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FROM the desperately tangled mesh of closely interrelated Valencian painters in the circle of Pedro Nicoláu and Andrés Marzal de Sas during the early stages of the “international” style at the beginning of the fifteenth century, scholars have recently extracted a few definite strands in the persons of such men as the Gil Master and the Ollería Master; and it is now possible, I think, to isolate another artist in the network, namely, the author of the retable at a town in Valencian territory, Vall de Almonacid, a work that happily survived the holocausts of the Spanish civil war. We accomplish the segregation of his personality through the additional evidence provided by the recognition of a further achievement of his; but, before we can turn to this panel, we must cite the considerations which are based on documentary notices published by Saralegui1 after I wrote Volume VI of my History of Spanish Painting, where I studied the retable of Vall de Almonacid,2 and which virtually confute the suggestion there made by me that it might conceivably have been executed by the still inadequately identified painter, Lorenzo Zaragoza.
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