The Ionic capital presented awkward features which the ingenuity of the architects never quite succeeded in disguising. In the first place the abacus projected beyond the face of the architrave which from the side view offered an unsightly appearance. Secondly arose the problem of treating the volutes of the corner columns, so that the effect might be symmetrical on both sides of the building. This was solved by converting the side end of the capital into another face, the adjacent volutes at the corner being brought out at an angle of forty-five degrees. This results in an awkward arrangement at the back where two half-volutes intersect each other at right angles. The Ionic architrave consists of two or more _fasciæ_, or vertical faces, projecting one over the other. This recalls the original wooden construction and suggests that the Ionians used planks, while the Dorians used a single beam. It was crowned with small mouldings, frequently enriched with ornament. Above this was the frieze, sometimes left plain, at other times enriched with sculptured reliefs. It was joined by a moulding to the cornice. The latter, in the simpler form adopted by the Athenians, consisted of a plain corona, a fillet of _bead-and-spool_ ornament, a row of _egg-and-dart_ moulding, and the cymatium or gutter, which was often embellished with lion heads. In Asiatic-Ionic examples, however, the cornice was more elaborate: a row of narrow blocks or _dentils_, crowned with a carved fillet, being inserted beneath the corona, while, further, the cymatium was embellished with a repeat of the _anthemion_ decoration. This style is distinguished by the term Ornamented Ionic. The origin of the dentil may probably be traced to the Lycian Tombs, where they are represented by the ends of the beams of the roof or gable. The volute appears as a decorative feature on the façade of the so-called =Tomb of Midas= in =Phrygia=. It also occurs as a decorative feature in Assyrian art and is found in the capitals of the small columns of a pavilion represented in the reliefs at Khorsabad. The motive of the spiral is also found in Mycenæan jewelry. Professor William H. Goodyear in his “Grammar of the Lotus,” suggests that the volute may have originated in successive variations of the Egyptian lotus patterns. The Doric and Ionic orders were sometimes combined in the same building, as in the =Propylæa=.