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It is in the saga of Father Brown that Chesterton reaches the height of artistic beauty as will be seen by this The Innocence of Father Brown meeting of twelve admirable and impeccable tales, among which, however, I dare to highlight very especially The Blue Cross and The Hammer of God, it is in the saga of Father Brown that Chesterton reaches the height of artistic beauty. Everything here contributes to this: a brilliant use of alliteration and rhythm allowed by the English language; a vocabulary richness that goes hand in hand with a great depth, let's say, rhetorical (in the Hammer of God, for example, Father Brown says: Humility is the mother of giants); a (very fine) humor and a drama whose mixture has kinship, on the one hand, with the Cervantes of D. Quixote and, on the other, with the Dickens of so many works; metaphors used in the right measure and at the right time; everything always against a Christian backdrop that is both light and serious, as befitted the idea that Chesterton wanted to symbolize by this saga. What the reader now has in his hands The Innocence of Father Brown, the first book of the saga, is a treasure. It is a work of art purely and simply perfect, and greatly contributes to its global formation.