inscriptio


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inscriptio

 [in-skrip´she-o] (pl. inscriptio´nes) (L.)
inscriptio tendi´nea intersectio tendinea.

in·scrip·tion

(in-skrip'shŭn),
1. The main part of a prescription, that which indicates the drugs and the amount of each to be used in the mixture.
2. A mark, band, or line.
Synonym(s): inscriptio
[L. inscriptio]

inscriptio

/in·scrip·tio/ (-skrip´she-o) pl. inscriptio´nes   [L.] inscription.
inscriptio tendi´nea  see under intersectio.

in·scrip·tion

, inscriptio (in-skrip'shŭn, -shē-ō)
The main part of a prescription, which indicates drugs and amount of each to be used in the mixture.

inscriptio

pl. inscriptiones [L.] inscription.

inscriptio tendinea
intersectio tendinea.
References in periodicals archive ?
This also explains the comparative "stronger," for the swarming ravens, however much they might caw and swirl, are still highly paintable, fixed on the canvas in their minimalist, "check-mark" fashion, while the "stronger whizzing" is to be looked for not in the literal reference to visual representation "above," in the image, but in the self-referential presentation "under" the image, in its inscriptio and subscriptio.
The inscriptio is a short motto or proverb which usually features above or below the pictura illustrating it.
In order to ascribe the law to Maximinus, not only the inscriptio but also the subscriptio has to be changed, since Maximinus did not recognize the third consulate of Licinius, making himself consul for the third time in 313.
Pues, aunque los libros de loci commnes nunca llegaron a llevar ilustraciones ni estaban directamente conectados con las artes visuales, sin embargo entre las concomitancias que presentaban estaba la expresion aforistica: los primeros por el privilegio concedido a las sententiae y los segundos por la inscriptio o lema que acompanaba la pictura (31); es mas, los libros de emblemas que ofrecian un comentario o explicit solian estar confeccionados con excerpta de diferentes autores, sobre todo clasicos greco-latinos, con frecuencia extracontextualizados (y manipulados), que el emblematista casi siempre recababa de florilegios y libros de lugares comunes, y pocas veces de las fuentes primigenias (32).