Pogona vitticeps

Il drago barbuto dalla testa striata (Pogona vitticeps (Ahl, 1926) è un sauro della famiglia Agamide, endemico dell’Australia.

I draghi barbuti dalla testa striata, come le altre specie del genere Pogona, prendono il loro nome comune da una caratteristica particolare: sotto il mento presentano tutti delle spine (in realtà riserve di grasso) che, soprattutto nei maschi, ricordano una barba quando i sauri la espandono per sembrare più grossi e minacciare i predatori. Come molti altri rettili, i maschi sono più grandi, hanno una “barba” più scura e visibile, testa più larga, pori femorali più evidenti e apertura cloacale più grossa. Solitamente la livrea è bruno-giallastra con qualche macchia più scura per mimetizzarsi meglio nei deserti. La lunghezza si aggira sui 60-80 cm da adulti; da giovani arrivano 20-30 cm, ma alla nascita non superano gli 8 cm.[senza fonte]

Questa specie, è endemica dei deserti rocciosi australiani waterproof bag for swimming.

In genere, questi rettili, sono onnivori. Si stima che da giovani tendano ad essere per lo più insettivori per acquisire proteine, e tendano a diventare erbivori da adulti.[senza fonte]

La maturità sessuale si raggiunge intorno agli 8-12 mesi e sarà possibile vedere chiaramente la differenza di sesso. In cattività si risveglia l’istinto sessuale sottoponendo gli animali alla brumazione.[senza fonte]

Durante il corteggiamento, i Pogona vitticeps maschi espandono la barba il più possibile, si sollevano sugli arti anteriori, fanno head bobbing. La femmina può reagire in diversi modi, accettato il corteggiamento si preparerà al rapporto stendendosi a terra.

Durante il rapporto i maschi sono soliti mordere le femmine, tuttavia esse non recano alcun danno perché dotate di pelle robusta e resistente. Il rapporto dura circa un minuto e può ripetersi nell’arco della giornata.

Come la maggior parte degli animali, nel periodo degli accoppiamenti, i maschi sono molto più aggressivi e territoriali del solito.

Una volta copulato il ventre della femmina inizierà a gonfiarsi e sarà visibile già dopo una o due settimane glass water bottle with filter.[senza fonte]

I draghi barbuti, per la loro indole mansueta, sono molto comuni in commercio. Ad averli resi comuni nei negozi, oltre la docilità brazil football uniform, è la loro facile adattabilità: infatti si abitueranno subito ad essere accarezzati, presi in mano o addirittura prendere il cibo dalle mani knee high socks wholesale, e, in cattività, se in buone condizioni, possono vivere dai 15 ai 20 anni.[senza fonte]

Visto il “successo” dei Pogona vitticeps in commercio, sono disponibili diverse forme e varietà (chiamate Morphs).

Altri progetti

Aquilo (steamboat)

The steamboat Aquilo operated on Lake Washington and Puget Sound in the first part of the 20th century.

Aquilo was built by Captain John Anderson as part of his fleet of steamboats on Lake Washington, operating under the name of the Anderson Steamboat Company. “Aquilo” was the Roman name for their god of the northwind. (Captain Anderson named his vessels after classical gods, starting with Xanthus and Cyrene.) The vessel is reported to have been acquired by Anderson Steamboat Company at a cost of $20,000 in April 1909.

Publicly owned ferries operating on Lake Washington ran Captain Anderson out of the steamboat business by about the time of the First World War, and he sold his interest in the Anderson Steamboat Company. In 1920 ferry services across Elliott Bay from Seattle to West Seattle were terminated by King County which had been operating the ferry West Seattle on the route.

As a replacement, Aquilo was brought to Puget Sound from Lake Washington, and apparently acquired then or earlier by King County

Argentina Home DYBALA 21 Jerseys

Argentina Home DYBALA 21 Jerseys

BUY NOW

$266.58
$31.99

. The county rebuilt Aquilo’s bow to allow her to use the West Seattle ferry dock. Aquilo could thereafter carry two automobiles on her foredeck (and thus technically may have become a ferry) but did not on the West Seattle run.

Captain Anderson operated Aquilo as the lessee of King County’s ferry fleet. In 1938, he returned Aquilo goalie soccer jerseys, and another former Anderson steamboat, Triton, to King County. The county sold Aquilo for scrap to the Seattle firm of Pacific Metal &amp brazil football uniform; Salvage Co. for $360.

The steamboat Aquilo should not be confused with the steam yacht Aquilo.

Laurent Fétis (écrivain)

Laurent Fétis au Festival international du Roman Noir de Frontignan, juin 2007

Laurent Fétis est un écrivain français né le à Orléans. Il a la particularité d’être le plus jeune auteur à avoir été publié au Fleuve noir, à l’âge de 18 ans et à la Série noire à l’âge de 22 ans. Il vit à Montrouge. Il a un homonyme créateur et designer.

Nourri à la science-fiction et aux polars anglo-saxons dès son plus jeune âge, il publie son premier roman (gore) à 18 ans sous le pseudonyme de Brain Splash. Diplômé d’un BTS action commerciale, il exerce divers métiers le jour et passe ses nuits à écrire des horreurs ou à danser. Son premier roman noir brazil football uniform, Le Mal du double-bang, paraît en 1992 à la Série noire glass water bottles for fridge. Véritable révélation waist bag for running, il en publie trois autres en cinq ans avant de laisser tomber la plume pour ne revenir qu’en 2006 where can i buy bpa free water bottles.

William Wailes

William Wailes, (1808–1881), was the proprietor of one of England’s largest and most prolific stained glass workshops.

Wailes was born and grew up in Newcastle on Tyne, England’s centre of domestic glass and bottle manufacturing. His first business was as a grocer and tea merchant. However, his artistic talent and practical skills led him to set up a small kiln in the backyard of his premises. He made and fired small decorative enamels which were sold in his shop.

In 1830 he went to Germany to study stained glass design and production under Mayer of Munich. In 1838 he set up his own stained glass studio to design and manufacture windows and in 1841 the business began producing its own glass.

In 1842 the architect Augustus Pugin approached Wailes about producing windows for him. Working with Pugin was a thankless task, as Pugin went from one workshop to another in an attempt to get his designs realised at the lowest possible cost. The working relationship lasted for only three years.

Regardless of this, Wailes made a name for himself through the provision of windows for local churches. As his enterprise prospered, he employed more men until there were 76 employees, who included in their number several designers who were to go on to establish their own factories. These included Francis Wilson Oliphant R.A. (1818–1859) and George Joseph Baguley (1834–1915). William Wailes was one of the twenty-five stained glass manufacturers that exhibited in the Crystal Palace Exhibition in 1851.

Wailes married (Elizabeth) and they had several children, including a son, William Thomas Wailes, who was to join his father in the business, as did his son-in-law, Thomas Rankine Strang, in 1861, when the firm became known as Wailes and Strang.

In 1860 Wailes bought the Saltwell Estate at Gateshead and set about improving it, building himself a decorative mansion and landscaping the grounds. Unfortunately, he ran into debt and 16 years later sold the property to the Gateshead Corporation. The estate became a public park known as Saltwell Park which includes the house, Saltwell Towers. However Wailes continued to reside in his home until his death in 1881. William Thomas Wailes continued to manufacture stained glass until 1910.

Wailes was painted next, to a window exemplifying his work, by John Oliphant. The painting hangs in the Shipley Art Gallery in Gateshead.

Although William Wailes employed a number of designers, the products of his workshop are often identifiable by type of glass and the particular colour combinations that prevailed. Wailes’ glass is often a little paler and more brightly coloured than many English workshops of the same date, being rather more like glass from Germany or Limoges. There are certain distinctive colour combinations that occur repeatedly in the clothing of figures in Wailes’ windows- mauve lined with bright red, yellow lined with bright blue, red lined with acid green. Many of Wailes window contain a great deal of pink glass.

Although Wailes was seen as a Gothic Revival artist, and was able to fill windows with ornate foliate patterns that have the quality of brightly painted manuscripts rather than ancient glass, his figures were elegantly classicising and decidedly staid of demeanour. Figures in Wailes’ windows communicate in a series of stereotypical hand gestures. Moreover, the details of faces are applied in a painterly manner, as against the almost calligraphic manner with which some of the 19th-century artists such as John Hardman imitated ancient windows. The painterly manner is typical of that employed by Mayer of Munich, with whom Wailes trained.

While most of the work of Wailes’ workshop is to be found in the North of England, other commissions came from further afield. The most significant window glazed by the firm, and one of the prize commissions of the industry, was the glazing of the west window of Gloucester Cathedral 32 ounce water bottle with straw, an enormous window of c.1430 in the Perpendicular Gothic style, of nine lights and four tiers. This window complemented, at the other end of the building, one of the largest ancient windows in the world; the east window (which is as big as a tennis court) fortunately had retained much of its 14th century glass, comprising many tiers of figures.

Wailes’ west window at Gloucester is a stupendous achievement brazil football uniform, and not just because of the technicalities involved in glazing such a vast area. It makes no attempt to imitate the style or content of the east window. The content of the west window, like that of so many other commissions, was probably stipulated by a committee. Because the window was so large there was room for a large number of narratives and many figures.

The window comprises nine vertical sections called lights which are divided by mullions into three lots of three. The window rises in three stages, the first and the third being approximately half as tall as the middle one, the whole being surmounted by many smaller vertical tracery lights, which Wailes predictably filled with singing angels neatly arranged in robes of violet, bright red and arsenic green modern glass water bottle.

Wailes’ design divides the window’s main part into four rather than three stages, each containing three complex narrative scenes which are made successfully to span three lights. The central section which shows the Nativity of Christ with the Baptism of Christ in the Jordan by John the Baptist (one below the other) is a particularly successful composition, considering that it contains two significant narrative incidents which visually harmonise, yet remain discrete scenes. While each of the twelve individual pictures works as a unit, the visual composition of the whole window is skilfully arranged so as to present as an integrated work of art. This has been achieved by the skilled placement of the 116 figures and the equally skilful disposition of colour.

Media related to William Wailes at Wikimedia Commons