Alberti was possibly in Rome by 1431; Mancini speculates by 1428. The Curia employed composers and authors and editors of papal bulls, and Alberti was employed as such. Recreated in visual topography by Poggio and Flavio, Rome’s surviving monuments would advance Alberti’s dynamic visual encounters. Giotto’s and Cavallini’s formative works in Rome further endowed the spatial avant-garde in the city of Gentile, Pisano, Masaccio, Masolino, Ghiberti, and Donatello. The textual and visual gifts gleaned from Padua, Bologna, and northern Europe would evolve into Rome’s validation of all prescriptions in De pictura.