Not currently on view
In the collection of Art Institute of Chicago, Chicago · as of July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Sometimes called Micco Spadaro because his father was a sword smith, Domenico Gargiulo had a gestural style of drawing figures and excelled in historical subjects such as this scene from Virgil’s Aeneid . The epic poem about the founding of Rome follows the wanderings of Aeneas, an Odysseus-like character who escaped the destruction of Troy by the Greek army. Here altars of stolen sacrifices attract the attention of a swarm of fearsome harpies—half bird, half woman—who shriek for vengeance.
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Daniel Gran — Saint Elisabeth of Portugal Giving Alms to the
James Thornhill — Deifying of Horofilia
Peter Paul Rubens (Flemish, 1577–1640) — Reconciliation of t
School of Luca Cambiaso — Judith with the Head of Holofernes
Circle of Bernardino India — Adoration of the Magi
Follower of Parmigianino — Esther before Ahasuerus or Solomo
Anonymous, Italian, Roman-Bolognese, 17th century — Scene of
Perino del Vaga (Pietro Buonaccorsi) — Kneeling, Seated and
Anonymous, Italian, Roman-Bolognese, 17th century — Martyrdo
Donato Creti — Thetis Dipping the Infant Achilles into the W
François Boitard — God the Father
Giuseppe Passeri — Joseph and Potiphar's Wife