The entire book consists of two-pagers: A drawing of a building in Rome and an empty page, presumably to prevent smearing of the ink:
This is the first image in the work. The text becomes one with the building, as if the words had a physical presence. The author is perhaps trying to confirm his place in history and inscribe his perspective into the numerous architectural works that he has drawn.
One has to turn their head in order to fully view this drawing, which serves to emphasize the magnitude and sheer height of the building’s vaults.
The bottom half of this drawing sticks out as incredibly baroque: The horse in the bottom-right corner is drawn mid-air, as if it had just jumped, the people’s coats are swinging in the wind and a carriage is making its way across the piazza. Here, people are not banal, they become something three-dimensional and therefore form part of the architecture. It is interesting to see how that translates into drawing. This is a scene, it creates interest by forming a personal connection with the reader of its time.