Maecenas


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Mae·ce·nas

(mē-sē′nəs, mĭ-), Gaius 70?-8 bc.
Roman politician and patron of Horace and Virgil.

Maecenas

(miːˈsiːnæs)
n
1. (Biography) Gaius (ˈɡaɪəs). ?70–8 bc, Roman statesman; adviser to Augustus and patron of Horace and Virgil
2. (Art Terms) a wealthy patron of the arts

Mae•ce•nas

(miˈsi nəs, maɪ-)

n.
1. Gaius Cilnius, c70–8 B.C., Roman statesman: friend and patron of Horace and Virgil.
2. a generous patron, esp. of art or literature.
Translations

Maecenas

nMaecenas m; (fig)Mäzen m
Mentioned in ?
References in classic literature ?
Augustus raised Agrippa (though of mean birth) to that height, as when he consulted with Maecenas, about the marriage of his daughter Julia, Maecenas took the liberty to tell him, that he must either marry his daughter to Agrippa, or take away his life; there was no third way, he had made him so great.
asked Vronsky, thinking that, as a Russian Maecenas, it was his duty to assist the artist regardless of whether the picture were good or bad.
Lenotre had hastened the pleasure of the Maecenas of his period; all the nursery- grounds had furnished trees whose growth had been accelerated by careful culture and the richest plant-food.
Balbus sent a story (versus) to Maecenas, who replied that he hoped to use it in due course.
But, next day, he resumed the subject by saying in his off-hand manner and with a slighting laugh, 'Well, Blandois, when shall we go to this Maecenas of yours?
Maecenas is an open-source blockchain platform that 'democratises' access to fine art.
Art-related websites including Artforcrypto, Dadiani Fine Arts, and Maecenas are all using the Blockchain in business.
com/why-blockchain-future-investing-fine-art-2551733) Maecenas is already working on this type of decentralized record.
Fully aware of Matthieu's appeal and that the genre of political biography was widely consumed by his contemporary public, he readily capitalized on both with his Life of Seneca (1625) and Life of Maecenas (1626).
Augustus' sense of how critical the control of information was to one intending to preserve his power was confirmed by renowned patron of the arts Gaius Maecenas, who reportedly advised the emperor to hire for this vital state service "persons who are to keep eyes and ears open to anything which affects his supremacy.
Iambos, despite its transgressively obscene content, thus serves to uphold and reinforce the status quo in a period where elite Roman masculinity was challenged through social forces, upset by the political instability of the Triumviral period, and was witness to the emergence of alternative masculinities in the sartorial self-expression of Roman elites like Caesar and Maecenas and in the poetic aesthetics of Roman love elegy.
When these heterogeneous figures meet in the streets of the City of Masks, they perform an eerie public, almost theatrical, fusion of the key dramatis personae of contemporaneity: African vendors hawking fake Gucci (the real Gucci vendor being the grandest Venetian Maecenas, with his Punta della Dogana and Palazzo Grassi), haunted by bargaining Russian and Chinese clienteles and hunted by Italian police.