Na mizo pred seboj sem razgrnil spričevalo: »Kraljevina Jugoslavija, Državna klasična gimnazija v Ljubljani. Izpričevalo o višjem tečajnem izpitu (zrelostnem izpitu) – Svedočanstvo o višem tečajnom ...ispitu (ispitu zrelosti)« z državnim grbom in kolkom za »250 dinara« in datumom z dne 23. junija 1932. In – spomin se razgrne kako ta pola skoraj sedemdeset let stare listine in misli, spremljane od čustev in z njimi obložene, se ozirajo v »mladosti temno zarjo«.
Co-crystallizaton of the anti-fungal drug fluconazole 2-(2,4-difluoro-phen-yl)-1,3-bis-(1H-1,2,4-triazol-1-yl)propan-2-ol with malonic acid in acetonitrile solution resulted in the formation of the ...title 1:1 co-crystal, C13H12F2N6O·C3H4O4. The geometry around the central fluconazole atom is distorted tetrahedral. The dihedral angles between the triazole rings and the fluorinated phenyl ring are 30.64 (7) and 61.91 (5)°. In the crystal, the basic packing motif may be envisioned as a cyclic aggregate formed of two fluconazole mol-ecules linked by two malonic acid mol-ecules through O-H⋯N and O-H⋯O hydrogen bonds. Such aggregates are further connected into (001) layers by further O-H⋯N hydrogen bonds. The structure also features weak non-classical C-H⋯O and C-H⋯N inter-actions.
A 1:1 cocrystal of fluconazole with salicylic acid Kastelic, Jože; Lah, Nina; Kikelj, Danijel ...
Acta crystallographica. Section C, Crystal structure communications,
September 2011, Letnik:
67, Številka:
9
Journal Article
Recenzirano
The interaction of the antifungal pharmaceutical agent fluconazole with salicylic acid in acetonitrile solution yields the 1:1 cocrystal ...2‐(2,4‐difluorophenyl)‐1,3‐bis(1H‐1,2,4‐triazol‐1‐yl)propan‐2‐ol–2‐hydroxybenzoic acid (1/1), C13H12F2N6O·C7H6O3. The asymmetric unit consists of one molecule of fluconazole and one molecule of salicylic acid, both in their neutral forms. Both crystal agents form head‐to‐tail hydrogen‐bonded dimers, which are further connected into hydrogen‐bonded extended zigzag tapes propagating along the ac diagonal.
The sarcophagus illustrating the story of Alcestis, at the Vatican in the Museo Shiaramonti, inv. no. 1195, and the sarcophagus illustrating the story of Orestes, at the Vatican in the Museo ...Gregoriano Profano, inv. no. 10450, were discovered already during the first decades of the previous century; their attributed chronological dates are indisputable. The Alcestes sarcophagus dates by the inscription to between the years 160-170 AD, while the Orestes sarcophagus dates approximately to the time that Hadrian's brother-in-law, L. Iulius Ursus Servianus, was the third time consul (134 AD). The styles of the reliefs correspond in both instances to the artistic style of Roman sculptures during these periods. Select details of the scenes portrayed on the reliefs have yet to be adequately clarified. It is highly significant that the Alcestes story is according to Euripides' drama, Alkestes, while the Orestes story on the frontal panel of the sarcophagus is according to Aeschylus' drama, Hoeforoi, and on the frontal panel of the cover according to Euripides' drama, Iphigeneia in Tauris. Despite that the Orestes sarcophagus is an integrate monumental work, the reliefs on the sarcophagus coffer and cover are the work of two artists. The scenes on both sarcophagi present interpretations of old myths according to Neopythagorean symbolism of life beyond the grave. The reliefs on the tombs in Šempeter near Celje portray, in the style of Norican-Pannonian artistry of the 2nd century AD, a reflection of the great Roman artistry in Mediterranean centers in the eastern part of the empire, as well as in Rome; the motifs are copied from Euripides and the symbolic message of the sculptures is also entirely analogous to the symbolism on the sarcophagi in the Vatican.
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