Below is my (very) rough breakdown/sketches for the final page - it probably first needs some explanation, as to what is meant to be happening.
Row 1 is Salimbini (the patron) with Uccello after he has seen and accepted the progress represented by the completed 'cartoon' for the first painting. I also added Rocco (the patron's major demo) to this scene, as he had played a key role in enabling Uccello's breakthrough that let him turn a set of studiess into the complete scene. As discussed in the post below, I had turned these two panels into a single wide panel, on the previous page, however I may have to return it to the final page to put a 'moment of reaction' panel on the previous page.
Row 2 shows Uccello walking home and passing his sculptor friend Donatello. I am thinking now I should add the other artist, Ghiberti, to this panel. Donatello, like Uccello, was a pupil of Ghiberti, so it's perfectly likely that they could be together. I will need rework on the dialogue for that row. to give Ghiberti a line. The sculptor Donatello, is meant to come across as a friend, even though he is shown as cheekily mocking of his friend's somewhat theoretical approach to 3 dimensions in art. Donatello was a key figure in the return to the lost classical techniques of sculpture in the round. as a sculptor, Donatello is not a rival in the direct sense of competing for the same jobs, whereas Ghiberti feels Uccello has chanced upon a job that Ghiberti's studio would have been better placed for. Possible lines:
Row 3 shows Uccello reunited with his wife, after being essentially held prisoner at the patron's pending 'a satisfactory position...'. In the first panel (I may not use borders) he arrives on the imaginary steed. In the second panel we see his wife pulled up onto the steed - this mirrors her monetary fantasy of being carried away from there difficult marriage to Uccello, by the heroic horseman from his earlier painting (page 3), and suggests the narrative concept of a 'new equilibrium' at the end of the story, may extend from his work life into his domestic life.
I've made some of the chances in the updated version below, with panel 1, being pasted in from the previous page. The rest may not look very much, but I'm now clearer and more confident in my mind for tackling this crucial last page. I may omit the panel border(s) for the middle row, to suggest Uccello's sense of release. I could draw in some of the ground, which would act as divider between this and the borderless row below.
The image above seems to have slightly offset the inks layer from the colour - it looked okay in Manga Studio, and I'm sure it's easily fixed.
Below is the panel, (below, right) from page 3, of Uccello's wife (there is no record of her name) imagining herself being swept away by the rider in her husband's painting (below, left). the final panel of my story (sketched above) mirrors this, but with the revitalised Uccello on an imaginary horse, sweeping her away.