Ever since Freud's 1914 paper on the Moses in San Pietro in Vincoli, psychoanalysts have been fascinated by Michelangelo. A partial list of psychoanalytically informed works on this titanic and protean artist would include the studies by such authors as Stokes,1 the Sterbas,2 Liebert,3 and Oremland,4 as well as brief references in the works of countless others.5 Thus, the slender volume reviewed here joins an extant and varied body of literature to which it contributes by offering a unique organization and methodology. In what follows here, I shall focus on its methodology, for the apparent strengths and weaknesses of Nathan Leites's approach have perhaps as much to teach us as the more substantive elements of his text.