The current article is a piece of the collective research work related to H. Destailleur’s A, B, C albums in the framework of the investigation project initiated by the State Hermitage. It represents a critical analysis of the recent publication of Destailleur B album effected by O. Lanzarini and R. Martinis (Roma: “l’Erma” di Bretschneider, 2015). According to the author’s opinion, the major disadvantage of this publication is the absence of the deep and complete analysis of correlations between Album B and other sources: including not only A and C albums from the Hermitage, but also a number of other drawings from different collections. The author defines the objective as a comprehensive study of the cultural and artistic context of the Hermitage albums and divides this objective into three groups of problems. The first group is dedicated to the study of the role of the albums in the development of architectural model books tradition from the 15th to the 18th century. The second group includes the study of its correlations with Roman intellectual humanistic environment of the 16th century in the context of realizing the projects of full corpus of ancient Roman monument representations. Finally, the third group deals with its role in popularization of antiquesimile motives in Italy and abroad, including the dissemination of the tradition of fantasy reconstructions of ancient monuments. The author proposes some original solutions to all groups of problems and comes up with new ideas. In particular, several links between the Hermitage albums and some other pieces have been proved to exist: the works of Pirro Ligorio, engraving workshop archives of Antonio Salamanca and Antonio Lafreri, architectural studios of Sangallo family, drawing funds of Claudio Tolomei’s Academia Vitruviana and intellectual-humanists collections up to the 18th century. The author states that the problem of international contacts of Album B has been underinvestigated. Particularly, it concerns its relation with the works of French architect and engraver Jacques Androuet Du Cerceau the Elder. Efimova notes the heterogeneity of sources of drawing architectural fantasies in Album B, in which, obviously, the models of other authors apart from Du Cerceau were used. There were connections between the Hermitage drawings and gravure publications produced in Rome in 1540s by the anonymous monogrammist GA with the Caltrop. The attribution of Album B drawings to Venetian painter Giovanni Battista Franco has been proved faulty, so far as an emphasis has been made on south Italian and Roman origins of these albums. In the end of the current article the author refers to any possible connection between the album and Andrea Palladio. This connection would’ve been possible only in the early period of the master’s work during his Roman trips in the 1540s, but not after 1570, as it was stated by O. Lanzarini. As a result, the author concludes that the three Hermitage albums have fundamental importance for our understanding of the processes of research and revival of antiquity.