His work is defined by a desire for topographical accuracy combined with a fascination for scale. In his depictions of the Tower of Babel, he used circular ramps and massive stonework to create a sense of impossible height. His views of Rome, such as the Colosseum and the Palatine Hill, record sixteenth-century archaeology. He avoided the soft styles of his predecessors, preferring clear lines and defined perspectives that make his prints feel like architectural plans.

Collectors today value these works for their technical clarity and historical weight. The prints offer a window into how the Renaissance viewed the ancient world. Because his compositions are grounded in real geography yet elevated by a sense of wonder, they suit modern interiors that favour clean lines and intellectual depth. The X-radiograph versions of his Babel paintings are particularly striking, as they reveal the hidden structural layers beneath the finished surface.