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Gaius Cilnius Maecenas ([ˈɡäːiʊs̠ ˈkɪɫ̪niʊs̠ mäe̯ˈkeːnäːs̠] 13 April 68 BC [1] – 8 BC) was a friend and political advisor to Octavian (who later reigned as emperor Augustus). He was also an important patron for the new generation of Augustan poets, including both Horace and Virgil .
Gaius Maecenas Melissus (/ m ə ˈ l ɪ s ə s /; fl. 1st century AD) was one of the freedmen of Gaius Maecenas, the noted Roman Augustan patron of the arts. His primary importance for Latin literature is that he invented his own form of comedy known as the "fabula trabeata" (tales of the knights).
Odes 1.1, also known by its incipit, Maecenas atavis edite regibus, is the first of the Odes of Horace. [1] This ode forms the prologue to the three books of lyrics published by Horace in 23 BC and is a dedication to the poet's friend and patron, Maecenas. [2]
The Gardens of Maecenas, or Horti Maecenatis, constituted the luxurious ancient Roman estate of Gaius Maecenas, an Augustan-era imperial advisor and patron of the arts. The property was among the first in Italy to emulate the style of Persian gardens . [ 1 ]
Articles relating to Gaius Maecenas (c. 70 – 8 BC), quasi-culture minister to the Roman Emperor and patron of the Augustan poets, including Horace and Virgil. Pages in category "Gaius Maecenas" The following 8 pages are in this category, out of 8 total.
Gaius Cilnius Maecenas, an eques, who was instrumental in putting down the conspiracy of the tribune Marcus Livius Drusus in 91 BC; he was probably the grandfather, or perhaps the father, of the famous Maecenas. [8] Gaius Cilnius Maecenas, a friend and supporter of Octavian, afterwards the emperor Augustus, whose trusted advisor he became. [9]
Bathyllus was a dancer/performer of pantomimus in Rome during the period of Augustus.Born in Alexandria, he was the favourite of Maecenas. [1]He is often described with the performer Pylades, who was seen as the epitome of tragic performance, while Bathyllus was seen as the epitome of comedic performance.
A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.