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Other| September 01 2016 In This Issue Journal of the Society of Architectural Historians (2016) 75 (3): 256–257. https://doi.org/10.1525/jsah.2016.75.3.256 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation In This Issue. Journal of the Society of Architectural Historians 1 September 2016; 75 (3): 256–257. doi: https://doi.org/10.1525/jsah.2016.75.3.256 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search The Cathedral of Noyon houses the most unusual—and largely unknown—installation of acoustic vases in Western Europe, the caveau phonocamptique, a chamber installed beneath the pavement of the crossing. Acoustic vases are simple earthenware pots placed in the walls and vaults of postclassical churches, their installation inspired by Marcus Vitruvius Pollio's De architectura libri decem. In Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral, Andrew Tallon investigates the intended operation of the caveau as a monumental amplifier. According to the principle of conservation of energy, the effect of an acoustic vase can only be one of absorption, but when sung directly into, a vase appears to “sing back.” Tallon asserts that this effect, along with the importance of Vitruvius as the foremost authority on ancient architecture known to European builders and patrons, must ultimately account for this unique array at Noyon. Gottfried Semper... You do not currently have access to this content.