the contours fall, the whole is traced with the utmoft rea-
dinefs, and exadnefs. This method is not only the
fimpleft, but alfo the mod correct, notwithstanding all
endeavours to perfect mathematical inftruments for this
REFLECTION, is the rebounding of the rays of
light from one body, or furface, to another: the rays
thus reflected, always partake fomewhat of the colour of
that object: which rebounds them ; and hereby produce
a variety of tender effects, which in painting have an
admirable delicacy, and truth, very greatly promoting
harmony, and union.
RELIEF or RELIEVO, in fculpture. Vide alto or
RELIEF, in painting, fignifies that diftinctnefs,
and difference of objects, from their back grounds,
whereby they feem to project and advance. Thus white
Jtands off from black ; as black from white: thus a
dark tree, relieves againft a bright fky; or a white
fteeple, againft a heavy cloud: this is a principal ingre-
dient in force.
REPETITION cf a defign, picture, &c. is one per-
formed by the fame artift, who produced the original;
generally to oblige fome friend. Repetitions are not
always mere copies, but the artift inferts variations
he. according to his judgment.
To repeat himself, is equivalent to copy himfelf,
and is a fault arifing from want of variety, and fecun-
dity of genius.
REPOSii is that effect of a piece to the eye, whereby ,
it becomes an object to be infpected with pleafure, and