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At the same time, the Eros who was pictured as a boy or slim youth was regarded as the child of a divine couple, the identity of whom varied by source.

Cupids are a frequent motif of both Roman art and later Western art of the classical tradition.

In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto.

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.

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In the Greek tradition, Eros had a dual, contradictory genealogy.

He was among the primordial gods who came into existence asexually; after his generation, deities were begotten through male-female unions.

Cicero, however, says that there were three Cupids, as well as three Venuses: the first Cupid was the son of Mercury and Diana, the second of Mercury and the second Venus, and the third of Mars and the third Venus.

This last Cupid was the equivalent of Anteros, "Counter-Love," one of the Erotes, the gods who embody aspects of love.

In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentine's Day.