Guillaume Seignac La Libellule painting

Guillaume Seignac La Libellule painting
Leonardo da Vinci Mona Lisa Painting painting
A young man—we can sketch his portrait at a dash: imagine Don Quixote at eighteen; Don Quixote without his corselet, without his coat of mail, without his cuisses; Don Quixote clothed in a woollen doublet the blue colour of which had faded into a nameless shade between lees of wine and a heavenly azure; face long and brown; high cheekbones, indicating craftiness; the maxillary muscles enormously developed, an infallible sign by which a Gascon may always be detected, even without his cap—and our young man wore a cap ornamented with a kind of feather; his eye open and intelligent; his nose hooked, but finely chiselled. Too big for a youth, too small for a grown man, an experienced eye might have taken him for a farmer’s son upon a journey had it not been for the long sword, which, dangling from a leathern baldic, hit against its owner’s calves as he walked, and against his steed’s rough side when he was on horseback.
For our young man had a steed, which was the observed of all observers. It was a Béarn pony, from twelve to fourteen years old, with yellow