Developments in Ceramic Materials Research

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144 Dimitris Skarlatos, Tilemachos Zakinthinos and Ioanis Koumanoudis collection of rain water), or for other purposes, such as the drawing out of smoke and the ventilation of fires, water pipes, under-burners, in fireplaces, etc [20]. The appearance of walled-in “structural vases” draws its origin from the Lombards or Campanians and then from the Romans [21]. It was later adopted by the Byzantines and went on to be applied during and after the Middle Ages (figure 2b) [22]. It is not an exaggeration to mention that the use of concave structural elements continued much later during the age of concrete. In France, for instance, the concrete dome of the market of Vallées á la Carenne- Colombes includes concave structural pipes, as in other modern structures (figure 2c) [23]. The second group of walled-in vases, the acoustic vases or sound vases, are coupled acoustically with the interior of the church through an opening. Sometimes this opening is not easily observed since it was covered with mortar during restoration work [1, 5, 10]. Architectural history tells us of the spreading of ceramic vases from the early Byzantine techniques (only on the niche domes of the sanctuary of Early Christian Basilicas with wooden roofs) and then in a multitude of dispersed temple dome roofs of this period, as in Ravenna of Italy (e.g. Ursiana Basilica, St. Vitali church, Neognano Baptismal, [24 - 26] with spherical domes built with tube-like vases), in Constantinople (e.g. the church of Saint Sofia and Saints Sergio and Bacchus, the Magganians’ Palace, 8 th century A.D., etc.[27], domes with tube-like and pot-like vases) and also in Greece (e.g. Scripou, 9 th century, Saint Lucas in Steiri, 11 th century, Agioi Asomatoi Theseion, 11 th century [28], Parigoritissa Artas, 13 th century [29], Afentiko Mystra, 14 th century [29], and Porta Panagia Artas, with inert material masses along with pot-like vases). At this point, it is necessary to mention that ceramic vases have also been found in Syria, Algeria, Tunisia, Chaldea, and even in India [21, 30]. After the Renaissance, walled-in vases were found in walls and domes in many European countries such as: France (e.g. in Palais de Justice, Palais Royal, Bource, Madlein and a multitude of other buildings of the 18 th century), in England (e.g. in the Dover House, the London Stock Market, 18 th century, and in St. George’s Hall of Liverpool, 19 th century), in Russia (e.g. Saint Sophia of Kiev, Moscow’s Kremlin, etc.) and finally in Spain and Cyprus [31, 32]. a b c Figure 2. Structural vases found in Ravena St Vistule (a) in Constantinople (b) and in the market of Vallées á la Carenne-Colombes (c).
The Use of Ceramic Pots in Old Worship Places 145 Figure 3. Acoustic walled in vases (after Desarnaults) [3]. Byzantine or Medieval texts made no mention of the system of walling-in sound vases for acoustic purposes, despite the contemporary spreading out of them in churches, not only in Greece, but also in the whole of Europe and elsewhere. The names usually used for sound vases found in churches are vases, pots, and jars. In Greek tradition there are many names for walled-in acoustic vases, like Vaza, Vikia, Kanatakia, Clinikia, Stamnes and finally Antiphonites. Only the last name, Antiphonites (resounders), characterizes the purpose of the vases, whereas the others merely describe, with local terminology, the shape of the vessel. Besides, priests, monks and caretakers of the churches had no knowledge of the purpose of the sound vessels, while most of them knew of the walling-in of sound vessels for acoustic purposes. They believed then, without doubt, that the sound vases were the means of strengthening the voice of priests or cantors, because the sound vases “made the church resound”, hence the name of the resounders. Obviously, they had no understanding of the acoustic requirements of the area of a church, which was not supposed to resound. Furthermore, a few of them accepted certain cabalistic interpretations, completely unfounded, but quite interesting for being so imaginative. In the end, there are many points in common between Greek tradition and the tradition of other European peoples, with a prevalent aspect being the acoustic purpose. The influence of Vitruvius in Europe on architectural studies and knowledge was catalytic at least until 1829 when H. Bulle questioned the sound vases of ancient theatres and the theory of Vitruvius, for having based it on the groundless theory of music harmony of Aristoxenos of Tarantos [33]. Nevertheless there are some differences between the description of Vitruvius vases and those found in worship places. These differences are: the vases were located in the interior of closed spaces, they were not bronze, but ceramic, they were placed far from the auditor’s ear and finally they were almost always surrounded by masonry. The fact that vases were encountered only in churches and not in palaces or castles is an indication that they were used for acoustic purposes. Crunelle [8] points out an historic curiosity: Almost everything is known about the resonators of the Roman era thanks to the text of Vitruvius, although not a single vase has been found; on the other hand, we possess many examples of medieval acoustic pottery, yet no text on their function has ever been discovered. Rene Floriot has shown that they are above all correctors of acoustics [8]. Some acousticians, based on the theory of Vitruvius and of Helmholtz, dealt properly with the issue of the effectiveness of the sound vases, e.g. H.Bagenal, V.Knudsen,
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DEVELOPMENTS IN CERAMIC MATERIALS R
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Copyright © 2007 by Nova Science P
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PREFACE Ceramics are refractory, in
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Preface ix crystals is discussed. A
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Preface xi spectra and the directio
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2 Leslie G. Cecil comprehensive dat
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4 Leslie G. Cecil Ringle et al. (19
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6 Leslie G. Cecil The main architec
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8 Leslie G. Cecil can study “the
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10 Leslie G. Cecil Middleton et al.
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12 Leslie G. Cecil The laser ablate
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14 Leslie G. Cecil There are two ge
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16 Leslie G. Cecil distinct recipes
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18 Leslie G. Cecil second group (Fi
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20 Leslie G. Cecil The Vitzil-Orang
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22 Leslie G. Cecil Table 3. Mahalan
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24 Leslie G. Cecil Ixlú and Ch’i
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26 Leslie G. Cecil structures (D. R
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28 Leslie G. Cecil paste and Macanc
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30 Leslie G. Cecil Bieber, A. M. Jr
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32 Leslie G. Cecil Kepecs, S. M., a
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34 Leslie G. Cecil Schele, L., Grub
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36 Z. C. Li, Z. J. Pei and C. Tread
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62 I, % 100 80 60 40 20 0 T. T. Bas
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68 Fluorescence, a.u. 1 T. T. Basie
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70 Fluorescence, a.u. 1 0.1 0.01 0.
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78 k, cm -1 20 18 16 14 12 10 8 6 4
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82 Photon counts 300 250 200 150 10
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84 Fluorescence, a.u. I transfer ,
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86 ln(I transfer (t)) -4.2 -4.4 -4.
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88 Fluorescence, a.u. I transfer ,
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Page 179 and 180: D50 0.8 0.7 0.6 0.5 0.4 0.3 The Use
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Modeling of Thermal Transport in Ce
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212 R. Ramesh, H. Kara, Ron Stevens
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220 ε S 33 R. Ramesh, H. Kara, Ron
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242 Development of Display Technolo
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244 Li Chen technology moved to the
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246 Li Chen The continuing evolutio
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248 Li Chen the back contact cathod
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250 Li Chen Figure 3. Vertical side
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252 Li Chen Figure 6. Molybdenum mi
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254 Li Chen Figure 8(a). I-V curve
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256 Li Chen Figure 9. Life time tes
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258 Figure 11(a). Plasma generated
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260 Li Chen [13] C.A. Spindt, K.R.
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262 S. Ardizzone, C. L. Bianchi, G.
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A absorption spectra, 66, 67, 77, 7
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correlation function, 156 corrosion
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group membership, 13, 20, 21, 22, 2
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microstructure(s), x, xi, 73, 74, 2
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time, vii, ix, 1, 3, 7, 8, 11, 26,
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