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Tolomei almost certainly knew of Raphael's project, for he too had been closely connected to the court of Leo X. [n. 28] The scholar explicitly states unitiy of purpose with architects; after all, he was planning to pick up where one had left off. It should be noted that Tolomei makes one significant diversion when he includes orthogonal drawings along with pictorial views as guides by which a viewer forms an aesthetic judgment. This shift subtly reevaluates their possibilities with respect to Raphael's formulation, allowing them to share in a function beyond that of efficient graphic documentation, of "true measurement." While all of these forms admittedly fall short of restoring the ancient city to her former splendor (which, Tolomei implies, is impossible anyway), they do grant her "some semblance or image of beauty."

Tolomei's Vitruvius never materialized [sic!], but the year after [sic!] he wrote his letter to Landi, a project with related goals came to completion. In 1544, Bartolomeo Marliani published his Urbis Romae topographia, which was the second edition – now illustrated – of his 1534 guidebook to Roman antiquities, the Antiquae Romae topographia. [n. 29] While the first edition had been more in the tradition of previous works such as the topographies of Flavio Biondo and Andrea Fulvio, the second edition, with its imagery, is a significant testament to humanist appreciation of the possibilities of illustration, and, more specifically, the graphic modes of architecture. Like Tolomei, Marliani was not an architect but a noted antiquarian. In addition to several maps, he included engravings of ancient monuments in plan, elevation, and section, many of them taken directly from Serlio's Terzo libro. Yet ironically, Marliani, the scholar, was much more doctrinaire than his counterpart, the architect, in his insistence on orthogonal projection. In his foreword, referring to the iconographic maps that follow in the first chapters of the book, he alluded to the advantages of plans over pictorial views: 

[Zitat …]

[28] Roberto Weiss, The Renaissance Rediscovery of Classical Antiquity (Oxford: Basil Blackwell, 1969), 96, n. 3; Valone, "Giovanni Antonio Dosio and His Patrons", 111.

[29] On Marliani, see Jacks, The Antiquarian and the Myth of Antiquity, 206-14.