Faldoni, parts 2440 - 2443

 2440. He tried to picture in his mind his cell completely painted in fresco, painted entirely by himself. Here was the special fact about this painted cell of his. He was allowed to lock his door, so if it was a masterpiece or if it was just a mess, no one in the world would know. It was going to be his own painting, painted for himself. And if he was to be the only judge of the painting, then he would be justified in thinking it was the best painting in the world. 

 2441. But one thing he was certain of, it would be the best painting in his cell because in many respects his cell was his entire world.

 2442. Something has to be said about this idea of this or that painting being the “best.” One is tempted to ask, “How does one determine what is the best, and what is just ordinary, and what is bad, when it comes to the painting of pictures?”  Just considering this question for a short period of time, one becomes aware that there is no adequate answer to the question.

2443. Certainly the idea of the good and the bad probably has some use in many fields of endeavor, but in the field of picture painting it is not only useless, but even deceiving. For with concerns that are ultimately subjective, the insertion of ideas of better and best only leads to unresolved arguments, condescension, insults, and even ridicule.