The Shadow Temple
“This is the melody that will draw you into the infinite darkness that absorbs even time . . . Listen to this, the Nocturne of Shadow!”
— Sheik, Ocarina of Time
— Sheik, Ocarina of Time
Picture Credit: http://qlockwork.deviantart.com/
The remaining two temples are those of spirit and shadow. Each portrays death, yet in a drastically disparate way. The representation of death found within the depths of the Shadow Temple is that of the transience of life, or of the snuffing out and annihilation of existence; however, this sanctuary is not solely a glorification of passing from life into that which lies beyond — there are many ways to die, and this place is a deranged testament to suffering, anguish, and horror.
The area behind Kakariko Village is one repressed from memory, hidden in shadow even in the plainest light of day. The Tomb of the Royal Family, the Bottom of the Well, and the Shadow Temple are all parts of a vast city of the dead, writhing and decaying in sepulchral secrecy beneath a peaceful town of the living. Like Hrothgar’s Hall in Beowulf, such beacons in a dim world invariably attract evil. Even in the beginning of the game, however, Kakariko already exhibits softer shades of malevolence — the graveyard is rife with Poes that grow violent when their graves are disturbed, and the morbid House of Skulltula lies almost at the center of the village, ignored and mistrusted by those that dwell near it. The choice to place such vile structures so near to this village creates a dichotomy of light and darkness — what is good is good, and worth protecting, and that which threatens it is unarguably evil.
The area behind Kakariko Village is one repressed from memory, hidden in shadow even in the plainest light of day. The Tomb of the Royal Family, the Bottom of the Well, and the Shadow Temple are all parts of a vast city of the dead, writhing and decaying in sepulchral secrecy beneath a peaceful town of the living. Like Hrothgar’s Hall in Beowulf, such beacons in a dim world invariably attract evil. Even in the beginning of the game, however, Kakariko already exhibits softer shades of malevolence — the graveyard is rife with Poes that grow violent when their graves are disturbed, and the morbid House of Skulltula lies almost at the center of the village, ignored and mistrusted by those that dwell near it. The choice to place such vile structures so near to this village creates a dichotomy of light and darkness — what is good is good, and worth protecting, and that which threatens it is unarguably evil.
By far the most simple, and, by comparison, the most serene, the Tomb of the Royal Family purportedly holds the remnants of certain members of the Royal Family. Their insignia is found upon the lintel of the antechamber, and there are several symbols of the Triforce found within, as well. The walls and doors are inscribed with Hylian text, giving them the appearance of a long epitaph (though these symbols simply represent the sounds of the Japanese language instead of something with deeper meaning). Like tombs of kings, queens, emperors, and empresses from ancient civilizations all around the world, this crypt is not without its secrets and deterrents. The floor is scattered with the bones of men and beasts, the signs admonish venturing forward, warning that, “Those who break into the Royal Tomb will be obstructed by the lurkers in the dark,” and the largest chamber within the crypt is the home to several Redeads, who guard the safe paths through smoking pools of acidic vapors. [1] As the Sheikah are the watchers and founders of this village, as well as being sworn to the Royal Family, it may be that this grave is a creation of theirs and its protections were put in place by certain members of their tribe. Sadly, without a more complete knowledge of Sheikah culture and history, nothing may truly be learned from this. Certainly, though, the dutiful observer will realize that there is, without a doubt, a less bright side to the history of the realm and its chief family. [2]
The Bottom of the Well and the actual temple differ so little in terms of architecture and mood that an in-depth discussion of the Well would be redundant. That said, it is almost worse than the temple for one, simple reason: one must enter it as a child. It is an unfair fate that a child should be sent to this place of torture and blackness in order to save those who are blissfully unaware of that which is beneath their feet, seeking to swallow everything.
To speak a little of the Well, though: the existence of devices of torture, sarcophagi, and the blood, bones, and viscera caked upon its walls and floors testify as to the nature of this subterranean structure. [3] And yet, it is also a treasure house for a particular object — the Lens of Truth. It is obvious that the Lens of Truth became something of a local legend, and one not so ancient as to have been forgotten. Its existence is known, and the Well is littered with skeletons, some of whose minds and thoughts still linger. “Look for the Eye of Truth,” is repeated by many of these spirits, and perhaps these remains are from those who went in search of a lost and sacred treasure, only to die in obscure and confined catacombs. Without this tool, this Eye, the shadow occludes all paths. Shadow acts as the absence of certainty, seeking to muddle what is truly there with that which is only illusory. It is a dark mimicry of reality.
To speak a little of the Well, though: the existence of devices of torture, sarcophagi, and the blood, bones, and viscera caked upon its walls and floors testify as to the nature of this subterranean structure. [3] And yet, it is also a treasure house for a particular object — the Lens of Truth. It is obvious that the Lens of Truth became something of a local legend, and one not so ancient as to have been forgotten. Its existence is known, and the Well is littered with skeletons, some of whose minds and thoughts still linger. “Look for the Eye of Truth,” is repeated by many of these spirits, and perhaps these remains are from those who went in search of a lost and sacred treasure, only to die in obscure and confined catacombs. Without this tool, this Eye, the shadow occludes all paths. Shadow acts as the absence of certainty, seeking to muddle what is truly there with that which is only illusory. It is a dark mimicry of reality.
“The Shadow Temple . . . Here is gathered Hyrule’s bloody history of greed and hatred . . . .”
Whereas the Forest Temple was not built for, but rather later infested by, beings of death, the purpose of the Shadow Temple was assumedly to be a house of violence and obliteration.
This complex is thought to have been constructed by the Sheikah, though the exact date and reasons are unknown. There is one theory concerning the Shadow Temple that is particularly interesting, although incredibly sad. It is believed that this temple was constructed in order to concentrate all the evil and wrongdoing plaguing the land, purging Hyrule of deceit, envy, malevolence, and hatred through torture and death. Without such negative and pernicious thoughts and feelings, and those that house such characteristics, Hyrule would inevitably flourish under newfound peace and tranquility. This theory is suggestive of Ursula K. Le Guin’s short story, The Ones Who Walk Away from Omelas. In this story, Omelas is ostensibly utopian, whose inhabitants bear witness to a halcyon era of unprecedented beauty and peace. However, it is built upon the sufferings of a single child, sealed away in interminable darkness, filth, and misery. Those citizens who have reached maturity are all taken to witness this child, and they must then make a choice — to live within this system, knowing full well that it is predicated upon a child's unending agony, or to turn away, rejecting Omelas entirely. Most continue to live with such knowledge, giving credence to the basic tenet of Utilitarianism, which elevates the needs of the many over those of the few. Perhaps this temple of shadow is simply misjudged, being in truth the purifier of Hyrule, weighing the good of the realm above all else. And, perhaps it is not.
This complex is thought to have been constructed by the Sheikah, though the exact date and reasons are unknown. There is one theory concerning the Shadow Temple that is particularly interesting, although incredibly sad. It is believed that this temple was constructed in order to concentrate all the evil and wrongdoing plaguing the land, purging Hyrule of deceit, envy, malevolence, and hatred through torture and death. Without such negative and pernicious thoughts and feelings, and those that house such characteristics, Hyrule would inevitably flourish under newfound peace and tranquility. This theory is suggestive of Ursula K. Le Guin’s short story, The Ones Who Walk Away from Omelas. In this story, Omelas is ostensibly utopian, whose inhabitants bear witness to a halcyon era of unprecedented beauty and peace. However, it is built upon the sufferings of a single child, sealed away in interminable darkness, filth, and misery. Those citizens who have reached maturity are all taken to witness this child, and they must then make a choice — to live within this system, knowing full well that it is predicated upon a child's unending agony, or to turn away, rejecting Omelas entirely. Most continue to live with such knowledge, giving credence to the basic tenet of Utilitarianism, which elevates the needs of the many over those of the few. Perhaps this temple of shadow is simply misjudged, being in truth the purifier of Hyrule, weighing the good of the realm above all else. And, perhaps it is not.
The Shadow Temple is located behind the cemetery, although it is impossible to reach without musical knowledge of the Nocturne of Shadow, or without certain tools. Its entrance is raised far off the ground, and fenced off, offering the true path inward an added protection. Called the House of the Dead, it is a subterranean necropolis, and even its spatial position is allegory. It is a direct echo of many mortuaries and mausoleums from the real world. The entrance to the underworld, oftentimes marked by a megalithic stone door, is normally the only thing to ever see the light of day. Down the initial path is the antechamber to the temple; delved into raw earth, this room plays upon a sense of the occult — a pedestal, a ring of symbols, and a circle of unlit torches are all arranged before a huge door upon which rests the symbol of Truth, an eye, half-open in thought and perception. In order to open this gateway to the realm of the dead, the torches must be lit, effectively banishing the shadow, an act heavy-laden with obvious metaphor.
The song accompanying this temple is truly horrifying; it exemplifies everything contrary to comfort and quietude. It is erratic, it is bestial, and it is wicked. It seizes the human voice, and captures and perverts it, allowing only tortured grunts and abject moans. The theme begins with a low voice, which is answered by the moan of a woman, slowly falling away into nothingness. These moans repeat throughout, to the beat of a sole drum. At strange intervals, foul sounds come to the fore in the form of unknown ululations, deep chants, and a doleful and horrible stringed-instrument, rising and then falling, fitful and disquieting. To say that it sets an atmosphere of anxiety is an injustice and an understatement.
The initial hallway is claustrophobic, tight and dimly lit. It ends plunging into a pit, which is a recurring theme within this temple, symbolizing descent into the unknown. Keeping watch over this abominable hole is a relief sculpture of a rather disconcerting visage. The face is demonic, yet placid. It rests lightly upon its two hands, with hollow eyes, a bestial nose, and a mouth set agape, bearing two fangs. Pallid purple, sickly green, and pale blues and reds give it color, all upon a background of deep black. Behind it rise writhing tendrils of shadowy haze, emanating from either location or the creature itself. The face looks quizzical, puzzled, and slightly amused, as if it is entertained by the notion of an intruder, as well as certain of what fate he will meet inside. Far more terrifying than an expression of unadulterated anger is one upon which the lines of uncertainty and violent amusement are written.
The song accompanying this temple is truly horrifying; it exemplifies everything contrary to comfort and quietude. It is erratic, it is bestial, and it is wicked. It seizes the human voice, and captures and perverts it, allowing only tortured grunts and abject moans. The theme begins with a low voice, which is answered by the moan of a woman, slowly falling away into nothingness. These moans repeat throughout, to the beat of a sole drum. At strange intervals, foul sounds come to the fore in the form of unknown ululations, deep chants, and a doleful and horrible stringed-instrument, rising and then falling, fitful and disquieting. To say that it sets an atmosphere of anxiety is an injustice and an understatement.
The initial hallway is claustrophobic, tight and dimly lit. It ends plunging into a pit, which is a recurring theme within this temple, symbolizing descent into the unknown. Keeping watch over this abominable hole is a relief sculpture of a rather disconcerting visage. The face is demonic, yet placid. It rests lightly upon its two hands, with hollow eyes, a bestial nose, and a mouth set agape, bearing two fangs. Pallid purple, sickly green, and pale blues and reds give it color, all upon a background of deep black. Behind it rise writhing tendrils of shadowy haze, emanating from either location or the creature itself. The face looks quizzical, puzzled, and slightly amused, as if it is entertained by the notion of an intruder, as well as certain of what fate he will meet inside. Far more terrifying than an expression of unadulterated anger is one upon which the lines of uncertainty and violent amusement are written.
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Left: artistic representation courtesy of Courtney Chitsiga — siga4bdn.blogspot.co.uk Right: the visage as seen in the 3DS version.
This imprisoned spirit offers guidance, as opposed to what one might assume: “The Shadow will yield only to one with the Eye of Truth handed down in Kakariko Village.” This statement is frightening for two reasons. The capitalization of the word ‘Shadow’ anthropomorphizes that which should not have a will of its own. Secondly, the use of the word ‘yield’ in conjunction with this entity, this Shadow, gives the overwhelming impression that there is something within this temple that cannot be fully defeated, and which actively seeks to hinder the wayfarer. The thought of fighting against that which cannot be fought is a Sisyphean one of mythical proportion.
The opening part of this dungeon is characterized by entries. First, the graveyard, then the monolithic door, and finally the Valley of the Dead, being the gaping chasm across which one can only pass with the Hover Boots. Unsurprisingly, most of the motifs within this dungeon reflect ghastly, disturbing death. Torches bear skulls lit with flame, and reapers attempt to maim with large scythes. The doors look as if their sole purpose is to prevent escape, and the walls and floors of the lower chambers are mass graves made from the remnants of human corpses. And these features are all in addition to the guillotines, spiked walls, and bloody whipping posts found in many other locations. Throughout the temple — as seen in this room, upon the prow of the large boat found on the lowest level, and atop several pillars — lie statues of raven-like appearance. Some maintain this to be the deity of this temple, although it could be, more commonly, an ominous symbol of death and carrion held by many cultures in our world. As these various symbols attest, known representations of bereavement are taken from many cultural backgrounds of the real world and combined within this dungeon.
The opening part of this dungeon is characterized by entries. First, the graveyard, then the monolithic door, and finally the Valley of the Dead, being the gaping chasm across which one can only pass with the Hover Boots. Unsurprisingly, most of the motifs within this dungeon reflect ghastly, disturbing death. Torches bear skulls lit with flame, and reapers attempt to maim with large scythes. The doors look as if their sole purpose is to prevent escape, and the walls and floors of the lower chambers are mass graves made from the remnants of human corpses. And these features are all in addition to the guillotines, spiked walls, and bloody whipping posts found in many other locations. Throughout the temple — as seen in this room, upon the prow of the large boat found on the lowest level, and atop several pillars — lie statues of raven-like appearance. Some maintain this to be the deity of this temple, although it could be, more commonly, an ominous symbol of death and carrion held by many cultures in our world. As these various symbols attest, known representations of bereavement are taken from many cultural backgrounds of the real world and combined within this dungeon.
In order to cross the Valley of the Dead, one must navigate through several rooms eerily evocative of the Capuchin Crypt in Rome. Located beneath the historic church of Santa Maria della Concezione dei Cappuccini, this ossuary contains the skeletal remains of roughly 3,700 bodies, potentially the friars of the Capuchin Order. Mordant though it is, this crypt is meant to symbolize the passage of life and the inevitability of death, all of which are themes of our current discussion. A placard within the crypt reads: “What you are now we used to be; what we are now you will be . . . .” [4] Within this sepulcher, as well as within these rooms of the Shadow Temple, certain walls are adorned solely with skulls, some set in niches; and, like the sign within the Capuchin Crypt, inscriptions in the Shadow Temple also speak to travelers, equally disconcertingly. Utterances such as, “What is hidden in the darkness . . . Tricks full of ill will . . . You can’t see the way forward . . .” are all reinforcements of the theme presented earlier — that of a living shadow bent upon hindrance and harm.
Capuchin Crypt, Rome — Crypt of the Skulls — By Dnalor 01 — https://commons.wikimedia.org/w/index.php?curid=32641593
Once the Hover Boots have been obtained, the valley can be traversed. Here again we find a huge pit, leading down into the unknowable belly of the earth, hungerless, yet ever-waiting to swallow those who do not make the leap. The stunted bridge upon the far wall is actually a tongue which finds its origin in a grotesque grimace, human-esque, yet not quite human. Upon bridging the gap, the path leads yet further downward. The first room below this level resembles a tholos tomb of the Mycenaean period of classical Greece, architecturally notable for their successively smaller rings of stone that come to a point, giving the false appearance of a true dome. In actuality, this type of structure predates all modern conceptualizations of domes, hearkening back almost to prehistory. [5]
A well-known example of the tholos tomb — The Treasury of Atreus at Mycenae, Greece — By delta-kapa (Dimitrios Katsamakas) — Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51909340
Past this room, Link finds himself in, once again, a series of smaller passageways featuring vicious blades, Skulltulas, and Wall Masters; these are rather unremarkable in comparison to the larger caverns to follow, which, with their invisible, shifting platforms, reinforce the themes of illusion, invisibility, and deception.
Perching atop many columns and pillars throughout this dungeon, and acting as the mouths of fans in certain rooms, are diminutive, impish, and rat-like creatures with bulbous eyes and a shifty stare. While not memorable in themselves, as they are found literally nowhere else in Hyrule, they are also not explicable. They seem to represent nothing known to us in the mythology of Hyrule. These beings' eyes, the Eye of Truth, the huge eye upon the main portal to the temple, and the lidded eyes found upon the lintels of many doors in this temple all corroborate the importance of this symbol.
Another fascinating allusion to real-life mythology is that of the ferryman, carrying souls from the shore of life to the shore of death, as with Charon crossing the river Styx in Greek mythology. In fact, one panel (bearing the gruesome face discussed in the beginning of this article) tempts Link, saying, “If you want to see a ferry to the other world, come here . . . .” Whether or not this is a direct reference to the ship found deeper in the dungeon is unknown. If Link follows the advice of this imprisoned trickster, the floor opens to swallow him, uniting him with the Ferryman beneath the earth. And, deeper into the temple, upon the shadow river near the utmost bottom of this dungeon, we come face-to-face with death's servant and his ship. The prow of his vessel carries the body of the raven, and when Zelda’s Lullaby is played, the boat begins to move down a river of mist, strange bells tolling what is perhaps a death knell.
Perching atop many columns and pillars throughout this dungeon, and acting as the mouths of fans in certain rooms, are diminutive, impish, and rat-like creatures with bulbous eyes and a shifty stare. While not memorable in themselves, as they are found literally nowhere else in Hyrule, they are also not explicable. They seem to represent nothing known to us in the mythology of Hyrule. These beings' eyes, the Eye of Truth, the huge eye upon the main portal to the temple, and the lidded eyes found upon the lintels of many doors in this temple all corroborate the importance of this symbol.
Another fascinating allusion to real-life mythology is that of the ferryman, carrying souls from the shore of life to the shore of death, as with Charon crossing the river Styx in Greek mythology. In fact, one panel (bearing the gruesome face discussed in the beginning of this article) tempts Link, saying, “If you want to see a ferry to the other world, come here . . . .” Whether or not this is a direct reference to the ship found deeper in the dungeon is unknown. If Link follows the advice of this imprisoned trickster, the floor opens to swallow him, uniting him with the Ferryman beneath the earth. And, deeper into the temple, upon the shadow river near the utmost bottom of this dungeon, we come face-to-face with death's servant and his ship. The prow of his vessel carries the body of the raven, and when Zelda’s Lullaby is played, the boat begins to move down a river of mist, strange bells tolling what is perhaps a death knell.
The penultimate area is yet another impassable crevice of black, to be crossed only after the destruction of a raven-adorned pillar. Then, finally, one reaches the chamber of Bongo Bongo. This is, without argument, the strangest foe in this game. He is without history, without full form, and shrouded in darkness. In order to gain an audience with him, one is finally forced to succumb to a plunge into the unknown. Strangely, and true to his namesake, his chamber holds the skin of a large drum, floating as an island upon a vapory sea of mutilated bodies. Like so many things within this temple, he is at times only visible when using the Lens of Truth; once again, this tool of the Sheikah is the only thing that allows its user to maintain a grip on reality and sanity. If there is one insight we gain by crawling through these cursed grounds, it is that the very structure itself plays upon humanity’s most primal emotion — fear. Coupled with the crippling fear of facing gruesome monstrosities is the dull, constant anxiety of not knowing what awaits, yet knowing that it is coming, and that it is inescapable. And this feeling, this fear, the Shadow Temple captures flawlessly.
Addendum (Changes in the 3DS Version):
As this temple features significantly less artwork upon the walls, there are fewer overall changes in design between the two game versions. However, that means that certain things are dramatically altered. Aside from the addition of eyes on the drum of Bongo Bongo, and the placement of a winged bird-creature on key lintels throughout the complex, the major transformation concerns the ferry upon the river in one of the deeper parts of the temple. The boat’s prow, which was once a rather simple raven, has now become an emaciated, wasted corpse, ravaged by death, with a bright red shroud, two gold bracelets upon each wrist, and bells in its hands. This figure accurately depicts the wraithlike appearance of the reaper, and is an excellent replacement for the carrion crow. In addition, metalwork on the hull of the vessel takes the shape of a ribcage, constructed of iron and bolts, ending in the aforementioned terror at the head of this ship. Near the Triforce on deck, and above the door leading into the bowels of the ship, two eyes appear, watching the battle, and surveying the journey upon the shrouded river. The haze upon the river, it should be noted, as it swirls and flies upward, takes on the guise of skulls, twisting in and out of existence. This fortifies the idea of the river passage marking a transition into death.
Memento Mori.
As this temple features significantly less artwork upon the walls, there are fewer overall changes in design between the two game versions. However, that means that certain things are dramatically altered. Aside from the addition of eyes on the drum of Bongo Bongo, and the placement of a winged bird-creature on key lintels throughout the complex, the major transformation concerns the ferry upon the river in one of the deeper parts of the temple. The boat’s prow, which was once a rather simple raven, has now become an emaciated, wasted corpse, ravaged by death, with a bright red shroud, two gold bracelets upon each wrist, and bells in its hands. This figure accurately depicts the wraithlike appearance of the reaper, and is an excellent replacement for the carrion crow. In addition, metalwork on the hull of the vessel takes the shape of a ribcage, constructed of iron and bolts, ending in the aforementioned terror at the head of this ship. Near the Triforce on deck, and above the door leading into the bowels of the ship, two eyes appear, watching the battle, and surveying the journey upon the shrouded river. The haze upon the river, it should be noted, as it swirls and flies upward, takes on the guise of skulls, twisting in and out of existence. This fortifies the idea of the river passage marking a transition into death.
Memento Mori.
Notes and Works Cited:
[1] Concerning the existence of these bestial remains, it is not known whence they came — whether the dead were buried with live sacrifices, or whether creatures simply became trapped within and died, having no means of escape.
[2] The Encyclopedia gives us clear detail on the Sheikah and their relationship to these structures:
"The existence of the Sheikah is typically a secret to all but members of the royal family and those close to them. Their tribe best fulfills its duty when acting in secret, as shadows of Hyrule. In eras of war, they are essential agents of the royal family, handling all manner of duties, from combat to intelligence gathering. No matter how dark or perilous the task, they will do what is necessary to keep the kingdom from harm."
"The crest seen on items related to the Sheikah. It is in the shape of an eye, open wide to seek truth. The Sheikah live as shadows of the royal family and go to any lengths to achieve a goal. Knowing this, the eye on the crest sheds a single tear."
"The Shadow Temple, located in the Kakariko Village graveyard. It is a place where the Sheikah, entrusted with the lives of Hyrule's royal family, have historically taken enemies of the royal family to be interrogated or worse. Because it stands as a symbol of Hyrule's dark history, it is taboo for the royal family to speak of this temple and its horrific purpose."
“Historical Records: The Different Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 44.
[3] “Database: Ocarina of Time.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 149.
[4] White, Ethan Doyle. “Rome's Capuchin Crypt: Coming Face to Face with the Dead.”Archaeology Travel, 11 Apr. 2017, archaeology-travel.com/italy/capuchin-crypt-rome/
[5] “Tholos.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/technology/tholos-architecture.
[1] Concerning the existence of these bestial remains, it is not known whence they came — whether the dead were buried with live sacrifices, or whether creatures simply became trapped within and died, having no means of escape.
[2] The Encyclopedia gives us clear detail on the Sheikah and their relationship to these structures:
"The existence of the Sheikah is typically a secret to all but members of the royal family and those close to them. Their tribe best fulfills its duty when acting in secret, as shadows of Hyrule. In eras of war, they are essential agents of the royal family, handling all manner of duties, from combat to intelligence gathering. No matter how dark or perilous the task, they will do what is necessary to keep the kingdom from harm."
"The crest seen on items related to the Sheikah. It is in the shape of an eye, open wide to seek truth. The Sheikah live as shadows of the royal family and go to any lengths to achieve a goal. Knowing this, the eye on the crest sheds a single tear."
"The Shadow Temple, located in the Kakariko Village graveyard. It is a place where the Sheikah, entrusted with the lives of Hyrule's royal family, have historically taken enemies of the royal family to be interrogated or worse. Because it stands as a symbol of Hyrule's dark history, it is taboo for the royal family to speak of this temple and its horrific purpose."
“Historical Records: The Different Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 44.
[3] “Database: Ocarina of Time.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 149.
[4] White, Ethan Doyle. “Rome's Capuchin Crypt: Coming Face to Face with the Dead.”Archaeology Travel, 11 Apr. 2017, archaeology-travel.com/italy/capuchin-crypt-rome/
[5] “Tholos.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/technology/tholos-architecture.