This painting is the eighth in a set of twelve in the Royal Collection depicting part of the story of Cupid and Psyche. The subject of this series comes from The Metamorphoses or Golden Ass by the second-century AD writer Apuleius: it is one of the stories that intersperse the main narrative of Lucius on his travels (Book IV, para. 28 - Book VI, para. 24). The tale of the many travails endured by ill-matched lovers (one mortal and one divine) before their final happy marriage, it was interpreted in the Renaissance as a Neoplatonic allegory of the progress of the soul (Psyche means 'soul' in Greek) towards salvation through Divine Love. The outcome of their union is Pleasure.

Apuleius described Cupid sleeping while Psyche illuminates his beautiful youthful figure with her lamp:

'a milk-white neck, and rosy cheeks over which there strayed coils of hair becomingly arranged, some hanging in front, some behind, shining with such extreme brilliance that the lamplight itself flickered uncertainly. On the shoulders of the flying god wings sparkled dewy-white with glistening sheen, and though they were at rest the delicate down at their edges quivered and rippled in incessant play. The rest of the god's body was smooth and shining and such as Venus need not be ashamed of in her son. At the foot of the bed lay a bow, a quiver and arrows, the gracious weapons of the great god.'

Pysche examines Cupid's arrows and accidentally pricks herself, thus falling in love with Love. Unfortunately, as she leans over him a drop of hot lamp oil falls on his shoulder. He wakes and flies off without a word; Psyche catches him by the leg and 'trailing attendance through the clouds she clung on below'. Two figures watch the scene through parted bed curtains, while against a moonlit sky Cupid flies away with Psyche clinging to his leg, her knife and lamp, still burning, abandoned on the ground.

Catalogue entry adapted from The Art of Italy in the Royal Collection: Renaissance and Baroque, London, 2007