Developments in the measurement and theory of creativity are reviewed, and the present status of creativity vis-a-vis psychometrics and theory is explored. The realm of creativity has been a quagmire of definition problems, with creativity variously defined in terms of process or stages. In past eras, creativity was essentially measured by output or productivity. Contemporary measures include the Torrance tests, derived from the structure of intellect model, and various tests such as the Remote Associates Test (Mednick, 1962), the Starkweather Originality Test (1974), the Group Inventory for Finding Creative Talent (1980), the Barron Welsh Art Scale, and a number of rating scales and surveys. The proliferation of tests suggests that it is necessary to review the components of a test before issuing it, looking for an operational definition of creativity and support for test reliability and validity. Minimum requirements include: (1) outside empirical support for the test; (2) long-term follow-up studies; (3) comparison measures against other recognized measures; (4) essential basic agreement in the field as to what "creativity" means; and (5) an adequate theoretical base for research and test construction. (Contains 36 references.) (SLD)