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71-407: The Greek Doric column was fluted , and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave , the complexity comes in the frieze , where the two features originally unique to

142-553: A fillet . Fluted columns are common in the tradition of classical architecture but were not invented by the ancient Greeks, but rather passed down or learned from the Mycenaeans or the Egyptians . Especially in stone architecture, fluting distinguishes the column shafts and pilasters visually from plain masonry walls behind. Fluting promotes a play of light on a column which helps the column appear more perfectly round than

213-672: A customs house, Greek Doric suggested incorruptibility; in a Protestant church a Greek Doric porch promised a return to an untainted early church; it was equally appropriate for a library, a bank or a trustworthy public utility. The revived Doric did not return to Sicily until 1789, when a French architect researching the ancient Greek temples designed an entrance to the Botanical Gardens in Palermo . [REDACTED] Media related to Doric columns at Wikimedia Commons Fluting (architecture) Fluting in architecture and

284-680: A ring. Crown moldings soften transitions between frieze and cornice and emphasize the upper edge of the abacus , which is the upper part of the capital. Roman Doric columns also have moldings at their bases and stand on low square pads or are even raised on plinths . In the Roman Doric mode, columns are not usually fluted; indeed, fluting is rare. Since the Romans did not insist on a triglyph covered corner, now both columns and triglyphs could be arranged equidistantly again and centered together. The architrave corner needed to be left "blank", which

355-430: A semi-circle, and are usually terminated at the top and bottom by a semi-circular scoop, followed by a small distance where the column has its full circular profile, or indeed swells. These orders always have a base to the columns, often an elaborate one. While Greek temples employed columns for load-bearing purposes, Roman architects often used columns more as decorative elements. They tend to use fluting less often than

426-524: A similar principle, before 20 flutes became the convention. Fluting is also found in other parts of the classical Persian column. The bases are often fluted, and the "bell" part of the capital has stylized plant ornament that comes close to fluting. Above this there is usually a tall section with four flat fluted volutes . Fluting was used in both Greek and Roman architecture , especially for temples, but then became rare in Byzantine architecture , where

497-399: A smooth column. As a strong vertical element it also has the visual effect of minimizing any horizontal joints. Greek architects viewed rhythm as an important design element. As such, fluting was often used on buildings and temples to increase the sense of rhythm. It may also be incorporated in columns to make them look thinner, lighter, and more elegant. It is generally agreed that fluting

568-631: A stark Doric look became fashionable in Germany (where it was partly a gesture against over-elegant French styles), Britain and the United States. Fluting became more common, even usual for grand buildings, even in the Ionic and Corinthian orders. A gentler version of the style is exemplified throughout many government buildings and monuments in the United States , though some buildings like

639-547: A triglyph form the corner, and filled it with a half ( demi -) metope, allowing triglyphs centered over columns ( illustration, right, V. ). There are many theories as to the origins of the Doric order in temples. The term Doric is believed to have originated from the Greek-speaking Dorian tribes. One belief is that the Doric order is the result of early wood prototypes of previous temples. With no hard proof and

710-448: Is illustrated at Vitruvian module . According to Vitruvius, the height of Doric columns is six or seven times the diameter at the base. This gives the Doric columns a shorter, thicker look than Ionic columns, which have 8:1 proportions. It is suggested that these proportions give the Doric columns a masculine appearance, whereas the more slender Ionic columns appear to represent a more feminine look. This sense of masculinity and femininity

781-532: Is not used in Doric order columns. Cabled fluting may have been used to prevent wear and damage to the sharp edges of the flutes along the bottom part of the column. Spiral fluting is a rather rare style in Roman architecture , and even rarer in the later classical tradition. However, it was in fashion in the Eastern Roman Empire between about 100 and 250 AD. What is in effect horizontal "fluting"

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852-554: Is possible that in some buildings fluting in stucco, "so much used and so rarely preserved" according to J. B. Ward-Perkins , was applied to stone columns. Roman Doric columns "nearly always" have a base, although Vitruvius does not insist on one. Fluted Corinthian columns perhaps became associated with imperial grandeur. Even rather small provincial caesariums, or temples of the Imperial cult have them on their porches, as do imperial triumphal arches . Examples of temples include

923-466: Is sometimes applied, in particular to parts of the bases of columns. It tends to be called "banding". Fluted columns in the Doric order of classical architecture have 20 flutes. Ionic , Corinthian , and Composite columns traditionally have 24. Fluting is never used on Tuscan order columns. Flat-faced pilasters generally have between five and seven flutes. Fluting is always applied exclusively to

994-501: Is sometimes found in the same way, as inside Cave 26 at Ajanta, from the late 5th or early 6th century. Similar visual effects are more often achieved by giving column shafts several flat faces. The Heliodorus pillar of about 113 BC has three different zones with 8, 16 and 32 flat faces (lowest first), with a round zone above that. Fluting was also used in capitals, in contrast to the Greco-Roman tradition. The "bell" capitals of

1065-681: Is sometimes referred to as a half, or demi- , metope ( illustration, V. , in Spacing the Columns above ). The Roman architect Vitruvius , following contemporary practice, outlined in his treatise the procedure for laying out constructions based on a module, which he took to be one half a column's diameter, taken at the base. An illustration of Andrea Palladio 's Doric order, as it was laid out, with modules identified, by Isaac Ware, in The Four Books of Palladio's Architecture (London, 1738)

1136-570: Is two of the large columns ("piers") in the nave of Durham Cathedral (c. 1120s). These have a distinctive format of alternating convex and concave flutes. These were carved on the stones before the pier was erected. The entrance of the Castel del Monte, Apulia , Italy, an imperial castle from the 1240s, has very thin fluted pilasters under a pediment , in an early and rather shaky attempt to revive classical forms. The revival of classical architectural elements, including Classical order columns,

1207-542: The Achaemenid Empire in ancient Persia, over roughly the same period that Doric temples developed in Greece. The ruins of Persepolis , Iran, where examples can be most clearly be seen, are probably mostly from the 6th century BC. In grand settings the columns are usually fluted, with tall capitals featuring two highly decorated animals, and column bases of various types. The flutes are shallow, with arrises, like

1278-780: The Ashoka columns are fluted, as are the flatter capitals in Cave 26 of the Ajanta Caves . In the Ashoka columns the flutes are stylized leaves, clinging to the bell, with round bottoms. Fluted columns, some with entasis , were one of the options available to Chinese architects and cave-carvers (survivals are mostly in Buddhist rock-carved shrines) in the 3rd to 6th centuries AD. Some engaged columns were also topped by quasi-capital with volutes, but usually curling up, rather than down as in

1349-669: The Lincoln Memorial in Washington, D.C. (1922), continued to use Greek Doric with no bases to the columns. In the 20th century New Classical architecture made considerable use of fluting. Fluting, very often convex, is also found in various media in the decorative arts , including metalware, wooden furniture, glass and pottery. It was common in English cut glass of the Georgian period. In metal plate armour , fluting

1420-882: The Maison carrée , the Roman Temple of Évora , and Temple of Augustus, Barcelona in provincial centres, as well as the much larger temples in Rome, such as the Temple of Vespasian and Titus . However the Temple of Augustus, Pula has plain Corinthian columns. Triumphal arches with fluting include the Arch of Augustus in Rimini , and the one in Susa , Arch of Trajan in Ancona , and all

1491-605: The Royal Hospital Chelsea (1682 onwards, by Christopher Wren ). The first engraved illustrations of the Greek Doric order dated to the mid-18th century. Its appearance in the new phase of Classicism brought with it new connotations of high-minded primitive simplicity, seriousness of purpose, noble sobriety. In Germany it suggested a contrast with the French, and in the United States republican virtues. In

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1562-516: The Temple of Hatshepsut , Deir el-Bahari , Egypt, c. 1470 BC bear a considerable resemblance to the Greek Doric column, although the capitals are plain square blocks. The columns taper slightly and have broad flutes that disappear into the floor. It has been suggested that columns of this type influenced the Greeks. Persian columns do not follow the Classical orders, but were developed during

1633-570: The Tuscan order , elaborated for nationalistic reasons by Italian Renaissance writers, which is in effect a simplified Doric, with un-fluted columns and a simpler entablature with no triglyphs or guttae. The Doric order was much used in Greek Revival architecture from the 18th century onwards; often earlier Greek versions were used, with wider columns and no bases to them. The ancient architect and architectural historian Vitruvius associates

1704-400: The decorative arts consists of shallow grooves running along a surface. The term typically refers to the curved grooves (flutes) running vertically on a column shaft or a pilaster , but is not restricted to those two applications. If the scoops taken out of the material meet in a sharp ridge, the ridge is called an arris . If the raised ridge between two flutes appears flat, the ridge is

1775-514: The giant order columns on the facade are plain, but the main pilasters in the interior are cable-fluted, and smaller columns, for example framing the doors, are fluted. Plain columns and fluted pilasters became a common mixture, not least because at least the internal pilasters are often stucco over brick, making fluting much easier and cheaper than carving in stone. Although, like other Renaissance manuals, I quattro libri dell'architettura by Andrea Palladio (1570) recommended and illustrated

1846-465: The Delians reassigned the temple to the island of Poros . It is "hexastyle", with six columns across the pedimented end and thirteen along each long face. All the columns are centered under a triglyph in the frieze , except for the corner columns. The plain, unfluted shafts on the columns stand directly on the platform (the stylobate ), without bases. The recessed "necking" in the nature of fluting at

1917-438: The Doric with masculine proportions (the Ionic representing the feminine). It is also normally the cheapest of the orders to use. When the three orders are superposed , it is usual for the Doric to be at the bottom, with the Ionic and then the Corinthian above, and the Doric, as "strongest", is often used on the ground floor below another order in the storey above. In their original Greek version, Doric columns stood directly on

1988-408: The Doric, the triglyph and gutta , are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental . The relatively uncommon Roman and Renaissance Doric retained these, and often introduced thin layers of moulding or further ornament, as well as often using plain columns. More often they used versions of

2059-497: The Greek Doric, but they are more numerous, and therefore narrower. The large columns at Persepolis have as many as 40 or 48 flutes, with smaller columns elsewhere 32; the width of a flute is kept fairly constant, so the number of flutes increases with the girth of the column, in contrast to the Greek practice of keeping the number of flutes on a column constant and varying the width of the flute. The early Doric temples seem to have had

2130-523: The Greeks in the Ionic and Corinthian orders, and to mix fluted and unfluted columns in the same building more often. The external columns on the Colosseum , which use the three classical orders on different levels, are not fluted, nor are the large monolithic granite Corinthian columns of the portico of the Pantheon, Rome , a very grand temple, though many columns in the interior are. However, it

2201-421: The Ionic; in some cases these were also at the bottom of the shaft. The possibility of influence, perhaps indirect, from the Greco-Roman world has been discussed by scholars. However, vertical fluting cannot be called a common form of decoration. In Byzantine architecture columns were mostly relatively small and functional rather than decorative. They were used to support galleries, ciboriums over altars and

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2272-537: The Parthenon. Pronounced features of both Greek and Roman versions of the Doric order are the alternating triglyphs and metopes . The triglyphs are decoratively grooved with two vertical grooves ("tri-glyph") and represent the original wooden end-beams, which rest on the plain architrave that occupies the lower half of the entablature. Under each triglyph are peglike "stagons" or "guttae" (literally: drops) that appear as if they were hammered in from below to stabilize

2343-518: The apparent geometry of the design, that Greek architects introduced. These include entasis , swelling in the middle part of the shaft, tapering at the top of the shaft, and a slight slant to the whole column. In the Parthenon the depth of the flutes increases towards the top of the shafts. In the earliest Doric examples the columns are rather slim, and often only have 16 flutes. By the mid-6th century BC shafts were thicker, and 20 became settled as

2414-432: The architect. Often the last two columns were set slightly closer together ( corner contraction ), to give a subtle visual strengthening to the corners. That is called the "classic" solution of the corner conflict ( IV. ). Triglyphs could be arranged in a harmonic manner again, and the corner was terminated with a triglyph, though the final triglyph and column were often not centered. Roman aesthetics did not demand that

2485-410: The column') is the lintel or beam , typically made of wood or stone, that rests on the capitals of columns . The term can also apply to all sides, including the vertical members, of a frame with mouldings around a door or window. The word "architrave" has come to be used to refer more generally to a style of mouldings (or other elements) framing a door, window or other rectangular opening, where

2556-492: The conventional Vitruvian styles of fluting, in his own buildings Palladio very rarely used fluting; in the Doric and Corinthian orders, his shafts are "almost never fluted", and in the Ionic he "never used fluted shafts". Fluting dramatically returned to European architecture in the late 18th century with Neoclassical architecture , especially Greek Revival architecture . By this time publications which measured and illustrated authentic Greek Doric buildings were available, and

2627-409: The corner triglyph should form the corner of the entablature, creating an inharmonious mismatch with the supporting column. The architecture followed rules of harmony. Since the original design probably came from wooden temples and the triglyphs were real heads of wooden beams, every column had to bear a beam which lay across the centre of the column. Triglyphs were arranged regularly; the last triglyph

2698-503: The curved sides. By the time of the second Heraion of Samos , perhaps around 550 BC, lathes were being used. Fluting is treated as optional in Ionic and Corinthian buildings, or perhaps was sometimes left for later if money was running short; in some buildings the fluting was probably carved long after the initial "completion". The fluting used for the Ionic and Corinthian orders was slightly different, normally with fillets between

2769-422: The different Classical orders . In the Tuscan order , it only consists of a plain face, crowned with a fillet , and is half a module in height. In the Doric and Composite order , it has two faces, or fasciae , and three in the Ionic and Corinthian order , in which it is 10/12 of a module high, though but half a module in the rest. The term architrave has also been used in academic writing to mean

2840-469: The earliest remaining examples of fluting in limestone columns can be seen at Djoser's necropolis in Saqqara , built by Imhotep in the 27th century BC. The Temple of Luxor , mostly about 1400 BC, has different types in different areas. In some types only part of the shaft is fluted; some columns at Luxor have five different zones of vertical fluting or horizontal banding. Some of the smaller columns at

2911-598: The emphasis was on fine coloured stone, and the architecture of the Middle Ages in the West. Columns in buildings of the Doric order were almost always fluted; the unfluted columns of the temple of Segesta in Sicily are one of the reasons that archaeologists believe the temple was never completed, probably because of war. They demonstrate that the plain columns, made of several circular "drums", were put into place before

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2982-401: The flat pavement (the stylobate ) of a temple without a base. With a height only four to eight times their diameter, the columns were the most squat of all the classical orders; their vertical shafts were fluted with 20 parallel concave grooves , each rising to a sharp edge called an arris . They were topped by a smooth capital that flared from the column to meet a square abacus at

3053-426: The flutes are convex rather than concave, so the effect is the inverse of Greek fluting. Fluting is generally with the intention of making the column look like a bundle of plant stems, and the "papyriform column" is one of several types, which did not become standardized into "orders" in the Greek way. Often vertical fluting is interrupted by horizontal bands, suggesting binding holding a group of stems together. One of

3124-471: The flutes were carved to ensure the grooves matched up perfectly. But the flutes of the top and bottom drums appear to have been started, to give a guide for the rest. A now isolated Ionic column at the Temple of Apollo, Didyma shows this; only part of the top drum has been fluted. Another unfinished Ionic drum section in the agora at Kos has been marked up for fluting, which never took place. In both of these examples there are rather wide margins outside

3195-556: The flutes, that may appear flat, but actually follow the curvature of the column. Despite Ionic columns of a given height being slimmer than Doric ones, they have more flutes, with 24 being settled on as the standard, after early experiments. These took the number as high as 48 in some columns in the second building of the Temple of Artemis at Ephesus in Turkey, one of the earliest "really large Greek temples", of about 550 BC. Ionic and Corinthian flutes are also deeper, some approaching

3266-418: The flutes, which ended in a sharp arris, being worn down by people brushing past. The flutes continue right down to the base of the column, and at the top usually pass through three very narrow bands cut into the stone before reaching the base of the capital, where the shaft swells slightly. The flutes were carved by making an initial narrow cut to the appropriate depth in the centre of each flute, then shaping

3337-424: The fluting to the roughly finished surface. There has been considerable modern exploration of the mathematical techniques used to create models of templates for fluting. The practical problems for the masons were increased by the variable girth of the shafts, which both tapered overall and had the entasis swelling in the middle. Greek masons had also to allow for the various refinements, or subtle departures from

3408-443: The fundamental part of something (a speech, a thought or a reasoning), or the basis upon which an idea, reasoning, thought or philosophy is built. Examples: In contemporary architecture and interior design, the term architrave also refers to the mouldings that frame doors and windows. Unlike classical architraves, which were primarily structural and often ornate, modern architraves are typically decorative and functional, concealing

3479-461: The gap between the wall and the door or window frame. Modern architraves are commonly made from: Modern architraves are available in a variety of styles to suit different interior design preferences: Modern architraves serve both aesthetic and practical purposes: Modern architraves are typically installed after the walls have been finished (plastered and painted) but before flooring is laid. They are often painted or finished to match or complement

3550-459: The horizontal "head" casing extends across the tops of the vertical side casings where the elements join (forming a butt joint , as opposed to a miter joint ). In an entablature in classical architecture , it is the lowest part, below the frieze and cornice . The word is derived from the Greek and Latin words arche and trabs combined to mean "main beam". The architrave is different in

3621-771: The imperial arches in Rome. Large temples with unfluted columns include the Temple of Saturn (Ionic, and a late rebuilding), the Temple of Venus and Rome , and others in the Roman Forum . Sections of column shafts with relatively shallow vertical concave fluting were used in India, especially in early rock-cut architecture , as at the Buddhist Ajanta Caves . They were typically mixed with horizontal bands of more complex ornament, such as garlands or floral scrolls. These were useful for covering what might be awkward transitions between different zones. Spiral fluting

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3692-409: The inspiration for the Doric came from Mycenae. At the ruins of this civilization lies architecture very similar to the Doric order. It is also in Greece, which would make it very accessible. Some of the earliest examples of the Doric order come from the 7th-century BC. These examples include the Temple of Apollo at Corinth and the Temple of Zeus at Nemea . Other examples of the Doric order include

3763-612: The intersection with the horizontal beam ( architrave ) that they carried. The Parthenon has the Doric design columns. It was most popular in the Archaic Period (750–480 BC) in mainland Greece, and also found in Magna Graecia (southern Italy), as in the three temples at Paestum . These are in the Archaic Doric, where the capitals spread wide from the column compared to later Classical forms, as exemplified in

3834-409: The largest temple in classical Athens , is also in the Doric order, although the sculptural enrichment is more familiar in the Ionic order: the Greeks were never as doctrinaire in the use of the Classical vocabulary as Renaissance theorists or Neoclassical architects. The detail, part of the basic vocabulary of trained architects from the later 18th century onwards, shows how the width of the metopes

3905-434: The last triglyph was not centered with the corresponding column. That "archaic" manner was not regarded as a harmonious design. The resulting problem is called the doric corner conflict . Another approach was to apply a broader corner triglyph ( III. ) but was not really satisfying. Because the metopes are somewhat flexible in their proportions, the modular space between columns ("intercolumniation") can be adjusted by

3976-552: The like. Byzantine taste appreciated rare and expensive types of stone, and like to see these in round and polished form. Even ancient columns re-used as spolia were probably smoothed down if fluted, as they are so rarely seen in Byzantine buildings. Columns continued to be important in Romanesque and Gothic architecture , often engaged or clustered together in bunches. But the shafts are almost always plain. An exception

4047-435: The number of flutes, thereafter very rarely deviated from when using the Doric order. This fixing of the number seems to have happened while "Temple C" at Selinus was being built, around 550 BC, as there is a mixture of 16 and 20 flutes. In some buildings, especially secular stoas and the like, the bottom of the shaft might be left smooth up to about the height of a man. Greek Doric columns had no base, and this prevented

4118-418: The post-and-beam ( trabeated ) construction. They also served to "organize" rainwater runoff from above. The spaces between the triglyphs are the "metopes". They may be left plain, or they may be carved in low relief. The spacing of the triglyphs caused problems which took some time to resolve. A triglyph is centered above every column, with another (or sometimes two) between columns, though the Greeks felt that

4189-489: The shaft of the column, and may run either the entire shaft length from the base to the capital, or with the lower third of the column shaft filled. The latter application is used to complement the entasis of the column, which begins one third of the way up from the bottom of the shaft. Fluting might be applied to freestanding, structural columns, as well as engaged columns and decorative pilasters . Ancient Egyptian architecture used fluting in many buildings; most often

4260-473: The sudden appearance of stone temples from one period after the other, this becomes mostly speculation. Another belief is that the Doric was inspired by the architecture of Egypt . With the Greeks being present in Ancient Egypt as soon the 7th-century BC, it is possible that Greek traders were inspired by the structures they saw in what they would consider foreign land. Finally, another theory states that

4331-495: The three 6th-century BC temples at Paestum in southern Italy, a region called Magna Graecia , which was settled by Greek colonists. Compared to later versions, the columns are much more massive, with a strong entasis or swelling, and wider capitals. The Temple of the Delians is a " peripteral " Doric order temple, the largest of three dedicated to Apollo on the island of Delos . It was begun in 478 BC and never completely finished. During their period of independence from Athens,

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4402-496: The top of the shafts and the wide cushionlike echinus may be interpreted as slightly self-conscious archaising features, for Delos is Apollo's ancient birthplace. However, the similar fluting at the base of the shafts might indicate an intention for the plain shafts to be capable of wrapping in drapery. A classic statement of the Greek Doric order is the Temple of Hephaestus in Athens, built about 447 BC. The contemporary Parthenon ,

4473-654: Was central to Renaissance architecture , built between the 15th and 17th centuries in Europe. But columns were used sparingly in the Early Renaissance , except for courtyard arcades, and fluting is slow to appear. The Pazzi Chapel in Florence by Filippo Brunelleschi (1429) has plain columns (outside) but cable-fluted pilasters inside and out. A similar mixture is seen in St Peter's Basilica in Rome, where

4544-419: Was centred upon the last column ( illustration, right: I. ). This was regarded as the ideal solution which had to be reached. Changing to stone cubes instead of wooden beams required full support of the architrave load at the last column. At the first temples the final triglyph was moved ( illustration, right: II. ), still terminating the sequence, but leaving a gap disturbing the regular order. Even worse,

4615-402: Was flexible: here they bear the famous sculptures including the battle of Lapiths and Centaurs . In the Roman Doric version, the height of the entablature has been reduced. The endmost triglyph is centered over the column rather than occupying the corner of the architrave. The columns are slightly less robust in their proportions. Below their caps, an astragal molding encircles the column like

4686-546: Was in the circular Tempietto by Donato Bramante (1502 or later), in the courtyard of San Pietro in Montorio , Rome. Before Greek Revival architecture grew, initially in England, in the 18th century, the Greek or elaborated Roman Doric order had not been very widely used, though "Tuscan" types of round capitals were always popular, especially in less formal buildings. It was sometimes used in military contexts, for example

4757-478: Was often used to determine which type of column would be used for a particular structure. Later periods reviving classical architecture used the Roman Doric until Neoclassical architecture arrived in the later 18th century. This followed the first good illustrations and measured descriptions of Greek Doric buildings. The most influential, and perhaps the earliest, use of the Doric in Renaissance architecture

4828-412: Was used in several of the decorative arts in various media. If the flutes (hollowed-out grooves) are partly re-filled with moulding , this form of decorated fluting is cabled fluting , ribbed fluting , rudenture , stopped fluting or stop-fluting . Cabling refers to this or cable molding . When this occurs in columns, it is on roughly the lower third of the grooves. This decorative element

4899-406: Was used on wooden columns (none of which have survived) before it was used on stone; with a curved adze applying concave fluting to wooden columns made from tree trunks, would have been relatively easy. Convex fluting was probably intended to imitate plant forms. Minoan and Mycenaean architecture used both, but Greek and Roman architecture used the concave style almost exclusively. Fluting

4970-633: Was very common in formal ancient Greek architecture , and compulsory in the Greek Doric order . It was optional for the Ionic and Corinthian orders . In Roman architecture it was used a good deal less, and effectively disappeared in European medieval architecture. It was revived in Renaissance architecture , without becoming usual, but in Neoclassical architecture once again became very common in larger buildings. Throughout all this, fluting

5041-446: Was very practical, strengthening the plate against heavy blows. It was especially common in the early 16th-century style called Maximilian armour , after Maximilian I, Holy Roman Emperor . Architrave In classical architecture , an architrave ( / ˈ ɑːr k ɪ t r eɪ v / ; from Italian architrave  'chief beam', also called an epistyle ; from Ancient Greek ἐπίστυλον (epistylon)  'on

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