Cupid & Psyche Alabaster Statue God Eros Nude LOVE & SOUL Sculpture Erotic Art

Product Information

Cupid and Psyche (1817) by Jacques-Louis David; Cleveland Museum of Art, CC0, via Wikimedia Commons A relief of Cupid and Psyche was displayed at the mithraeum of Capua, but it is unclear whether it expresses a Mithraic quest for salvation, or was simply a subject that appealed to an individual for other reasons. Psyche is invoked with "Providence" (Pronoia) at the beginning of the so-called Mithras Liturgy. [108]

Pontianus of Nicomedia, a character in Deipnosophistae by Athenaeus, asserts that Zeno of Citium thought that Eros was the god of friendship and liberty. [12] [13]

He had the epithet Klêidouchos (Κλειδοῦχος), meaning holding/bearing the keys, because he was holding the key to hearts. [15] Wagenvoort, H. (1980). "Cupid and Psyche". Pietas. pp.84–92. doi: 10.1163/9789004296688_007. ISBN 9789004296688. Anita Callaway, Visual Ephemera: Theatrical Art in Nineteenth-Century Australia (University of New South Wales Press, 2000), p. 177. Hesiod, Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library.

Eros in his Roman equivalent, Cupid, remained popular during the Middle Ages and the Renaissance. His iconography and role influenced the depiction of Cupid, in addition to Christian tradition. [ clarification needed] This iteration of Eros/Cupid became a major icon and symbol of Valentine's Day. [6] Etymology [ edit ] Eros, the alleged son of Aphrodite, is most commonly known for his Latin name: Cupid. He could stir desire into the hearts of anyone he pleased with a simple draw and release of his enchanted arrow. The story of Eros and Psyche is one of the most famed in its depiction of love and adventure. Edwards, Lee R. (1979). "The Labors of Psyche: Toward a Theory of Female Heroism". Critical Inquiry. 6 (1): 33–49. doi: 10.1086/448026. JSTOR 1343084. S2CID 162110603. Once, when Venus’ son [Eros] was kissing her, his quiver dangling down, a jutting arrow, unbeknown, had grazed her breast. She pushed the boy away. In fact the wound was deeper than it seemed, though unperceived at first. [And she became] enraptured by the beauty of a man [ Adonis].” ( Metamorphoses) [25] First of all the gods she devised Erōs." (Parmenides, fragment 13.) (The identity of the "she" is unclear, as Parmenides' work has survived only in fragments.Friedländer also listed several European tales of marriage between a human maiden and prince cursed to be an animal, as related to the "Cupid and Psyche" cycle of stories (which later became known as " The Search for the Lost Husband" and " Animal as Bridegroom"). [66] [67] Use of Line in Psyche Revived by Cupid’s Kiss (1787 – 1793) by Antonio Canova; Antonio Canova, CC0, via Wikimedia Commons Stephen Harrison, "Divine Authority in 'Cupid and Psyche': Apuleius Metamorphoses 6,23–24," in Ancient Narrative: Authors, Authority, and Interpreters in the Ancient Novel. Essays in Honor of Gareth L. Schmeling (Barkhuis, 2006), p. 182. In an unnamed kingdom, a king and queen had three beautiful daughters. The youngest, Psyche, possessed beauty that surpassed that of her sisters which resulted in those around her, including priests, comparing her to Aphrodite (referred to as Venus in The Golden Ass). [9] Many went to the extent of saying that she was even fairer than the goddess herself. In other iterations, she is not compared to Aphrodite but mistaken for her. [10] The Italian Antonio Canova was born on November 1, 1757, in Possagno, Italy, and died on October 13, 1822, in Venice. He was exposed to the modality of sculpture from an early age by his grandfather Pasino Canova, who was also a sculptor and stonemason. He worked in the Neoclassical art style creating mythological and religious subject matter. He received a variety of commissions from elite patrons and was established as a renowned sculptor. Some of his sculptures include Daedalus and Icarus (1777 – 1779), Theseus and the Minotaur (1781 – 1782), and The Three Graces (1814 – 1817).