacred cycle of death and revival, the Sphinx may have stood for many things: as an image of Khafre the dead king, as the sun god incarnated in the living ruler and as guardian of the underworld and the Giza tombs.

But it seems Khafre’s vision was never fully realized. There are signs the Sphinx was unfinished. In 1978, in a corner of the statue’s quarry, Hawass and Lehner found three stone blocks, abandoned as laborers were dragging them to build the Sphinx Temple. The north edge of the ditch surrounding the Sphinx contains segments of bedrock that are only partially quarried. Here the archaeologists also found the remnants of a workman’s lunch and tool kit—fragments of a beer or water jar and stone hammers. Apparently, the workers walked off the job.

The enormous temple-and-Sphinx complex might have been the pharaoh’s resurrection machine, but, Lehner is fond of saying, “nobody turned the key and switched it on.” By the time the Old Kingdom finally broke apart around 2,130 B.C., the desert sands had begun to reclaim the Sphinx. It would sit ignored for the next seven centuries, when it spoke to a young royal.

NoaW

Mar 15, 2013

Senza Capelli

February 28, 2013
Hello !! Just want to thank you and let you know that all is well with "the boys" that were shipped to us in Seatte, WA, in June 2008. Mr Toad (Toadie) and Mr Bare (Barry) are ALWAYS together, and we are so glad we got them both. Our dog is their favorite family member, they love, love, love him. They came out of their crates from the airport, ignoring us, they made a bee-line to our Rottie-mix, Mr Badger, as he was on a "down-stay" on the far side of the room. For a long time he would just hold very still and kept looking at us for reassurance that he was doing the right thing, but now he just gives in and licks the tops of their heads.
Miss Mouse, our tiny 9 year old female Sphinx, is tolerant of the boys, and snuggles with them, but goes out of her way to whack Mr Badger now and then.

Noemi & Noah

Wil Morse

Mar 16, 2013

Senza Capelli

But - I think next time I'm in need of a companion I will definitely be calling you - I am SOOO allergic to the furry guy it's unbelievable! He gets brushed every day, a bath once a month and I'm constantly vacuuming... but you just can't beat the convenience of not having to deal with the fur at all.I got my Sphynx cat from Susan almost 12 yrs ago. My Sphynx is the love of my life. The Sphynx is a wonderful breed: affectionate and intelligent. They love people and must have lots of attention. Senza Capelli is a very reputable Sphynx breeder. I have seen Susan's home; it is spotless. I believe she takes the business of Sphynx breeding seriously. It is a big part of her life.I really can't thank you enough for helping me adopt the greatest cat that ever was or will be. She's so sweet and cuddly and surprisingly trainable for a gal her age - I've taught her to sit on command and we're working on giving high-fives! She's getting along great with the kitten I adopted, he's about 5 1/2 months old now and it's so endearing to see them play, eat and sleep together. But - I think next time I'm in need of a companion I will definitely be calling you - I am SOOO allergic to the furry guy it's unbelievable! He gets brushed every day, a bath once a month and I'm constantly vacuuming... but you just can't beat the convenience of not having to deal with the fur at all.I got my Sphynx cat from Susan almost 12 yrs ago. My Sphynx is the love of my life. The Sphynx is a wonderful breed: affectionate and intelligent. They love people and must have lots of attention. Senza Capelli is a very reputable Sphynx breeder. I have seen Susan's home; it is spotless. I believe she takes the business of Sphynx breeding seriously. It is a big part of her life.

Wil Morse

Mar 16, 2013

senza capelli

he's constantly wanting to cuddle and such a smart little girl. I even taught her how to kiss ! She rubs her nose on yours and sometimes gives you a quick lick ;) . She follows me everywhere around the house . . she's almost like a dog in a cats body only better. Thank you Susan, for giving me such a wonderful, beautiful , healthy, playful , adorable kitten. She's charmed the pants off everyone who's met her.

dryrunwill

May 6, 2013

SenzaCapelli Recommendation

Hi Susan,

Hope you are well.

Just wanted to bring you up to date with my beautiful little girl.

I love her so much as she is a little princess and she rules. She has adjusted so well and is just a delightful little girl. Pink constantly jumps of the top back of the couch and attacks Torti from behind and ends up on Torti's back. Torti has given her a few little bites but nothing to damaging. She seems to be quite gentle with Pink. But she does not like the nails of Pink stuck into her body.

Pink is eating like a little "OINKER". I have switched her food up to 1 teaspoon of wet food from Hills Science Diet every day in the morning and mix up her dry food with the holistic and Science Diet Dry. I have to feed them the wet food in separate rooms as Pink wants to eat Torti's. Torti is slow eater and pink gobbles her food up in a second.

Regrads,
Roz

makinbread

May 6, 2013

SenzaCapelli Recommendation

Just wanted to give you an update on Dexter. Dexter turned 2, February 14th, 2013. We are so lucky to have him in our family. His kind, gently manner is unmatched. His favorite activity is to snuggle up in clothes that are just being taken out of the dryer. He loves to eat and each morning at 6 am sharp, will kindly remind you that he is ready for breakfast. He loves attention and will lock himself in a room if he does not feel that he is getting enough. He knows that I will always rescue him :). Thank you so much for being Dexter's first Mom and allowing this ray of continual sunshine to be in our life. We are ever grateful.

Take care.

Mike and Abby

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