COR

205

COT

no example, in the remains of well-authenticated•ms anti( l uit 7> of cornices, where both modillions andof t[ le l A e employed, except in the inner cornice of the TowerVi truv .''mds, at Athens : in this instance, the assertion ofplaced U ? * s c °nipletely verified ; for there the dentils are'vlifa-g ^ l 0 l ve ^e mutules : but in every Roman example,

fev.

, ~ vaav mutuico • UUi. HI CVC1J' ilrtjiuai-l.

•crs e lY 1 are employed in the same cornice, the verya U exam , ' e ? Plnce ; yet, with respect to pediments, we have°f th e r * n the frontispiece of the doors of the said Towero°rni Cea lat ^ s > where dentils are employed in the inclinedntra V j ° the pediments, contrary to the observations ofto hi s an( l to the original principles whence, accordingIn u or y> these members derived their existence.

°f th e l) c . orn * ce3 of all Grecian edifices, particularly thosewe always find one very bold member,h'e rn 0st r j a< ^. ver ti ca l face, called the corona, which is one ofll) s °in e * st mguished members of the whole cornice : buta Oifcrp fin the Roman buildings, the corona is reduced toOf Corona.f Ah arc)/ We into several kinds :

p z ® is 0 . ave cornice rests upon the architrave, and the* att> on a Q 0nil tted. An instance of this may be seen in thetlu h ar e U 7 ati c portico, at Athens. Cornices of this descrip-' v °old h e a a P te< i to situations where a regular entablatureA °; Ut °f proportion to the body which it crowns.

6 . COr ^ ce is appropriate to the Doric order, theA rf e?( /y Vlri S inclined soffits.

C^Ployg,} *. COr nice has a denticulated band, and is usually° r Co 1 ’ 1 p 1 - 6 i-onic order, though very appropriate also

i A modm , a thian.

°f eorn * ce is one with modillions, which are aPiAed to \ U es carved into consoles. It has been chiefly^A If ^? r inthian order.

0 a h level s C Z rnice i® that where plain rectangular prisms^ atu les °™ tS are em ployed to support the corona, instead

Vh >ers> Pvo~ er ? orn ^ ce is constructed of a horizontal row oftj* > for sust; 6 ^ 1 - 11 ® a ^ ri S ht an gles from the naked part of ati|j 63 tl le Ca amm 8 the superior parts of the cornice. Some-

la

A

’ o. . -' Ml V/ j^UUyljU VIA 1,1 IV OVLUbO

c °ved „ aiet ! 11163 they are cased with joinery,

Uvers are placed on the soffits and vertical

ati;

!1 ed

— cornice is one with a l av S' 0 f this kind'« l,;': 1 !!' 1 Petered upon brackets. f t w found upon

1 i ‘ r< % nsed at this time, but are f

i muses. . f j ts mem-

i Ats r, - lut ^ ate d cornice has some, or the w i ro ; ec tion of a

i £' rupled b y anotber object ’ as

1 On^'UCOPIA, or Cornucopia, the f f iiel,

1 Hoa! lausirlll is “Fasti,” that oneof the « horn

’ lnfant JU P UCT f wtathed it with

■ a tree > when the nymph havu D

i e „ ” u piter ** cu lt; . ' Vltb fruit, presented it to the god." Met at> ^ * nto P°wer, he called Amalthea to the

c °Pia f !n ° r Pkose >> born the emblem of fertility. In thetlig „■ *°«l a ^ le P oe t derives the origin of the Cornu-He speaks of it as the horn of

oses,

-ri a ‘ t ,V , Cl, 'god ll l ei ; ent fable. _ r __

S by ^ ^elous, broken off by Hercules, and con-* 6 a I* * n Ljjj atads. The real meaning of the fable is

j^Aoh - ° c k’ ^ *

is a little territory, shaped something

da l0 i n ’ excee <ii n gly fertile, given by kinghi a Jupiw® lter Amalthea , whom the poets feign tow «hty eititecturg 8 Durse -

°f v.i l3 >'ep resp ^ an d sculpture, the cornucopia, or horn of

. uic ^uixiucujJiaj ux nviix cm.

eg ls sue f ru :. ea u nder the figure of a large horn, oute oorni JCo S ’ ^ owers , &c. On medals, F. Joubert ob-P*a is given to all deities, genii, and heroes.3 G

CuRONA (from the Latin ) a member of the cornice, witha broad vertical face, and a bold projection. The solid, outof which it is formed, is generally recessed upwards from itssoffit; hence the Italians call it gocciolatios and lagrimatios,the French, larmier, and the English workmen, drip, fromthe circumstance of its discharging the rain-water in dropsfrom its edge, and by this means sheltering the subordinateparts below.

The corona is one of the principal members of the cornice,and that which marks its distinctive character, by the massiveshadow which it produces on the plain surface of the frieze.This member, from being the principal feature of the cornice,ought never to be omitted.

Grecian antiquity affords no instances of an order withouta corona ; nor, indeed, are there many examples among theRomans.

There is nothing in architecture better supported by reason,and by the general example of antiquity, than the necessaryuse of the corona. It is, however, omitted in the temple ofPeace at Rome , the third order of the Coliseum, and the archof Lyons, at Verona. It is singular, that in the arch ofConstantine, the cornice finishes with the corona, surmountedwith a fillet only; and in several other examples the coronahas almost dwindled into a mere fillet. The frontispiece ofNero presents one of the boldest coronas of all the Romanworks, being very nearly 16 minutes in height ; the threecolumns in the Campo Vaccino is another example of anelegant and bold corona. In the temples of Minerva andTheseus , at Athens, it is divided into two faces. The termcorona is sometimes applied by Vitruvius to the wholecornice, the word originally signifying a crown.

Corona Lucis, a kind of chandelier anciently employedin churches, of beautiful and appropriate design, and admittingof delicate elaboration.

COROSTROTA, according to Pliny , a kind of inlaidwork.

CORPS, (from the French ) any part that projects oradvances beyond the naked of the wall, to be used as a groundfor some decoration.

CORPSE-GATE, the same as Lich-gate, which see.

CORRIDOR, (from the French ) a long gallery or passagearound a building, leading to the several apartments;sometimes open one side, and sometimes enclosed onboth sides.

CORSA, the same as Platband, which see.

CORTILE, a small enclosed court.

COSSUTIUS, a Roman citizen, who was architect to thetemple of Jupiter Olympus, at Athens.

COST, in building, the expense of any design, a knowledgeof which is to be obtained by analyzing the whole, and makingseparate calculations of the quantity and expense of each pare.In buildings of a similar description, the expense of the wholecan be roughly ascertained, by taking the number of cubicfeet at an average rate ; but when the price of materials orlabour, or of both, is subject to variation, this method willbe liable to mislead.

COTTAGE, a name mostly applied to a small house,erected for the use and accommodation either of the farmlabourer, or those engaged in some other occupation, butmore generally of those employed in agriculture.

The word cottage is also used in modern parlance todesignate a small elegant residence, more properly a villa,or, as sometimes called, a cottage orne. Houses of thisdescription, however, do not belong tc our present subject,which must be understood as treating of the cottage inthe acceptation of the term explained in the precedingparagraph.

i

i ;

i I