Learchus
Learchus or Learches is a figure in Greek mythology and was the son of Athamas and Ino as well as the brother of Melicertes. The story of Learchus is part of the Theban Cycle, elaborated by Ovid in his Metamorphoses, he was killed as a boy by his father, whom Hera drove insane as punishment for having received and raised Dionysus, the illegitimate son of Zeus and Semele, Ino's sister. Athamas, blinded by the madness, killed him. After this, Athamas went in frenzied pursuit of Ino, who jumped into the sea with their other son, Melicertes. Ovid adds some details to this story, for instance, that Learchus had spontaneously stretched out his arms to his father to hug him, not knowing that he was mad and would slay him. Dante cites this myth as an example of insanity in his Inferno. Ovid, Book IV, Fable VII Dante, Divine Comedy, Canto XXX, 7-12
Louvre Palace
The Louvre Palace is a former royal palace located on the Right Bank of the Seine in Paris, between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. A fortress built in the medieval period, it became a royal palace in the fourteenth century under Charles V and was used from time to time by the kings of France as their main Paris residence, its present structure has evolved in stages since the 16th century. In 1793 part of the Louvre became a public museum, now the Musée du Louvre, which has expanded to occupy most of the building; the present-day Louvre Palace is a vast complex of wings and pavilions on four main levels which, although it looks to be unified, is the result of many phases of building, modification and restoration. The Palace is situated in the right-bank of the River Seine between Rue de Rivoli to the north and the Quai François Mitterrand to the south. To the west is the Jardin des Tuileries and, to the east, the Rue de l'Amiral de Coligny, where its most architecturally famous façade, the Louvre Colonnade, the Place du Louvre are found.
The complex occupies about 40 hectares and forms two main quadrilaterals which enclose two large courtyards: the Cour Carrée, completed under Napoleon I, the larger Cour Napoléon with the Cour du Carrousel to its west, built under Napoleon III. The Cour Napoléon and Cour du Carrousel are separated by the street known as the Place du Carrousel; the Louvre complex may be divided into the "Old Louvre": the medieval and Renaissance pavilions and wings surrounding the Cour Carrée, as well as the Grande Galerie extending west along the bank of the Seine. Some 51,615 sq m in the palace complex are devoted to public exhibition floor space; the Old Louvre occupies the site of the Louvre castle, a 12th-century fortress built by King Philip Augustus called the Louvre. Its foundations are viewable in the basement level as the "Medieval Louvre" department; this structure was razed in 1546 by King Francis I in favour of a larger royal residence, added to by every subsequent French monarch. King Louis XIV, who resided at the Louvre until his departure for Versailles in 1678, completed the Cour Carrée, closed off on the city side by a colonnade.
The Old Louvre is a quadrilateral 160 m on a side consisting of 8 ailes which are articulated by 8 pavillons. Starting at the northwest corner and moving clockwise, the pavillons consist of the following: Pavillon de Beauvais, Pavillon de Marengo, Northeast Pavilion, Central Pavilion, Southeast Pavilion, Pavillon des Arts, Pavillon du Roi, Pavillon Sully. Between the Pavillon du Roi and the Pavillon Sully is the Aile Lescot: built between 1546 and 1551, it is the oldest part of the visible external elevations and was important in setting the mould for French architectural classicism. Between the Pavillon Sully and the Pavillon de Beauvais is the Aile Lemercier: built in 1639 by Louis XIII and Cardinal Richelieu, it is a symmetrical extension of Lescot's wing in the same Renaissance style. With it, the last external vestiges of the medieval Louvre were demolished; the New Louvre is the name given to the wings and pavilions extending the Palace for about 500 m westwards on the north and on the south sides of the Cour Napoléon and Cour du Carrousel.
It was Napoléon III who connected the north end of the Tuileries Palace with the Louvre in the 1850s, thus achieving the Grand Dessein envisaged by King Henry IV of France in the 16th century. This consummation only lasted a few years, however, as the Tuileries was burned in 1871 and razed in 1883; the northern limb of the new Louvre consists of three great pavilions along the Rue de Rivoli: the Pavillon de la Bibliothèque, Pavillon de Rohan and Pavillon de Marsan. On the inside of the Pavillon de la Bibliothèque are three pavilions; the southern limb of the New Louvre consists of five great pavilions along the Quai François Mitterrand: the Pavillon de la Lesdiguieres, Pavillon des Sessions, Pavillon de la Tremoille, Pavillon des États and Pavillon de Flore. As on the north side, three inside pavilions and their wings define three more subsidiary Courts: Cour du Sphinx, Cour Visconti and Cour Lefuel; the Chinese American architect I. M. Pei was selected in 1983 to design François Mitterrand's Grand Louvre Project.
A vast underground complex of offices, exhibition spaces, storage areas, parking areas, as well as an auditorium, a tourist bus depot, a cafeteria, was constructed underneath the Louvre's central courtyards of the Cour Napoléon and the Cour du Carrousel. The ground-level entrance to this complex was situated in the centre of the Cour Napoléon and is crowned by the prominent steel-and-glass pyramid, the most famous element designed by Pei. In a proposal by Kenneth Carbone, the nomenclature of the wings of the Louvre
The Bacchae
The Bacchae is an ancient Greek tragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon. It premiered posthumously at the Theatre of Dionysus in 405 BC as part of a tetralogy that included Iphigeneia at Aulis and Alcmaeon in Corinth, which Euripides' son or nephew is assumed to have directed, it won first prize in the City Dionysia festival competition. The tragedy is based on the Greek myth of King Pentheus of Thebes and his mother Agave, their punishment by the god Dionysus; the god Dionysus appears at the beginning of the play and proclaims that he has arrived in Thebes to avenge the slander, repeated by his aunts, that he is not the son of Zeus. In response, he intends to introduce Dionysian rites into the city, he intends to demonstrate to the king, to Thebes that he was indeed born a god. At the end of the play, Pentheus is torn apart by the women of Thebes and his mother Agave bears his head on a pike to her father Cadmus.
The Bacchae is considered to be not only one of Euripides's greatest tragedies, but one of the greatest written, modern or ancient. The Bacchae is distinctive for the facts that the chorus is integrated into the plot and the god is not a distant presence, but a character in the play, the protagonist; the Bacchae has been the subject of varying interpretations regarding what the play as a whole means, or indeed whether there is a “moral” to the story. The extraordinary beauty and passion of the poetic choral descriptions indicate that the author knew what attracted those who followed Dionysus, and the vivid gruesomeness of the punishment of Pentheus suggests that he could understand those who were troubled by the religion. At one time the interpretation that prevailed was that the play was an expression of Euripides’ religious devotion, as though after a life of being critical of the Greek gods and their followers, the author repented of his cynicism, wrote a play that honors Dionysus and that carries a dire warning to anyone who doesn’t believe.
At the end of the 19th century the opposite idea began to take hold. The Dionysus in Euripides' tale is a young god, angry that his mortal family, the royal house of Cadmus, has denied him a place of honor as a deity, his mortal mother, was a mistress of Zeus who while pregnant, was killed by Hera, jealous of her husband's affair. When Semele died, her sisters accused her of lying. Most of Semele's family refuse to believe Dionysus is the son of Zeus, the young god is spurned in his home, he has traveled throughout other foreign lands, gathering a cult of female worshipers. At the play's start he has returned, disguised as a stranger, to take revenge on the house of Cadmus, he has driven the women of Thebes, including his aunts, into an ecstatic frenzy, sending them dancing and hunting on Mount Cithaeron, much to the horror of their families. Complicating matters, his cousin, the young king Pentheus, has declared a ban on the worship of Dionysus throughout Thebes; the play begins before the palace at Thebes, with Dionysus telling the story of his birth and his reasons for visiting the city.
Dionysus explains he is the son of a mortal woman, a god, Zeus. Some in Thebes, don't believe this story. In fact, Semele’s sisters—Autonoe and Ino—claim it is a lie intended to cover up the fact that Semele became pregnant by some mortal. Dionysus reveals that he has driven the women of the city mad, including his three aunts, has led them into the mountains to observe his ritual festivities, he has disguised himself as a mortal for the time being, but he plans to vindicate his mother by appearing before all of Thebes as a god, the son of Zeus, establishing his permanent cult of followers. Dionysus exits to the mountains, the chorus enters, they perform a choral ode in praise of Dionysus. Tiresias, the blind and elderly seer, appears, he calls for the founder and former king of Thebes. The two old men start out to join the revelry in the mountains when Cadmus’ petulant young grandson Pentheus, the current king, enters. Disgusted to find the two old men in festival dress, he scolds them and orders his soldiers to arrest anyone engaging in Dionysian worship, including the mysterious "foreigner" who has introduced this worship.
Pentheus intends to have him stoned to death. The guards soon return with Dionysus himself in tow. Pentheus skeptical of and fascinated by the Dionysian rites. Dionysus's answers are cryptic. Infuriated, Pentheus has Dionysus taken chained to an angry bull in the palace stable, but the god now shows his power. He razes the palace with an earthquake and fire. Dionysus and Pentheus are once again at odds when a herdsman arrives from the top of Mount Cithaeron, where he had been herding his grazing cattle, he reports that he found women on the mountain behaving strangely: wandering the forest, suckling animals, twining snakes in their hair, performing miraculous feats. The herdsmen and the shepherds made a plan to capture Pentheus' mother, but when they jumped out of hiding to grab her, the Bacchae pursued the men. The men escaped, but their cattle were not so fortunate, as the women fell upon the animals, ripping them to shreds with their bare hands; the women carried on, plun
Zeus
Zeus is the sky and thunder god in ancient Greek religion, who rules as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter, his mythologies and powers are similar, though not identical, to those of Indo-European deities such as Jupiter, Perkūnas, Perun and Thor. Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, though sometimes reckoned the eldest as the others required disgorging from Cronus's stomach. In most traditions, he is married to Hera, by whom he is said to have fathered Ares and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, by whom the Iliad states that he fathered Aphrodite. Zeus was infamous for his erotic escapades; these resulted in many divine and heroic offspring, including Athena, Artemis, Persephone, Perseus, Helen of Troy and the Muses. He was respected as an allfather, chief of the gods and assigned the others to their roles: "Even the gods who are not his natural children address him as Father, all the gods rise in his presence."
He was equated with many foreign weather gods, permitting Pausanias to observe "That Zeus is king in heaven is a saying common to all men". Zeus' symbols are the thunderbolt, eagle and oak. In addition to his Indo-European inheritance, the classical "cloud-gatherer" derives certain iconographic traits from the cultures of the ancient Near East, such as the scepter. Zeus is depicted by Greek artists in one of two poses: standing, striding forward with a thunderbolt leveled in his raised right hand, or seated in majesty; the god's name in the nominative is Ζεύς. It is inflected as follows: vocative: Ζεῦ. Diogenes Laërtius quotes Pherecydes of Syros as spelling the name, Ζάς. Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky called *Dyeus ph2tēr; the god is known under this name in the Rigveda, deriving from the root *dyeu-. Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology; the earliest attested forms of the name are the Mycenaean Greek, di-we and, di-wo, written in the Linear B syllabic script.
Plato, in his Cratylus, gives a folk etymology of Zeus meaning "cause of life always to all things," because of puns between alternate titles of Zeus with the Greek words for life and "because of." This etymology, along with Plato's entire method of deriving etymologies, is not supported by modern scholarship. Cronus sired several children by Rhea: Hestia, Hera and Poseidon, but swallowed them all as soon as they were born, since he had learned from Gaia and Uranus that he was destined to be overthrown by his son as he had overthrown Uranus, his own father, an oracle that Rhea heard and wished to avert; when Zeus was about to be born, Rhea sought Gaia to devise a plan to save him, so that Cronus would get his retribution for his acts against Uranus and his own children. Rhea gave birth to Zeus in Crete, handing Cronus a rock wrapped in swaddling clothes, which he promptly swallowed. Varying versions of the story exist: According to Hyginus ) Zeus was raised by a nymph named Amalthea. Since Saturn ruled over the Earth, the heavens and the sea, she hid him by dangling him on a rope from a tree so he was suspended between earth and sky and thus, invisible to his father.
According to Pseudo-Apollodorus ) Zeus was raised by a goat named Amalthea in a cave called Dictaeon Antron. A a company of soldiers called Kouretes danced and clashed their spears against their shields so that Cronus would not hear the baby's cry. After reaching manhood, Zeus forced Cronus to disgorge first the stone his siblings in reverse order of swallowing. In some versions, Metis gave Cronus an emetic to force him to disgorge the babies, or Zeus cut Cronus's stomach open. Zeus released the brothers of Cronus, the Hecatonchires and the Cyclopes, from their dungeon in Tartarus, killing their guard, Campe; as a token of their appreciation, the Cyclopes gave him thunder and the thunderbolt, or lightning, hidden by Gaia. Together, his brothers and sisters and Cyclopes overthrew Cronus and the other Titans, in the combat called the Titanomachy; the defeated Titans were cast into a shadowy underworld region known as Tartarus. Atlas, one of the titans who fought against Zeus, was punished by having to hold up the sky.
After the battle with the Titans, Zeus shared the world with his elder brothers and Hades, by drawing lots: Zeus got the sky and air, Poseidon the waters, Hades the world of the dead. The ancient Earth, could not be claimed. Gaia resented. Soon after taking the throne as king of the gods, Zeus had to fight some of Gaia's other children, the monsters Typhon and Echidna, he left Echidna and her children alive. When Zeus was atop Mount Olympus he was appalled by human sac
Melicertes
In Greek mythology, Melicertes is the son of the Boeotian prince Athamas and Ino, daughter of Cadmus. Ino, pursued by her husband, driven mad by Hera because Ino had brought up the infant Dionysus, threw herself and Melicertes into the sea from a high rock between Megara and Corinth, Both were changed into marine deities: Ino as Leucothea, noted by Homer, Melicertes as Palaemon; the body of the latter was carried by a dolphin to the Isthmus of Corinth and deposited under a pine tree. Here it was found by his uncle Sisyphus, who had it removed to Corinth, by command of the Nereids instituted the Isthmian Games and sacrifices in his honor. Palaemon appears for the first time in Euripides' Iphigeneia in Tauris, where he is the "guardian of ships"; the paramount identification in the Latin poets of the Augustan age is with Portunus, the Roman god of safe harbours, memorably in Virgil's Georgics. Ovid twice told the story of Ino's sea-plunge with Melicertes in her arms. Ovid's treatment in his Fasti identifies for the first time as the location the Isthmus without naming it:A land there is, shrunk within narrow bounds, which repels twin seas, single in itself, is lashed by two-fold waters.
In Latin poets there are numerous identifications of Palaemon with the sanctuary at the Isthmus, where no archaeological evidence was found for a pre-Augustan cult. Hyginus states both that Ino cast herself into the sea with her younger son by Athamas and was made a goddess, that Ino, daughter of Cadmus, killed her son Melicertes by Athamas, son of Aeolus, when she was fleeing from Athamas. In Greco-Roman views, Palaemon is viewed as a child with a triton tail. No satisfactory origin of the name Palaemon has been given, it has been suggested that it means the "wrestler" or "struggler" and is an epithet of Heracles, with whom Melqart is identified by interpretatio graeca and referred to as the Tyrian Herakles, but there does not appear to be any traditional connection between Heracles and Palaemon. Melicertes being Phoenician, Palaemon has been explained as the "burning lord", but there seems little in common between a god of the sea and a god of fire; the Romans identified Palaemon with Portunus, some took the name Palaemon to mean "the honey eater".
The name is said to mean "the wrestler". In the late 2nd century CE, within the sanctuary of Poseidon at Isthmia, Pausanias saw a temple of Palaemon:..with images in it of Poseidon and Palaemon himself. There is what is called his Holy of Holies, an underground descent to it, where they say that Palaemon is concealed. Whosoever, whether Corinthian or stranger, swears falsely here, can by no means escape from his oath. There is an ancient sanctuary called the altar of the Cyclopes, they sacrifice to the Cyclopes upon it. In company with Leucothea, Melicertes/Palaemon was invoked for protection from dangers at sea. There seems considerable doubt whether or not the cult of Melicertes was of foreign Phoenician and introduced by Phoenician navigators on the coasts and islands of the Aegean and Mediterranean. For the Hellenes he is a native of Boeotia; the premature death of the child in the Greek form of the legend is an allusion to this. In 1956 excavations at Isthmia by the University of Chicago under the direction of Oscar Broneer uncovered the small sanctuary of Palaemon, which had a tiny Roman round temple in the Corinthian order, which appeared on coins of Corinth in the 2nd century CE.
The foundations of the temple were found to lie over the starting-line of a late-5th- or early-4th-century BCE stadium. Worship was characterized by the dedication of hundreds of wheelmade oil lamps of a distinct type. A cult of Melicertes of great antiquity based on pre-Hellenic figures of Ino and Melicertes, was posited by Edouard Will just previous to the site's discovery and refuted by John Hawthorne in 1958; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Melicertes". Encyclopædia Britannica. 18. Cambridge University Press. P. 94
Golden Fleece
In Greek mythology, the Golden Fleece is the fleece of the golden-woolled, winged ram, held in Colchis. The fleece is a symbol of kingship, it figures in the tale of the hero Jason and his crew of Argonauts, who set out on a quest for the fleece by order of King Pelias, in order to place Jason rightfully on the throne of Iolcus in Thessaly. Through the help of Medea, they acquire the Golden Fleece; the story was current in the time of Homer. It survives among which the details vary. Athamas the Minyan, a founder of Halos in Thessaly but king of the city of Orchomenus in Boeotia, took the goddess Nephele as his first wife, they had the boy Phrixus and the girl Helle. Athamas became enamored of and married Ino, the daughter of Cadmus; when Nephele left in anger, drought came upon the land. Ino was jealous of her stepchildren and plotted their deaths: in some versions, she persuaded Athamas that sacrificing Phrixus was the only way to end the drought. Nephele, or her spirit, appeared to the children with a winged ram.
The ram had been sired by Poseidon in his primitive ram-form upon Theophane, a nymph and the granddaughter of Helios, the sun-god. According to Hyginus, Poseidon carried Theophane to an island where he made her into a ewe, so that he could have his way with her among the flocks. There Theophane's other suitors could not distinguish his consort. Nepheles' children escaped on the yellow ram over the sea, but Helle fell off and drowned in the strait now named after her, the Hellespont; the ram spoke to Phrixus, encouraging him, took the boy safely to Colchis, on the easternmost shore of the Euxine Sea. There Phrixus sacrificed the winged ram to Poseidon returning him to the god; the ram became the constellation Aries. Phrixus settled in the house of son of Helios the sun god, he hung the Golden Fleece preserved from the sacrifice of the ram on an oak in a grove sacred to Ares, the god of war and one of the Twelve Olympians. The golden fleece was defended by bulls with hoofs of breath of fire, it was guarded by a never sleeping dragon with teeth which could become soldiers when planted in the ground.
The dragon was at the foot of the tree. Pindar employed the quest for the Golden Fleece in his Fourth Pythian Ode, though the fleece is not in the foreground; when Aeetes challenges Jason to yoke the fire-breathing bulls, the fleece is the prize: "Let the King do this, the captain of the ship! Let him do this, I say, have for his own the immortal coverlet, the fleece, glowing with matted skeins of gold". In versions of the story, the ram is said to have been the offspring of the sea god Poseidon and Themisto; the classic telling is the Argonautica of Apollonius of Rhodes, composed in the mid-third century BC Alexandria, recasting early sources that have not survived. Another, much less-known Argonautica, using the same body of myth, was composed in Latin by Valerius Flaccus during the time of Vespasian. Where the written sources fail, through accidents of history, sometimes the continuity of a mythic tradition can be found among the vase-painters; the story of the Golden Fleece appeared to have little resonance for Athenians of the Classic age, for only two representations of it on Attic-painted wares of the fifth century have been identified: a krater at the Metropolitan Museum of Art and a kylix in the Vatican collections.
In the kylix painted by Douris, ca 480-470, Jason is being disgorged from the mouth of the dragon, a detail that does not fit into the literary sources. Jason's helper in the Athenian vase-paintings is not Medea— who had a history in Athens as the opponent of Theseus— but Athena; the early origin of the myth in preliterate times means that during the more than a millennium when it was to some degree part of the fabric of culture, its perceived significance passed through numerous developments. Several euhemeristic attempts to interpret the Golden Fleece "realistically" as reflecting some physical cultural object or alleged historical practice have been made. For example, in the 20th century, some scholars suggested that the story of the Golden Fleece signified the bringing of sheep husbandry to Greece from the east. A more widespread interpretation relates the myth of the fleece to a method of washing gold from streams, well attested in the region of Georgia to the east of the Black Sea. Sheep fleeces, sometimes stretched over a wood frame, would be submerged in the stream, gold flecks borne down from upstream placer deposits would collect in them.
The fleeces would be hung in trees to dry before the gold was combed out. Alternatively, the fleeces would be used on washing tables in alluvial mining of gold or on washing tables at deep gold mines. Judging by the early gold objects from a range of cultures, washing for gold is a old human activity. Strabo describes the way in which gold could be washed: "It is said that in their country gold is carried down by the mountain torrents, that the barbarians obtain it by means of perforated troughs and fleecy skins, that this is the origin of the myth of the golden fleece—unless they call them Iberians, by the same name as the western Iberians, from the gold mines in both countries." Another interpretation is based on the references in some versions to purple
Harmonia
In Greek mythology, Harmonia is the immortal goddess of harmony and concord. Her Roman counterpart is Concordia, her Greek opposite is Eris. There was a nymph called Harmonia. According to Apollonius of Rhodes, she was a naiad of the Akmonian Wood, a lover of Ares and mother of the Amazons. According to one account, she is the daughter of Aphrodite. By another account, Harmonia was from Samothrace and was the daughter of Zeus and Electra, her brother Iasion being the founder of the mystic rites celebrated on the island. Always, Harmonia is the wife of Cadmus. With Cadmus, she was the mother of Ino, Autonoë, Semele, their youngest son was Illyrius. Those who described Harmonia as a Samothracian related that Cadmus, on his voyage to Samothrace, after being initiated in the mysteries, perceived Harmonia and carried her off with the assistance of Athena; when Cadmus was obliged to quit Thebes, Harmonia accompanied him. When they came to the Enchelii, they assisted them in their war against the Illyrians, conquered the enemy.
Cadmus became king of the Illyrians, but afterwards he was turned into a serpent. Harmonia, in her grief stripped herself begged Cadmus to come to her; as she was embraced by the serpent Cadmus in a pool of wine, the gods turned her into a serpent, unable to stand watching her in her dazed state. Harmonia is renowned in ancient story chiefly on account of the fatal necklace she received on her wedding day; when the government of Thebes was bestowed upon Cadmus by Athena, Zeus gave him Harmonia. All the gods honored the wedding with their presence. Cadmus presented the bride with a robe and necklace, which he had received either from Hephaestus or from Europa; this necklace referred to as the Necklace of Harmonia, brought misfortune to all who possessed it. Other traditions stated that Harmonia received this necklace from some of the gods, either from Aphrodite or Hera. Polynices, who inherited the necklace, gave it to Eriphyle, that she might persuade her husband, Amphiaraus, to undertake the expedition against Thebes.
Through Alcmaeon, the son of Eriphyle, the necklace came into the hands of Arsinoe, next into those of the sons of Phegeus and Agenor, lastly into those of the sons of Alcmaeon and Acarnan, who dedicated it in the temple of Athena Pronoea at Delphi. The necklace had wrought mischief to all, in possession of it, it continued to do so after it was dedicated at Delphi. Phayllus, the tyrant, stole it from the temple to gratify the wife of Ariston, she wore it for a time, but at last her youngest son was seized with madness, set fire to the house, in which she perished with all her treasures. Hyginus gives another version. According to him, the thing which brought ill fate to the descendents of Harmonia is not a necklace, but a robe "dipped in crime", given to Harmonia by Hephestus and Hera; the necklace gave peace and held Harmonia's powers in it, what made it cursed. Apollonius of Rhodes, in the Argonautica, mention a nymph of the Akmonian Wood, near Themiscyra, named Harmonia, loved by the god Ares and bore him girls who fell in love with fighting, the Amazons.
Aneris Cadmus et Hermione Concordia Eris Homonoia goddess of concord and oneness of mind Chisholm, Hugh, ed.. "Harmonia". Encyclopædia Britannica. Cambridge University Press; this article incorporates text from a publication now in the public domain: Leonhard Schmitz. "Harmonia". In Smith, William. Dictionary of Greek and Roman Biography and Mythology. 2. P. 350
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