Faldoni, parts 2500 - 2503

 2500. If you would make the same vow to yourself, you would be doing yourself a great favor. The idea that Faldoni might like his paintings because of their faults and not despite those faults is the most difficult, and yet the most important thing an artist might hope to learn. 

 2501. It is in the faults that the character of a person resides, it is the faults that make a work great, and it is the frustration, inherent in the line that struggles to explain something misunderstood that the identity of the individual can be most clearly seen.

 2502. The greatest old master drawings, properly enshrined in museum collections always contain faults that have been scrubbed out and redrawn. A face is drawn over a face, a larger arm over a smaller, and it is easy to notice that the mistakes, if you want to call them that, enliven the drawing, and make it not only more attractive, but more accessible.

2503. Just compare those old corrected and scrubbed out drawings to neoclassical renderings, perfect in every detail, and finished with careful polish, that have a death like pallor about their refinement.