The German scholar, Ludwig Traube, once dubbed the tenth and eleventh centuries "The age of Horace" ("aetas Horatiana"), and placed it between the "aetas Vergiliana" of the eighth and ninth centuries, and the "aetas Ovidiana" of the twelfth and thirteenth centuries, a distinction supposed to reflect the dominant classical Latin influences of those times. Such a distinction is over-schematized since Horace was a substantial influence in the ninth century as well. Traube had focused too much on Horace's "Satires". Almost all of Horace's work found favour in the Medieval period. In fact medieval scholars were also guilty of over-schematism, associating Horace's different genres with the different ages of man. A twelfth-century scholar encapsulated the theory: "...Horace wrote four different kinds of poems on account of the four ages, the "Odes" for boys, the "Ars Poetica" for young men, the "Satires" for mature men, the "Epistles" for old and complete men." It was even thought that Horace had composed his works in the order in which they had been placed by ancient scholars. Despite its naivety, the schematism involved an appreciation of Horace's works as a collection, the "Ars Poetica", "Satires" and "Epistles" appearing to find favour as well as the "Odes". The later Middle Ages however gave special significance to "Satires" and "Epistles", being considered Horace's mature works. Dante referred to Horace as "Orazio satiro", and he awarded him a privileged position in the first circle of Hell, with Homer, Ovid and Lucan.