Almost contemporary with Brunelleschi was Leo Battista Alberti, a Florentine, who, working upon somewhat different principles, sought more closely to reproduce the actual elements of Roman architecture.[31] In his remodelling of S. Francesco at Rimini the type he followed was that of the triumphal arch, and what was finished of that wonderful façade, remains to prove how much might have been made of well-proportioned pilasters and nobly curved arcades.[32] The same principle is carried out in S. Andrea at Mantua. The frontispiece of this church is a gigantic arch of triumph; the interior is noticeable for its simple harmony of parts, adopted from the vaulted baths of Rome. The combination of these antique details in an imposing structure implied a high imaginative faculty at a moment when the rules of classic architecture had not been as yet reduced to method. Yet the weakness of Alberti's principle is revealed when we consider that here the lofty central arch of the façade serves only for a decoration. Too high and spacious even for the chariots of a Roman triumph, it forms an inappropriate entrance to the modest vestibule of a Christian church. Like Brunelleschi, Alberti applied his talents to the building of a palace in Florence that became a model to subsequent architects. The Palazzo Rucellai retains many details of the mediaeval Tuscan style, especially in the windows divided by slender pilasters. But the three orders introduced by way of surface decoration, the doorways, and the cornices, are transcripts from Roman ruins. This building, one of the most beautiful in Italy, was copied by Francesco di Giorgio and Bernardo Fiorentino for the palaces they constructed at Pienza.