If, according to an old saying, it is a fact that the aim and the nature and even the essence of true art is its suitability (caput artis decere) then indeed Gregorian art takes first place—one unique and noble thought is expressed in the form which is most appropriate and most adequate to the thought itself. But there is more to it: over and above this first quality of suitability, we discover others of broader and higher significance. It soon becomes evident that this form of art, far more than any other, is impregnated, saturated, with truth itself, and that falsehood, or even fiction and vain pretense, are foreign to it and have no place in it. And so the circle of perfect requirements is complete, and in a perhaps unique combination the true, the beautiful and the good meet, and this sublime trinity, which is absent from so many works of art—not excluding the greatest—becomes a living reality in a chapel where humble monks sing and pray on their knees.
—Camille Bellaigue ,“Le Chant Grégorian à l’Abbaye de Solesmes”
Les Epoques de la Musique (Delagrave, 1909)