Royal court in the context of "Royal household"

Augusta (Classical Latin: [au̯ˈɡʊsta]; plural Augustae; Greek: αὐγούστα) was a Roman imperial honorific title given to empresses and women of the imperial families. It was the feminine form of Augustus. In the third century, Augustae could also receive the titles of Mater Senatus ("Mother of the Senate"), Mater Castrorum ("Mother of the Camp"), and Mater Patriae ("Mother of the Fatherland").

The title implied the greatest prestige. Augustae could issue their own coinage, wear imperial regalia, and rule their own courts.

The Jagiellonian (US: /ˌjɑːɡjəˈloʊniən/ YAH-gyə-LOH-nee-ən) or Jagellonian dynasty (US: /ˌjɑːɡəˈ-/ YAH-gə-; Lithuanian: Jogailaičių dinastija; Polish: dynastia jagiellońska), otherwise the Jagiellon dynasty (Polish: dynastia Jagiellonów), the House of Jagiellon (Polish: Dom Jagiellonów), or simply the Jagiellons (Lithuanian: Jogailaičiai; Polish: Jagiellonowie; Latin: Iagellonidae), was the name assumed by a cadet branch of the Lithuanian ducal dynasty of Gediminids upon reception by Jogaila, the Grand Duke of Lithuania, of baptism as Ladislaus in 1386, which paved the way to his ensuing marriage to the Queen Regnant Hedwig of Poland, resulting in his ascension to the Crown of the Kingdom of Poland as Ladislaus II Jagiełło (initially ruling jure uxoris jointly with Jadwiga until her death), and the effective promotion of his branch to a royal dynasty. The Jagiellons were polyglots and per historical evidence Casimir IV Jagiellon and his son Saint Casimir possibly were the last Jagiellons who spoke in their patrilineal ancestors' Lithuanian language; however, even the last patrilineal Jagiellonian monarch Sigismund II Augustus maintained two separate and equally lavish Lithuanian-speaking and Polish-speaking royal courts in Lithuania's capital Vilnius. The Jagiellons reigned in several European countries between the 14th and 16th centuries. Members of the dynasty were Kings of Poland (1386–1572), Grand Dukes of Lithuania (1377–1392 and 1440–1572), Kings of Hungary (1440–1444 and 1490–1526), and Kings of Bohemia and imperial electors (1471–1526).

The personal union between the Kingdom of Poland and the Grand Duchy of Lithuania (converted in 1569 with the Treaty of Lublin into the Polish–Lithuanian Commonwealth) is the reason for the common appellation "Poland–Lithuania" in discussions about the area from the Late Middle Ages onward. One Jagiellon, Ladislaus III of Poland, briefly ruled both Poland and Hungary (1440–1444), and two others ruled both Bohemia and Hungary (1490–1526) and then continued in the distaff line as a branch of the House of Habsburg.

The Paladins, also called the Twelve Peers (French: Douze Pairs), are twelve legendary knights, the foremost members of Charlemagne's court in the 8th century. They first appear in the medieval (12th century) chanson de geste cycle of the Matter of France, where they play a similar role to the Knights of the Round Table in Arthurian romance. In these romantic portrayals, the chivalric paladins represent Christianity against a Saracen (Muslim) invasion of Europe. The names of the paladins vary between sources, but there are always twelve of them (a number with Christian associations) led by Roland (spelled Orlando in later Italian sources). The paladins' most influential appearance is in The Song of Roland, written between 1050 and 1115, which narrates the heroic death of Roland at the Battle of Roncevaux Pass.

The legend is based on the historical Umayyad invasion of Gaul and subsequent conflict in the Marca Hispanica between the Frankish Empire and the Emirate of Córdoba. The term paladin is from Old French, deriving from the Latin comes palatinus (count palatine), a title given to close retainers.

As a literary genre, the chivalric romance is a type of prose and verse narrative that was popular in the noble courts of high medieval and early modern Europe. They were fantastic stories about marvel-filled adventures, often of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest. It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, in which masculine military heroism predominates."

Popular literature also drew on themes of romance, but with ironic, satiric, or burlesque intent. Romances reworked legends, fairy tales, and history to suit the readers' and hearers' tastes, but by c. 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in his novel Don Quixote. Still, the modern image of "medieval" is more influenced by the romance than by any other medieval genre, and the word medieval evokes knights, damsels in distress, dragons, and other romantic tropes.

Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" can also be applied to non-Western art musics. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century, it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices.

Rooted in the patronage of churches and royal courts in Europe, surviving early medieval music is chiefly religious, monophonic and vocal, with the music of ancient Greece and Rome influencing its thought and theory. The earliest extant music manuscripts date from the Carolingian Empire (800–887), around the time which Western plainchant gradually unified into what is termed Gregorian chant. Musical centers existed at the Abbey of Saint Gall, the Abbey of Saint Martial and Saint Emmeram's Abbey, while the 11th century saw the development of staff notation and increasing output from medieval music theorists. By the mid-12th century, France became the major European musical center: the religious Notre-Dame school first fully explored organized rhythms and polyphony, while secular music flourished with the troubadour and trouvère traditions led by poet-musician nobles. This culminated in the court-sponsored French ars nova and Italian Trecento, which evolved into ars subtilior, a stylistic movement of extreme rhythmic diversity. Beginning in the early 15th century, Renaissance composers of the influential Franco-Flemish School built on the harmonic principles in the English contenance angloise, bringing choral music to new standards, particularly the mass and motet. Northern Italy soon emerged as the central musical region, where the Roman School engaged in highly sophisticated methods of polyphony in genres such as the madrigal, which inspired the brief English Madrigal School.

A lady-in-waiting (alternatively written lady in waiting) or court lady is a female personal assistant at a court, attending on a royal woman or a high-ranking noblewoman. Historically, in Europe, a lady-in-waiting was often a noblewoman but of lower rank than the woman to whom she attended. Although she may either have received a retainer or may not have received compensation for the service she rendered, a lady-in-waiting was considered more of a secretary, courtier, or companion to her mistress than a servant.

In some other parts of the world, the lady-in-waiting, often referred to as palace woman, was in practice a servant or a slave rather than a high-ranking woman, but still had about the same tasks, functioning as companion and secretary to her mistress. In courts where polygamy was practiced, a court lady might have been formally available to the monarch for sexual services, and she could become his wife, consort, courtesan, or concubine.

A eunuch (/ˈjuː.nək/ YOO-nək, Ancient Greek: εὐνοῦχος) is a boy or man who has been castrated. Throughout history, castration often served a specific social function. The earliest records for intentional castration to produce eunuchs are from the Sumerian city of Lagash in the 2nd millennium BC. Over the millennia since, they have performed a wide variety of functions in many different cultures: courtiers or equivalent domestics, for espionage or clandestine operations, castrato singers, concubines or sexual partners, religious specialists, soldiers, royal guards, government officials, and guardians of women or harem servants.

Eunuchs would usually be servants or slaves who had been castrated to make them less threatening servants of a royal court where physical access to the ruler could wield great influence. Seemingly lowly domestic functions—such as making the ruler's bed, bathing him, cutting his hair, carrying him in his litter, or even relaying messages—could, in theory, give a eunuch "the ruler's ear" and impart de facto power to the formally humble but trusted servant.