Šašel Kos 1993, p. 125: "Serpent symbols appeared as ornamentation as early as the Stone Age, along with statuettes of snakes and serpent goddesses, and it is apparent that the snake, wherever it appeared, influenced the conceptions of primitive man who, as is indicated by finds, saw in it on the one hand the protector of the domestic hearths, and on the other a chthonic diety [sic] conferring fertility." Šašel Kos, Marjeta (1993). "Cadmus and Harmonia in Illyria". Arheološki Vestnik. 44: 113–136.
Šašel Kos 1993, p. 113: "Of all the known legends connected to the northwestern Balkans, the one which was most deeply rooted among the population is the legend of the Theban heroic pair, Cadmus and Harmonia... In her opinion the legends of Cadmus, of Bato, and of the Cadmeians among the Enchelei..." p. 123: The popularity of the legend of Cadmus and Harmonia in Illyria was also manifested in other ways, in particular in the sphere of artistic creation." p. 124: "Bato, one of the most significant Illyrian names in the period of the Roman Empire, was originally, as is shown by Katičić, probably nomen sacrum...The name is unusually distributed, concentrated in Illyria, Thebes (or rather Argos), and Troas, everywhere connected to legends and religion which indicates ancient cult and religious relations..." Šašel Kos, Marjeta (1993). "Cadmus and Harmonia in Illyria". Arheološki Vestnik. 44: 113–136.
Šašel Kos 1993, p. 124: "Bato, one of the most significant Illyrian names in the period of the Roman Empire, was originally, as is shown by Katičić, probably nomen sacrum; Pausanias mentions that he had a temple in Argos (II 23, 2), and it is very probable that he was also honoured as a hero in Harpya. The name is unusually distributed, concentrated in Illyria, Thebes (or rather Argos), and Troas, everywhere connected to legends and religion which indicates ancient cult and religious relations, which in Katičić's opinion extended far beyond linguistic and ethnic boundaris." Šašel Kos, Marjeta (1993). "Cadmus and Harmonia in Illyria". Arheološki Vestnik. 44: 113–136.
Šašel Kos 1993, p. 124: "The name would also correspond to compound names of the type of Veskleves, which R. Katičić defined as names whose meanings indicate an oral epic tradition among the Illyrians." Šašel Kos, Marjeta (1993). "Cadmus and Harmonia in Illyria". Arheološki Vestnik. 44: 113–136.
West 2007, p. 15: "For the ancient Thracian and Illyrian peoples the source material is extremely scanty. It consists largely of personal and place names, a few glosses from Classical sources, and one or two inscriptions. To these can be added a larger body of inscriptions from south-east Italy in the Messapic language, which is generally considered to be Illyrian..." West, Martin L. (2007). Indo-European Poetry and Myth. Oxford University Press. ISBN978-0199280759.
Stipčević 1974, p. 182: "The most numerous traces of religious practices from the pre-Roman period are those which relate to religious symbolism. The finds of an extraordinarily large number of pendants having a symbolic meaning offer rich, until now insufficiently utilized, material for research into the little-known spiritual world of the prehistoric IIlyrians, also research for the purpose of identifying the spiritual currents which flowed from various sides and at different periods into the western Balkans. It is these tiny pendants and graphically presented symbols on clay or metal objects which reveal to us the chief object of the cult of the prehistoric Illyrians — the Sun." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Wilkes 1992, p. 244: "Symbolic forms appear in every variety of ornament. Most common of all is that of the sun, to which were related birds, serpents, horses and the swastika, which is seen to represent the solar movement." Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5.
Stipčević 1974, p. 182: "...all were connected with sun-worship, proving how very widespread it was. Such symbolic designs as swastikas, spirals or even horse-shaped pendants, images of birds, serpents, etc., reveal details of the very complex Illyrian Sun cult." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Wilkes 1992, p. 68: "...the Messapian language recorded on more than 300 inscriptions is in some respects similar to Balkan Illyrian. This link is also reflected in the material culture of both shores of the southern Adriatic. Archaeologists have concluded that there was a phase of Illyrian migration into Italy early in the first millennium BC." Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5.
Stipčević 1974, p. 74: "Ethnologists, too, studying the very rich and as yet insufficiently known Albanian ethnographical material, have found in it a series of elements which have descended directly from prehistoric Illyrian heritage. Particularly numerous are traces of Illyrian costume in present-day Albanian national costume, just as there are Illyrian traces in Albanian ornaments and in religious symbolism, folk dances, music anthroponymy, toponymy, etc." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Wilkes 1992, p. 280: "...the Albanian culture, as fascinating and varied as any in that quarter of Europe, is an inheritance from the several languages, religions and ethnic groups known to have inhabited the region since prehistoric times, among whom were the Illyrians." Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5.
Stipčević 1974, p. 197: "Theirs is a severe kind of art, intended for cattle breeders and tillers of soil or warriors. It is an art devoid of phantasy, just as unchangeable throughout the centuries as the lives of those who created it and for whom it was created. Some isolated attempts at artistic deviation did not break the barriers of the dominating geometrical formulae." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Wilkes 1992, p. 247: "llyrian taste in artistic ornament was non-representational and geometric, with combinations of triangles, diamonds and diagonal lines incised on metal objects and pottery. The absence of figured ornament may reflect the apparent lack of mythology or anthropomorphic cults." Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5.
Stipčević 1974, p. 197: "The geometric art of the early Iron Age did not possess marked differences between one Illyrian area and another, as happened in the subsequent centuries." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Stipčević 1974, p. 186: "The fact that the cult of the serpent seems to have existed exclusively in southern Illyria (one very rarely finds the serpent image in the northern regions) has enabled us to delineate with considerable clarity — however vaguely divided — two separate religious entities. In the southern one the cult of the serpent, in all its varied and rich manifestations, had a dominant role, and in the northern, the waterfowl and other symbols of the sun predominated." Stipčević, Aleksandar (1974). The Illyrians: history and culture (1977 ed.). Noyes Press. ISBN978-0815550525.
Wilkes 1992, pp. 244–245; Dyczek et al. 2014, pp. 82–83 Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
West 2007, p. 288: "Another name is Silvanae, the feminine plural corresponding to Silvanus, god of the forest. Most of the dedications to them, however, come not from Italy but from Pannonia, and they may represent Illyrian rather than Italian nymphs." West, Martin L. (2007). Indo-European Poetry and Myth. Oxford University Press. ISBN978-0199280759.
West 2007, p. 176: "The ∆α-, however, cannot be explained from Greek. But there is a Messapic Damatura or Damatira, and she need not be dismissed as a borrowing from Greek; she matches the Illyrian Deipaturos both in the agglutination and in the transfer to the thematic declension (-os, -a). (It is noteworthy that sporadic examples of a thematically declined ∆ημήτρα are found in inscriptions.) Damater/ Demeter could therefore be a borrowing from Illyrian. An Illyrian Dā- may possibly be derived from *Dhǵh(e)m-." West, Martin L. (2007). Indo-European Poetry and Myth. Oxford University Press. ISBN978-0199280759.
West 2007, p. 400: "There is a striking abundance of names containing the element *klewes- 'fame' or *kluto- 'famous', sometimes identical with poetic epithets or corresponding to poetic phrases. In the Rigveda we find, among others: Suśrávas- 'of good fame' (1. 53. 9 f., also as an epithet); compare Avestan Haosravah- (Yt. 5. 49, al.), which later became Xusrav (Chosroes); Greek Εὐκλεής; Illyrian Vescleves-." West, Martin L. (2007). Indo-European Poetry and Myth. Oxford University Press. ISBN978-0199280759.
Wilkes 1992, p. 243: "At the more spiritual level Illyrians were certainly much taken with the force of spells or the evil eye. Pliny's story that there were among Illyrians those 'who could gaze with the evil eye, cast a spell and even kill someone' (N//7.16) is repeated in the following century by Aulus Gellius (9.4, 8) in his compendium of table-talk among Roman intellectuals." Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5.
Stipčević 1976, pp. 234–235: "Il fatto che questo simbolo lo troviamo connesso con l'altro simbolo solare — il cerchio, nelle necropoli medioevali in Albania può avere un significato solo, quello cioè del contenuto simbolico identico tra questi oggetti, un fatto che può servire da argomento in favore della tesi per la continuità spirituale tra gli Illiri preistorici e le genti albanesi dell'alto Medioevo. Altri simboli religiosi illirici e albanesi, studiati dal punto di vista che ci interessa in questa sede, non potranno non apportare nuove prove per la continuità spirituale illiro-albanese. Tra questi ricorderemo quello che possiamo senz'altro considerare il più importante di tutti — il serpente." Stipčević, Aleksandar (1976). "Simbolismo illirico e simbolismo albanese: appunti introduttivi". Iliria (in Italian). 5: 233–236. doi:10.3406/iliri.1976.1234.
Dyczek et al. 2014, pp. 82–83. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
Ceka 2013, pp. 230, 348; Dyczek et al. 2014, pp. 82–83 Ceka, Neritan (2013). The Illyrians to the Albanians. Tirana: Migjeni. ISBN9789928407467. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
Wilkes 1992, pp. 244–245; Dyczek et al. 2014, pp. 82–83 Wilkes, John J. (1992). The Illyrians. Oxford, United Kingdom: Blackwell Publishing. ISBN0-631-19807-5. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
Dyczek et al. 2014, p. 81. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
Ceka 2013, p. 414; Dyczek et al. 2014, pp. 82–83 Ceka, Neritan (2013). The Illyrians to the Albanians. Tirana: Migjeni. ISBN9789928407467. Dyczek, Piotr; Kolendo, Jerzy; Łajtar, Adam; Plóciennik, Tomasz; Rzepkowski, Krzysztof (2014). "Une inscription métrique de Lambaesis (CIL, VIII, 2581 ; F. Buecheler, Carmina Latina epigraphica, 1527) et la statue du dieu illyrien Médaure". Antiquités Africaines (in French). 50 (1): 73–84. doi:10.3406/antaf.2014.1560.
Matijašić, Robert. "Goddess Ika / Ica of Plomin." Miscellanea Hadriatica et Mediterranea 3, br. - (2016): 99-110. https://doi.org/10.15291/misc.1352
Lamboley 2019, p. 138 (note 34): Festus, De verborum significatu (frg. p. 190 ed. Lindsay) : Et Sallentini, apud quos Menzanae Iovi dicatus uiuos conicitur in ignem [En témoignent aussi les Sallentins qui jettent vivant dans les flammes un cheval consacré à Jupiter Menzanas]. Lamboley, Jean-Luc (2019). "Les cultes de l'Adriatique méridionale à l'époque républicaine". In Christiane, Delplace; Tassaux, Francis (eds.). Les cultes polythéistes dans l'Adriatique romaine (in French). Ausonius Éditions. ISBN978-2-35613-260-4.
Lamboley 2019, p. 130: "Le culte de Juppiter Menzanas mentionné par Festus renvoie assez clairement à un culte indigène antérieur connu au moins de Verrius Flaccus." Lamboley, Jean-Luc (2019). "Les cultes de l'Adriatique méridionale à l'époque républicaine". In Christiane, Delplace; Tassaux, Francis (eds.). Les cultes polythéistes dans l'Adriatique romaine (in French). Ausonius Éditions. ISBN978-2-35613-260-4.
Sassi 2018, pp. 951–952. Sassi, Barbara (2018). "Sulle faglie il mito fondativo: i terremoti a Durrës (Durazzo, Albania) dall'Antichità al Medioevo"(PDF). In Cavalieri, Marco; Boschetti, Cristina (eds.). Multa per aequora. Il polisemico significato della moderna ricerca archeologica. Omaggio a Sara Santoro. Fervet Opus 4, Vol. 2, part VII: Archeologia dei Balcani (in Italian). Presses Universitaires de Louvain, with the support of Centre d'étude des Mondes antiques (CEMA) of the Université catholique de Louvain. ISBN978-2-87558-692-6.