A perspectival velo of intersections, by which each miniature window of visual information may be translocated to a reticulated
sheet of paper, thereby reconstructing the desired vista. From Robert Fludd (1574-1637), *Utriusque cosmic maioris scilicet
et minoris metaphysica* (Oppenhemii: Ære Johan-Theodori de Bry, typis Hieronymi Galleri, 1617-21). "The authority of Brunelleschi's
perspectives came from the clearly intelligible structure they gave to space; they also provided a method of practical construction.
The simple scaffolding of orthogonal lines and lines converging toward the vanishing point determined a geometric network
thanks to a play on 'intersections;' this network turned into a play of elementary figures which were easy to isolate; the
squares of the pavement usually placed at the surface became trapezoids according to the perspectival effect, the squares
placed at an angle turned into diamonds, etc.; ...what one was left with at the end of the deconstruction of that space could
be reconstructed on the painting as if it were a puzzle, that is to say like marquetry...the unifying function of the perspective
clearly expresses a coherent mathematical thought, but the analytical and assembly procedure which comes from it is the technique
of marquetry." (Chastel, "Marqueterie et perspective au XV siècle," 144-45: translation Anna Botta).

Source: Collection Centre Canadien d'Architecture/Canadian Centre for Architecture, Montreal