and translated into several languages, but was not available in English until 2005, when a translation of a revised edition was published as A Little History of the World. He did most of this translation and revision himself, and it was completed by his long-time assistant and secretary Caroline Mustill and his granddaughter Leonie Gombrich after his death. The Story of Art, first published in 1950 and currently in its 16th edition, is widely regarded as one of the most accessible introductions to the history of visual arts. Originally intended for adolescent readers, it has sold millions of copies and been translated into more than 30 languages. Other major publications include Art and Illusion (1960), regarded by critics to be his most influential and far-reaching work, and the essays gathered in Meditations on a Hobby Horse (1963) and The Image and the Eye (1981). Other important books are Aby Warburg: An Intellectual Biography (1970), The Sense of Order (1979) and The Preference for the Primitive (posthumously in 2002). The complete list of his publications, E. H. Gombrich: A Bibliography, was published by Joseph Burney Trapp in 2000. Thought Psychology of perception When Gombrich arrived in England in 1936, the discipline of art history was largely centred around connoisseurship. Gombrich, however, had been brought up in the Viennese culture of Bildung and was concerned with wider issues of cultural tradition and the relationship between science and art. This latter breadth of interest can be seen both in his working relationship with the Austrian psychoanalyst and art historian, Ernst Kris, concerning the art of caricature and his later books, The Sense of Order (1979) (in which information theory is discussed in its relation to patterns and ornaments in art) and the classic Art and Illusion (1960). It was in Art and Illusion that he introduced the ideas of 'schemata', 'making and matching', 'correction' and 'trial and error' influenced by 'conjecture and refutation', in Popper's philosophy of science. In Gombrich's view, the artist compares what he has drawn or painted with what he is trying to draw/paint, and by a 'feedback loop' gradually corrects the drawing/painting to look more like what he is seeing. The process does not start from scratch, however. Each artist inherits '"schemata" that designate reality by force of convention'. These schemata, plus the techniques and works of previous masters, are the starting points from which the artist begins her