The Rucellai is in form substantially like the Riccardi and other buildings of its class, but in place of the plain wall surfaces which are appropriate for a building that has no structural framework, we have an order of classic pilasters dividing the face of each story into bays answering to nothing in the real system of construction (Fig. 59). We thus have here in domestic architecture an instance of that false use of the orders which in church architecture was first introduced in the chapel of the Pazzi. Alberti’s classic tendencies are here shown further in the introduction of a diminutive entablature passing through the smaller arches of the windows, and these arches are merely cut in relief on a solid tympanum (Fig. 59). It is worthy of notice, too, that the rustication of the masonry of this façade does not mark the true joints. The blocks of stone are in many cases much larger than they appear, channels being cut upon them to simulate joints. The arch of one window, for instance, which by the rustication would appear to be made up of fourteen voussoirs, has in reality only three. The same lack of conformity of the simulated jointing with the true masonry joints is noticeable also in many parts of the façade of the Riccardi, and I know not how general this treatment may be in the architecture of the Renaissance.[89] The initiative thus given by Alberti was not at once universally followed. The orders did not come into general use in the façades of domestic architecture until the period of the later Renaissance. The most important Florentine palaces of the latter part of the fifteenth century have, as we have seen in the Strozzi, no classic orders. The classic elements of these buildings are confined to details such as the profiling of cornices, and the introduction of dentils and other kindred ornaments, and to the capitals of court arcades. Early in the sixteenth century a further innovation in the treatment of palace fronts was made in Florence by the Architect Baccio d’Agnolo, whose design for the campanile of Santo Spirito we have already noticed (p. 82), in the Palazzo Bartolini. This consisted in framing the windows with small orders crowned by pediments (Fig. 60). Milizia thus refers to this innovation: “This was the first palace with windows adorned with frontispieces and with columns at the doorway carrying architrave, frieze, and cornice. A novelty, like most others, at first disapproved and then idolized. The Florentines all ridiculed Baccio for this new style of architecture, not only with words, but with sonnets, and with jesting devices attached to the building, taunting him with having made a church of a palace.”[90] For the rest, though Baccio d’Agnolo has not adorned the walls of this building with orders, he has marked the stories with entablatures, and placed rusticated pilasters at the angles.