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The multiple Cupids frolicking in art are the decorative manifestation of these proliferating loves and desires.During the English Renaissance, Christopher Marlowe wrote of "ten thousand Cupids"; in Ben Jonson's wedding masque Hymenaei, "a thousand several-coloured loves ... Cupid is winged, allegedly, because lovers are flighty and likely to change their minds, and boyish because love is irrational.A mosaic from late Roman Britain shows a procession emerging from the mouth of the sea god Neptune, first dolphins and then sea birds, ascending to Cupid.One interpretation of this allegory is that Neptune represents the soul's origin in the matter from which life was fashioned, with Cupid triumphing as the soul's desired destiny.In other contexts, Cupid with a dolphin recurs as a playful motif, as in garden statuary at Pompeii that shows a dolphin rescuing Cupid from an octopus, or Cupid holding a dolphin.The dolphin, often elaborated fantastically, might be constructed as a spout for a fountain.In the Greek tradition, Eros had a dual, contradictory genealogy.

A person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels aversion and desires only to flee.Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he often had a dual nature as Heavenly and Earthly love.In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings.In myths, Cupid is a minor character who serves mostly to set the plot in motion.He is a main character only in the tale of Cupid and Psyche, when wounded by his own weapons, he experiences the ordeal of love.

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