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Peter’s, and the cornice of the Farnese Palace. In the devotional drawings we have mentioned, and an unfinished group in sculpture, the Deposition from the Cross, now behind the High Altar of Santa Maria del Fiore at Florence, we have the only further manifestation of Michael Angelo’s genius in his favourite arts. Many of these drawings appear to be designs for a great picture of the Crucifixion.
The Renaissance architects, who never obtained hold of a right principle but they made it worse than a wrong one by misapplication, caught the idea of turning the cornice into a capital, but did not comprehend the necessity of the accompanying change of depth.
I doubt if any one who has not lived in Philadelphia can imagine how genteel it is. Visitors from out of town are wont to sigh with rapture when they see our trim blocks of tall brick dwellings that even cornice running in a smooth line for several hundred yards really is quite a sight and exclaim, "Oh, I wish we had something like this in New York!"
In the predella at the foot, which runs right over the altar from pilaster to pilaster, is a little half-length Angel who is holding an inscription with his hands, with festoons over all, between the capitals of the pilasters, where the architrave, frieze and great cornice project to the extent of the depth of the pilasters.
Standing on it he got hold of the cornice with his hands, drew himself up till he could see over it, remained suspended by one hand and, with the other, laid the revolver and the cartridges on the top. Guido would never find them there. The Countess's unnecessary shyness had disappeared as soon as she saw how ill Guido looked.
From the ground plan to the cornice, and summit of the roof, he reduced all to strict rules, by the convergence of intersecting lines, which he diminished towards the centre, after having fixed the point of view higher or lower, as seemed good to him; he labored, in short, so earnestly in these difficult matters that he found means, and fixed rules, for making his figures really to seem standing on the plane whereon they were placed; not only showing how in order manifestly to draw back or retire, they must gradually be diminished, but also giving the precise manner and degree required for this, which had previously been done by chance, or effected at the discretion of the artist, as he best could.
There was also to be one niche only on each flank, so that the projection of the monument from the wall was reduced more than half, and there were to be only twelve statues beneath the cornice and one relief, instead of twenty-four statues and three reliefs.
A peculiarity in Phoenician architecture, connected with the preference for enormous blocks over stones of a moderate size, is the frequent combination in a single mass of distinct architectural members; for instance, of the shaft and capital of pillars, of entire pediments with a portion of the wall below them, and of the walls of monuments with the cornice and architrave.
Between the top of these hangings and the ceiling was a light wood cornice of oak-timber, on which my father, God rest him, had caused various posies to be carved of his own devising. You might here read: "Like a face our life may be To which love lendeth eyes to see." Or again, "The Lord Almighty hides his glorious face That so we may not cease to seek his grace." Or else,
Within a deep alcove, inclosed by a balustrade, stands a bed its gilt cornice reaching to the ceiling, heavily curtained. This is the nuptial-chamber of the Guinigi. Within that alcove, and in that bed, generation after generation have seen the light. Not to be born in the nuptial-chamber, and in that bed within the ancestral palace, is not to be a true Guinigi.
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