VI CONTENTS OF VOL. II. CHAPTER XX. Domenico Ghirlandaio resumes and combines the progress of his century, in all branches except that of colouring in oil — His frescoes in the public palace of Florence; in the Sixtine at Rome; at S. Gimignano; in S. Trinita and S. M. Novella at Florence — His altarpieces, and miscellaneous works Page 459 to 497 CHAPTER XXI. Benozzo Gozzoli follows the style of Angelico, and then forsakes it for that of the Florentine realists — His labours at Montefalco, Florence, S. Gimignano, and Pisa — His assistants, Giusto d’Andrea and Zanobi Macchiavelli — Cosimo Rosselli 498 to 525 CHAPTER XXII. Umbria receives the Florentine influence in a great measure from Piero della Francesca, who combines the realism of his master Domenico Veniziano, and the general qualities of the school of Florence, with the Umbrian manner — His greatness as a master of perspective applied to form ; as a painter using the Italian oil medium — His frescoes at Rimini, Arezzo, and Borgo S. Sepolcro — His employment at Urbino, Ferrara, and Perugia — Fca Camovale 526 to 555 CHAPTER XXIII. Tiero della Francesca forms Melozzo da Forli, who in turn instructs Marco Palmezzano 556 to 578 CHAPTER XXIV. Influence of Piero della Francesca and Melozzo — Giovanni Santi: his life and works 579 to 599 Index 601
