"In the studioli, this commensurability is embodied in the virtuoso marriage of intarsia and the principles of artificial perspective, developed empirically in the early 15th century by Filippo Brunelleschi and formalized by Leon Battista Alberti in De pictura. 1 Although this work was conceived for the art of painting, it was the intarsiatori, rather than painters, who were first considered the maestri di prospettiva, likely due to a metaphoric kinship between the cut of the intarsist's knife across the wood and the cut of the eye across the latticed surfaces of a perspectivally harnessed space."