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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
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| Anonymous Italian Artist Académie ca. 1650-1700 drawing Musée du Louvre |
from The Figure in the Face
Six twenty-seven, and I'm at my best;
By ten past ten, I'm plunged into despair
Up to my waist – it quite hides all the rest
Of me – my helpless arms raised in the air;
Quarter to three (or quarter after nine)
One arm is lowered, as if short of breath
Itself; four twenty: I become the sign
Of clocks stopped at the hour of Lincoln's death;
One-armed at midnight and again at noon
(I see no difference) I keep pointing high
toward no hawk, no star, no escaped balloon –
– John Hollander (2002)