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BY EMANUEL WINTERNITZ Associate in Music If any monument of art be an invitation to the past, an interior like the intarsia study of Federigo da Montefeltro, installed in the Museum in 1941, has this appeal in an eminent degree. Sculptures have pedestals, paintings frames, leading from our everyday world to that of illusion; but here the illusion is complete, the visitor wholly enters the past. When we have accustomed ourselves to the spell of the warm, golden-brown dusk, the walls begin to speak. A graceful architectural setting becomes visible, its pillars framing cupboards with benches projecting beneath, all filled with books, musical and scientific instruments, armory, and library tools in pleasant order and variety. The illusion of depth is so great that we must make an effort to convince ourselves that we face two-dimensional pictures in inlay. Was this little room a real study, a workroom for the learned Duke? Fill it in your imagination with the customary appliances of a private library of that time and you will see how the charm of the imagery upon the walls would be destroyed by any competition with 104 The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin