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Eucleia
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Eucleia
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In Ancient Greek Religion, Eucleia or Eukleia (Ancient Greek: Ευκλεία, lit. 'Good Repute')[1] was the name of a goddess and epithet of Artemis. The exact relationship between the two is unclear.[2] The month name Eucleios derives from the goddess's name.

Goddess

[edit]

There is no mention of Eucleia in Hesiod's Theogony, and no early genealogy is known for the goddess. However, a fragment of Euripides suggests that as a personified abstraction Eucleia was, by the fifth century BC at least, considered to be the daughter of another personified abstraction Ponos (Toil).[3]

In Athens, Eucleia was a personified abstraction, representing good reputation and glory.[4] She shared a common Athenian sanctuary and priest with another personified abstraction Eunomia (Good Order).[5] Their common priest also served as the cosmetes, the official who was responsible for the training of Athens' young military cadets, the ephebes.[6] Roland Hampe has argued that the cosmetes was probably also responsible for moral supervision of the Athenian young women.[7] The geographer Pausanias reports that a sanctuary of Eucleia (with no mention of Eunomia) was set up in or near the Athenian market as a thank-offering for the victory at Marathon (490 BC).[8] The Greek lyric poet Bacchylides, in Ode 13 (c. 485-483 BC),[9] also associates Eucleia with Eunomia on the island of Aegina, as one of the protectors of the state (polis), saying that Arete (Excellence) "guides the state with garland-loving Eucleia, and sound-minded Eunomia".[10] A reserved seat inscription for Eucleia and Eunomia's common priest at Athen's Theater of Dionysus, attests to their cult association during the Roman imperial period.[11]

The name "Eucleia", in reference to a goddess, was widespread.[12] In addition to the Athenian personified abstraction, there are also references to a goddess Eucleia in Boetia, Locris,[13] Corinth, and Delphi.[14] According to Plutarch, although Eucleia was generally regarded as the same as Artemis, others said she was a daughter of Heracles and Myrto, and that she died a virgin and was worshipped among the Boeotians and the Locrians:[15]

Eucleia religious festivals were celebrated in Corinth, and Delphi.[16] The Corinthian festival was multi-day and hence of some importance.[17] According to Xenophon, a "sacrilegious" mass murder took place in the Corinthian market place on "the last day" of the Eucleia festival.[18] The Eucleia at Delphi was an important festival for the Labyads who offered sacrifices at the festival for newlyweds and newborns that were being initiated into the family.[19] From the festival name comes Eucleios, the name of a month for several, particularly Doric, communities, such as Corfu, Astypalaia, Byzantium, and Taormina.[20] In Paros and Epiros, military generals (stratêgoi) offered dedications to Eucleia along with Aphrodite, Zeus Aphrodisios, Hermes, and Artemis.[21]

The connection between the Eucleia paired with Eunomia at Athens, and the Eucleia of Boetia and elsewhere is unclear. Martin P. Nilsson saw little connection between what he calls this Locrian-Boeotian-Corinthian wedding goddess (Hochzeitsgöttin), and the Eucleia at Athens, other than a shared name.[22] That the temple of Eucleia at Athens was set up as a thank-offering, "indicates a different sort of cult" than the one in Boeotia.[23]

Epithet of Artemis

[edit]

The name Eucleia was also used as an epithet and cult name of Artemis.[24] Which of the above mentions of a goddess Eucleia are meant as references to Artemis, rather than an independent goddess, as well as, whether Eucleia was originally an epithet of Artemis who became an independent goddess, or an independent goddess who became equated with Artemis is unclear.[25]

At the time Plutarch is writing (c. 100 AD), he can say that "Eucleia is regarded by most as Artemis".[26] However the association of Artemis with the name Eucleia occurs as early as Sophocles's Oedipus Rex (c. 429 BC), where the chorus calls Artemis "eucleia":

On you first I call, daughter of Zeus, immortal Athena, and I implore your sister who protects the land, Artemis, seated on her round throne, far-famed [εὐκλέα], in the market-place,[27]

— Sophocles, Oedipus Rex; translation by Hugh Lloyd-Jones

That an Athenian playwright can make such an association, and expect to be understood, provides evidence of the antiquity of the identification and the general spread of the cult.[28]

Apparently the cult of Eucleia Artemis was particularly popular in Boetia.[29] Both Plutarch and Pausanias mention cult sites of "Eucleia Artemis" located in Boetia.[30] According to Pausanias, there was a temple of Eucleia Artemis at Thebes, which had a cult statue by the fourth-century BC sculptor Skopas,[31] while according to Plutarch there was a sanctuary of Eucleia Artemis at Boeotian Plataea.[32]

Sophocles has Eucleia Artemis "seated on her round throne" in Thebes' market-place (agora), where Pausanias says her temple was located,[33] and apparently it was common throughout Boetia to locate her cult sites in the city market.[34] According to Plutarch, Eucleia Artemis "has an altar and an image built in every market place" in Boetia (and Locris).[35] Corinth also apparently held its Eucleia festival in its market place (from Xenophon, see above) where her cult site would then also have been located.[36]

The only known cult customs are sacrifices involving marriage and childbirth. According to Plutarch, couples made offerings to Eucleia before a wedding,[37] and according to the Labyad inscription,[38] the Labyads sacrificed to her for newlyweds and newborns.[39] There also seems to have been a tradition of honoring local heroes by burying them in the sanctuary of Eucleia Artemis.[40] Cults of Eucleia Artemis have been assumed wherever Eucleia festivals were celebrated, or the month name Eucleios was in use.[41]

There are similarities between Artemis and the Eucleia of Boetia and elsewhere. Both are associated with the protection of the family, as well as the state.[42] Like Eucleia, Artemis was associated with childbirth and the care of the young,[43] and there may also have been cult customs related to marriage and childbirth for Artemis similar to those mentioned above for Eucleia.[44] And like Eucleia, who according to the Bacchylides quote above, was a protector of the state, so too Artemis Agoraea.[45] Scholars have suggested that such similarities could account for the identification of the two.[46]

According to Martin P. Nilsson, this wedding goddess Eucleia ought to be regarded as an epithet of Artemis which eventually became an independent goddess.[47] However, Roland Hampe saw Eucleia as originally an independent goddess who eventually became identified with Artemis.[48]

Sanctuary at Aegae

[edit]

There was a sanctuary of Eucleia at Aigai (Aegae), the ancient capital of Macedonia (located at modern Vergina).[49] The sanctuary consisted of a 4th-century BC Doric temple, a small Hellenistic era temple, and two stoas.[50] It was located in a public area of the ancient city, just to the north of the palace and theater, presumed to be the city's agora.[51] In the vicinity of the sanctuary, two marble statue bases have been found, which have inscriptions that indicate they supported dedicatory statues of Eucleia, one perhaps life-size or larger, the other smaller than life-size. The statues were dedications to the goddess set up by Eurydice, paternal grandmother of Alexander the Great.[52] In the area surrounding the sanctuary, three burials of significant people, one of whom was crowned with a golden oak leaf wreathe, have been discovered.[53]

Iconography

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The time during and immediately after the Peloponnesian War (431–404 BC), was a popular period in Athens for the depiction of personifications on vases,[54] with Eucleia being one of the most popular of these.[55] Eucleia appears on numerous late fifth century BC Athenian vases, especially by the Meidias Painter and his circle of followers. She is depicted as a beautiful young woman wearing a peplos (or less commonly a chiton), sometimes holding branches for wreaths, consistent with Bacchylides's "garland loving Eucleia", or boxes, perhaps indicating the hope chest, or bridal chest which might be found in a women's quarters.[56]

These vases are among a significant type of vase popular at Athens during this period: vases associated with weddings,[57] where Eucleia represented a good reputation as one of the desired virtues for a happy marriage.[58] Eucleia is often shown (usually with Eunomia) among the several goddesses in the retinue of Aphrodite Pandemos (Aphrodite of all the People). These goddesses are a collection of personified abstractions representing virtues such as Eucleia (Good Repute), Eunomia (Good Order), Peitho (Persuasion), and Harmonia (Harmony), as well as the benefits that might result from such virtues: Eudaimonia (Happiness), Eutychia (Prosperity), Hygieia (Health), and Paideia (Childrearing).[59] These virtues were applied both to the private and public realms. They could be virtues of a person or a polis (city), and so could be thought of as both personal and civic virtues.[60] In contrast to the turmoil of the Peloponnesian War and Athens' subsequent defeat, such depictions represented idealized images of a happy and well-ordered state of affairs, both in the home and the polis.[61]

Notes

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References

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Eucleia

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Eucleia (Ancient Greek: Εὐκλεία, lit. 'good fame') was the ancient Greek goddess or personified spirit (daimona) of glory, good repute, and renown. She was particularly associated with military victory, the success of endeavors, and the honor accorded to chaste brides and grooms. In some traditions, Eucleia was identified with the goddess Artemis, while others regarded her as a deified mortal daughter of Heracles and Myrto, a sister of Patroclus, who received divine honors after dying in virginity. As one of the younger Charites (Graces), Eucleia was the sister of Eupheme (Acclaim), Philophrosyne (Kindliness), and Euthenia (Prosperity), and together they presided over the anticipation of good fortune and the prosperity arising from virtuous actions. Her parentage varied across sources: in Orphic traditions, she was a daughter of and Aglaia (one of the elder Charites), while other accounts linked her to . The goddess appears in early Greek lyric poetry, such as in a fragment of Bacchylides (c. 5th century BCE), where she is honored alongside (Excellence) and (Good Order) as a protector of the island of , ensuring the undying fame of noble deeds through song. Eucleia was widely worshipped in ancient Greece, with notable cults in Boeotia, Locris, and Macedonia. She had an altar and image in every marketplace of the Boeotians and Locrians, where preliminary sacrifices were offered by brides and bridegrooms seeking her blessing for a reputable union. A temple dedicated to Artemis Eucleia stood at Plataea, commemorating the heroic runner Euchidas during the Persian Wars, and a sanctuary complex in Aegae, Macedonia, featured votive inscriptions and statues linked to her cult, often tied to royal Macedonian women and military triumphs.

Etymology

Name Meaning

The name Eucleia (Ancient Greek: Εὐκλεία, Eukleía) derives from the combination of the prefix eu- (εὖ), meaning "good" or "well," and kléos (κλέος), denoting "glory," "fame," or "renown." This etymology yields the interpretation "good glory" or "renown of good repute," emphasizing a positive, honorable form of fame distinct from mere notoriety. In ancient Greek literature and cult practice, the name was interpreted as embodying honorable achievement and virtuous reputation, particularly in heroic and civic spheres. Plutarch connects Eucleia to the glory of military victories, noting a sanctuary in Athens dedicated to Artemis Eucleia as a thank-offering for the Battle of Marathon, where the goddess symbolizes the enduring fame of collective valor. The term eukleia originally appeared in early epic poetry as an abstract quality rather than a divine figure, evolving from Homeric concepts of kleos—the undying fame sought by heroes—to a personified deity by the Classical period. This linguistic shift reflects broader Greek tendencies to anthropomorphize virtues, transforming eukleia from a poetic attribute of excellence into a cultic entity associated with moral and public acclaim.

Ancient Variations

In ancient Greek texts and inscriptions, the name of the goddess is attested in dialectal forms reflecting regional phonetic and morphological differences. The standard Attic Greek spelling is Εὐκλεία. In Doric dialects, particularly the Northwest Doric variety used in Macedonia, the name features adapted case endings, such as the dative singular -αι. A prominent example is the mid-4th-century BC inscription from the sanctuary of Eukleia at Aegae (modern Vergina), a dedication by Eurydice, mother of Philip II: Εὐρυδίκα Σίρρα Εὐκλείαι. This form illustrates local Doric characteristics in the inflection. Roman adaptations of the name, influenced by Greek imports, typically render it as Euclia or Eucleia in Latin texts and inscriptions, adapting the Greek upsilon to u and simplifying the .

Identity

Personification of Glory

functioned as a daimona, or personified spirit, in religious thought, embodying the abstract quality of eukleia—honorable fame or good repute earned through virtuous actions and achievements. This concept emphasized moral and ethical renown, often linked to civic virtues such as excellence in athletics, warfare, or , rather than transient or undeserved notoriety. Distinct from kleos, the broader Homeric term for fame typically associated with epic heroic deeds and undying renown without inherent moral judgment, eukleia carried a positive ethical dimension focused on praiseworthy glory that benefited the individual and the . In philosophical and literary contexts, this distinction positioned eukleia as a socially constructive force, celebrating fame rooted in aretē () and communal harmony. For instance, in fifth-century BCE , eukleia denoted the tangible honor derived from victories and personal , underscoring its role in reinforcing societal values. Pindar's epinician odes provide key literary references to eukleia, portraying it as the praiseworthy renown accompanying athletic and civic triumphs. In Isthmian 5.22, Pindar describes the victor as a "lover of the wreath" intertwined with eukleia, symbolizing the glory of competitive success that elevates both athlete and city. Similarly, Nemean 9.29 associates eukleia with enduring honor in victory celebrations, highlighting its function in immortalizing ethical achievements through song. These invocations reflect eukleia's prominence in Archaic and Classical poetry as a marker of morally acclaimed fame. As a minor , Eucleia occupied a subordinate position relative to the Olympian pantheon, serving as a specialized abstract entity rather than a fully anthropomorphic with extensive myths. Her focus on moral and social acclaim aligned her with other daimones of , emphasizing the Greek worldview's integration of ethical ideals into divine personifications without elevating her to major cultic prominence.

Relation to the Charites

Eucleia is regarded as one of the Younger , a subgroup of minor deities closely affiliated with the principal (Graces), who personify aspects of charm, beauty, and creativity. Her sisters in this grouping include Eupheme, the of acclaim and good report; Euthenia, embodying prosperity and well-being; and Philophrosyne, representing kindliness, , and friendly disposition. This familial connection underscores Eucleia's role within a broader pantheon of benevolent spirits that enhance human social harmony. The parentage of Eucleia and her sisters varies across ancient sources, reflecting the fluid genealogies common in Greek mythology. In some traditions, Eucleia was regarded as a deified mortal daughter of Heracles and Myrto, a sister of Patroclus. In the Orphic Rhapsodies, a fragmentary text from the 3rd century BCE to 2nd century CE, they are described as daughters of Hephaestus, the god of craftsmanship, and Aglaea, the eldest and most radiant of the original three Charites. Aglaea herself is the daughter of Zeus and the Oceanid Eurynome in Hesiod's Theogony (ca. 7th century BCE), linking Eucleia indirectly to the king of the gods and a primordial sea goddess as grandparents. Thematically, Eucleia and her sisters form a constellation of social virtues that promote communal flourishing, with each embodying a facet of positive human interaction and achievement. While Eupheme signifies the praise earned through , Euthenia the abundance from generous living, and Philophrosyne the warmth of welcoming conduct, Eucleia culminates this progression as the glory and renown arising from sustained good deeds and honorable repute. This grouping highlights how personal virtues contribute to collective renown, a concept echoed in ethical thought where glory is the reward for moral excellence.

Associations

Epithet of Artemis

In ancient Greek religion, Eucleia functioned as an epithet of , embodying aspects of victorious glory and moral renown in syncretic worship practices. This association linked Eucleia to triumphs in and civic achievements, where the was invoked for success and honorable fame. For instance, hymns and dedicatory inscriptions portrayed under this epithet as bestowing eukleia (good repute) upon victors, extending her protective role to ensure renown in both personal exploits and communal victories. Ancient texts provide key evidence for this epithet, particularly in Plutarch's Life of (20.5–7), where Eucleia is described as commonly regarded and addressed as , with her sanctuary at explicitly honoring Artemis Eukleia in commemoration of battle successes and heroic deeds. Similarly, Bacchylides' Ode 13 invokes Eukleia with in celebrating Aegina's glory, tying her to the steering of cities toward honorable triumphs, a theme amplified through Artemis's domain over young warriors and maidens whose exploits brought communal pride. While Eucleia maintained an independent in some regions, such as and , where she was occasionally viewed as a daughter of rather than , the merged identity as Artemis Eucleia shifted emphasis toward ethical renown and societal harmony, distinguishing it from Artemis's more untamed attributes of wilderness and feral pursuit. This underscored Eucleia's role in protecting the of —both male warriors achieving battlefield glory and female figures in rites of passage—fostering a that blended Artemis's guardianship with ideals of lasting fame. In Athenian religious practice, Eucleia was honored in a temple established as a thank-offering for the victory at Marathon (Paus. 1.14.5), symbolizing the good reputation and glory derived from military success. This cult complemented Athena's domain as the goddess of wise strategy and defensive warfare, positioning Eucleia as the embodiment of the honor and fame that rewarded Athena-guided triumphs in battle. Certain ancient traditions identified Eucleia as the daughter of Heracles and Myrto, daughter of Menoetius and sister of Patroclus, portraying her as a virgin deity who died young and was deified for her purity and repute. This genealogy tied her directly to Heracles, the archetypal hero whose labors exemplified the pursuit of eukleia—enduring fame through extraordinary feats—extending her personification to the glory achieved by other heroes in Greek mythology. A temple of Artemis Eucleia in Thebes further linked her to Heracles through myths of his campaigns, where heroic sacrifice and victory brought communal renown. Eucleia shared minor conceptual ties with Nike, the personification of , as the glory she represented often stemmed from the triumphs Nike embodied in both war and peaceful endeavors. Similarly, her overlap with underscored glory as a fostering social concord, aligning with Harmonia's role in promoting harmony within communities through reputable actions.

Worship

Cult in Athens

In , the cult of Eucleia was prominently established through the dedication of a funded by spoils from the in 490 BCE. Pausanias describes a temple to Glory (Eucleia) as a thank-offering for the Athenian over , emphasizing the battle's significance as the city's proudest military achievement. Eucleia was likely worshipped together with in , as evidenced by inscriptions attesting to their common priest. The 's location in the Agora integrated the goddess into the heart of civic life, reflecting her embodiment of glory and good repute in both military triumphs and democratic ideals. As part of Athenian civic religion, Eucleia's honored public acclaim and honorable conduct, with sacrifices likely offered to invoke her favor for collective successes in warfare and governance. This practice reinforced communal values, linking personal and state glory in the democratic polity. Her cult was further woven into major festivals such as the , where offerings to Eucleia celebrated ' shared victories and prosperity.

Sanctuary at Aegae

The Sanctuary of Eucleia in Aegae, the ancient capital of the Macedonian kingdom (modern in ), served as a prominent royal cult site dedicated to the of glory and good repute. Established in the mid-4th century BCE during the reign of Philip II, it was integrated into the urban layout near the agora and , reflecting the king's efforts to modernize and centralize religious practices around dynastic achievements. Archaeological excavations have revealed the sanctuary's modest architectural features, including the foundations of a small temple measuring approximately 8 by 4 meters, with a prodomos (entrance) and sekos () from the Classical period. Key elements include two bases within the shrine, sockets for a sacred table used for offerings positioned in front of a central base, and surrounding bases for votive statues. Votive inscriptions from the late BCE, such as those dedicating statues by (wife of Amyntas III and mother of Philip II), read "Eurydice, daughter of Sirras, to Eucleia," underscoring the site's ties to the Argead and their emphasis on eukleia as a symbol of legitimate rule and military success. Rituals at the centered on offerings and processions that celebrated dynastic glory, with the sacred table facilitating libations and sacrifices linked to royal victories and . These practices, conducted in the heart of the civic , highlighted Eucleia's role in affirming the monarchy's prestige, as evidenced by the royal dedications and the site's proximity to key political structures like the palace and .

Other Sites and Practices

Evidence of Eucleia's worship extends beyond major sanctuaries to other Boeotian centers, notably Thebes, where a of Eucleia by the sculptor Scopas was erected in the city's during the Classical period. This reflects her role in civic life, with the cult emphasizing good repute and victory; inscriptions and dedications in , including altars in marketplaces, praised eukleia in contexts of athletic and military achievement. Similar to , Eucleia had altars and images in the marketplaces of , where brides and grooms offered preliminary sacrifices seeking her blessing for reputable unions. In nearby , Euchidas was buried in the Eucleia, where an inscription on his tomb commemorates his run to and back in a single day around 479 BCE, highlighting eukleia's association with the and underscoring her invocation for renown in oracular and competitive settings. At Delphi itself, while no dedicated temple to Eucleia is attested, her abstract quality of glory permeated the site's oracles and festivals, with dedications and hymns invoking eukleia during the Pythian Games to honor athletic victors and seek divine favor for fame. Common rituals across these minor sites lacked elaborate architecture, focusing instead on portable and personal devotions such as libations of wine or honey poured to invoke personal or athletic renown, often accompanied by hymns reciting praises for glory in battle or competition. Brides and grooms also offered preliminary sacrifices to Eucleia for auspicious repute in marriage, blending her cult with domestic aspirations. During the , Eucleia's worship evolved into more mobile forms, particularly among armies, where portable shrines and invocations sought battle glory and protected soldiers' reputations; this adaptation spread her cult through military campaigns, emphasizing eukleia as a patron of collective honor without fixed monumental structures.

Artistic Depictions

Eucleia is represented in primarily as a youthful female figure, often in votive s dedicated at her cult sites. At the in Aegae (modern ), excavations uncovered fragments of a mid-4th century BCE depicting her as a young woman. Eucleia appears in ancient vase paintings as a maiden representing good repute.

Symbols and Attributes

Eucleia, as the of glory and good repute, is symbolically linked to motifs that evoke triumph and honor in culture. The stands as a primary symbol, representing victorious renown and eternal fame, often worn by athletes and warriors to signify achievement. This association is evident in ancient poetry, where Bacchylides refers to her as "garland-loving Eukleia," highlighting her connection to celebratory crowns of laurel leaves used in rituals. These symbols focus on civic and moral dimensions of and .

References

  1. https://www.theoi.com/Daimon/Eukleia.html
  2. https://www.behindthename.com/name/eukleia/submitted
  3. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2008.01.0026%3Achapter%3D20%3Asection%3D6
  4. https://inscriptions.packhum.org/text/152892
  5. https://brill.com/view/book/9789004214521/B9789004214521_s017.xml
  6. https://brill.com/display/book/9789004214521/9789004214521_webready_content_text.pdf
  7. https://www.theoi.com/Ouranios/Kharites.html
  8. https://www.theoi.com/Ouranios/KharisAglaia.html
  9. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0162%3Abook%3DOde%3D13
  10. https://archive.org/stream/cultsgreekstate00farngoog/cultsgreekstate00farngoog_djvu.txt
  11. http://www.perseus.tufts.edu/hopper/text?doc=Plut.+Arist.+20
  12. http://www.perseus.tufts.edu/hopper/text?doc=Paus.+9.17.1
  13. https://resources.warburg.sas.ac.uk/pdf/bkf200b2414273B.pdf
  14. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D1%3Achapter%3D14%3Asection%3D5
  15. https://www.attica.gr/portal/page/portal/attica_gr/epitrofes/epitropi_archeo/epitropi_archeo_perigrafi?showall=true
  16. https://www.academia.edu/36259324/Who_was_Eucles_Plutarch_and_His_Sources_on_the_Legendary_Marathon_Runner_de_gloria_Atheniensium_347cd_
  17. https://academic.oup.com/book/34911/chapter/298488477
  18. https://vici.org/vici/25241/
  19. https://people.clemson.edu/elizab/aegae.htm
  20. https://www.macedonian-heritage.gr/HellenicMacedonia/en/C1.1.4.1.html
  21. https://www.academia.edu/122071439/The_sanctuary_of_Eukleia_at_Vergina_Aegae_aspects_of_the_development_of_a_cult_place_in_the_heart_of_the_Macedonian_Kingdom
  22. https://www.ancient-origins.net/history/macedonia-0013948
  23. https://www.latsis-foundation.org/content/elib/book_17/thiba_en.pdf
  24. https://ia801301.us.archive.org/10/items/cultsofgreekstat02farn/cultsofgreekstat02farn.pdf
  25. https://thedelphiguide.com/euchidas-of-plataea/
  26. https://journals.openedition.org/kernos/pdf/655Bernab
  27. https://www.academia.edu/99317733/Eukleia_and_Eurydice_daughter_of_Sirrhas_Revisiting_old_and_newer_marble_finds_from_Vergina_Aegae
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