M. T. CICERO - LAELIUS, DE AMICITIA

Hyperboreus, 2019

Cic. Phil. I, 21–23 is the only source for the Antonian bill of 43 BC, which may have allowed the appeal to the people (provocatio) against the condemnation de vi et maiestatis by the jury courts. This bill is practically the only law on the appeal which dates to a relatively well-attested period and offers contemporary evidence. This sounds like a good chance to answer at least some of the many questions concerning the right of appeal to the people. The paper aims at two points: (1) what procedure for the appeal is attested by the Philippic?; (2) was the appeal against any court allowed or at least considerable before the Antonian bill? Unfortunately, Cicero does not give any reliable information concerning both questions. There were attempts to base some hypotheses on his criticism of the Antonian bill, but no arguments set out for their support turn out to be convincing. Hence the answers to both questions are to be based on other evidence concerning provocatio. Much depends on the texts which allow different interpretations and require careful explanation, but as far as can be said at present, (1) the provocatio may normally have led to a comitial court; (2) before the Antonian bill the appeal may have been appropriate only in case of an out-of-court punishment, and the reform Antonius proposed may have been unprecedented.

2019

In: Mitteilungen des Kunsthistorischen Institutes in Florenz, 27.1983, 3, 285-306

„Florenz-Maler“ ist ein Notname für einen att.-rf. Vasenmaler der Frühklassik, der ca. um 465–455 v. Chr. tätig war. Sein wirklicher Name ist bis jetzt nicht überliefert. Seine bevorzugte Bemalungsfläche waren Kolonettenkratere. Beazley zufolge war er der „Bruder“ des Boreas-Malers. Er bezeichnete ihn aufgrund der stilistischen Ähnlichkeit als diesen. Die Maltechnik beschrieb er, sei von durchschnittlicher Qualität, die Figuren erzeugen den Anschein steif und ungraziös zu sein und die Kompositionen sind wenig originell. Eine Ausnahme bildet die namensgebende Vase mit der Kentauromachie in Florenz. Neben seiner berühmten Kentauromachie malte der Florenz-Maler auch folgende Themen: Komos, Symposion, „Kriegers Abschied“ und das Gefolge von Dionysos.

Professor of Canon Law in Bologna (1283-1304); 'litterarum contradictarum auditor' at the papal Curia in Avignon

gerhart ginner, 2019

Ammianus Marcellinus, rerum gestarum, book 15

Haeckel backstage in Jena (ed. by T. Thieme), 2019

Николай Николаевич Миклухо-Маклай [Russisch] Geboren am 17. Juli [Gregorianischer Kalender] 1846 in Jazykovo-Rozhdestvenskoje (Gouvernement Nowgorod, Russisches Kaiserreich), gestorben am 14. April 1888 in St. Petersburg — russischer Anthropologe, Ethnograf und Biologe — Haeckels russischer Promotionsstudent und Reisebegleiter, von 1865 bis 1868 Student der Medizinischen Fakultät in Jena und zeitweise Haeckels Assistent

Byzantinoslavica-Revue internationale des Etudes …, 2010

The article reviews the not assured authenticity as well as the historical background of the last will of the emperor Maurice mentioned by Theophylact Simocatta and tries to explore how the inhabitans of the Empire and of Constantinople in particular would have received the division of the empire. Maurice probably wanted his sons to divide the Empire among themselves as equal rulers, inspired perhaps by the practice of the Merovingians.