PYGMALION = PY-GI-MA-LION, MAGPIE OF MATTER EARTH

Vulcan and Maia (1585) by Bartholomäus Spranger PYGMALION/PUMAY-YATHON  POMOLOGIST 

PMY of the NORA STONE?  

Pumayyathon would seem to mean lion king however I think it may be pu (son) of Maia-yathon (king) of Tyre which was the main capital of the Canaanite/Phoenician culture. 
Maia (/ˈmeɪ.ə/ or /ˈmaɪ.ə/; Greek: Μαῖα; Latin: Maia), in ancient Greek religion, is one of the Pleiades and the mother of Hermes. Her name is related to μαῖα (maia), an honorific term for older women related to μήτηρ (mētēr) 'mother'.^{[citation needed]} Maia also means "midwife" in Greek. She was explicitly identified with Earth (Terra, the Roman counterpart of Gaia) and the Good Goddess (Bona Dea).
Maia is the daughter of Atlas^[2] and Pleione the Oceanid,^[3] and is the oldest of the seven Pleiades.^[4] They were born on Mount Cyllene in Arcadia,^[5] and are sometimes called mountain nymphs, oreads; Simonides of Ceos sang of "mountain Maia" (Maiados oureias) "of the lovely black eyes."^[6] Because they were daughters of Atlas, they were also called the Atlantides.^[7]According to the Homeric Hymn to Hermes, Zeus in the dead of night secretly begot Hermes upon Maia, who avoided the company of the gods, in a cave of Cyllene. After giving birth to the baby, Maia wrapped him in blankets and went to sleep. The rapidly maturing infant Hermes crawled away to Thessaly, where by night-fall of his first day he stole some of his half-brother Apollo's cattle and invented the lyre from a tortoise shell. Maia refused to believe Apollo when he claimed Hermes was the thief and Zeus then sided with Apollo. Finally, Apollo exchanged the cattle for the lyre, which became one of his identifying attributes.
Maia, designated 20 Tauri (abbreviated 20 Tau), is a star in the constellation of Taurus. It is the fourth-brightest star in the Pleiades open star cluster (M45), after Alcyone, Atlas and Electra, in that order. Maia is a blue giant of spectral type B8 III, and a mercury-manganese star.
Lions are mentioned by classical scholars and in pharaonic inscriptions as being among the sacred animals that were bred and buried in the Nile valley. And yet no specimens have been found in Egypt — until the excavation of the Bubasteion necropolis at Saqqara. Here we describe a complete skeleton, once a mummy, of a male lion (Panthera leo) that was discovered there, buried among the cats' catacombs1 created during the last centuries BC and occupying the much older tomb of Maïa, wet-nurse to the king Tutankhamun (from the New Kingdom, fourteenth century BC). This important find at a site that was dedicated to the feline goddess Bastet (also known as Bubastis) confirms the status of the lion as a sacred animal during the Late and Greek periods.

Burial of a mummified lion at a dedicated site confirms this animal's once-sacred status.

After the New Kingdom (1550-1069 BCE) came to be, the lioness war goddess Sekhmet became the more dominant deity, while Bastet began to be associated with cats.
Pomology (from latin pomum (fruit) + -logy) is a branch of botany that studies and cultivates fruit. The denomination fruticulture—introduced from Romance languages (from Latin fructus and cultura)—is also used.

Pomological research from the beginning of human history has focused on the development, enhancement, cultivation and physiological studies of fruit trees. The goals of fruit tree improvement include enhancement of fruit quality, regulation of production periods, and reduction work load. One involved in the science of pomology is called 
POM- POMEGRANATE OR APPLE
Definitions of pome
n. - A fruit composed of several cartilaginous or bony carpels inclosed in an adherent fleshy mass, which is partly receptacle and partly calyx, as a POMEGRANATE an apple, quince, or pear. 
n. - A ball of silver or other metal, which is filled with hot water, and used by the priest in cold weather to warm his hands during the service. ²
n. - To grow to a head, or form a head in growing. ²
A pomologist. Pumayyaton or Pommy they say creates 'worlds'. He is fascinated by the life sciences as well as cultures of humanity and recreates them in his own design, more intense and more fitting to the stereotypes than reality could ever be. He also having taken himself, takes mortals who fit the visual stereotypes and molds them into the final piece of his perfectly designed ordered supernatural world, then assumes a role of governor within it. 
Pomologists and Horticulturists apply their knowledge, skills, and technologies to grow intensively produced fruit and plants for human food and non-food uses for social needs. Their work involves plant propagation and cultivation with the aim of improving plant growth, yields, quality, nutritional value, and resistance to insects, diseases, and environmental stresses. They work as gardeners, growers, therapists, designers, and technical advisers. Horticulture refers to the growing of plants in a field or garden.

This is the story about how the apple-tree (melus) took its name in Greek (mêlon/mâlon). A certain Melus, born in the island of Delos, forsook his homeland and fled to the island of Cyprus where at that time Cinyras was king, having Adonis as his son. Cinyras bade Melus be a friend to his son, and when he saw that Melus was of a good nature, gave him one of his relatives to marry, called Pelia, or Bel-Ya, Gk. Péleia], who was herself a devotee of Venus. From them was born a second Melus, whom afterwards Venus, being gripped by love for Adonis, ordered to be raised among her altars as if he were the son of her beloved Cinyras. However after Adonis was killed by the wound from the boar, the senior Melus, unable to endure his grief for the death of Adonis, hung himself from a tree and so ended his life (MELAN-CHOLY). It is from this man’s name that the apple-tree is so called. And his wife Pelia died in turn by hanging herself in this tree. Venus, driven by pity for their death, established perennial mourning (luctum) for Adonis, turned Melus into the fruit-tree of his own name, and transformed his wife Pelia into a dove. As to the younger Melus, who alone survived of Cinyras’ line, when Venus saw that he had reached manhood, she ordered him to gather a band of men and return to Delos from where his father came.

Delos became sacred to Apollo. Apollo’s mother Leto, pregnant with Apollo and his twin sister Artemis, sought a place to bear her children. DELOS WAS IT. 

LAMENTATION MELACHOLY: The recurrence in these tales of an angered or grieving Aphrodite is striking in view of the Mesopotamian charter-myth that Enki (LORD OF LIFE) had created, the lamentation of the priest (gala/kalû) to assuage Inanna’s grief. It can hardly be coincidence that Cinyras is the personification of the knr, defined as the ‘divine Inanna-instrument’ in second-millennium Mesopotamian scribal tradition; and that versions of this instrument, including the Cypriot kinýra, are associated with lamentative contexts (see further below).

PIGMENTS AND PUG:

PUKI: Starting with the etymology of puck which is uncertain. The modern English word is attested already in Old English as puca (with a diminutive form pucel). Similar words are attested later in Old Norse (púki, with related forms including Old Swedish puke, Icelandic púki, and Frisian puk) but also in the Celtic languages (Welsh pwca, Cornish buccaand Irish púca). Most commentators think that the word was borrowed from one of these neighbouring north-west European languages. The most recent scholarly study argues for an Irish origin, on the basis that the word is widely distributed in Irish place-names, whereas puck-place-names in 

PUG or Pixie, in origin a diminutive of puck, another stab at Pygmalion. 
Definitions of pug
n. - A footprint; a track; as of a boar. ²
v. t. - To mix and stir when wet, as clay for bricks, pottery, etc. ²
v. t. - To fill or stop with clay by tamping; to fill in or spread with mortar, as a floor or partition, for the purpose of deadening sound. See Pugging, 2. ²
n. - Tempered clay; clay moistened and worked so as to be plastic. ²
n. - A pug mill. Cyprus was known in the antiquity for its natural pigments such as the umber, the ochre and the terra verde.  The exploitation of these materials was ongoing at the time of Pygmalion and is still ongoing today.

Umber is a dark/yellowish brown or almost black ferruginous (containing iron) sediment rich in manganese and has been used since ancient times as a pigment.  The deposits are generally earthy and friable.  

PIG-MALION; According to archeological sources and interpretation of inscriptions translates to Pumayyaton which means they say blessing, as in 'the gift of Pumay'  'Pumay gave of blessing'. Not a satisfactory primary metaphor. 
Pumay-ya-ton refers to the name of a Tyrian god. This name appears on a stone in Ancient Nora in Sardinia.
The name 'Pummay' has the shortened Phoenician form PMY , which is related to the Phoenician name form  pmy(y)tn or p‘mytn , which was rendered or translated into Greek as Pygmalion. (see the Wikipedia article about the Nora Stone ).
Cross's interpretation of the Nora Stone provides additional evidence that in the late 9th century BCE, Tyre was involved in a new colonizing of the western Mediterranean, lending credence to their establishment of a colony in Carthage in that time frame. 
Pygmalion, the Greek version of the Phoenician royal name Pumayyaton. 
LORDS OF A  GUILD? P-M-Y, at root, so let us start with the P. pa, po, pu/py, pe, pi.
PGMLN  PMY-YDN P-T-N of PY-THON PRE-APOLLO or even 
PY, PY-GA-MA-LI-ON, WHY PY FOR PY-THON A DRAGON. Py-Ta-Nu, Dannan.

Py-thia (original Oracle of Delos/Delphi) was the priestess who held court at Pytho, the sanctuary of the Delphinians, a sanctuary later dedicated to the Greek god Apollo. Py-thia were highly-regarded, for it was believed that they/she channeled prophecies from Apollo himself, while steeped in a dreamlike trance.

Leto mother of Apollo and Artemis has been plausibly identified with the Lycian goddess Lada who later got seduced by Zeus. She was also known as a goddess of fertility FRUITICULTURE and as Kourotrophos (Rearer of Youths). 

Leto, Latin Latona, in classical mythology, is a Titan, the daughter of Coeus and Phoebe, and mother of the god Apollo and the goddess Artemis. 

The poets say that the victim of Apollon was a Drakon (Dragon) posted by Ge (Gaea the Earth) to be a guard for the oracle at Pythia. It is also said that he was a violent son of Krios (Crius), a man with authority around Euboia (Euboea). Phemonoe, the prophetess of that day, gave them an oracle verse :--‘At close quarters a grievous arrow shall Apollon shoot at the spoiler of Parnassos (Parnassus); and of his blood-guilt the Kretans (Cretans) shall cleanse his hands but the renown shall never die.’ It seems that from the beginning the sanctuary at Delphoi (Delphi) had been plotted against by a vast number of men. Attacks were made against it by this Euboian pirates."

Hygenus, "From Terra (Earth) [Gaia] [was born] : Python a divine snake." A DRAGON.

katakeleusmos = to put a line under a matter. 

What the Apollonians have done to the Dragons.
Ovid, Metamorphoses 1. 434 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"When Tellus (the Earth) [Gaia] deep-coated with the slime of the late deluge, glowed again beneath the warm caresses of the shining sun, she brought forth countless species, some restored in ancient forms, some fashioned weird and new. Indeed Tellus (the Earth), against her will, produced a Serpent (Serpens) never known before, the huge Python, a terror to men's new-made tribes, so far it sprawled across the mountainside. The Archer god (Deus Arctitenens) [Apollon], whose shafts till then were used only against wild goats and fleeing deer, destroyed the monster with a thousand arrows, his quiver almost emptied, and the wounds, black wounds, poured forth their poison. Then to ensure the centuries should have no power to dull the lustre of that deed, Phoebus [Apollon] founded the sacred games, the crowded contests, known as Pythian from that Serpens overthrown."

Now the concept that resides in the word Pica that lends to the English word Picky. The Greek kissa, kitta is for "magpie, jay," also allude to "false appetite."

The magpie as the bringer of the balsam herb. The magpie sacred to Bacchus.

PICA IS Sacred to Dyonisos/Bacchus, the God of HORTICULTURE AND WINE.

Pica in Italy  is ‘gazza’, like Greek Kissa. It has given its name to ‘gazetta’, The Italian for newspaper.

 The Ying-yang best symbolizes the black and white of the Magpie and it's the sort of bright thing that would attract them. 

The number 7 is a significant number for Magpie people.

In Spring and Autumn - the black and white colour of the Magpie represents the balance between light and dark that occurs around the equinoxes. Also the high winds and changeable weather reminds us of the stormy change that the Magpie can bring into life. Dusk and dawn are the times to see Magpies and, much like the equinoxes, they are times when the balance between light and dark is equal.

The other time is dawn and dusk - a time when you are likely to see Magpie's cleaning the road. Tell the weather, mate for life, chatter like humans and on and on. A perfect friend who lives independently in the hedges and trees surrounding ones HEARTH.

PICA PICA THE PUG MINEROLOGIST 
Geophagy "dirt-eating," 1820, from Greek *geophagia (according to OED the Greek is geotragia), from geo-, combining form of ge "earth" (seactual e Gaia) + phagein "to eat." See also pica . "a pathological craving for substance unfit for food" (such as chalk).

Pica is characterized by an appetite for substances that are largely non-nutritive, such as hair (trichophagia); paper (xylophagia); drywall; metal (metallophagia); stones (lithophagia) or soil (geophagia); glass (hyalophagia); or feces (coprophagia); and chalk. 

All the above products refer to mineral Earths, MATTER, of interest only to a Mineralogist, Chemist, Metallurgist, Alchemist, the GROSS MATTER OF EARTH ACID/ALKALI EARTH MATTER.  Pygmalion it can be said had an insatiable appetite for  Geophagy. 
PICA-MALION/PIGMELION a Cabiri, the fire master craftsman kings of Cyprus.
Pica; Medieval Latin pica"magpie"  is possibly a reference to the bird's habit of being picky, collecting miscellaneous shining stones, as was the case in the opening paragraph of Pygmalion's story, when the melancholic Pygmalion like a Magpie is combing the beach at Amathus in Cyprus, looking for shining metal bearing stones. 

Before I go further,  Pie could at root indicate measured contrast of light 'BlackWhite' 'DarkBright' 'dullShine' like the silver full moon against a pitch black sky, which became the phrase Pie in the sky dividing equally per 28 day. 

A "Pie-eyed "drunk," has a  glossed over shine in his eyes. Piebald; "of two different colors," 1580s, formed from pie (n.2) "magpie" + bald in its older sense of "spotted, white;" in reference to the black-and-white plumage of the magpie.  Technically only black-and-white coloring indicates the extreme contrast of light, of white. The pyed freres, an order of friars who wore black and white. Also in pied piper showed the color contrast in his clothed.

Very interesting is pi, printers' slang for "a mass of type jumbled together" "size of type of about six lines to the inch" (12 point), 1580s, probably again from pica, name of a book of rules in Church of England for determining holy days (late 15c. in Anglo-Latin), again probably from Latin pica "magpie." the book so called perhaps from the shining color and the "pied" look of the old type on close-printed pages. The larger, brighter type  was that  used to print ordinals.

The first element  Mag, nickname for Margaret, long used in proverbial and slang English for qualities associated generally with women, especially in this case "idle chattering" (as in Magge tales "tall tales." 

Latin pica "magpie," fem. of picus "woodpecker," from PIE root * Speik (s)peik-  "woodpecker; magpie" (source also of Umbrian peica "magpie."
Sanskrit pikah is an  "Indian cuckoo," possibly from PIE root *pi-. The birds are proverbial for selective, pilferers and hoarders, they can be taught to speak.  It is odd that they have been regarded since the Middle Ages as bearers of ill omens.

One for sorrow divination by the number of magpies is attested from c. 1780 in Lincolnshire; the rhyme varies from place to place between 7 and 10, the only consistency being that one is alone thus bad, two together a pair is  good.

Greek kissa, kitta "magpie, jay," also "false appetite." I think the Magpie was and still is a messenger to and from God.

 It is the magpie's faithfulness to their partners and families which connects it to our HEARTH, One you can invoke to send a message to the Gods

MAGPIE A MESSENGER TO AND FROM THE GODS, A CHATTY HUMAN VOICE- IMITATOR THAT LIVES IN YOUR NEIGHBORHOOD. Magpie's are excellent protectors and will call out their 'Caw, caw, caw' warning. So in that way forewarned is forearmed. They are also masters of evasion - often using the two of them to do the old 'one-two' on any opponent.

In the forty-sixth story of Afanassieff, the magpies are in relation with the mythical water; one magpie is sent for the water of life, and another for the water of speech, to resuscitate the two sons of a prince and princess, whom a witch had touched with the hand of death as they slept. These two magpies seem to correspond to the two crows, Huginn and Muninn, which the Scandinavian god Odin sent every day into the world to learn all the news -( ‘gazetta’, The Italian for newspaper.) - there current, which they afterwards brought back and whispered in one of his ears. In a German legend given by Grimm, the magpie appears as the bringer of the balsam herb (Springwurzel). The Greeks and the Latins considered the magpie to be sacred to Bacchus, because it is in connection with the ambrosial drink; and, as drunkards are garrulous, so the magpie is famous for its garrulity. We have seen the rook amongst the Muses; in Theocritus the magpie defies the nightingale in singing; in Galenus it is proverbially emulous of the Siren; the nine daughters of Euippes were changed into magpies, because they had presumed to emulate the nine

[Pg 259] Muses in singing, whence Dante, invoking Calliope, wishes to continue his song—

"Con quel suonoDi cui le Piche misere sentiro,Lo colpo tal che disperâr perdono."

The magpie, became proverbial as a robber of gold and silver, which it goes to hide, not so much because it likes shining metals, as because it hates too great light. The crow and the magpie hide the sun and the golden ears of corn in the rainy and wintry season. In German mythology, the magpie is an infernal bird, into which witches often transform themselves, or which is ridden by them. Hence it is also believed in Germany that the magpie must be killed during the twelve days between Christmas and Epiphany (when the days begin to lengthen again). But, inasmuch as every species of malice is learned in hell, the malice of the magpie became even more proverbial than that of the crow. The magpie makes use of this knowledge now to do evil, as a malignant fairy, now to do good to men, as a benignant fairy: the colour of the blue magpie appears now luminous, now tenebrific; the colours of white and black in the magpie (as in the swallow) represent its two mythical contradictory characters. In German superstition the magpie tells of the approach of the wolf; hence it is still believed that it is unlucky to kill a[Pg 260] magpie. In the Russian popular song, the magpie is the punisher of the lazy little finger which would not go to the well to find water:—

"The magpie, the magpie,Had cooked the gruel,It leaped upon the threshold,It invited the guests."[404]

It invites all the guests, except the little finger, which is the smallest of the fingers on account of its laziness;—we have already mentioned the lazy little brother who refuses to go to take water, in the first chapter of the first book. In Russia, it is believed that when a magpie comes to perch upon the threshold of a house, it announces the arrival of guests; this belief reminds me of the magpie of Petronius: "Super limen autem cavea pendebat aurea, in quâ pica varia intrantes salutabat."[405]

Upon awakening, Pygmalion met Aphrodite , who, moved by the king's desire, told him "you deserve happiness, a happiness that you have embodied, here is the queen you have sought, love her and defend her from evil ." And that's how Galatea became human.

A sculptor creates/carves a woman, I posit out of GYPSUM which translates to EARTH SOUL, warm to the touch bright translucent white, beautiful, warm and soft to the touch. "I dust away the plaster from off your breathing body ... You'll never be the same." 
He’s sometimes looses it and can not so sure if it lives. He checks for a pulse, a beat or breath. Nothing. Still, he carves no further, for it might bruise. One day something changes. Pygmalion has been praying to the goddess. He kisses his creation. She opens her eyes. Statues have a tendency to flicker between the quick and the dead. Lucian of Samosata describes a young man who spent his days before the Venus of Praxiteles, his sight fixed uninterruptedly upon her. 

An encounter between a person and a statue can create an equally uncanny sense of reciprocal looking. To stare into a pair of eyes (human or stone) is to be pulled out of ourselves. In a poem about the ecstatic, he imagines two lovers who “like sepulchral statues lay,” their souls floating intertwined in the space between. The poem reveals how animation is a fixed quantity, affirming the first law of thermodynamics. Spiritual vitality feeds off their sepulchral bodies. Like feeding off the warm touch of plaster of paris, Gypsum, GyPS, (EARTHSOUL).

Standing Male Worshiper, Sumerian, ca. 2900-2600 B.C.Gypsum alabaster, shell, black limestone, bitumen, 11 5/8 × 51/8 × 3 7/8 in. Courtesy of the Metropolitan Museum of Art.

If icons flicker or pulse, it is because their witnesses are stone-faced, inert. A living statue relies upon a statue life. To look away is to revitalize, taking back the agency lent to the object world. Pygmalion, who had lived a solitary life, feels desire for the first time through his handiwork. The admirer of Aphrodite creates in gypsum, (Gi-PSO, etymology (Earth-Soul).
Lucien Lévy-Bruhl calls this mystical participation: the encounter with oneself beyond the body’s borders.
Projective identification has a darker side Narcissus drowns before waking from his trance. To see something seeing you is the primal face-to-face encounter out of which vulnerability and ethics arise. 

As to Ma-Lion following Pyg/Puck I offer as origin Anatolian Mother of Sacrad Matter. namely Cybele, Kibel, KiBaEl,

The inscription Matar Kubileya/Kubeleya at a Phrygian rock-cut shrine, dated to the first half of the 6th century BC, is usually read as "Mother of the mountain", a reading supported by ancient classical sources, and consistent with Cybele as any of several similar tutelary goddesses, each known as "mother" and associated with specific Anatolian mountains or other localities:^[6] a goddess thus "born from stone".^[7] She is ancient Phrygia's only known goddess,^[8]and was probably the highest deity of the Phrygian state.

In the 2nd century AD, the geographer Pausanias attests to a Magnesian (Lydian) cult to "the mother of the gods", whose image was carved into a rock-spur of Mount Sipylus. This was believed to be the oldest image of the goddess, and was attributed to the legendary Broteas.^[9] 

At Pessinos in Phrygia, the mother goddess—identified by the Greeks as Cybele—took the form of an unshaped stone of black meteoric iron,^[10] and may have been associated with or identical to Agdistis, Pessinos' mountain deity.^[11] This was the aniconic stone that was removed to Rome in 204 BC.

Images and iconography in funerary contexts, and the ubiquity of her Phrygian name Matar ("Mother"), MOTHER/MATTER, suggest that she was a mediator between the "boundaries of the known and unknown": the civilized and the wild, the worlds of the living and the dead.^[12] Her association with hawks, lions, and the stone of the mountainous landscape of the Anatolian wilderness, seem to characterize her as mother of the land in its untrammeled natural state, with power to rule, moderate or soften ( MALLEABLE MALITTA) its latent ferocity, and to control its potential threats to a settled, civilized life. 

Anatolian elites sought to harness her protective power to forms of ruler-cult; in Lydia, her cult had possible connections to the semi-legendary king Midas, as her sponsor, consort, or co-divinity.^[13] As protector of cities, or city states, she was sometimes shown wearing a mural crown, representing the city walls.^[14] At the same time, her power "transcended any purely political usage and spoke directly to the goddess' followers from all walks of life". RHEA FOLLOWED. 

Taurobolium and criobolium sacrifices were held in her honor during the Roman imperial era.^[16] Over time, her Phrygian cults and iconography were transformed, and eventually subsumed, by the influences and interpretations of her foreign devotees, at first Greek and later Roman. Agdistis is the same as Cybele, who was worshiped at Pessinus under that name. In many ancient inscriptions, Agdistis is clearly distinct from Cybele, but in many others she is listed as merely an epithet of Cybele.^[9]

Although primarily an Anatolian goddess, the cult of Agdistis covered a good deal of territory. By 250 BC it had spread to Egypt, and later to Attica: notably it could be found in Piraeus as early as the 3rd or 4th century BC, Rhamnus around 80 BC (where there was a sanctuary of Agdistis),^[9] and Lesbos and Panticapeum some time later on. Inscriptions honoring her have been found at Mithymna and Paros. In the 1st century BC, her shrine in Philadelphia in Asia Minor required a strict code of behavior. At that location and others she is found with theoi soteres.^[10] Inscriptions found at Sardis from the 4th century BC indicate that priests of Zeus were not permitted to take part in the mysteries of Agdistis.^[11]

Scholars have theorized that Agdistis is part of a continuum of androgynous Anatolian deities, including an ancient Phrygian deity probably named "Andistis" and one called "Adamma", stretching all the way back to the ancient kingdom of Kizzuwatna in the 2nd millennium BC. There is also some epigraphic evidence that in places Agdistis was considered a healing goddess of wholly benevolent nature.

Chronologically, Pigmelion enters the stage as the link, the transition from the Hearth of Matter Mother to an Uranian Queen of tee Heavenly Hearth, that rose like the SALT OF EARTH and took flight on a Mother Goose that follows the SUN. As sophisticated Alchemical CREATION formula. Anyway it seems to me that Pygmalion sketch that has survived to now is deaper than first thought. If we follow our dating of the transition we have his son in law SAN-DAN the wood merchant who brought forth Kineras. Egypt's 18th Dynasty. 1550 -1450 B.C. After the fall of the MA-Gi. Priest-King of the authochthonos, Earth born masters of the metallic salts of earth and the sacred Light and Fire/Energy, the Kypri. Next came the fall of Troy, 1170 when Agamemnon takes Paphos/Cyprus and expells the Kineriades to Amathus, back to where Pygmalion started the cult 300 years earlier. Their final fate came in Ptolemies hands where the Lady of the Kiniriad Houshold threw all her children into the FIRE and jumped in after them, rather than submit to PTolemaic  rule. So much for PHYLOKYPRIA adventurer Kings of Cyprus, Solon.

Next to Galatea, a sea-nymph, one of the fifty Nereids, in Ovid's story of Acis and Galatea.  Is she the one and same as Callope?

Calliope (/kəˈlaɪ.əpiː/ kə-LY-ə-pee; Ancient Greek: Καλλιόπη, Kalliopē "beautiful-voiced") is the muse who presides over eloquence and epic poetry; so called from the ecstatic harmony of her voice. She is spoken of by Hesiod and Ovid as the "Chief of all Muses. Etymology - From the Ancient Greek Καλλιόπη (Kalliópē, “Calliope, the muse of poetry”), from καλός (kalós, “beautiful”) + ὄψ (óps, “voice”). Poetry the good voice that sang the word, thus spoke Calliopsi,O-Psy, not Psy-X,  Psy, Greek for MIND/SOUL. GYPSUM = EARTH SOUL.

Mythology[edit]

One account says Calliope was the lover of the war god Ares, and bore him several sons: Mygdon, Edonus, Biston, and Odomantus (or Odomas), respectively the founders of Thracian tribes known as the Mygdones, Edones, Bistones, and Odomantes.^{[citation needed]} Otherwise these children were attributed to her namesake Calliope, daughter of river-god Nestus.

Calliope also had two famous sons, Orpheus^[2] and Linus,^[3] by either Apollo or the king Oeagrus of Thrace. She taught Orpheus verses for singing.^[4] According to Hesiod, she was also the wisest of the Muses, as well as the most assertive. Calliope married Oeagrus close to Pimpleia,^[5] Olympus. She is said to have defeated the daughters of Pierus, king of Thessaly, in a singing match, and then, to punish their presumption, turned them into magpies. (see Ovid, Metamorphoses 5.294–340, 662–78)

She was sometimes believed to be Homer's muse for the Iliad and the Odyssey.^{[citation needed]} The Roman epic poet, Virgil, invokes her in the Aeneid (9.525). In some cases she is said to be the Mother of sirens.

Visual depictions[edit]

Calliope is usually seen with a writing tablet in her hand. At times, she is depicted carrying a roll of paper or a book or wearing a gold crown. She would also be seen with her children.

Galatea (/ˌɡæləˈtiːə/; Greek: Γαλάτεια; "she who is milk-white")^[1] is a name popularly applied to the statue carved of ivory by Pygmalion of Cyprus, which then came to life, in Greek mythology; in modern English the name usually alludes to that story. Galatea is also the name of Polyphemus's object of desire in Theocritus's Idylls VI and XI and is linked with Polyphemus again in the myth of Acis and Galatea in Ovid's Metamorphoses. The name had become a commonplace of pastoral fictions, because of the well known myth of Acis and Galatea;

Myth[edit]

The story of Pygmalion appeared earliest in a Hellenistic work, Philostephanus' history of Cyprus, "De Cypro".^[4] It is retold in Ovid's Metamorphoses,^[5] where the king Pygmalion is made into a sculptor who fell in love with an ivory statue he had crafted with his own hands. In answer to his prayers, the goddess Venus, (Aphrodite) brought it to life and united the couple in marriage. This novella remained the classical telling until the end of the seventeenth century. The trope of the animated statue gained a vogue during the eighteenth century.^[6]

The daemon of Pygmalion's goddess, animating her cult image, bore him a daughter Paphus—the eponym of the city of Paphos—and Metharme. Of "this ecstatic relationship," Meyer Reinhold has remarked, "there may be lurking a survival of the ancient cult of the Great Goddess and her consort."^[7]

Cinyras, perhaps the son of Paphus,^[8] or perhaps the successful suitor of Metharme, founded the city of Paphos on Cyprus, under the patronage of Aphrodite, and built the great temple to the goddess there.

Bibliotheke, the Hellenistic compendium of myth long attributed to Apollodorus, mentions a daughter of Pygmalion named Metharme.^[9] She was the wife of Cinyras, and the mother of Adonis, beloved of Aphrodite, although Myrrha, daughter of Cinyras, is more commonly named as the mother of Adonis.

It was commonly rumored in Roman times that Praxiteles's cult image of Aphrodite of Knidos, in Aphrodite's temple, was so beautiful that at least one admirer arranged to be shut in with it overnight.^[10]

Interpretation[edit]

The myth indicates that a cult image of Aphrodite was instrumental in some way in the founding myth of Paphos. It also seems axiomatic, apart from miraculous intervention, that the living representative of a cult image could be none but the chief priestess. Robert Graves gives a socio-political interpretation of the story, as a mythologized overthrow of a matrilineal cult. In his view Pygmalion, the consort of the goddess's priestess at Paphos, kept the cult image of Aphrodite as a means of retaining power during his term, after which, Graves speculates, he refused to give up the goddess's image "and that he prolonged this by marriage with another of Aphrodite's priestesses—technically his daughter, since she was heiress to the throne—who is called Metharme ("change"), to mark the innovation."^[11]

Pygmalion is the Greek version of the Phoenician royal name Pumayyaton: see Pygmalion of Tyre.