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This thesis presents an iconographical and comparative study of the “fishing Erotes” motif in Roman mosaics. Previous scholars have overlooked this scene despite its prevalence, and it has not been subjected to a comprehensive investigation. A selection of 15 mosaics from several Mediterranean locations were analyzed using the semiotic model as a theoretical framework and a qualitative approach. The key question around which the study revolved was related to the identity of these figures, to continue with the distinctive features of these scenes, what distinguished them, and finally, how and why the motif evolved. The study identified the figures of the “fishing Erotes” as a possible interpretation of a passage in Halieutica, a 2nd-century AD poem about fishing techniques, referencing Eros fishing. It also showed that not all figures depicted in the motifs are Erotes, a distinction that scholars could clarify when referring to the figures in a scene. Although there are several elements in common between the “fishing Erotes” scenes, the comparison between these mosaics highlighted a certain degree of variation and customization that did not suggest these images being a “stock decoration”, as previously assumed. The stylistic development of these scenes can be linked to the socio-cultural transformations of Roman society during the period between the 2nd and the 4th century AD. These changes led the “fishing Erotes” scenes, while remaining unchanged in their iconographic aspect, to slowly transition from a pagan to a Christian motif.