Collected Papers on the humanist Iohannes Sambucus, active in the 16th c. Vienna, famous for his ... more Collected Papers on the humanist Iohannes Sambucus, active in the 16th c. Vienna, famous for his huge collection of Greek manuscripts (today housed in the Austrian National Library)
Czech and Slovak studies are familiar with the Czech and Slovakized Czech grammar textbooks datin... more Czech and Slovak studies are familiar with the Czech and Slovakized Czech grammar textbooks dating back to the first half of the 16th century. Authors of these textbooks, written in Latin, structured them on the model of Roman grammarians Donatus and Priscian and tried to apply the same principles and means to describe the category of verbal aspect. Grammar textbooks by Laurentius Benedictus Nudozierinus, Daniel Krman, Pavel Doležal (Doleschalius), and Anton Bernolák are being compared in terms of the description of the verbal aspect. The work of Daniel Krman, especially, often overlooked by scholars due to its existence only in a manuscript form, is presented here partly as a link between Nudozierinus and Doležal, partly as an exception in understanding the aspect because of its stronger ties with the classical tradition.
Zborník Slovenského národného múzea – Archeológia, 2021
Archeological evidence suggests that there was a strong, widespread and long-lasting close associ... more Archeological evidence suggests that there was a strong, widespread and long-lasting close association of the Sun with death in Central Europe and its neighbouring regions during the Bronze Age. We interpret it based on etymological, phraseological, motivic, and narrative correspondences of Indo-European traditions that point towards an ancient Indo-European belief about the souls of the blessed dead “going to the Sun”, most likely to an island in the sea which the Sun deity visits during the night. In contrast to ancient Near-Eastern and Egyptian beliefs, this Indo-European Sun deity did not descend into a subterranean realm of the dead and was not associated with rebirth. Based on iconographic and other archaeological evidence, we conclude that there was a belief in a solar deity envisioned in an anthropomorphic feminine form with a Sun (symbol) on the lower part of her abdomen during the Bronze Age in Central and Northern Europe. She was the central character of an important mythic narrative about the diurnal voyage of the Sun, along with its helpers and foes, that has been concurrently reconstructed using material culture or comparative mythology. In Central Europe, this solar cycle has been linked to portrayals of pairs of bird protomes connected to a Sun symbol, interpreted as (Sun-)bird-barges. However, this interpretation was based on a superficial resemblance and does not take into account the cultural and artistic context. Accounting for artistic conventions of the Urnfield culture, we propose that the supposed (Sun-)bird-barges actually often represent pairs of birds directly pulling the Sun, similar to Scandinavian depictions of the Sun pulled directly by a horse (or several horses). Therefore, these depictions portray the day part of the solar cycle and not the nocturnal sailing in the waters of the Netherworld.
Zborník Slovenského národného múzea – Archeológia, 2021
Archeological evidence suggests that there was a strong, widespread and long-lasting close associ... more Archeological evidence suggests that there was a strong, widespread and long-lasting close association of the Sun with death in Central Europe and its neighbouring regions during the Bronze Age. We interpret it based on etymological, phraseological, motivic, and narrative correspondences of Indo-European traditions that point towards an ancient Indo-European belief about the souls of the blessed dead “going to the Sun”, most likely to an island in the sea which the Sun deity visits during the night. In contrast to ancient Near-Eastern and Egyptian beliefs, this Indo-European Sun deity did not descend into a subterranean realm of the dead and was not associated with rebirth. Based on iconographic and other archaeological evidence, we conclude that there was a belief in a solar deity envisioned in an anthropomorphic feminine form with a Sun (symbol) on the lower part of her abdomen during the Bronze Age in Central and Northern Europe. She was the central character of an important mythic narrative about the diurnal voyage of the Sun, along with its helpers and foes, that has been concurrently reconstructed using material culture or comparative mythology. In Central Europe, this solar cycle has been linked to portrayals of pairs of bird protomes connected to a Sun symbol, interpreted as (Sun-)bird-barges. However, this interpretation was based on a superficial resemblance and does not take into account the cultural and artistic context. Accounting for artistic conventions of the Urnfield culture, we propose that the supposed (Sun-)bird-barges actually often represent pairs of birds directly pulling the Sun, similar to Scandinavian depictions of the Sun pulled directly by a horse (or several horses). Therefore, these depictions portray the day part of the solar cycle and not the nocturnal sailing in the waters of the Netherworld.
In the period directly after the reformation, many humanist scholars converted to one of the Pro... more In the period directly after the reformation, many humanist scholars converted to one of the Protestant movements. Since not all of them explicitly manifested their confession, one may find a few figures of this period with a partially or completely unanswered question of their religious belief. Johannes Sambucus (1531–1584), a polymath and a native of Tyrnavia (present-day Trnava, Slovakia), was equally close to Catholics, Calvinists, and Lutherans. However, in his extensive literary legacy, he never openly associated himself with a particular denomination. His confession has been the topic of research for more than a hundred years, although the answer has never been definite. This paper presents the opinions included in the primary and secondary sources and at the end tries to summarize them and answer the question, whether Johannes Sambucus was a Catholic or a Protestant.
Nicolaus comes Zerinius – a forgotten work of Johannes Sambucus?
In 1566 Johannes Sambucus arose... more Nicolaus comes Zerinius – a forgotten work of Johannes Sambucus?
In 1566 Johannes Sambucus arose to the position of the court historiographer in the court of Emperor Maximilian II. In the same year, the Ottoman army led by Süleyman I captured the fortress of Szigetvár. Around the same time, we can see the name of Nikola IV Zrinski (1507/1508 - 1566) – a man who is inherently connected to the fate of Szigetvár, appearing in Sambucus’ diary. Sambucus had been collecting information about the fall of the fortress as well as about Zrinski and gradually used it in several texts, which he wrote and later published. However, one text, The Short Praise of the Brave Hero Nikola, the Count of Zrin, remained only in manuscript in the collection of the Bibliothèque Nationale and, in the catalog, bears the title Nicolaus comes Zerinius. The study deals with the origin, content and purpose of this manuscript in the context of Sambucus’ historiographical work. The study includes a transcription of the Latin text of the manuscript and its Slovak translation.
The collection of letters by Trnava humanist Johannes Sambucus provides constant impetus for furt... more The collection of letters by Trnava humanist Johannes Sambucus provides constant impetus for further study of this literally very active polymath. The names of the addressees illustrate the number of contacts that Sambucus gained during his studies and travels, similarly to the dedications in his Emblemata collection. No doubt that Sambucus’ patron, the emperor Maximilian II, is included among the highest-ranking addressees. Through preserved pieces of correspondence, primari- ly dedicative letters in Sambucus’ published works, this study seeks to analyse the relationship with Maximilian, Archduke of Austria, King of Hungary and Bohemia who later became Holy Roman Emperor. The letters in question range from 1552 to 1571, but the collection also includes a dedicative letter to Maximilian’s younger sons and a letter to Rudolf II, along with an eulogy for the late Maximilian, issued only in 1581, four years after his death.
Johannes Sambucus - János Zsámboki - Ján Sambucus (1531–1584). Philologe, Sammler und Historiograph am Habsburgerhof, 2018
The paper presents a brief overview of De imitatione a Cicerone petenda by Johannes Sambucus (153... more The paper presents a brief overview of De imitatione a Cicerone petenda by Johannes Sambucus (1531-1584), specifically its seconds dialogue. In part, it deals with Sambucus' views on the phenomenon of Ciceronianism. Furthermore, the paper covers the use of Greek in the second dialogue of the work, and in the end also touches on the subject of using either Latin or the vernacular.
Ideológia v premenách času v pamiatkach gréckej a latinskej tradície, 2018
Imitatio Ciceroniana according to Johannes Sambucus
Johannes Sambucus, a humanist and a native ... more Imitatio Ciceroniana according to Johannes Sambucus
Johannes Sambucus, a humanist and a native of Trnava, engaged in a discussion on the best Latin style with his dialogue De imitatione Ciceroniana (Paris 1561) and its subsequent editions. Although influenced in his youth by the Ciceronian teachings of his professors, in this work he tried to objectively explain to his pupil Georgius Bona the reasons for literary imitation and direct him towards the right example, which in his case was Cicero. Unlike other zealous Ciceronians, such as Bembo or Cortesi, Sambucus did not distance himself from other great authors, and even though he can be identified as a Ciceronian, he allowed the use of words from other authors. However, these were to be embedded within the style of Cicero.
The work Oratio in obitum generosi ac magnifici adolescentis Georgii Bona Transylvani was publish... more The work Oratio in obitum generosi ac magnifici adolescentis Georgii Bona Transylvani was published in 1560 by Johannes Sambucus to honour his ward Georgius Bona, Archbishop of Esztergom Nicolaus Olahus’ nephew, who died one year before. The study presents the content of this publication, as well as its second edition from 1561; the differences between them and other texts connected with Bona the dialogue De imitatione Ciceroniana and a poem in the collection Emblemata. As the text of Sambucus’s eulogy is the main source of information about Bona, the study also contains an attempt on his portrait, supplemented with references to his preserved poetic output and the only known portrayal of Georgius Bona.
Collected Papers on the humanist Iohannes Sambucus, active in the 16th c. Vienna, famous for his ... more Collected Papers on the humanist Iohannes Sambucus, active in the 16th c. Vienna, famous for his huge collection of Greek manuscripts (today housed in the Austrian National Library)
Czech and Slovak studies are familiar with the Czech and Slovakized Czech grammar textbooks datin... more Czech and Slovak studies are familiar with the Czech and Slovakized Czech grammar textbooks dating back to the first half of the 16th century. Authors of these textbooks, written in Latin, structured them on the model of Roman grammarians Donatus and Priscian and tried to apply the same principles and means to describe the category of verbal aspect. Grammar textbooks by Laurentius Benedictus Nudozierinus, Daniel Krman, Pavel Doležal (Doleschalius), and Anton Bernolák are being compared in terms of the description of the verbal aspect. The work of Daniel Krman, especially, often overlooked by scholars due to its existence only in a manuscript form, is presented here partly as a link between Nudozierinus and Doležal, partly as an exception in understanding the aspect because of its stronger ties with the classical tradition.
Zborník Slovenského národného múzea – Archeológia, 2021
Archeological evidence suggests that there was a strong, widespread and long-lasting close associ... more Archeological evidence suggests that there was a strong, widespread and long-lasting close association of the Sun with death in Central Europe and its neighbouring regions during the Bronze Age. We interpret it based on etymological, phraseological, motivic, and narrative correspondences of Indo-European traditions that point towards an ancient Indo-European belief about the souls of the blessed dead “going to the Sun”, most likely to an island in the sea which the Sun deity visits during the night. In contrast to ancient Near-Eastern and Egyptian beliefs, this Indo-European Sun deity did not descend into a subterranean realm of the dead and was not associated with rebirth. Based on iconographic and other archaeological evidence, we conclude that there was a belief in a solar deity envisioned in an anthropomorphic feminine form with a Sun (symbol) on the lower part of her abdomen during the Bronze Age in Central and Northern Europe. She was the central character of an important mythic narrative about the diurnal voyage of the Sun, along with its helpers and foes, that has been concurrently reconstructed using material culture or comparative mythology. In Central Europe, this solar cycle has been linked to portrayals of pairs of bird protomes connected to a Sun symbol, interpreted as (Sun-)bird-barges. However, this interpretation was based on a superficial resemblance and does not take into account the cultural and artistic context. Accounting for artistic conventions of the Urnfield culture, we propose that the supposed (Sun-)bird-barges actually often represent pairs of birds directly pulling the Sun, similar to Scandinavian depictions of the Sun pulled directly by a horse (or several horses). Therefore, these depictions portray the day part of the solar cycle and not the nocturnal sailing in the waters of the Netherworld.
Zborník Slovenského národného múzea – Archeológia, 2021
Archeological evidence suggests that there was a strong, widespread and long-lasting close associ... more Archeological evidence suggests that there was a strong, widespread and long-lasting close association of the Sun with death in Central Europe and its neighbouring regions during the Bronze Age. We interpret it based on etymological, phraseological, motivic, and narrative correspondences of Indo-European traditions that point towards an ancient Indo-European belief about the souls of the blessed dead “going to the Sun”, most likely to an island in the sea which the Sun deity visits during the night. In contrast to ancient Near-Eastern and Egyptian beliefs, this Indo-European Sun deity did not descend into a subterranean realm of the dead and was not associated with rebirth. Based on iconographic and other archaeological evidence, we conclude that there was a belief in a solar deity envisioned in an anthropomorphic feminine form with a Sun (symbol) on the lower part of her abdomen during the Bronze Age in Central and Northern Europe. She was the central character of an important mythic narrative about the diurnal voyage of the Sun, along with its helpers and foes, that has been concurrently reconstructed using material culture or comparative mythology. In Central Europe, this solar cycle has been linked to portrayals of pairs of bird protomes connected to a Sun symbol, interpreted as (Sun-)bird-barges. However, this interpretation was based on a superficial resemblance and does not take into account the cultural and artistic context. Accounting for artistic conventions of the Urnfield culture, we propose that the supposed (Sun-)bird-barges actually often represent pairs of birds directly pulling the Sun, similar to Scandinavian depictions of the Sun pulled directly by a horse (or several horses). Therefore, these depictions portray the day part of the solar cycle and not the nocturnal sailing in the waters of the Netherworld.
In the period directly after the reformation, many humanist scholars converted to one of the Pro... more In the period directly after the reformation, many humanist scholars converted to one of the Protestant movements. Since not all of them explicitly manifested their confession, one may find a few figures of this period with a partially or completely unanswered question of their religious belief. Johannes Sambucus (1531–1584), a polymath and a native of Tyrnavia (present-day Trnava, Slovakia), was equally close to Catholics, Calvinists, and Lutherans. However, in his extensive literary legacy, he never openly associated himself with a particular denomination. His confession has been the topic of research for more than a hundred years, although the answer has never been definite. This paper presents the opinions included in the primary and secondary sources and at the end tries to summarize them and answer the question, whether Johannes Sambucus was a Catholic or a Protestant.
Nicolaus comes Zerinius – a forgotten work of Johannes Sambucus?
In 1566 Johannes Sambucus arose... more Nicolaus comes Zerinius – a forgotten work of Johannes Sambucus?
In 1566 Johannes Sambucus arose to the position of the court historiographer in the court of Emperor Maximilian II. In the same year, the Ottoman army led by Süleyman I captured the fortress of Szigetvár. Around the same time, we can see the name of Nikola IV Zrinski (1507/1508 - 1566) – a man who is inherently connected to the fate of Szigetvár, appearing in Sambucus’ diary. Sambucus had been collecting information about the fall of the fortress as well as about Zrinski and gradually used it in several texts, which he wrote and later published. However, one text, The Short Praise of the Brave Hero Nikola, the Count of Zrin, remained only in manuscript in the collection of the Bibliothèque Nationale and, in the catalog, bears the title Nicolaus comes Zerinius. The study deals with the origin, content and purpose of this manuscript in the context of Sambucus’ historiographical work. The study includes a transcription of the Latin text of the manuscript and its Slovak translation.
The collection of letters by Trnava humanist Johannes Sambucus provides constant impetus for furt... more The collection of letters by Trnava humanist Johannes Sambucus provides constant impetus for further study of this literally very active polymath. The names of the addressees illustrate the number of contacts that Sambucus gained during his studies and travels, similarly to the dedications in his Emblemata collection. No doubt that Sambucus’ patron, the emperor Maximilian II, is included among the highest-ranking addressees. Through preserved pieces of correspondence, primari- ly dedicative letters in Sambucus’ published works, this study seeks to analyse the relationship with Maximilian, Archduke of Austria, King of Hungary and Bohemia who later became Holy Roman Emperor. The letters in question range from 1552 to 1571, but the collection also includes a dedicative letter to Maximilian’s younger sons and a letter to Rudolf II, along with an eulogy for the late Maximilian, issued only in 1581, four years after his death.
Johannes Sambucus - János Zsámboki - Ján Sambucus (1531–1584). Philologe, Sammler und Historiograph am Habsburgerhof, 2018
The paper presents a brief overview of De imitatione a Cicerone petenda by Johannes Sambucus (153... more The paper presents a brief overview of De imitatione a Cicerone petenda by Johannes Sambucus (1531-1584), specifically its seconds dialogue. In part, it deals with Sambucus' views on the phenomenon of Ciceronianism. Furthermore, the paper covers the use of Greek in the second dialogue of the work, and in the end also touches on the subject of using either Latin or the vernacular.
Ideológia v premenách času v pamiatkach gréckej a latinskej tradície, 2018
Imitatio Ciceroniana according to Johannes Sambucus
Johannes Sambucus, a humanist and a native ... more Imitatio Ciceroniana according to Johannes Sambucus
Johannes Sambucus, a humanist and a native of Trnava, engaged in a discussion on the best Latin style with his dialogue De imitatione Ciceroniana (Paris 1561) and its subsequent editions. Although influenced in his youth by the Ciceronian teachings of his professors, in this work he tried to objectively explain to his pupil Georgius Bona the reasons for literary imitation and direct him towards the right example, which in his case was Cicero. Unlike other zealous Ciceronians, such as Bembo or Cortesi, Sambucus did not distance himself from other great authors, and even though he can be identified as a Ciceronian, he allowed the use of words from other authors. However, these were to be embedded within the style of Cicero.
The work Oratio in obitum generosi ac magnifici adolescentis Georgii Bona Transylvani was publish... more The work Oratio in obitum generosi ac magnifici adolescentis Georgii Bona Transylvani was published in 1560 by Johannes Sambucus to honour his ward Georgius Bona, Archbishop of Esztergom Nicolaus Olahus’ nephew, who died one year before. The study presents the content of this publication, as well as its second edition from 1561; the differences between them and other texts connected with Bona the dialogue De imitatione Ciceroniana and a poem in the collection Emblemata. As the text of Sambucus’s eulogy is the main source of information about Bona, the study also contains an attempt on his portrait, supplemented with references to his preserved poetic output and the only known portrayal of Georgius Bona.
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In 1566 Johannes Sambucus arose to the position of the court historiographer in the court of Emperor Maximilian II. In the same year, the Ottoman army led by Süleyman I captured the fortress of Szigetvár. Around the same time, we can see the name of Nikola IV Zrinski (1507/1508 - 1566) – a man who is inherently connected to the fate of Szigetvár, appearing in Sambucus’ diary. Sambucus had been collecting information about the fall of the fortress as well as about Zrinski and gradually used it in several texts, which he wrote and later published. However, one text, The Short Praise of the Brave Hero Nikola, the Count of Zrin, remained only in manuscript in the collection of the Bibliothèque Nationale and, in the catalog, bears the title Nicolaus comes Zerinius. The study deals with the origin, content and purpose of this manuscript in the context of Sambucus’ historiographical work. The study includes a transcription of the Latin text of the manuscript and its Slovak translation.
Johannes Sambucus, a humanist and a native of Trnava, engaged in a discussion on the best Latin style with his dialogue De imitatione Ciceroniana (Paris 1561) and its subsequent editions. Although influenced in his youth by the Ciceronian teachings of his professors, in this work he tried to objectively explain to his pupil Georgius Bona the reasons for literary imitation and direct him towards the right example, which in his case was Cicero. Unlike other zealous Ciceronians, such as Bembo or Cortesi, Sambucus did not distance himself from other great authors, and even though he can be identified as a Ciceronian, he allowed the use of words from other authors. However, these were to be embedded within the style of Cicero.
In 1566 Johannes Sambucus arose to the position of the court historiographer in the court of Emperor Maximilian II. In the same year, the Ottoman army led by Süleyman I captured the fortress of Szigetvár. Around the same time, we can see the name of Nikola IV Zrinski (1507/1508 - 1566) – a man who is inherently connected to the fate of Szigetvár, appearing in Sambucus’ diary. Sambucus had been collecting information about the fall of the fortress as well as about Zrinski and gradually used it in several texts, which he wrote and later published. However, one text, The Short Praise of the Brave Hero Nikola, the Count of Zrin, remained only in manuscript in the collection of the Bibliothèque Nationale and, in the catalog, bears the title Nicolaus comes Zerinius. The study deals with the origin, content and purpose of this manuscript in the context of Sambucus’ historiographical work. The study includes a transcription of the Latin text of the manuscript and its Slovak translation.
Johannes Sambucus, a humanist and a native of Trnava, engaged in a discussion on the best Latin style with his dialogue De imitatione Ciceroniana (Paris 1561) and its subsequent editions. Although influenced in his youth by the Ciceronian teachings of his professors, in this work he tried to objectively explain to his pupil Georgius Bona the reasons for literary imitation and direct him towards the right example, which in his case was Cicero. Unlike other zealous Ciceronians, such as Bembo or Cortesi, Sambucus did not distance himself from other great authors, and even though he can be identified as a Ciceronian, he allowed the use of words from other authors. However, these were to be embedded within the style of Cicero.