cornice

American  

[kawr-nis] / ˈkɔr nɪs /

noun

1. Architecture.

   1. any prominent, continuous, horizontally projecting feature surmounting a wall or other construction, or dividing it horizontally for compositional purposes.

   2. the uppermost member of a classical entablature, consisting of a bed molding, a corona, and a cymatium, with rows of dentils, modillions, etc., often placed between the bed molding and the corona.

2. any of various other ornamental horizontal moldings or bands, as for concealing hooks or rods from which curtains are hung or for supporting picture hooks.

3. a mass of snow, ice, etc., projecting over a mountain ridge.

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verb (used with object)

corniced, cornicing

1. to furnish or finish with a cornice.

cornice British  

/ ˈkɔːnɪs /

noun

1. architect

   1. the top projecting mouldings of an entablature

   2. a continuous horizontal projecting course or moulding at the top of a wall, building, etc

2. an overhanging ledge of snow formed by the wind on the edge of a mountain ridge, cliff, or corrie

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verb

1. (tr) architect to furnish or decorate with or as if with a cornice

Etymology

Origin of cornice

1555–65; < Italian: literally, crow (< Latin cornix ); for the meaning, compare Greek korṓnē crow, crown

Example Sentences

On the right, a cornice suggests a building.

From The Wall Street Journal • Oct. 31, 2025

In the most superficial way, the addition is a contextual match for the main house—it is white, and it is a similar height, with a cornice and a matching parapet.

From Slate • Aug. 5, 2025

A blast wave is said to have damaged a plastered cornice on the eastern façade but not affected the interior.

From BBC • Jun. 10, 2025

As your eyes adjust in the dark, unlit details fade in: a coat of aluminum paint on the cornice, a staircase through the curtain, a tracing of mortar among stones in the foundation.

From New York Times • Apr. 9, 2024

Banners and flags and gonfalons suddenly bellied from every cornice, a huge red banner unscrolled along the full length of the Machinery Building, and the canvas slipped from Big Mary’s gold-leaf shoulders.

From "The Devil in the White City" by Erik Larson