Portret van Elisabeth Carolina, prinses van Wales, Augusta Frederika van Hannover, Hendrik Frederik, hertog van Cumberland en Strathearn, Willem Frederik van Gloucester, George III, koning van Engeland, en Eduard van York 1745 - 1756

This print by John Faber II presents the children of the Prince of Wales in an idealized pastoral setting. Dominant are symbols of leisure and privilege, such as the ornate children's carriage, and the bow and arrow held by young George, King of England. Observe how George is depicted as Cupid, the god of love, drawing his bow. This borrows from the iconography of classical antiquity, a time when Cupid's arrow represented not just love, but also desire and even irrationality. Note how the dog at his feet seems caught in a playful dance, reflecting the unpredictable nature of love. We see echoes of this motif in Renaissance paintings, where Cupid's presence often signifies the awakening of earthly desires. Here, however, the depiction is tamed, domesticated, befitting a royal portrait, and presented more as a display of wealth and power. This reflects a transformation in the collective psyche, where raw emotion is tempered by the constraints of social decorum. Such imagery reflects a cyclical return, a continuous re-emergence of ancient symbols, proving that history is not linear but a spiraling dance of repetition and reinvention.