Franklin, John Curtis. 2016. Kinyras: The Divine Lyre. Hellenic Studies Series 70. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_FranklinJ.Kinyras.2016.
Appendix G. Étienne de Lusignan and ‘the God Cinaras’
This idea reappears in Lusignan’s ‘god-kings’ or ‘god-men’ (Re Dei and dei huomini), a line of preternaturally beautiful rulers whom “the people were virtually forced to revere and adore,” until their reign was interrupted by the intrusion of ‘Agapenore’ and other veterans from Troy.  Lusignan clung to this construction in both his works, despite problems raised by inconsistent traditions that he nevertheless wished to integrate.
The startling appearance of a ‘god Cinaras’ here quickens one’s pulse with hopes of die-hard Cypriot folklore. Not impossible, perhaps. But a more prosaic explanation imposes itself: all of Lusignan’s ‘gods’ come from the sequence of tales in Ovid’s Metamorphoses (whence Theodontius, Boccaccio, and Bustron). Pygmalion was well suited to lead these self-styled ‘god-men’ because of his ivory statue-turned-queen (‘Eburne’).  Adonis too finds a natural place as the partner of Venus/Aphrodite—a favorite target of Christian polemicists, who treated her as a beautiful woman or even prostitute divinized by Kinyras.  Cupid too, of course, was well known as a god.
This Cypriot Xenophon appears again, in Lusignan’s list of famous Cypriots, as “a philosopher and historian, though where he was from, and when he lived, we do not discover; however, he was from Cyprus.”  By the Description, Lusignan had apparently learned a bit more: he now states that Xenophon was from Salamis, taught others beside Strabo, and wrote several works (still unnamed).