In the present article, the author, D. Stephen Pepper, deals with the problem of autographs replicas by Guido Reni. In the author's monograph ob the artist, published in English in 1984, Pepper excluded all examples of autograph replicas, and, as a consequence, published several original works and copies. By the time of the completely reviewed edition in Italian published in 1988 he had corrected the most apparent of these errors. However, these revisions only represented a small portion of the number of autograph compositions repeated by Reni. Thus the present article continues the work begun with the 1988 edition to expand greatly the number of replicas executed by Reni. At the same time it offers two principal explanations for the artist's intention. First, Reni's concern was not to invent and reinvent his compositions. His vision of ideal figures was more concerned with light, texture and atmosphere rather than compositions, so that he left unchanged his arrangement of the figure. Secondly, his stylistic method underwent a complete reversal around 1630. Instead of painting with strong chiaroscuro modeling in his general manner he eliminated such dark constructs, and he sought the opportunity to redo his compositions executed in his first manner in his second one.