Before 1600

The most important of the works of Giulio Romano, who worked with Raphael and took over his studio after the artist's death, is the Palazzo del Te, on the outskirts of Mantua, begun in 1525 or 1526. One of the principal rooms of the Palazzo del Te is the Sala di Psiche, with erotic frescoes of the loves of the gods.

Cupid and Psyche (detail)

Psyche pleading with Venus (detail)

Wedding Banquet (detail)

Polyphemus (the cyclops)

Psyche Taken to a Deserted Mountain

Cupid Fleeing From Psyche, pl. 14

Juno Sending Psyche Away, pl. 20

Psyche Embarks in Charon's Boat, pl. 25

37 of these are housed at the Fine Arts Museum of San francisco. To see them go to The Museum Homepage and in the Search Box enter the phrase "Fable of Cupid and Psyche."

1601-1800

ANTONIO CANOVA (1757-1822)

Cupid and Psyche sculpture, by Antonio Canova; group in marble H 0.55 m; W 0.68 m; D 1.01 m. (1787)

Psyche Revived by Cupid's Kiss(sculpture) (MET) (1793)

Psyche Revived by Cupid's Kiss (Met: detail)

Psyche Revived by Cupid's Kiss (Met: back view)

Psyche Revived by Cupid's Kiss (Hermitage, the second of the three) (1796)

Psyche Revived by Cupid's Kiss (Louvre) (1797)

Closer view of the above

Read view of the above

Detail of the above

One last view of the above

Contemporary artist's treatment, by Güney Kol (1999)

Cupid and Psyche studying butterfly (1796?)

Detail of the above, (1796?)

Amour and Psyche (done after Canova?)

1801- 1900

SIR EDWARD COLEY BURNE-JONES (1833-1898)

The Wedding of Psyche, by Sir Edward Burne-Jones (1895) (Procession accompanying Psyche as she goes to marry monster)

Cupid Finding Psyche by Sir Edward Coley Burne-Jones

Pan and Psyche, by Sir Edward Burne-Jones

Pan and Psyche, by Sir Edward Burne-Jones (C.W. Campbell engraving)

Cupid Delivering Psyche (1867), by Sir Edward Coley Burne-Jones

Cupid Delivering Psyche, by Sir Sir Edward Coley Burne-Jones: later version, (c. 1871)

Cupid gazing at Psyche, by Sir Edward-Burne Jones (between 1865-1887)

Cupid and Psyche, by Alphons e Legros, 1837-1911 (1867)

Psyche borne off by Zephryus, by Sir Edward-Burne Jones and published by the Kelmscott Press (wood engraving) (1868)

Cupid reviving Psyche, from the same

Further Images from Earthly Paradise

ADOLPHE WILLIAM BOURGEREAU (1825-1905)

Psyche and Cupid (1883)

Cupid and Psyche (1889)

Cupid and Psyche, drawing after Bourgereau?

The Ravishment of Psyche (1895)

Cupid and Psyche, (in style of Bougereau) by E. Medard? (1990-200?)

Cupid and Psyche as children, by Adolphe William Bougereau

After 1900

About the painting: The leading figure in the procession shown in this painting, holding a lyre, is Orpheus. He is followed by the goddess Semele, who, tricked by the jealous Hera, demanded that her divine lover Zeus, the god of lightning, appear before her in his true form, whereupon she was consumed by fire. Behind Semele are Psyche and Cupid, and Sappho, the poet of Lesbos. Sappho is followed by Francis of Assisi, a monk who communicated with animals. Following St Francis is Iseult, carrying the cup from which she and Tristan will drink. Next is Elaine (from Arthurian legend), who carries the shield of Lancelot, who spurns her love causing her to die of her grief. Following her is Hugh of Lincoln, the boy saint who died at the age on nine in 1255. Next come Aucassin and Nicolette, two lovers from 12th century French tales. Behind them is the poet Dante and above him his vision of Paulo and Francesco. Finally, Magia Santi completes the procession, holding the hand of her son Raphael who, with Michelangelo and Leonardo, was the youngest of the creators of the High Renaissance. In the background Alcestis is carried off to death (behind Semele), and Percival carries a stave as he rides in quest of the Holy Grail.

After 1951

After 2000

Miscellaneous

DRAFT:

Some images of Cupid and Psyche illustrate portions of the text, emphasize specific themes or interpretations of the action, or comment upon the internal experience of the characters--such as Psyche being breathlessly transported by Zephyrus, Cupid reluctantly leaving the slumbering Psyche, Psyche gazing in wonder upon the sleeping Cupid, or a desolate Psyche abandoned. Other images seem to be based more generally or more interpretively upon the text, and emphasize certain romantic ideals, or general notions, such as Cupid and Psyche flying together (the happy couple), Cupid tenderly holding and kissing Psyche (young love), Cupid adoring Psyche (adoration?). Still other images reveal a still greater degree of abstraction; they allude to Cupid and Psyche from a distanced perspective, one not recognizably within the context of the plot or theme of the story; these tend to be either ancient depictions of affectionate, cherub-like, creatures (some of these pre-date the Apuleius story), or very modern ones, which present a set of challenges that veer beyond the illustrational.

While one period will seem to treat the story from one set of perspectives, other periods will treat the story from other perspectives, emphasizing different values, no less exciting and profound. The story seems to stretch to accommodate the broadest range of human concerns such as love, death, self-awareness, work, faith, jealousy, despair, grief, forgiveness, friendship, etc.