‘Putti’ (It. putti, plural putto, literally ‘infant’) are images of cupids, genies or angels in the form of naked, often winged boys that complement and decorate compositions. Inspired by ancient art, putti became a favourite motif in the Italian Renaissance art and later in the 17^th-18^th centuries. In decorative art, putti were often the main motif of a composition.

Nevertheless, this symbol has changed its meaning from century to century, bringing aesthetic, mythological, religious and other nuances to the overall composition and representations of the time. Usually, these are very young boys, often with wings, either completely or partially naked.  Putti embodied tenderness, playfulness, kindness, childlike carelessness, and empyrean love. In fact, the meaning of the image and its history are much richer and deeper.

The first images of putti were found on sarcophagi dating back to the 5^th-3^rd centuries BC.

In ancient Greek art, Eros is most often depicted as a cheeky, flitting rascal whose arrows are equally dangerous to gods and mortals. In late antiquity – in the Hellenistic and Roman art – instead of Eros, the ancient deity, son of the goddess Aphrodite, ‘eros’ (among the Romans – ‘cupids’) began to be depicted – small winged creatures.

Images of eros can be found on friezes, in wall paintings, on sarcophagi, relief ceramics and small forms of applied art. In ancient Rome, there were many such glorious playful boys, devoid of both sacred and erotic connotations. Small figures of cupids and eros were used to fill empty spaces in the crowded compositions of reliefs on triumphal arches, tombstones, and sarcophagi. Their image was combined with that of Latin Genius, who personified the soul (usually male). Early Christians borrowed many images from the ancient mythology. To depict angels and Christian souls ready for resurrection, they used pagan cupids, initially with wings.

It is from Greek and Roman mythology that the image of a boy with wings, symbolising the harbinger of an earthly or angelic spirit, originates, which subsequently often appears in the Baroque and Renaissance art.

In the classical understanding, angels connect the divine world with the world of the living. They are not central figures in this context, harmoniously complementing the overall picture and its meaning. Angelic characters always have wings of birds, moths, butterflies, and sometimes dragonflies as a symbol of flight, which is why they are always above the ground, never touching it.

Putti are associated with Christian symbols: divine love and Paradise. They were often depicted alongside the Virgin Mary or Christ as heavenly witnesses, personifying spiritual purity. Although putti are not angels, their use in Christian art led to their identification with heavenly creatures. These images later influenced depictions of the Christ Child. The image of two pensive cherubs depicted in the painting ‘Sistine Madonna’ by Raffaello Santi has become particularly popular: widely reproduced, it decorates a wide variety of products, from advertising and printing to clothing and household items.

In the 18^th century, during the Rococo and Neoclassical periods, when refined French taste dominated in the European art, the Italian word ‘putti’ disappeared from the artistic lexicon and was replaced by gallant French names: cupid (from the Latin ‘cupido’, meaning desire) or amourette (Fr. ‘amourette’, meaning passing love).

In 19^th-century decorative art, especially in Rococo and Art Nouveau interiors, putti were often the main motif of the composition. Another wave of popularity arose in the 20^th century, when winged creatures began to be depicted on packaging, advertising posters and postcards. Gradually, the term ‘putti’ lost its popularity and now we perceive these creatures as integral symbols of love.

On the cover: Mug with the image of putti, and allegorical figure of a muse. Nichols and Plinke firm, Robert Kohun silverware and bronze factory