"Such as these were the motives of Edward," says the Dean. Yes, certainly; but such as these also, first, were the acts and visions of Edward. Take care that you don't slip away, by the help of the glycerine of the word "motives," into fancying that all these tales are only the after colours and pictorial metaphors of sentimental piety. They are either plain truth or black lies; take your choice,—but don't tickle and treat yourselves with the prettiness or the grotesqueness of them, as if they were Anderssen's fairy tales. Either the King did carry the beggar on his back, or he didn't; either Godiva rode through Coventry, or she didn't; either the Earl Leofric saw the vision of the bright child at the altar—or he lied like a knave. Judge, as you will; but do not Doubt.
"The Abbey was fifteen years in building. The King spent upon it one-tenth of the property of the kingdom. It was to be a marvel of its kind. As in its origin it bore the traces of the fantastic and childish" (I must pause, to ask you to substitute for these blameful terms, 'fantastic and childish,' the better ones of 'imaginative and pure') "character of the King and of the age; in its architecture it bore the stamp of the peculiar position which Edward occupied in English history between Saxon and Norman. By birth he was a Saxon, but in all else he was a foreigner. Accordingly the Church at Westminster was a wide sweeping innovation on all that had been seen before.
