Two decades ago J. H. Waszink proposed in these pages a solution to the puzzle produced by Vergil's use of the phrase agmina sororum of the Furies at Aeneid 6.571–72. His suggestion has received the serious attention which it warranted; but on further reflection his solution to the problem is seen to be unsatisfactory

The Ethiopic text of the second-century Apocalypse of Peter may be divided into two parts. The first section (chaps. 1–6) begins with aprediction by Jesus while on the Mount of Olives about the coming of false Christs and is evidently based on Matthew 24. Next, Jesus shows his disciples the future in the palm of his right hand, revealing events typical of Jewish eschatology: resurrection, judgment, and eschatological woes.

Morgan MS 775 is a volume of various items assembled on behalf of Sir John Astley (ob. 1486), well known during the middle years of the fifteenth century as a leading figure in the tournament field. It comprises various ordinances of chivalry, heralds' regulations and similar items of interest to a gentleman at arms. As commonly in such MSS, blank pages at quire-ends and elsewhere were utilized to copy down brief recipes and other minor memoranda.

Paul's question in 2 Cor 2:16 (“Who is sufficient for these things?”) has long puzzled commentators. Many have noted the abruptness of the question in its context, but few have succeeded in relating the question specifically to the situation that Paul faced. More recently, in his monograph on the opponents of Paul in 2 Corinthians, Dieter Georgi has proposed that in this question Paul is adopting a catchword or slogan (“sufficient”/“sufficiency”) of his opponents and using it against them.

One of the most arresting characters in medieval literature, appearing in the Old English Gospel of Nicodemus, is seo hell, an apparently female chthonic figure who engages in a memorable flyting with Satan and orders him out of “her” dwelling (ut of mýnre onwununge) Her vivid personification in a dramatically excellent scene suggests that her gender is more than grammatical, and invites comparison with the Old Norse underworld goddess Hel and the Frau Hölle of German folklore, to say nothing of underworld goddesses in other cultures.

The image of the Good Shepherd was by far the most popular representation of Christ in the Church's first four centuries. In his article on the subject in the Dictionnaire d'archéologie chrétienne et de liturgie, Henri Leclerq gives more than three hundred examples, dating to the beginning of the fifth century, and his list is by no means exhaustive. In the first half of the fifth century, however, the Good Shepherd suddenly vanishes from Christian art in both East and West, with perhaps a few relatively insignificant exceptions, to be replaced by the images of Christ as teacher and as king—images that had become increasingly important in the iconography of Christ over the course of the previous hundred years. The Good Shepherd did not reappear upon the scene until well into the Middle Ages. What was responsible for its disappearance?