This article lists well-known individuals who had romantic or marital ties with their sibling(s) at any point in history. It does not include coupled siblings in works of fiction, although those from mythology and religion are included.
This article lists well-known individuals who had romantic or marital ties with their sibling(s) at any point in history. It does not include coupled siblings in works of fiction, although those from mythology and religion are included.
The Hecatomnid dynasty or Hecatomnids were the rulers of Caria and surrounding areas c. 395 – c. 330 BCE. They were satraps (governors) under the Achaemenid Empire, although they ruled with considerable autonomy as a hereditary dynasty. The dynasty had previously ruled the city of Mylasa, which became the capital of Hecatomnus, the first indigenous satrap of Caria. The dynastic capital was moved to Halicarnassus by Mausolus and Artemisia, who built the Mausoleum at Halicarnassus, one of the Seven Wonders of the Ancient World, there. The dynasty survived the conquest of the Achaemenid Empire by Alexander the Great when Ada I, the final Hecatomnid ruler of Caria, adopted Alexander the Great as her son. The small family was remarkable for containing so many sets of married siblings.
Artemisia II of Caria (Greek: Ἀρτεμισία; died 351 BC) was a naval strategist, commander and the sister (and later spouse) and the successor of Mausolus, ruler of Caria. Mausolus was a satrap of the Achaemenid Empire, yet enjoyed the status of king or dynast of the Hecatomnid dynasty. After the death of her brother/husband, Artemisia reigned for two years, from 353 to 351 BCE. Her ascension to the throne prompted a revolt in some of the island and coastal cities under her command due to their objection to a female ruler. Her administration was conducted on the same principles as that of her husband; in particular, she supported the oligarchical party on the island of Rhodes.
Because of Artemisia's grief for her brother-husband, and the extravagant and bizarre forms it took, she became to later ages "a lasting example of chaste widowhood and of the purest and rarest kind of love", in the words of Giovanni Boccaccio. In art, she was usually shown in the process of consuming his ashes, mixed in a drink.