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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.
In Hesiod's Theogony, only Chaos and Gaia (Earth) are older.
This last Cupid was the equivalent of Anteros, "Counter-Love," one of the Erotes, the gods who embody aspects of love.
Trapped by Apollo's unwanted advances, Daphne prays to her father, the river god Peneus, who turns her into a laurel, the tree sacred to Apollo.
It is the first of several unsuccessful or tragic love affairs for Apollo.
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.