The origins of the study of creativity can be traced back to antiquity. Creativity as it manifests itself in imagination was already described by Plato although the explanation of the phenomenon was restricted to some vague concept of “inspiration” (Kürti, 1985). Creators’ introspective reports also suggested supernatural forces as the source of their creativity (Ghiselin, 1952). This approach, which considers creativity as a highly individualistic and unpredictable process that is qualitatively different from and is not related to the other cognitive processes, is known as the romantic approach of creativity (Ward, 1994), and it is probably still shared by some of our contemporaries. The age of Enlightenment brought the dominance of “scientific” explanations, which has led to the formulation of numerous theories of creativity. Galton’s book Hereditary Genius, published towards the end of the 19th century, was the first attempt to account for the individual differences in people’s abilities (Barkóczi & Zétényi, 1981). Nevertheless, during the first half of the 20th century, probably due to its great potentials for practical application in institutionalised education and the army, it was the research of intelligence that flourished, and it was not until 1950 that the study of individual differences took up the issue of creativity.