"...And if I was asked what kind of bull, then, I would agree to bullfight, I would say: give me a bull by Aligi, take to the tercio a bull by Aligi. I feel I would speak, with the bulls by Aligi. I feel I would joke with the bulls by Aligi. Then another question: are the bulls by Aligi Sassu less Spanish than the bulls by Solana or Vazquez Diaz? It is not correct. The bulls by Aligi are Spanish like the other ones, but they are more universal, it is to say that they are spiritually more accessible to the human feeling of the non Spanish. Let me talk to the bulls by Aligi. Their majesty, their gravity, their eyes, their manners, their "situation" on earth or in the sky do not seem abnormous to me, even though I see them as sons of dreams more than sons of an eugenetic episode. And pay attention to the fact that the " taurine moment", that is the bull's assuming, in the split second happening of the fight, common and immutable attitudes, since all times, to bullfighting, is identical in the bulls by Aligi and in all the bulls that a Spanish painter could paint. This had never happened to a painter of bulls that was not Spanish. The bulls by Morot, Manet, Worms, Giraud, Rink, how can I say?, make the wrong moves, but I have never found in the paintings of bulls by Aligi Sassu, a bull that was in a non Spanish position. Yet, the bulls by Sassu do not scare me. Who can take a bull of Aligi to the tercio for me?" (David, 1967)