The 'Renaissance' was as much a reinterpretation as a revival of Classical norms. For example, the volutes of ancient Greek and Roman Ionic capitals had lain in the same plane as the architrave above them. This had created an awkward transition at the corner – where, for example, the designer of the temple of Athena Nike on the Acropolis in Athens had brought the outside volute of the end capitals forward at a 45-degree angle. This problem was more satisfactorily solved by the 16th-century architect Sebastiano Serlio, who angled outwards all volutes of his Ionic capitals. Since then use of antique Ionic capitals, instead of Serlio's version, has lent an archaic air to the entire context, as in Greek Revival.