his limitations, [110];
his greatness in portraiture, [111];
the Herald of the Renaissance, [113], [114];
his influence on succeeding painters, [115];
his School, [115];
points wherein he was an initiator, [116];
his use of colour, [116], [117];
treatment of chiaroscuro, [117];
his position in history, [118], [119];
compared with Titian, [118];