Did you know that Michelangelo held Signorelli and Perugino in contempt? Well now you do, which may explain why he destroyed several frescoes in the Sistine chapel in order to make way for his own Last Judgment.
This book although published in 1915 does manage to point the way forged by John Ruskin at least for the English reader. Mr. Rolland even has his provocative moments as when he says that it "would be absurd to offer Michelangelo as a model to young artists." or that "the Carracci were needed at the end of the century (16th) to snatch Italian art from inevitable death."
For a slim volume, Mr. Rolland does mange to present some rather grand opinions concerning the art and influence, both historically and artistically,of Michelangelo without becoming merely a cup bearer for the great artist. The leitmotif running throughout this book is the balance in Michelangelo's art whether it is Platonism versus Christianity, voluptuous in art as opposed to "pious and bourgeois realism." This writer does have a grand stroke about him and I am quite certain that it will stimulate the casual reader to understand the man's work and a bit of his life especially the delicate manner of his love for Vittoria Colonna or Tommaso dei Cavalieri.