Kessler, E. (2006): Dionysian Monotheism in Nea Paphos, Cyprus: «two monotheistic religions, Dionysian and Christian, existed contemporaneously in Nea Paphos during the 4th century C.E. [...] the particular iconography of Hermes and Dionysos in the panel of the Epiphany of Dionysos [...] represents the culmination of a pagan iconographic tradition in which an infant divinity is seated on the lap of another divine figure; this pagan motif was appropriated by early Christian artists and developed into the standardized icon of the Virgin and Child. Thus the mosaic helps to substantiate the existence of pagan monotheism.» (AbstractArkivert 21. april 2008 hos Wayback Machine.)
Sutton, s.2, nevner Dionysos som Frigjøreren i tilknytning til byfestivalen Dionysia. I Euripides' Bakkantinnene, linjene 379-385 (oversatt fra engelsk): «Han holder denne posisjonen, å delta i dansene, [380] å le med fløyten, og bringe en slutt til bekymringene, når som helt vindruenes fryd kommer til gudenes fester, og eføybehengte gjestebud begerbodene sover over menneskene.»
Kessler, E. (2006): Dionysian Monotheism in Nea Paphos, Cyprus: «two monotheistic religions, Dionysian and Christian, existed contemporaneously in Nea Paphos during the 4th century C.E. [...] the particular iconography of Hermes and Dionysos in the panel of the Epiphany of Dionysos [...] represents the culmination of a pagan iconographic tradition in which an infant divinity is seated on the lap of another divine figure; this pagan motif was appropriated by early Christian artists and developed into the standardized icon of the Virgin and Child. Thus the mosaic helps to substantiate the existence of pagan monotheism.» (AbstractArkivert 21. april 2008 hos Wayback Machine.)
