30 B R I

BOLD is a term expreffive of that kind of management
in painting, when without labour or pains, the artift
touches in his effect in a rapid and ftriking manner ; not
flaying, for inftance, to fmoothen or foften his colours,
to melt them, as it were, into each other ; but by well
applied touches, and a happy tone of colours, he fuper-
fedes the neceffity of repeated applications.

All parts of a piece may not be bold : for boldnefs
is the refult of inequality, which inequality is itfelf the
reiult of contrivance and fkill ; thus, while fome parts
are flat, or foft, or undiftinguifhed, as being inferior i
the ' principal is bold, firm, vigorous, diftincf, and at-
tractive, apparently the effect of happy luck ; while
indeed it is the production of judgment and intel-
ligence.

Very high finifhing is apt to injure boldnefs, as well
in drawings, as in paintings; which is one reafon
wherefore the fketches of fome matters, pleafe us bet-
ter than their more laboured pieces. Both boldnefs,
and finifhing, mould be regulated by the nature of
of the compofition, its propoled fituation, &c.

BRILLIANT, is fpoken of a compofition whofe
effect is ftriking and lively ; refulting from a happy-
management of light, of colours, of expreffion3 and of
the whole together.

Brilliancy is a very clefirable quality in a picture 3
and when in union with other requifites, gives a for-
cible termination, and fuccefs to art. In endeavouring
to_obtain brilliancy, many artifts run into glare, or
gaudy effect, which, however it may amufe the igno-
rant, will never pleafe the well-informed,, Brilliancy

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