Mateo

Definition and stakes

Annette M. B. Meakin,  Galicia, the Switzerland of Spain

“ In Christian artists of greater note than Mateo—even in Nicolas of Pisa, there is something earthly, frivolous, profane; but in Mateo all is serious, spiritual, without any loss of the human element. As we contemplate the Pórtico the figures almost seem to move, to sit, to talk. You seem to hear the murmur of their lips. The same discreet realism manifested in the heads is shown also in the limbs. The arms, the hands, and even the fingers seem to move with flexibility and delicacy. ”
Source: Gutenberg

Annette M. B. Meakin,  Galicia, the Switzerland of Spain

“ As Lopez Ferreiro has put it, the statuary of the Greeks was the sister of poetry, that of the Middle Ages was the sister of psychology and philosophy.
The whole masterpiece of Mateo may be described as an attempt at the interpretation of one great thought, or rather of a series of thoughts “toute une ordre d’idées,” which “is engaging the attention of all humanity.” Lopez Ferreiro notes how daringly Mateo made his attempt to push his art into the road along which two centuries later it was carried by Italy’s most celebrated artists.
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Source: Gutenberg

George Alexander Thompson,  Narrative of an Official Visit to Guatemala from Mexico (1829)

“ Don Mateo was a handsome well-made man, about forty-two years of age, and five feet eight in height, with remarkably piercing black eyes and dark olive complexion: his nose was aquiline, and his beard and hair, which were black and curling, were slightly tinged with white: he had entered his autumnal quarter, but had all the raciness of spring in his habits and disposition: this accounts for his making himself so agreeable with the softer sex; who generally prefer a man of maturer years, with a pleasing cheerful address, to an insipid young one. ”
Source: Wikisource

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