The New York herald., 1921-07-17

Brandes the great world critic, has
written another book which, IL not
superior to his "william Shakespeare" must
be considered to rank at least equally high
with that remarkable work. In "Mchelangeo
Buonarroti,' just issued by the Gyldendals
of Copenhagen, Brandes displays that mas
terry in portraiture of world figures which
marked his treatment of Goethe Voltaire,
julius C@sar-all written in a style that
makes regret the limited number or
those who can read him in the Danish
original. However, the English version
of his Shakespeare years ago proved trans
lations of Brandes adequate for the purpose
of gaining an understanding of his profound
thought. The author of Main Currents in
Nineteenth Century Literature" ranks to-
day as the logical successor to the greatest
critics Of the past
The art of the italian Renaissance that
found Michelangelo. Raphael, Leonardo da
Vinci and a host of others employing their
genius in an effort to harmonize theirs in
dividual conscience as artists with what
might be the demands of the ecclesiastical
powers that ruled the day has had many
interpreters in many languages since that
marvellous ceiling in the Sistine Chapel and
the smile of Mona Lisa came to enrich the
world. The life Of the Florentine sculptor
subject with writer's, since his career had so
rich a background in the political history
that gave to Rome and Florence their su-
preme Importance in the fifteenth and six
teenth centuries.
AS early as 1850 Giorgio vasari, known as
painter, architect and man of letters at the
court of the Elorentne dukes, gives Michel
angelo a preeminent place In his book of
the most distinguished artists of his time.
40. IL -. M
Ascanio Condivi, who also wrote about
Michelangelo, vasari unquestionably has
been one of the principal sources for all
later biographers. Herman Grimm, in his
Life of Michael Apgelo," questions Vasaris
reliability, but says nevertheless that his
merits outweigh his faults.
Faced by a photography that for more
than four hundred years has furnished an
endless array of criticism as regards the
genius and productivity of Micheangelo
Georg Brandes takes II upon himself to add
one more study Of the man whose fame
stands as untouched by time as are his
marble works in the Sacristy of Lorenzo the
Magnificent.
In the opinion of the present reviewer
Brandes has set up for himself a monument
of surprising beauty with this his most re-
cent work. In employing his native Ian
guage he shows that exquisite craftsman
ship which he considers his chief qualifica.
ton and which he desires posterity to judge
him by. Brandes is a linguist, equally al
home in French. German, English and Italian
When he attacks a subject that require
profound research and investigation he has
access to almost every source. But he loves
his native tongue with an ardor that nc
outsider can understand. 1t is that which
makes his "Michelangelo Buonarroti' g,
wonderful a treat for those who have Danish
at their command. The profuse illustrations
and the typographical effect of the book are
in keeping with it's literary character.
We can best approach Brandes's treatment
of his theme by setting II in contrast with