dura

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du·ra mat·er

(dū'ră mā'tĕr), [TA]
Pachymeninx (as distinguished from leptomeninx, the combined pia mater and arachnoid); a tough, fibrous membrane forming the outer covering of the central nervous system, consisting of periosteal and meningeal dura layer and an inner part, the dural border cell layer, continuous with the arachnoid barrier cell layer.
Synonym(s): dura [TA], pachymeninx [TA]
[L. hard mother, mistransl. of Ar. umm al-jāfīyah, tough protector or covering]

dura

du·ra ma·ter

(dūr'ă mā'tĕr) [TA]
Pachymeninx (as distinguished from leptomeninx, the combined pia mater and arachnoid); a tough, fibrous membrane forming the outer covering of the central nervous system.
Synonym(s): dura.
[L. hard mother, mistransl. of Ar. umm al-jāfīyah, tough protector or covering]

Dura

The strongest and outermost of three membranes that protect the brain, spinal cord, and nerves of the cauda equina.
Mentioned in: Disk Removal
References in periodicals archive ?
Lewis credits Durer with the idea of creating the ordered space of the town square in the lineage of Christian utopian settlements.
I do not mean to suggest by this discussion of models and representations that the danse macabre, Badius, and Durer depictions of the printing press fully conform to McCarty's idea of a model.
Engraving was invented by Albrecht Durer, a Catholic priest," declares an 1890 article titled "Is it true that the Catholic church is the enemy of progress?
Although Durer had an elementary education he counted among his personal friends Germany's leading humanists, such as his closest friend and confidant, Willibald Pirckheimer who was one of Germany's most influential humanists and a prolific translator of essential ancient texts by Xenophon, Lucian, Isocrates, Plutarch, and Plato from Greek into Latin and German.
The exhibition is called Exposed : The Body in Art From Durer to Freud and runs until April 21 next year.
A pair of oil paintings by German Renaissance artist Albrecht Durer depicting Adam and Eve at human scale went back on display at Madrid's Prado Museum Wednesday after a two-year restoration.
In 1511, Albrecht Durer went to the Venetian Senate to stop engraver Marcantonio Raimondi from making unauthorized prints of his engravings.
It was Porter's immersion in Reformation art in Basel that renewed her appreciation for Albrecht Durer, whose The Four Horsemen oft he Apocalypse (1498) and The Knight, Death, and the Devil (1513) she used as the structural and thematic reference points for her apocalyptic short novel.
To see the hand of Durer at work" is the chief concern of this bold study of the greatest German Renaissance artist's vision and technique (9).
Since then the flow of new texts about Durer continues unabated.