really amounted to saying this: that a donkey could go before all the horses of the world when it was really going to the temple. Romance means a holy donkey going to the temple. Realism means a lost donkey going nowhere.
The fragments of futile journalism or fleeting impression which are here collected are very like the wrecks and riven blocks that were piled in a heap round my imaginary priest of the sun. They are very like that grey and gaping head of stone that I found overgrown with the grass. Yet I will venture to make even of these trivial fragments the high boast that I am a medievalist and not a modern. That is, I really have a notion of why I have collected all the nonsensical things there are. I have not the patience nor perhaps the constructive intelligence to state the connecting link between all these chaotic papers. But it could be stated. This row of shapeless and ungainly monsters which I now set before the reader does not consist of separate idols cut out capriciously in lonely valleys or various islands. These monsters are meant for the gargoyles of a definite cathedral. I have to carve the gargoyles, because I can carve nothing else; I leave to others the angels and the arches and the spires. But I am very sure of the style of the architecture, and of the consecration of the church.