psychological language that conceptualized the study of man, his second legacy. Another legacy was his questioning the use of the restrictive methods of the physical sciences and his suggestion of the need for interdisciplinary contributions. He felt psychology, in its search for truth, should draw from anthropology, history and the arts by using each field as a testing ground for the validity of psychological ideas. This could be done without destroying the identity of psychology by using psychoanalytic methods of observation and personal involvement in data collection. Throughout his life, Freud was aware of the criticism of psychoanalysis, and he wrestled to find answers. Because he could not resolve all the issues, a final aspect of his legacy is that he has left a set of challenges to be surmounted, not a definitive set of answers. The value of this book to the arts is its potential contribution to art therapy, for inevitably therapists must ask the questions Freud asked about psychoanalysis and psychology. Foremost is the issue of validity. Do art therapists, indeed, infer from a scientific mechanism called the unconscious, or impose their own unique meaning when interpreting and using one of the arts in therapy? To check the latter tendency, Freud suggests using tests of internal, converging validity-specifically observing whether the interpretations make sense and are elaborated into further associations by clients, followed by new material which 'fits' into the emerging pattern of the 'jig-saw puzzle'. But it should also be remembered by art therapists that Freud saw his work as both inference and imposition. It is through inference that art therapists can develop a scientific method and by imposition that art exercises can enlarge the scope of treatment.