Developments in Ceramic Materials Research

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146 Dimitris Skarlatos, Tilemachos Zakinthinos and Ioanis Koumanoudis G.M.Harris, P.Bruel and others. The studies of R. Floriot, J.M. Fontaine, Y. Loerinck, V. Papathanasopoulos and other researchers on the sound vases of European churches are very significant [34]. Greek researchers have based their opinions on tradition and have interpreted the presence of the sound vases “for the improvement of acoustics, or for acoustic reasons, or for sound amplification, or as an acoustic tradition, and at the same time for lightening purposes, etc.” Unfortunately, none of them has dealt extensively with it, because they referred to the matter only after the discovery of some new findings (sound vases), and never made any retrospective research of them with other countries in order to compare. The matter was never examined spherically, because the known examples were sporadic and random. A limited number of them believe that the sound vases are a continuation of the (nonexistent) sound vases of Vitruvius, others believe that they come vaguely from the East or Byzantium or both – two or three of them believe that the sound vases originated from Denmark or Scandinavia, i.e. their home countries, perhaps due to lack of information. 3.1. Shapes of Sound Vessels 3. SOUND VESSELS IN WORSHIP PLACES In Europe the vases used were either specially manufactured or else vases of ordinary domestic type, greatly varying in shape. Most of them were between 20 cm and 30 cm in length and 13 -15 cm wide at the mouth [27] In Anatolia the vases found in Mosques designed by Sinan (Ottoman architecture) had smaller openings. In the dome of Blue Mosque, for example, two groups of terracotta vases were found. The first group had small openings with a radius of 1.5 cm and the second group wider openings with a radius of 6 cm. Their length, including the neck, was about 50 cm [9]. The vases found in Greek churches can be listed into 3 different categories: a) Spherical (approximately), the number of which is 909, making up 93.9%, b) tube-like, with or without bottom, which are 22 and making up 23% and c) the various shapes of cavities, numbering 38 and making up 3.8% of the total of sound vases [5, 6]. All vases found in Greece, regardless of shape are made entirely of clay, usually of a red mass with a visible mixture of a sandy material. Sometimes the clay has the colour of ash. On the inner surface of the walls of the vessels, the fingerprints of the potter are evident. We can also discern evidence of the successive circles imprinted on the walls of the vases, vertical to the main axis of them, proving that these had been manufactured with the traditional method of the potter’s wheel. The firing and tempering of the clay varies from vase to vase, since the glazing of the interior is generally absent. A coloured glazing decoration was observed on the outside wall of certain vases, e.g. Aegina (figure 4a) or Arta along with an engraving on the perimeter with decorative patterns. This observation proves that the engraving of the patterns was made on damp clay followed by the colouring. Figure 4 shows the shapes of vases found in Greek churches in island of Aegina (a, b) in Viotia (c) in Attica (d) and on the island of Salamis. Figure 5 shows some of the vases found in European countries: in France (a) [35], in England (b) [36], in Denmark (c) [37] and in Switzerland (d) [38].
The Use of Ceramic Pots in Old Worship Places 147 a b c d e Figure 4. Shapes of sound vases found in Greece. a b c d Figure 5. Shapes of vases found in Churches in Europe. In some Greek churches the sound vases were not of the same size or shape, a fact which proves that there was no particular size of clay vase that was being systematically used as a “sound vase”. Acoustically, these differences lead to various results, if we were to accept the positive contribution of the sound vases. This leads to the conclusion that the sound vases of the churches were ordinary household vases and were not manufactured especially for this purpose. It is not known how they were collected. Probably they came from a collection of donations, or from offerings of believers, because they were costly. The limits within which the various basic dimensions of the spherical or tubular sound vessels found in Greece, is shown in table 1 [4] (the letters correspond to figure 6b).
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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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54 T. T. Basiev, V. A. Demidenko, K
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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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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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efraction index, 61 refractive inde
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time, vii, ix, 1, 3, 7, 8, 11, 26,
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