Four turned legs that are meant to match are one of the quiet difficulties of furniture making, because no two turnings ever come off a lathe identical. Work one leg to completion and then try to copy it three times, and by the fourth the differences have compounded - a bead slightly fuller here, a cove slightly deeper there. Standing side by side under a gilded finish, those differences are visible.
Our master Indian artisans avoid the problem by never finishing a leg on its own. All four blanks are marked out together from one rod, and then each stage is carried across all four before the next begins - every shoulder cut on all four, then every cove roughed on all four, then every bead formed on all four. The tool is in the same hand, at the same angle, with the same feel, across the set.
The carving that follows the turning is done the same way. Each band of ornament is laid out on all four legs before any of it is cut, so the leaves sit at the same height on every leg and the spacing between them agrees. Matching is a matter of sequence, not of skill alone.