This was one the earliest pages and drawn in MS4 with relatively high 'stabilisation' on the lines. I think it generally works in itself, but does look a bit incongruous with later pages ( and indeed panel 1 of this page, which was drawn later in MS5).
I'll alsoI redrew the background for panel 2, which was originally smaller (as one of 12 panels on an A4 page) and now looks less well resolved than the same view in later pages. I removed the ladder and perspective grid from the upper wall section (this is thought to be where the paintings were originally located, but I'm not going to show him painting up there).
I need to apply some 'satisficing' (it's a conflation of satisfying and sacrificing), because I have some time pressure for my course work, and in the longer term, I do want to be able to work faster and more productively. On that basis, I decided to redraw (or rather - re-ink) the Uccello faces (on the left here) with low stabilisation, for consistency, but leave the Rocco ones (on the right), as he is drawn nearer that style, and there are no other close-ups of him that will look different. Later drawings of armoured figures are more fully realised, but that works here as these are imagine images, and so imperfect.
Having so fixed panel 2, I did the same to panels 3 and 5, but for the background, simply pasting it from the improved version in panel 2. I redrew (or rather - re-inked) Uccello in each panel, and in particular, made his hat consistent with how it is drawn elsewhere. I had previously redrawn the witness from panels 4 and 6, which had been even more in need of it. I also hid any colours or toned layers, in order to create my bitmap for colouring. This involved having to draw outlines for the wooden beams in the background, and I'm not sure that will actually look better. I' may omit from the bitmap layer, which will allow me to either fill or hide them later. I'll also omit the 'pencil drawn' style imaginary battle scenes from the bitmap 'inks' layer. The next step is colour.
Below is the colour flatted version.
All original Images copyright Graham Johnstone, or, where applicable, their respective creators.