Etruscan temples, often painted with vertical "tongue" patterns, and combined with the distinctive "Etruscan round moulding", often painted with scales. This emphasis on the cavetto was very different from its role in mature Ancient Greek architecture, where cavetto elements were relatively small and subordinated to essentially vertical elements, setting the style for the subsequent Western classical tradition. Often an essentially cavetto section is heavily decorated, in Gothic architecture often smothering the shape beneath. In general the Greeks made much more use of the cyma moulding, where a cavetto and ovolo were placed one above the other to produce a "S" shape; the cymatium using this was a standard part of the cornice in the classical Ionic order, and often used elsewhere. There are two forms, depending on which curve is uppermost: in the cyma recta the cavetto is on top, in the cyma reversa the ovolo. A cavetto alone was sometimes employed in the place of the cymatium of a cornice, as in the Doric order of the Theatre of Marcellus in Rome, one of the standard models for revived classical architecture from the Renaissance onwards. But small cavetto mouldings were normal at various places, including integrated ones, not distinguished as a distinct zone by lines or borders, at the bottom of the shaft of columns, beginning the transition to the wider base. These are called an apophyge, or "concave sweep". Claude Perrault, one of the architects of Louis XIV's rebuilding of the Louvre Palace, especially the Louvre Colonnade, explained in his architectural textbook Ordonnance for the five kinds of columns after the method of the Ancients (1683) why he had replaced a cavetto with a cyma in his illustration of the Doric capital: "a cavetto is not as strong and is more readily broken than the other molding". Vessels In plates and other flattish shapes, cavetto is used for the curving area linking the base and the rim. This is the case whether the rim is a broad flat surface (typical 20th-century Western plate), or merely the edge of the cavetto (typical modern cereal bowl). Normally the term refers to the top surface of the vessel; if the underside is meant (where the curve is now convex), that may be described as "under the cavetto", "under-cavetto" and so forth. The cavetto is very often left undecorated, but may have decoration of a different sort from the middle or a