but also morally and mentally, to such a remarkable degree, that in his 83d year he wrote an essay on the "Sure and Certain Method of attaining a Long and Healthful Life;" and this was followed by 3 others on the same subject, composed at the ages of 86, 91, and 95, respectively. This work was translated into Latin, French, German, English, and other languages, and the English translation reached its 39th edition in 1845. A work in opposition to his views was published in Paris in 1702, under the title of "Anti-Cornaro," which tended rather to increase than to diminish the popularity of Cornaro's work.

CORNBURY, LORD (EDWARD HYDE), governor of New York, died in London, April 1, 1723. He was the son of the 2d earl of Clarendon, and one of the first officers of his household troops to desert from the service of King James II. to the prince of Orange in 1688. In return, he was made governor of New York, where he arrived May 3, 1702. He was in debt, and was rapacious and bigoted to such a degree as to have left the memory of the worst governor ever appointed to the colony. When the yellow fever appeared in New York in 1703, he retired to Jamaica, L. I., and the best house in the place happening to belong to Mr. Hubbard, the Presbyterian minister, he requested to have it vacated for his accommodation. Instead of returning the house to the owner, he made it over to the Episcopal party. He imprisoned two ministers sent out from London, for preaching in New York without license. Great complaints being made, he was removed from his office in 1708, when his creditors immediately had him taken into custody; but after the death of his father he returned to England, and succeeded to the earldom of Clarendon.

CORNEA, the transparent concavo-convex disk which forms the anterior 5th of the globe of the eye, fitted accurately into the sclerotic or fibrous coat forming the posterior of the organ. It is a segment of a smaller sphere than the sclerotic, and is from 7 to 74 lines in diameter, the greatest diameter being the transverse. Its anterior convex surface is covered by a continuation of the conjunctival epithelium, and its posterior concave surface is lined also with delicate epithelium pavement, which is in contact with the aqueous humor, and supposed by some to be concerned in the secretion of this fluid. The degree of convexity varies, being usually greatest in children and near-sighted persons. Its circumference is generally described as fitting into the sclerotic like a watch crystal into its frame. Its principal thickness, which is nearly the same at all points, is made up of 6 to 8 layers of soft indistinct fibres, continuous with and similar to those of the sclerotic, connected together by delicate areolar tissue; these may be separated by maceration. Behind the cornea proper is described an elastic transparent lamina, called the membrane of Demours.

Though no vessels have been traced into the cornea, the phenomena of inflammation, adhesion, and ulceration indicate their existence. A superficial and a deep series of vessels surround the cornea, anastomosing freely around its margin; the former are continuous with those of the conjunctiva, and the deep with the short ciliary arteries. In diseased condi tions, both sets of vessels may be prolonged into its substance. No nerves have been traced into the cornea. Its diseases are many, frequent, and dangerous to vision; from its exposed situation, it is liable to suffer from blows, cuts, and the introduction of foreign substances. It is often inflamed in various ophthalmic diseases, resulting in opacity, ulceration, increased vascularity, softening, and rupture from gangrene; these affections are tedious and difficult to cure, are often painful, and generally leave the patient with more or less obstruction of the power of vision. In old persons, the circumference of the cornea often presents a whitish zone, a line or two wide, the result of physiological causes, and not interfering with vision. The convexity of the cornea in aquatic and amphibious animals is slight, and sometimes nearly flat.

CORNEILLE, PIERRE, the father of the clas sical drama in France, born at Rouen, June 6, 1606, died in Paris, Oct. 1, 1684. After studying under the Jesuits of Rouen, he followed his father's profession as an advocate, and practised for a short time in the parliament of Normandy without taste for the bar and without success. One of his friends, enamored of a young lady, invited his company in a visit to her, and the introducer, proving less agreeable than Corneille, was supplanted by the stranger. This adventure diverted him from the bar to poetry, and he made it the subject of his first dramatic piece, the comedy Melite, which was produced in 1629. The French stage had then existed for less than 80 years, in which period only the progress had been made which is observable between the Cléopatre of Jodelle and the Sophonisbe of Mairet. There was but a single theatre in Paris, the hôtel de Bourgogne, managed by Bellerose, and for which Du Ryer, Scudéry, Rotrou, and Hardy wrote farcical and most irregular trage dies, bringing Rome, Constantinople, and Paris into the same scene. Mélite obtained unusual success, and was followed betwen 1632 and 1636 by Clitandre, La veuve, La galerie du palais, La suivante, La place royale, Médée, and L'illusion comique. Though these pieces were com posed according to the rude standard of the time, and were neither natural nor regular, they were yet superior to the works of his contemporaries, and contained some strokes of sublimity and eloquence which revealed his genius. In the Illusion comique, the boasting Captain Matamore is an excellent reproduction of the miles gloriosus of Terence and Plautus. They made the author known at court, where Richelieu, in addition to guiding the destinies of Europe, supporting thèses d'amour at the hôtel de Rambouillet, and

founding the French academy, composed also plans of comedies, the execution of which was performed under his direction by several salaried authors. Corneille was admitted into the coterie of the cardinal's official poets, but either by his success incurred the jealousy of his master, or offended him by venturing to improve one of the plans submitted. At the age of 30 years, having meditated on the resources of the dra matic art, studied the ancients, and derived experience from his own productions, Corneille returned to Rouen. There, by the advice and aid of M. de Chalon, a former secretary of Maria de' Medici, he learned the Spanish language; and the fruit of his studies was the tragedy of the Cid, founded on a play of Guilhem de Castro, and the first French dramatic masterpiece. It was distinguished by a simplicity in the subject and treatment, by a sustained development of situations, characters, and sentiments, and by a purity and elevation of style, of which France had furnished no previous example. Though received with enthusiasm by the public, it brought upon the author a violent literary persecution, since Cardinal Richelieu and the courtiers dependent on him undertook to show that with the Cid began the decline of the French theatre. The academy, protected by the cardinal, was urged by him to pronounce its judgment, and after discussions during 5 months published in 1638 the Sentiments de l'académie sur le Cid, by which that drama was admitted to be a masterpiece, though most of its peculiar beauties were censured as faults. Its popularity spread through Europe, and Corneille preserved in his library translations of it into nearly all the European languages. "As beautiful as the Cid" became a proverb in France. The subject of his next piece was taken from Roman history, and this choice decided the character of French tragedy during the next century. Modern and medieval ideas and history were from this time deemed unsuited to dramatic purposes; the forms of the classical tragedy were copied; and the stage, instead of illus trating Christian ideas and contemporary life, was occupied chiefly by Greeks, Romans, Assyrians, Persians, Egyptians, and even Turks, The tragedy of Horace (since called also Les Horaces) appeared in 1639, and surpassed its predecessor in originality, being upon a subject which had hardly before been treated in poetry, and also in the force and grandeur which characterized alike the situations, personages, and dialogue. It was followed in the same year by Cinna, esteemed by Voltaire the most finished of the author's pieces, and in 1640 by Polyeucte, which is usually esteemed by French critics the chef d'œuvre of Corneille, if not of the dramatic art. Polyeucte was read at the hôtel de Rambouillet, and condemned by that sovereign tribunal on questions of wit and taste; and Corneille in alarm had decided to withdraw it from rehearsal, when an obscure comedian reassured him as to its excellence. In 1641 and 1642 he produced Pompée and Lementeur, the former of which was unequal

to his previous tragedies, but the latter, founded on a Spanish piece of Alarcon, renewed the glory which he had obtained by the Cid, and was the first French comedy which gave a lively and natural picture of the manners of the time. In 1643 followed La suite du menteur, which was not more felicitous than the second parts of poems usually are. The decline of his genius appeared in the complicated and fantastic subjects, excessive desire for theatrical effect, chimerical ideals, and subtleties of disquisition, which began to mark his pieces. Poetry was displaced for an exhibition of the Macchiavellism of motives. The author thought himself unsurpassed in knowledge of men and courts, the world and politics, and with a character sensitively honorable and truthful he undertook to illustrate the “doctrine of the murderous Macchiavelli." Rodogune, Théodore, Heraclius, Don Sanche d'Aragon, Nicomède, Andromède, and Pertharite, between 1646 and 1653, were of unequal though all of inferior merit, and the decided failure of the last caused him to renounce dramatic composition for 6 years. In the interval he translated the "Imitation of Christ" into French verse. In 1659 he was induced to return to the theatre, only to disfigure in his Edipe one of the most admirable themes of ancient tragedy. The applause with which this piece and his Toison d'or (1661) were received induced him to write constantly for 15 years, but no one of his later dramas has kept its place on the stage. Sertorius (1662) has some interesting and pleasing scenes; Sophonisbe, Othon, Agésilas, and Attila (1663-'67) show the almost powerless efforts of a failing imagination; Tite et Bérénice (1670) was an unequal duel with Racine, then in the early vigor of his talent; the ballet tragedy of Psyché (1671) was composed in conjunction with Quinault and Molière; and Pulchérie (1672) and Surena (1674) were his last and also his feeblest attempts. He wrote also in prose important Examens of each of his plays, and 3 discourses on the drama, on tragedy, and on the 8 unities. The reputation of Corneille rests chiefly upon the Cid, and the 4 or 5 pieces which immediately succeeded it, which are distinguished by the justice and vigor with which they exhibit great passions or great characters. It was by no means, says Schlegel, so much his object to excite our terror and compassion, as our admiration for the characters and astonishment at the situations of his heroes. Not content with exacting our admiration for the heroism of virtue, he claims it also for the heroism of vice, by the boldness, strength of soul, presence of mind, and elevation above all human weakness, with which he endows his criminals of both sexes. He has delineated the conflict of passions and motives; but for the most part not immediately as such, but as already transformed into a contest of principles. It is in love that he has been found coldest; seldom does he paint it as a power which imperceptibly steals upon us, and gains an involuntary and irresisti

ble dominion over us; but as a homage freely chosen at first, to the exclusion of duty, but afterward maintaining its place along with it. He often arranges his situations, in defiance of probability, in such a way that they might with great propriety be called tragical antitheses, and it becomes almost natural when his person ages express themselves in a series of epigrammatical maxims. He is fond of exhibiting perfectly symmetrical oppositions. His eloquence, often remarkable for strength and compression, sometimes becomes pompous declamation, amid which a few simple words interspersed here and there have been extravagantly praised. Instances of this are the Qu'il mourut of the old Horace, the Soyons amis of Cinna, and the Moi of Médée. Fontenelle describes Corneille as "of good size, with a simple and ordinary presence, always negligent and careless of his appearance. His countenance was agreeable; he had a large nose, handsome mouth, eyes full of fire, lively expression, and strongly-marked features. He was acquainted with polite literature, history, and politics, but he chiefly regarded them in their connection with dramatic writing; for other parts of knowledge he had neither curiosity nor much esteem. His temper was hasty, and his manners were somewhat blunt." He rarely visited the salons, and was uninteresting in conversation, so that the great Condé said that he ought to be heard only at the hotel de Bourgogne. The best éloges of Corneille are those of La Bruyère, Racine, Gaillard, Bailly, Auger, and Fabre; the best lives are those of Fontenelle, Taschereau (1829), Vignet (1846, Anecdotes, &c.), and Guizot (1852). Among the best of the numerous editions are those of Thomas Corneille (1706), Joly (1738), Voltaire (1796), Renouard (1817), and Lefèvre (1824). -THOMAS, brother of the preceding, a French dramatist, born at Rouen, Aug. 20, 1625, died at Andelys in 1709. He was an industrious and prolific writer, and in the course of his career produced upward of 42 dramatic pieces, beside a dictionary of arts and sciences, a dictionary of history and geography, a metrical translation of Ovid's "Metamorphoses," and some miscellaneous works. His plays enjoyed a popularity not inferior to that attained by the elder Corneille or Racine. According to the French critics he wrote with more purity than his brother, and Voltaire says he would have enjoyed a great reputation had he been the only dramatist of his family. It is customary to rank him next, though at a considerable interval, to his great contemporaries. Of all his plays 3 only, Ariane, Le comte d'Essex, and Le festin de Pierre, have kept possession of the stage. The character of the heroine in the first is esteemed his finest effort, but an effeminacy uncongenial to tragedy belongs to the play. In the Comte d'Esser he has taken some remarkable liberties with history. He succeeded his brother in the academy. In the latter part of his life he became blind, but pursued his literary labors with undiminished zeal.

CORNELIA. I. A Roman woman in the 2d century B. C., belonging to the Cornelan gens, and to the Scipio family, was the younger daughter of P. Scipio Africanus the eier, and of Emilia, daughter of that L Ens Paulus who was killed at Canne. Thas s was of the highest birth in Rome, and yet ste became the wife of T. Sempronius Gracchus, a member of a plebeian family which was renowned for its popular sympathies and arte It is uncertain whether she was marred before or after her father's death. She became the mother of 12 children, only 3 of whom lived to adult age-Sempronia, who was married ta the younger Africanus, and the 2 famocs tre bunes, Tiberius and Caius Gracchas We she upheld the ancient character of the B woman for gravity and virtue, she had a coz vated mind, and was familiar with the langas and literature of Greece. She has been charged with having incited her sons to that course i political action which ended in their deata ty violence, by telling them she was called te mother-in-law of Scipio, and not the motor of the Gracchi; but if the charge be true, it plies nothing improper or criminal. An ther charge was, that she was concerned in the death of her son-in-law Scipio, though there is no edence that he was murdered. She was a otrai figure of Roman society during her long willowhood, and gathered around her all that was noble, learned, and high-minded in the repa The king of Egypt offered her his hand, wi she refused to accept; nor can we, in view of the haughty contempt with which even noble Romans than herself looked down t foreign kings, suppose that she made any fice of feeling in uttering the refusal. Ar the death of Caius Gracchus, she retired ta Misenum, a place much affected by the Roman nobility, and spent several years in the extre of hospitality, and in the society of men o letters. Her house became in after times the residence of Marius and Lucullus, and the eperor Tiberius died there. One of the mÁ agreeable passages in Plutarch is that what closes his biography of Caius Gracchus, which he sketches the last days of Cornelia and speaks of the magnanimity with which the bore her great misfortunes, conversing of har sons with a calmness which some mistook for the apathy that sometimes proceeds from se row, or from an impaired mind, whereas it proceeded only from fortitude. The time d her death, like that of her birth, is unkr- w; but as she survived Caius Gracchus (who un murdered 121 B. C.) some years, she minst have lived to extreme old age. Her character is the purest of any woman's mentioned in the Lasteraa period of Rome. II. Born about 70 B. C., danza ter of P. C. Scipio, was married first to Pa Crassus, son of the triumvir, and was ich widow by his death at the battle of Carrbe; afterward to Pompey, who was captivated by har rare beauty and her various accomplistavca When the civil war commenced, he sent her to

Lesbos, which she left, regretted by the people, after the battle of Pharsalia. Accompanying Pompey in his flight to Egypt, Cornelia was an eye-witness of her husband's murder, after which she fled to Cyprus and thence to Cyrene, and soon disappeared from history.

CORNELIS, CORNELIUS, a Dutch artist, born in Haarlem in 1562, died in 1638. He received his first instruction from Peter Aersten the younger, called Long Peter, and at the age of 17 departed for Italy. He was compelled by the plague to return to Haarlem, where he rose to considerable distinction as a painter of history and portraits. His most celebrated works are the Company of Archers of Haarlem," containing portraits of the principal members, and the "Deluge," painted for the earl of Leicester. Many of his works are in the galleries of Dresden and Vienna.

CORNELIUS, ELIAS, D.D., secretary of the American education society, born in 1795, died Feb. 12, 1832. He was graduated at Yale college in 1813, and after studying theology became in 1816 agent of the American board of commissioners for foreign missions, and visited the Cherokee and Chickasaw Indians. In 1818 he preached in New Orleans, and in 1819 he was installed colleague of Dr. Worcester at Salem, which position he exchanged in 1826 for that of secretary of the American education society. In this office he instituted the plan of permanent scholarships. His memoirs, written by B. B. Edwards, were published in 1833.

CORNELIUS NEPOS. See NEPOS. CORNELIUS, PETER VON, a German painter, born in Düsseldorf, Sept. 27, 1787. His father was inspector of the Düsseldorf gallery, since removed to Munich, and many of the artist's play hours in boyhood were passed in the halls that contained the great masterpieces of Rubens. At an early age he began to make drawings from Marc Antonio's engravings, and showed a great predilection for the study of the antique and of Raphael, whose works he often endeavored to copy from memory. His father dying in somewhat straitened circumstances when Cornelius was 16 years of age, his mother was advised to apprentice him to a goldsmith. She refused, however, to take him from the Düsseldorf academy, where he was pursuing his studies, declaring that she would willingly undergo additional privations to enable her son to become a painter. He was soon able to contribute to the family support by illustrating almanacs and painting banners, and at the age of 19 received a commission to paint the cupola of the old church at Neuss with colossal figures in chiaroscuro. As a first attempt in the highest department of painting by a youth of 19, it is a striking, though necessarily a crude performance. The artist meanwhile began to manifest a taste for imposing effects, and an impatience of academic rules. He looked to Rome as the theatre of his studies, and already meditated a regeneration of German art. While at Frankfort-on-the-Main, in 1810, he

commenced a series of illustrations to "Faust," which he dedicated to Goethe, and which are still considered among his most successful and original works. The following year he established himself at Rome, where, with the coöperation of Overbeck, Koch, Schnorr, Schadow, and others, he laid the foundation of that new German school which was to replace the pedantry and conventional rules of the academies, by a study of the antique and a return to the style and spirit of the old masters. The artistic brotherhood occupied a part of the old convent of St. Isidore, where they pursued their art with an intentness and exclusiveness which fixed upon them the attention of contemporary painters in Rome, and secured the sympathy of such men as Goethe, Schlegel, and Niebuhr. The revival of fresco painting was conceived to be the fittest means of carrying into effect their ideas, and the Prussian consul-general, M. Bartholdy, initiated the movement by employing the leading artists of the new school to paint the walls of his villa. Cornelius executed for him 2 frescoes, "Joseph Interpreting the Dream of Pharaoh's Chief Butler," and "Joseph Recognizing his Brethren," with so much success that he was commissioned by the marquis Massimi to decorate his villa with frescoes from the Divina Commedia of Dante. He advanced no further than the designs of these, which were afterward engraved by Schoefer, having received an invitation from the crown prince of Bavaria to aid in the decoration of the Glyptothek in Munich. Another of his most celebrated works executed at Rome was a series of designs illustrating the Nibelungenlied, the thoroughly national spirit of which has made them very popular in Germany. Cornelius left Rome in 1819, and having reorganized the Düsseldorf academy, of which he had been appointed director, commenced his labors on the Glyptothek, in which he was steadily employed, with the assistance of a band of pupils, for the next 10 years. Two immense halls were appropriated to him, one of which, the hall of heroes, he illustrated with the history of the demigods and heroes who contended in the Trojan war, and the other with a view of the whole Grecian mythology. In both, the figures are of colossal proportions, and in grandeur of general conception, in simplicity of arrangement, and evidences of profound learning, the work is one of the most remarkable of modern times. During this period the general decoration of the corridors of the Pinakothek was planned by Cornelius, although the designs for particular parts and the direction of the whole were confided to Zimmermann and other artists, whom Cornelius, who had now become director of the Munich academy, had thoroughly imbued with his principles. Amid these employments the artist found time also to execute the frescoes in the Ludwigs-Kirche, one of which, the "Last Judgment," 64 feet by 30, is the largest picture in the world, exceeding even that on the same subject by Michel Angelo in the Sistine chapel, with which in other

respects it is not unworthy to be compared. In 1833 Cornelius left Munich, which under his influence and that of King Louis had become a great school of art, and resumed his labors in Rome. His reputation as the chief restorer of fresco painting led the British government to consult him with reference to the decoration of the new houses of parliament. In 1841 he accepted an invitation from the king of Prussia to become director of the academy of Berlin, and to paint a portion of the frescoes in the Campo Santo. The cartoons of these are well known by the published plates, and that of the "Four Horsemen" of the Apocalypse is one of his most powerful and original creations. He was also employed to superintend the decoration of the Berlin museum, and furnished the design for the baptismal "Shield of Faith," presented by the king of Prussia to his godson the prince of Wales. Since 1853 he has been engaged upon another design of the "Day of Judgment" for the apsis of the cathedral in Berlin, in preparing the cartoons for which he has had occasion to make repeated visits to Rome. A recent work representing Lady Macbeth walking in her sleep is said to possess all the vigor of his best years. In religion he is a Roman Catholic, but whether in Protestant Berlin or Catholic Munich, pursues his art in a purely æsthetic spirit. His influence upon German art has been immense, and a number of eminent artists, at the head of whom is Kaulbach, have been formed under it. CORNET (It. cornetta, a small flag), in military affairs, an officer of cavalry, corresponding to the ensign in a regiment of infantry, and bearing the standard or colors of a troop.

CORNET, a wind instrument formerly in frequent use, but which has given place to the hautboy. It consisted of a curvilineal tube, about 3 feet in length, increasing in diameter from the mouth-piece to the lower end.

CORNHERT, or COORNHERT, DIEDERIK, a Dutch writer, born in Amsterdam in 1522, died at Gouda, Oct. 20, 1590. He was descended from an ancient family, but, having married contrary to the wishes of his parents, was thrown upon his own resources, and became a steward in the service of a Dutch nobleman. He afterward learned the art of an engraver, and at the age of 30 he began to learn Latin. In 1564 he was appointed secretary to the burgomasters of Haarlem, and assisted in preparing the way for the establishment of the independence of Holland. He was the author of the manifesto published by William, prince of Orange, in 1566, and for this he was afterward thrown into prison at the Hague. Here he remained some time, and when he finally gained his liberty, he was compelled to retire to Cleves, where he earned a livelihood as an engraver. He was recalled to Holland in 1572, and appointed secretary of state, but having made himself obnoxious to the principal generals by his attempts to check the disorderly conduct of the army, was again exiled. He afterward returned again, and though he offended many by his theological views, he finally died

in peace in his native land. He defended with his pen the conduct of the Dutch people in retelling against the king of Spain, asserting that in dreng so they only obeyed the law of self-defence. He also wrote poetry, and is said to be the author of Wilhelmus van Nassouwen, a national song very popular in Holland. He was much interested in questions of a religious and theological nature; maintained that all sects were corrupted; that no one had a right to be a minister of re" za who was not divinely appointed and gifted with miraculous powers; and that all that era be done, while waiting for these divinely on sioned persons, was to read the Bible to the people, without giving them any explanation of it, or adding any words to its letter. He did not belong to any sect or church, bat was one posed to religious persecution. Just before us death he wrote an essay against putting heretira to death. His works were collected and pub lished at Amsterdam in 1630, in 3 vols. fol.

CORNICE, in classical architecture, the ter most of the 3 parts of an entablature, composed of the projected mouldings of the roof. The Dunt cornice consists of a Doric cyma, the corona p jecting considerably, and containing the ends of the roofing boards, a second cyma, and an erect bell moulding. The Ionic cornice shows a t-t either with dentals or quite plain, above which are a wave moulding and the corona, terminst ing in a slab and erect bell moulding. The fo rinthian cornice differs from the Ionic in having small consols, composed of volutes and acanthus leaves. In the pointed-arch style the evezine were often elaborately adorned with represente ations of animals or with human figures.

CORNING, a post village and township of Steuben co., N. Y., on the New York and Erie, the Corning and Blossburg, and the Buffalo, Chening, and N. Y. railroads, and on the Cheming river, 301 m. from New York city: pop, of the township in 1855, 6,334; of the village, 3,494. It is pleasantly situated at the foot of a hill, sod has communication by bridges with Kno17. and Centreville, on the opposite bank of the river. It has an extensive trade in lumber and e 1. upward of 25,000,000 feet of the former beng annually sent from here down the Susquehara A navigable feeder of the Chemung canal cœnects it through Seneca lake with the Erie cas It contains 2 furnaces, a distillery, a grist m a planing mill, 2 saw mills, a shingle fact ry a tannery, a weekly newspaper, and 6 chures

CORNUCOPIA (Lat. cornu, a horn, and copia, abundance), called also the hors of Amalthea, and the horn of plenty, an embien of riches, happiness, and abundance among the ancients, reproduced also in modern poetry, painting, and architecture. According to Greek legend, the infant Zens was tendeẻ bị the daughter of Melissus, king of Crete, and was nurtured upon the milk of the goat Ama thæa. He rewarded her care by breaking of one of the horns of the goat, and presenti: 2 # to her, endowed with the power of being hirẻ with. whatever was desired, whenever the po