A study of the story of Cupid and Psyche within the context of the Metamorphoses as a whole reveals a recurrent pattern of themes, motifs, and images, which indicates that the story symbolises the experiences of Lucius. The Judaeo-Christian Greek meaning of psyche, oneself, implies that Psyche is a symbol of Lucius. This is borne out by the similarity of their experiences, and by the fact that they both have the same character traits of simplicitas and curiositas. Cupid's warnings to Psyche concerning the control which Fortuna has over her life further establish the connection between Psyche and Lucius, whose life is controlled by blind Fate. Military imagery, and images of light and dark, which occur in connection with Cupid and Psyche, also describe the experiences of Lucius. Venus symbolises Isis, as is indicated by Isis' identification of herself as Venus, in addition to many other deities, at the end of the Metamorphoses. Once again imagery, this time of the sea, makes this relationship clear, while military imagery implies a parallel between the relationship of Psyche and Cupid, and that of Lucius and Fotis. Jupiter intervenes in Psyche's misfortunes, just as Isis saves Lucius from his hardships. Juno and Ceres are also identified with Isis at the end of the Metamorphoses, thus linking the story of Cupid and Psyche with the life of Lucius.

Zugl.: Univ., Tübingen, Diss., 2003.

(in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...