(kôr'nĭs), molded or decorated projection that forms the crowning feature at the top of a building wall or other architectural element; specifically, the uppermost of the three principal members of the classic entablature, hence by extension any similar crowning and projecting element in the decorative arts. The term is also employed for any projection on a wall that is provided to throw rainwater off the face of the building. The cornice undoubtedly had its origin in the primitive eave projection: the Greek Doric and lonic cornices recall early wooden roof forms, and the Egyptian cavetto-and-fillet cornice is a derivation of the overhanging papyrus stalks that formed the eaves of primitive shelters. The cornice early lost its structural significance and became a stylized decorative element; in the Greek and Roman eras it assumed firmly standardized forms in the classical orders that were retained, with variations, through the Renaissance and later periods. As an element in the classical entablature the cornice is composed of the cymatium, or crown molding, above the corona, the projecting flat member, which casts the principal shadow; in this shadow, and supporting the corona, are a group of moldings called the bed molds, which may be elaborated with dentils. The Corinthian and Composite cornices are further embellished with modillions, or brackets, under the corona; the soffit of the Doric corona is decorated with square, flat projections called mutules, having guttae, or small knobs, hanging from their lower surfaces.
In classical tyles of architecture the various columnar types fall, in general, into the five so-called classical orders, which are named Doric, Ion
earliest of the orders of architecture developed by the Greeks and the one that they employed for most buildings. It is generally believed that the
vertical architectural support, circular or polygonal in plan. A column is generally at least four or five times as high as its diameter or width; s