venturi

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Related to Giovan Battista: Giovan Battista Tiepolo, Giovan Battista Pergolesi

Venturi mask

 [ven-tu´re]
a type of disposable face mask used to deliver a controlled oxygen concentration to a patient. (See also oxygen therapy.) The flow of 100 per cent oxygen through the mask draws in a controlled amount of room air (21 per cent oxygen). Commonly available masks deliver 24, 28, 31, 35, or 40 per cent oxygen. At concentrations above 24 per cent, humidification may be required. Called also venturi.
A Venturi mask for precise oxygen delivery. From Ignatavicius and Workman, 2000.

Ven·tu·ri

(ven-tū'rē),
Giovanni B., Italian physicist, 1746-1822. See: Venturi effect, Venturi meter, Venturi tube.

venturi

a tube with a decrease in the inside diameter that is used to increase the flow velocity of the fluid and thereby cause a pressure drop; used to measure the flow velocity (a venturimeter) or to draw another fluid into the stream.

venturi mask
a type of disposable mask used to deliver a controlled oxygen concentration to a patient. The flow of 100% oxygen through the venturi draws in a controlled amount of room air (21% oxygen). Commonly available masks deliver 24, 28, 31, 35 or 40% oxygen.
venturi nebulizer
a type of nebulizer used in aerosol therapy. The pressure drop of gas flowing through the venturi draws liquid from a capillary tube. As the liquid enters the gas stream it breaks up into a spray of small droplets.
References in periodicals archive ?
Petrioli Tofani, 'Sul alcuni disegni di Giovan Battista Vanni', Prospettiva, vols.
La ricezione della Magia naturalis di Giovan Battista Della Porta.
II Sanmarino: Giovan Battista Belliuzzi architetto militare e trattatista del Cinquecento.
By the time Henke arrives to the last capocomico/actor of his study, Giovan Battista Andreini, the Commedia dell'Arte has fully blossomed: disruptive figures, such as the buffoon, have been successfully reined in, earnest defenses of the actors' roles and of reasons to stage plays have been published to respond to moralistic tracts, and Commedia dell'Arte actors were sought everywhere, particularly in France.
1)--another version exists in the Cassa di Risparmio, Pistoia--and a newly discovered late-Mannerist work by Giovan Battista Naldini, The Resurrection of the Widow's Son at Nain.
1650) by Giovan Battista Rec-co, and A View of Naples (c.
1650) by Giovan Battista Recco; Sir William and the First Lady Hamilton in their Apartment in Naples (1770) by David Allan; Vesuvius Erupting at Night (1761) by Lacroix de Marseille; and A View of Naples (c.
Topics include gemology, the birth of mineralogical sciences, connections to Florentine artists, the Earth's history, and the work and ideas of those such as Gregory Watt, Giovan Battista Brocchi, Leopoldo Pilla, Ulisse Aldrovandi, Luigi Ferdinando Marsili, Mattia Damiani, Giovanni Arduino, and others.
Giovan Battista Pellegrini points out that the etymology of the Arabic name Nafisa would have conveyed preciousness, desirability, and by extension more prurient meanings (251-52).
The former Gloucester fly-half floated a smart long pass out to Giovan Battista who had the physical presence, as well as presence of mind, to slide low for the touchdown in the corner.
Steinlauf, "Jozio Grojeseszyk: A Jewish City Slicker on the Warsaw Popular Stage" (65-80); Anna Kuligowska-Korzeniewska, "The Polish Shulamis: Jewish Drama on the Polish Stage in the Late 19th-Early 20th Centuries" (81-100); Section 3, "Negotiating Identities in English, Italian and German" includes: Paola Bertolone, "Jewish Languages and Jewish Characters in Giovan Battista Andreini's Lo Schiavetto" (101-12); Shaul Bassi, "'The Christian will turn Hebrew': Convincing Shylock on Stage" (113-32); Edna Nahshon, "Philosemitism on the London Stage: Sydney Grundy's An Old Jew" (133-52); Hans-Peter Bayerdorfer, "Jewish Self-Preservation and the 'Jewish Question' on the German Stage from 1900 to 1930" (153-74); Brigitte Dalinger, "Popular Jewish Drama in Vienna in the 1920s" (175-98).
At the same time the Congregation diverged not only from the practices of exorcists, but also from the will of the duke-turned-friar Giovan Battista d'Este who, having meddled in the investigation from its early stages, was a keen supporter of exorcisms.