Paintings can be divided into three categories: those he painted by himself, those he painted in part (mainly hands and faces), and those he only supervised. He had, as was usual at the time, a large workshop with many apprentices and students, some of whom, such as Anthony van Dyck, became famous in their own right. He also often sub-contracted elements such as animals or still-life in large compositions to specialists such as Frans Snyders, or other artists such as Jacob Jordaens.

In Group Psychology and the Analysis of the Ego, (1922), Sigmund Freud based his preliminary description of group psychology on Le Bon's work, but went on to develop his own, original theory, related to what he had begun to elaborate in Totem and Taboo. Theodor Adorno reprised Freud's essay in 1951 with his Freudian Theory and the Pattern of Fascist Propaganda, and said that "It is not an overstatement if we say that Freud, though he was hardly interested in the political phase of the problem, clearly foresaw the rise and nature of fascist mass movements in purely psychological categories.

Italian period
In 1629, he went to live in Italy for a year and a half. Though his first Italian visit is recognized as a crucial chapter in the development of Velázquez's style – and in the history of Spanish Royal Patronage, since Philip IV sponsored his trip – we know rather little about the details and specifics: what the painter saw, whom he met, how he was perceived and what innovations he hoped to introduce into his painting. It is canonical to divide the artistic career of Velázquez by his two visits to Italy, with his second grouping of works following the first visit and his third grouping following the second visit. This somewhat arbitrary division may be accepted though it will not always apply, because, as is usual in the case of many painters, his styles at times overlap each other. Velázquez rarely signed his pictures, and the royal archives give the dates of only his most important works. Internal evidence and history pertaining to his portraits supply the rest to a certain extent.

During the last twenty-six years of his life (1550–1576) the artist worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years, never wearying of returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle. He also finished off many copies of earlier works of his by his pupils, giving rise to many problems of attribution and priority among versions of his works, which were also very widely copied and faked outside his studio, during his lifetime and afterwards.

The object of this book is to present in compendious form the evidence which myths and dreams supply as to primitive man’s interpretation of his own nature and of the external world, and more especially to indicate how such evidence carries within itself the history of the origin and growth of beliefs in the supernatural.
The examples are selected chiefly from barbaric races, as furnishing the nearest correspondences to the working of the mind in what may be called its “eocene” stage, but examples are also cited from civilised races, as witnessing to that continuity of ideas which is obscured by familiarity or ignored by prejudice.

The Interpretation of Dreams (German: Die Traumdeutung) is a book by psychoanalyst Sigmund Freud. The book introduces Freud's theory of the unconscious with respect to dream interpretation, and also first discusses what would later become the theory of the Oedipus complex. Freud revised the book at least eight times and, in the third edition, added an extensive section which treated dream symbolism very literally, following the influence of Wilhelm Stekel. Freud said of this work, "Insight such as this falls to one's lot but once in a lifetime."

In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist.

Introduction to Psychoanalysis (German: Vorlesungen zur Einführung in die Psychoanalyse) is one of the most famous works of Sigmund Freud, calculated for a wide readership. In its first part (from 1st to 28th lecture) Freud enthusiastically outlines his approach to the unconscious, dreams, the theory of neuroses and some technical issues in the form in which it was formulated at the time of reading the lectures in Vienna in 1916-1917. From some positions outlined here Freud subsequently refused, many supplements and develops or revises in his later works. The second part ("new lecture series, from 29th to 35th) has never been read before to public, it features a different style of presentation, sometimes requiring the reader to training, sometimes polemical.

EY ARKADAŞ! “KUR’AN-I HAKİM’in, Tarih-i Kadim’in derinliklerine bakan ve Eskilerin Hikayeleri şeklinde anlatılagelen mühim bir sırrına bakan, ONÜÇ TARİHİ MÜTEŞABİH AYETİNDEN istifade ettiğim, ON KISA PARLAK KISSA’dan ibarettir. Tamamı, BİR MUKADDİME ile tarihin derinliklerine uzanan ON KISSA’dan oluşan ON EFSANE ile sonuç niteliğindeki BİR HATİME’den oluşan 22 DERS’ten ibarettir..”

Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The novel was first published in December 1815. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian-Regency England; she also creates a lively comedy of manners among her characters.