168 and a pulpit of 1209, both in "cosmatesque" work: the
pavement in marble mosaic also is fine. There are several other
Romanesque and Gothic churches in the town more or less restored. The
oldest parts of the Palazzo Comunale date from about 1000. The Gothic
Palazzo Vitelleschi (1439) contains remarkably rich windows. The
municipal museum (which is to be transferred to this palace) and the
Palazzo Bruschi, contain fine collections of Etruscan antiquities from
the tombs of Tarquinii. Four miles to the S.W. is the Porto Clementino
(perhaps the ancient _Graviscae_, the port of Tarquinii), with
government saltworks, in which convicts are employed.

See L. Dasti, _Notizie storiche archeologiche di Tarquinia e Corneto_
(Rome, 1878); for the cemeteries, _Notizie degli Scavi_, 1906, 1907.

CORNICE (Fr. _corniche_, Ital. _cornice_), in architecture, the
projection at the top of a wall, which is provided to throw off the rain
water from the roof, beyond the face of the building. As employed in
classic architecture it forms the upper part of the entablature of an
order, and is there subdivided into bed mould, corona and cymatium. The
term is also generally applied to any moulding projection which crowns
the feature to which it is attached; thus doors and windows, internally
as well as externally, have each their cornice, and the same applies to
pieces of furniture (see also MASONRY).

CORNIFICIUS, the author of a work on rhetorical figures, and perhaps of
a general treatise (_ars_, [Greek: techne]) on the art of rhetoric
(Quintilian, _Instit._, iii. 1. 21, ix. 3. 89). He has been identified
with the author of the four books of _Rhetorica_ dedicated to a certain
Q. Herennius and generally known under the title of _Auctor ad
Herennium_. The chief argument in favour of this identity is the fact
that many passages quoted by Quintilian from Cornificius are reproduced
in the _Rhetorica_. Jerome, Priscian and others attributed the work to
Cicero (whose _De inventione_ was called _Rhetorica prima_, the _Auctor
ad Herennium_, _Rhetorica secunda_), while the claims of L. Aelius
Stilo, M. Antonius Gnipho, and Ateius Praetextatus to the authorship
have been supported by modern scholars. But it seems improbable that the
question of authorship will ever be satisfactorily settled. Internal
indications point to the date of compositions as 86-82 B.C., the period
of Marian domination in Rome. The unknown author, as may be inferr