With his image seen most often during February and June (the Valentines' month and the traditional wedding season), Cupid typically conjures up images of a cherubic infant wielding a bow and arrow, but this wasn’t always the case. The modern figure of Cupid is not exactly the one that Westerners have always known.
The Greek Origins of a Roman God
Many stories in Greek mythology vary according to the source and period of time. Before 700 B. C., Cupid, or Eros, as the Greeks called him, was primordial: No male-female unity brought him into being. Eros came into the world parentless, a force emerging from original matter. Eros was no baby: He was a slim, handsome youth. He was armed, mischievous, and almost delinquent. Yet he would survive to be relevant later in Christian, romantic, and commercial observance.
After 700 B.C., Eros had become the son of Aphrodite, the goddess of love and beauty. He’d inherited wings from his father, Hermes, the messenger god. His quiver had two sets of arrows, gold for love and lead for disdain. Eros would sometimes use one of each on the same couple. But he was regarded as a true god. He laid claim to half of the sanctuary that he shared with Aphrodite on the north wall of the Acropolis. And his divine status would go on.
The Medieval Cupid
While a Greek and Roman god of desire might seem out of place in Medieval Europe, even the most-devoted Christians wouldn't let him go. Instead, they interpreted him morally, deeming him the lewd life of the party.
Cupid in the Renaissance
Towards the end of the Medieval era, the warnings against Cupid’s fleshly evils were softened by the needs of idealized courtly love. Rich examples of this exist among the illustrations of “Le Roman de la Rose,” the 13th-century French allegorical poem by Guillaume de Lorris and Jean de Meun. Widely read throughout Renaissance Europe, it was declared to hold a mirror up to the entire art of romantic love.
Following such depictions, Cupid flew into the Renaissance. Artists next portrayed him as a realistic child. Cupid continually became younger—a toddler or even an infant—and multiplied.
As the West renewed its interest in classical art, the Greek Erotes—Eros in the plural—took hold. Called “amorini,” the cherubic children became commonplace in mythological scenes. By the Baroque period (1600–1750), teams of playful, infant Cupids replaced the single figure with godly power.
Love Conquers All
From astonishing immodesty to romantic play, Cupid has withstood the test of time. As the West’s mythological ambassador of love, he has made it to the farthest corners of the globe. Although Cupid’s association to godliness has been watered down, it’s hard to imagine that this is the end for the once-worshiped god.
If he could survive Roman armor, Medieval demonization, Renaissance multiplication, and Victorian modesty, surely his fate is not limited to dating websites and t-shirts. But in all of this, love is the eternal force exerting the influence, while Cupid is just the symbol. However we draw him, let’s always be sure to celebrate what Cupid stands for.