Figures below are taken from the English edition of Czerny's
The Art of Preluding, op. 300. Please note that the cadences shown on the first page (p. 2 of the original volume) are not examples of chord spelling from a harmony textbook -- Czerny calls them the "shortest Preludes." It was assumed that a pianist would improvise a passage before playing a complete composition, such as a sonata or rondo -- a practice that only gradually faded away after the mid-nineteenth century. (One of the longest hold-outs was Clara Schumann, generally one of the most conservative concert pianists of the era.)
The "shortest Preludes" all use a ^7-^8 figure in the uppermost voice. Notice also that Czerny doesn't bother to express the other half of the old
clausula vera formula (^2-^1) in an inner part.
In the "rather longer Preludes" (the second page, or p. 3 of the original), only the two on the fourth system unequivocally expand the cadence stereotype that Kofi Agawu cites as universal, with ^3-^2-^1 above: see
my post on the topic.
The English edition of Czerny's op. 300 may be found on IMSLP:
here.
