One of these was at the expense of Apollo, the great sun god.  Apollo was himself a mighty archer, and had slain with his arrows the python of Delphi.  Proud of his victory, he mocked at the little god of love, advising him to leave his arrows for the warlike, and content himself with the torch of love.  Cupid, vexed at the taunt, replied threateningly, “Thine arrows may strike all things else, Apollo, but mine shall strike thee.”  So saying he drew from his quiver two arrows, one of gold, to excite love, and one of lead, to repel it.  With the golden one he shot Apollo through the heart, with the leaden he shot the nymph Daphne.  So Apollo became nearly mad with love for Daphne, but the maid fled from him with horror.  He pursued her, and when he was close upon her, she turned into a laurel-tree.

Cupid continued to work havoc with his arrows.  Even his mother Venus could not escape their power.  One day, when frolicking with her boy, she was wounded by one of the darts, and before the wound healed she saw and loved Adonis.  When that youth was killed in a struggle with a wild boar, she was inconsolable.

Another romantic tragedy for which Cupid was responsible was the love between Hero and Leander.  These two young people lived in towns on opposite sides of the Hellespont.  Leander was one day worshipping in the temple of Venus, in Hero’s town, Sestos, when he saw Hero, and was at that moment shot by Cupid’s arrow.  His love was returned, and every night he swam across the channel to see his lady love, until one night a tempest arose, and he was drowned.  The waves bore his body to the shore, where Hero found him, and in her despair threw herself into the sea and was also drowned.

[Illustration:  CUPID. South Kensington Museum, London.]

Such legends as these were dear to the hearts of the Greeks.  Their poets and artists were very fond of the subject of Cupid.  Now Michelangelo’s early artistic training was under the influence of the Greek culture.  He was an inmate of the household of Lorenzo de’ Medici, who was an ardent lover of all that was beautiful in Greek art and literature.  At the table of the prince the youth must often have heard the old Greek myths related, and in the gardens he saw splendid Greek marbles.  It was natural, then, that among his early works in sculpture he should choose the subject of Cupid.  His idea was, however, his own, and was not at all such as a Greek would have imagined.  Classic art always represented the god of love as a merry little winged boy, while in this statue he is seen as a well-grown youth.  His face is strong and masterful, instead of innocently gay.

He has dropped on one knee to take an arrow from the ground.  In his raised left hand he holds the bow, of which we see only a portion.  His left leg is bent in position to rise again.  Like David, he has an abundance of bushy hair crowning his handsome head; his straight brows and set mouth show the same determination of character.  He stands for love which is determined to win, for love which conquers every obstacle, for love which is unerring in aim.  It is a much nobler conception than the mere passing fancy of which the old myth speaks.  Michelangelo was one who believed that