ª∏¡Àª∞ MESSAGE
∏ ·ÍÈÔÔ›ËÛË Ù˘ ÙÂÚ¿ÛÙÈ·˜ ÔÏÈÙÈÛÙÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ì·˜ - ·Ú¯·›·˜, ‚˘˙·-
The exploitation of our vast cultural heritage – ancient, Byzantine,
ÓÙÈÓ‹˜, ÓÂfiÙÂÚ˘ Î·È Û‡Á¯ÚÔÓ˘ - Â›Ó·È ÁÈ· ÙËÓ ∂ÏÏ¿‰· Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ Ì›·
modern and contemporary – constitutes one of the greatest challenges
·fi ÙȘ ÌÂÁ·Ï‡ÙÂÚ˜ ÚÔÎÏ‹ÛÂȘ Ù˘ Ó¤·˜ ÂÔ¯‹˜.
of the new era not only for Greece but also for the Greek people. It is my
ªÂ ÙËÓ ÂÔ›ıËÛË fiÙÈ Ë ‰È·‰Èηۛ· ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ‰ÂÓ ÂÚÈÔÚ›˙ÂÙ·È ·ÏÒ˜
firm belief that the process of civilization does not limit itself to a mere
ÛÙË Û˘ÓÙËÚËÙÈ΋ ‰È·¯Â›ÚÈÛË ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜, ·ÏÏ¿ ÂÂÎÙ›ÓÂÙ·È ÛÙËÓ ÂÍ·-
preservative management of the past; it stretches far beyond this point
ÛÊ¿ÏÈÛË ÙˆÓ fiÚˆÓ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ̤ÏÏÔÓÙÔ˜, Û‹ÌÂÚ·, ÂÚÈÛÛfiÙÂÚÔ
and extends to the establishment of the conditions that are necessary
·fi ÔÙ¤ ¿ÏÏÔÙÂ, ¤¯Ô˘Ì ÙË ÌÂÁ¿ÏË Â˘Î·ÈÚ›· Ó· ÂÓÒÛÔ˘Ì ÙȘ ‰˘Ó¿ÌÂȘ Ì·˜
in order to create the future. And it is now, more than ever before, that
ÛÙËÓ ˘fiıÂÛË ÙÔ˘ ÔÏÈÙÈÛÌÔ‡.
we are given the great opportunity to unite our forces for the benefit of
™’ ·˘Ùfi ÙÔ Ó‡̷, Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›·
culture. In a similar vein, the Secretariat General of Communication -
∂ÓË̤ڈÛ˘ ÚÔ¯ÒÚËÛ·Ó ÛÙËÓ ¤Î‰ÔÛË ÙÔ˘ ·ÚfiÓÙÔ˜ ÙfiÌÔ˘ Ô˘ ·ÓıÔÏÔÁ›
Secretariat General of Information proceeded with the publication of the
ÙÂÎÌ‹ÚÈ· ÙÔ˘ ʈÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘ ÙÔ˘˜ Ì ı¤Ì· ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤Î‰Ô-
present volume, which anthologizes a number of records of the
ÛË ·˘Ù‹ Â›Ó·È Ì¤ÚÔ˜ ÌfiÓÔ Ù˘ ¢ڇÙÂÚ˘ ÚÔÛ¿ıÂÈ·˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË,
photographic archive regarding Thessaloniki. This publication is only one
Ù·ÍÈÓfiÌËÛË Î·È ·ÍÈÔÔ›ËÛË ÙÔ˘ ÙÂÚ¿ÛÙÈÔ˘ ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ˘ÏÈÎÔ‡ Ù˘
part of a wider attempt to gather, classify and exploit the vast
¯ÒÚ·˜ ˘fi ÙË Û˘ÓÙÔÓÈÛÙÈ΋ ·ÈÁ›‰· ÙÔ˘ ∂ıÓÈÎÔ‡ √ÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ∞Ú¯Â›Ô˘.
audiovisual material of our country under the auspices of the National
∂ÓÙ·ÛÛfiÌÂÓÔ ÏÔÈfiÓ ÙÔ Ï‡Έ̷ ·˘Ùfi Û ¤Ó· ¢ڇÙÂÚÔ, ÂÍ’ ÔÚÈÛÌÔ‡ ·¯·Ó¤˜
Audiovisual Archive, which plays a coordinating role. Therefore, this
Î·È ·ÓÂÍ¿ÓÙÏËÙÔ ¤ÚÁÔ, ·ÔÎÙ¿ ÌÈ· ͯˆÚÈÛÙ‹ ÛËÌ·Û›·: ·Ô‰ÂÈÎÓ‡ÂÈ fiÙÈ Ë ÚÔ-
album is of great importance as it is incorporated into a project that is
Û¿ıÂÈ· Ó· Á›ÓÂÈ Í·Ó¿ ÚÔÛÈÙfi ÛÙȘ ∂ÏÏËÓ›‰Â˜ Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ ·˘Ùfi ÙÔ
infinite and inexhaustible by definition. A project that proves that the
ÎÂÊ¿Ï·ÈÔ ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Î·È Ù˘ ÈÛÙÔÚ›·˜ Ì·˜ ÌÔÚ› Ó· ·Ô‰ÒÛÂÈ ·ÔÙÂϤ-
attempt to turn culture and history into something feasible and
ÛÌ·Ù· ·ÈÛıËÙÈο ¿ÚÙÈ· Î·È ¯Ú‹ÛÈÌ· Û fiÔÈÔÓ ÂӉȷʤÚÂÙ·È Ó· Ù· ÌÂÏÂÙ‹ÛÂÈ.
accessible to all Greeks can bear fruits not only in aesthetic terms but
ªÂ ·˘Ùfi ÙÔ ·›ÛıËÌ· Ù˘ ·ÈÛÈÔ‰ÔÍ›·˜ ÁÈ· ÙË Û˘Ó¤¯ÂÈ·, Û˘Á¯·›Úˆ ÂÈÏÈÎÚÈÓ¿
also in terms of its usefulness to anyone who wishes to study them.
fiÏÔ˘˜ fiÛÔÈ ÂÚÁ¿ÛÙËÎ·Ó ÁÈ· ÙËÓ ¤Î‰ÔÛË ·˘Ù‹.
Finally, I would like to express my optimism regarding future £. ƒ√À™√¶√À§√™,
YÔ˘ÚÁfi˜ ∂ÈÎÚ·Ù›·˜ Î·È ∫˘‚ÂÚÓËÙÈÎfi˜ ∂ÎÚfiÛˆÔ˜
developments and to sincerely congratulate every single person that contributed to this publication. THEODOROS ROUSSOPOULOS, Minister of State and Government Spokesman
T H E S S A L O N I K I
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∂π™∞°ø°∏
INTRODUCTION
Δ
Û˘ÓÈÛÙÔ‡Ó ÔχÙÈÌË Û˘Ì‚ÔÏ‹ ÛÙÔ ·fiıÂÌ· ÙˆÓ ÂÈηÛÙÈÎÒÓ ÙÂÎÌË-
Δ
Ú›ˆÓ Ô˘ ·ÊÔÚÔ‡Ó ÙË ÓÂfiÙÂÚË Î·È ÙË Û‡Á¯ÚÔÓË £ÂÛÛ·ÏÔÓ›ÎË, Û˘Ì-
documents concerning the modern and contemporary
‚ÔÏ‹ ·fi ÙËÓ ÔÔ›· ÔÈ ÈÛÙÔÚÈΤ˜ Î·È ·ÓıÚˆÈÛÙÈΤ˜ ¤Ú¢Ó˜ ¤¯Ô˘Ó
Thessaloniki; a contribution which provides significant
ÔÏÏ¿ Ó· ˆÊÂÏËıÔ‡Ó.
advantages to both historical and humanitarian research.
ΔÔ ˘ÏÈÎfi Ô˘ ÂÈϤ¯ıËΠˆ˜ ·ÓÙÈÚÔÛˆÂ˘ÙÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ 114
The representative material chosen consists of 114 photos, 35
ʈÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ, ·fi ÙȘ Ôԛ˜ 35 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÚÈÓ
of which were taken before and during the Second World War
Î·È Î·Ù¿ ÙÔ ‰Â‡ÙÂÚÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È 79 ÌÂÙ¿ ·fi ·˘ÙfiÓ. Δ¤Û-
and 79 after that. Four shots date back to the period before the
ÛÂÚȘ Ï‹„ÂȘ ·Ó¿ÁÔÓÙ·È ÛÙËÓ ÂÚ›Ô‰Ô ÚÈÓ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË
liberation of Thessaloniki (1912); 18 to the period between the
Ù˘ £ÂÛÛ·ÏÔӛ΢ (1912), 18 ÛÙËÓ ÂÚ›Ô‰Ô ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË
liberation and the great fire of 1917; 10 shots were taken during
̤¯ÚÈ Î·È ÙË ÌÂÁ¿ÏË ˘ÚηÁÈ¿ ÙÔ˘ 1917, 10 Ï‹„ÂȘ ¤ÁÈÓ·Ó ÛÙËÓ
the Interwar years and 3 of them during the German
ÂÚ›Ô‰Ô ÙÔ˘ ªÂÛÔÔϤÌÔ˘ Î·È 3 ÛÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ™Â fi,ÙÈ
Occupation. As far as the post war period is concerned, 9 shots
·ÊÔÚ¿ ÙË ÌÂÙ·ÔÏÂÌÈ΋ ÂÚ›Ô‰Ô, 9 Ï‹„ÂȘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Î·Ù¿
were taken in the 1940s, 20 in the 1950s, 37 in the 1960s and
ÙË ‰ÂηÂÙ›· ÙÔ˘ 1940, 20 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950, 37 ÛÙË ‰ÂηÂÙ›·
13 in the 1970s. These photographs are on average 60 years of
ÙÔ˘ 1960 Î·È 13 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. ∏ ̤ÛË ËÏÈΛ· ÙˆÓ ÊˆÙÔ-
age. Most of them have either not been published in accessible
ÁÚ·ÊÈÒÓ Â›Ó·È 60 ÂÙÒÓ. √È ÂÚÈÛÛfiÙÂÚ˜ ‰ÂÓ ¤¯Ô˘Ó ‰ËÌÔÛÈ¢Ù› ÛÂ
printed material or remained unpublished.
ÚÔÛÈÙ¿ ¤ÓÙ˘· ‹ ·Ú¤ÌÂÈÓ·Ó ·Ó¤Î‰ÔÙ˜.
The photograph, just as any other kind of visual art document,
∏ ʈÙÔÁÚ·Ê›·, fiˆ˜ Î·È Î¿ı ÂÈηÛÙÈÎfi ÙÂÎÌ‹ÚÈÔ, ‰ÂÓ ¤¯ÂÈ «Ô˘‰¤-
has not a "neutral" character. Its creator has chosen what he/
ÙÂÚÔ» ¯·Ú·ÎÙ‹Ú·. √ ‰ËÌÈÔ˘ÚÁfi˜ Ù˘ ¤¯ÂÈ ÂÈϤÍÂÈ ÙÈ ÂÈı˘Ì› Ó·
she wants to capture, i.e. all that he/ she does not want have
··ı·Ó·Ù›ÛÂÈ, ¤¯ÂÈ ‰ËÏ·‰‹ ·ÔÎÏ›ÛÂÈ fi,ÙÈ ‰ÂÓ ÂÈı˘Ì›. ™˘ÓÂÒ˜, Ë
been precluded. Consequently, the usage of the photograph for
¯Ú‹ÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÁÈ· ÂÈÛÙËÌÔÓÈÎÔ‡˜ ÏfiÁÔ˘˜ ··ÈÙ› ÌÂÁ¿ÏË
scientific purposes entails great caution, while its success is
ÚÔÛÔ¯‹ Î·È Ë ÂÈÙ˘¯›· Ù˘ ÛÙËÚ›˙ÂÙ·È ÛÙËÓ Â·Ú΋ ·Ó·ÁÓÒÚÈÛË ÙÔ˘
based upon the adequate acknowledgment of the aim for which
ÛÎÔÔ‡ ÁÈ· ÙÔÓ ÔÔ›Ô ¤ÁÈÓÂ Ë Ï‹„Ë. √‡Ù fï˜ Î·È Ë ·Ó¿ÁÓˆÛË Ù˘
this very shot was taken. However, neither such an
· ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘
T H E S S A L O N I K I
he documents from the Photo Archive of the Secretariat General of Communication – Secretariat General of
Information contribute greatly to the reserve of the visual art
11 k
∂ π ™ ∞ ° ø ° ∏
ʈÙÔÁÚ·Ê›·˜ Â›Ó·È «Ô˘‰¤ÙÂÚË» ÏÂÈÙÔ˘ÚÁ›·. ŒÎ·ÛÙÔ˜ ı· ‰È·ÈÛÙÒÛÂÈ
acknowledgement of the photograph constitutes a "neutral"
̤۷ ÛÙÔ ÔÙÈÎfi ÙÂÎÌ‹ÚÈÔ fiÛ· Â›Ó·È ÚÔÂÙÔÈÌ·Ṳ̂ÓÔ˜ Ó· ‰ÂÈ ‹ Ó·
function. In each visual document, one discovers all those things
·Ó·˙ËÙ‹ÛÂÈ. ∏ Ú‹ÛË fiÙÈ «Ì›· ÂÈÎfiÓ· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ϤÍÂȘ»
that he/she is ready to see or search for. The dictum "a picture
¤¯ÂÈ ˆ˜ ÚÔ¸fiıÂÛË fiÙÈ Ô ı·ً˜ Ù˘ ÂÈÎfiÓ·˜ Â›Ó·È Û ı¤ÛË Ó·
is worth one thousand words" presupposes that the spectator
ηٷÓÔ‹ÛÂÈ ÙÔ ÂÚȯfiÌÂÓfi Ù˘. Àfi ÙËÓ ¤ÓÓÔÈ· ·˘Ù‹, ›Ûˆ˜ ÌÂÚÈΤ˜
of this picture is able to perceive its content. In this sense,
ÊÔÚ¤˜ ÌfiÓÔ ÌÈ· ϤÍË Ó· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ÂÈÎfiÓ˜.
maybe sometimes a single word is worth one thousand
°È· Ó· ηٷÓÔËı› ηχÙÂÚ·, ÙÔ ˘ÏÈÎfi ηٷٿ¯ıËΠ۠ÔÎÙÒ ÂÓfiÙË-
pictures.
Ù˜. ΔÔ ‚·ÛÈÎfi ÎÚÈÙ‹ÚÈÔ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ‹Ù·Ó ÁˆÁÚ·ÊÈÎfi. ŸÌˆ˜,
In order to be better perceived, the material was divided into
Ë ÁˆÁÚ·Ê›· Â›Ó·È Â‰›Ô, ·ÈÙ›· Î·È ·ÔÙ¤ÏÂÛÌ· ÈÛÙÔÚÈÎÒÓ ÂÍÂϛ͈Ó.
eight units. The basic criterion for such a division has been
∏ ·ÚÈ· ÂͤÏÈÍË, Ô˘ ¤Ú ӷ ÈÛÙÔÚËı› ÂÓ ÚÔÎÂÈ̤ӈ, ‹Ù·Ó Ë ›‰È·
geography. However, geography is a field and a cause – as well
Ô˘ ÛËÌÂÈÒıËΠ۠fiϘ ÙȘ fiÏÂȘ ÙÔ˘ ÎfiÛÌÔ˘. ª¤Û· Û ÌÂÚÈΤ˜
as the outcome – of historical changes. The main course that
‰ÂηÂٛ˜ –Û˘¯Ó¿ ̤۷ ÛÙËÓ ›‰È· ‰ÂηÂÙ›·- ÛÙË £ÂÛÛ·ÏÔÓ›ÎË
had to be narrated here was the same one that took place in all
ÛËÌÂÈÒıËÎ·Ó ÌÂÙ·‚ÔϤ˜ Ô˘ ¿ÏÏÔÙ ı· ¯ÚÂÈ¿˙ÔÓÙ·Ó ·ÈÒÓ˜ ÁÈ· Ó·
the cities in the world. Within a few decades – often even within
¤ÏıÔ˘Ó. ∞˘Ù‹ Ë ‰È·›ÛÙˆÛË Á›ÓÂÙ·È Î·Ù·Ú¯¿˜ ·ÓÙÈÏËÙ‹ ÛÙÔÓ
the same decade – Thessaloniki underwent changes which
ÔÏÏ·Ï·ÛÈ·ÛÌfi ÙÔ˘ ¯ÒÚÔ˘ Ô˘ ηٷϷ̂¿ÓÂÈ Ë fiÏË Î·È ÛÙËÓ
would otherwise need whole centuries to take place. This notion
ÂÓÙ˘ˆÛȷ΋ ·‡ÍËÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Î·È Ù˘ ÔÈÎÈÛÙÈ΋˜ ˘ÎÓfiÙËÙ¿˜
is firstly evident in both the spatial expansion of the city and the
Ù˘. °›ÓÂÙ·È, ›Û˘, Î·È ·ÓÙÈÏËÙ‹ ·fi ÙË ‰ËÌÈÔ˘ÚÁ›· Ó¤ˆÓ ˘Ú‹ÓˆÓ
impressive increase of its population and residential density. It
Î·È ÏÂÈÙÔ˘ÚÁÈÒÓ Ô˘ ·ÓÙÈηıÈÛÙÔ‡Ó ·Ï·ÈfiÙÂÚ˜. ™ËÌ·Û›· ¤¯ÂÈ Ó·
is also evident in the establishment of new cadres and functions
ÂȉÂȯı› Ë ·ÏÏ·Á‹ ÛÙËÓ Îϛ̷η: ∂› ·ÈÒÓ˜, ÙÔ ı·Ï¿ÛÛÈÔ ÂÌfiÚÈÔ
which replaced the previous ones. The important thing is the
Ù˘ £ÂÛÛ·ÏÔӛ΢ ÁÈÓfiÙ·Ó Ì ÌÈ· ͇ÏÈÓË ÛοϷ. ¢ÂÓ ¤¯ÂÈ Î·Ó›˜
change in scale to be shown: For centuries, the sea trade of
·Ú¿ Ó· ‰È·‚¿ÛÂÈ ÚÔÛÂÎÙÈο ÙȘ ÛËÌÂÈÒÛÂȘ Ù˘ ‰Â‡ÙÂÚ˘ ÂÓfiÙËÙ·˜
Thessaloniki was held by means of a wooden wharf. One has
ÁÈ· Ó· ‰È·ÈÛÙÒÛÂÈ fiÛÔ ÁÚ‹ÁÔÚ· ¿ÏÏ·ÍÂ Ë £ÂÛÛ·ÏÔÓ›ÎË Ì·˙› Ì ÙÔ
just to pore in the annotations of the second unit to discover
ÏÈÌ¿ÓÈ Ù˘.
the fast change of Thessaloniki and its port.
√È ÔÎÙÒ ÂÓfiÙËÙ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Î·È Û οÔÈÔ ‚·ıÌfi ·ÏÏËÏÂÈη-
These eight units – which are combined and at some extend
χÙÔÓÙ·È. ∂›Ó·È ÔÈ ·ÎfiÏÔ˘ı˜:
overlap – are the following:
∞ÂÚÔʈÙÔÁڷʛ˜: ∏ ÚÒÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÂÙ¿ ·ÂÚÔʈÙÔ-
Photomaps: The first unit comprises seven photomaps, which
Áڷʛ˜, ÔÈ Ôԛ˜ ÚÔÙ¿¯ıËÎ·Ó ‰ÈfiÙÈ ÂÈÙÚ¤Ô˘Ó Ó· Û¯ËÌ·Ù›ÛÂÈ Ô
have been included as they enable the reader to get the general
·Ó·ÁÓÒÛÙ˘ ÁÂÓÈ΋ ÂÈÎfiÓ· ÙÔ˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ Ù˘
picture of the urban tissue of Thessaloniki and the extent of the
£ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ Îϛ̷η˜ ÙˆÓ ÌÂÙ·‚ÔÏÒÓ ÙÔ˘. ΔÔ ÂÈÏÂÁ̤ÓÔ
changes it underwent. The material chosen includes some other
˘ÏÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ Î·È ¿ÏϘ ·ÂÚÔʈÙÔÁڷʛ˜, Ô˘ ηٷٿ¯ıËηÓ
photomaps as well, yet placed in other units because of their
fï˜ Û › ̤ÚÔ˘˜ ÂÓfiÙËÙ˜ ÏfiÁˆ ÙÔ˘ ÂȉÈÎÔ‡ ÂӉȷʤÚÔÓÙfi˜ ÙÔ˘˜.
special significance.
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
I N T R O D U C T I O N
§ÈÌ¿ÓÈ: ∏ ‰Â‡ÙÂÚË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi ÙÔ ÏÈÌ¿ÓÈ Ù˘
The port: The second unit includes photos of the port of
£ÂÛÛ·ÏÔӛ΢. ∂ÎÙfi˜ ·fi ÙË ÛËÌ·Û›· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ÁÈ· ÙËÓ ÔÈÎÔÓÔ-
Thessaloniki. Apart from the significance of the port for the
ÌÈ΋ ˙ˆ‹ Ù˘ fiÏ˘ Î·È Ù˘ ÂÚÈʤÚÂÈ¿˜ Ù˘, Ë ÁˆÁÚ·ÊÈ΋ ı¤ÛË ÙÔ˘
financial life of the city and its boroughs, the location facilitates
‰È¢ÎÔχÓÂÈ ÙË ÊˆÙÔÁÚ·ÊÈ΋ ηٷÁÚ·Ê‹ ÌÂÈ˙fiÓˆÓ ÌÂÙ·‚ÔÏÒÓ ÛÙÔ
the photographic recording of the wide-range changes that
¢ڇÙÂÚÔ ÔÏÂÔ‰ÔÌÈÎfi Û˘ÁÎÚfiÙËÌ·.
took place in the greater urban tissue of the city.
¶ÚÔÎ˘Ì·›·: ∏ ÙÚ›ÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÙËÓ ÚÔÎ˘Ì·›· Ù˘ £ÂÛ-
The quay: The third unit includes the quay of Thessaloniki; the
Û·ÏÔӛ΢, ·˘Ù‹Ó Ô˘ ·Ï·ÈfiÙÂÚ· ·ÔÙ¤ÏÂÛ ÙÔ ı·Ï·ÛÛÈÓfi ÚfiÛˆ-
one which previously constituted the marine character of the
Ô Ù˘ fiÏ˘. √È ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ηٷÁÚ¿ÊÔ˘Ó Û˘ÁÎÚ›ÛÈ̘
city. These shots record the comparative changes in both
ÌÂÙ·‚ÔϤ˜ ÛÙÔ ‰ÔÌË̤ÓÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘
buildings and people portrayed. This unit is very significant
·ÂÈÎÔÓ›˙ÔÓÙ·È Ì·˙› ÙÔ˘. ΔÔ ÂӉȷʤÚÔÓ Ù˘ ÂÓfiÙËÙ¿˜ ·˘Ù‹˜ ›ӷÈ
mainly from an aesthetic point of view. These changes concern
΢ڛˆ˜ ·ÈÛıËÙÈÎfi. √È ÌÂÙ·‚ÔϤ˜ ·ÊÔÚÔ‡Ó ÙË ÌÈÎÚ‹ Îϛ̷η ÙÔ˘ ȉȈ-
private life in a limited scale.
ÙÈÎÔ‡ ‚›Ô˘.
The White Tower: The fourth unit focuses on the White Tower
§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ ٤ٷÚÙË ÂÓfiÙËÙ· ¤¯ÂÈ ˆ˜ ›ÎÂÓÙÚÔ ÙÔ §Â˘Îfi
and includes photographs having as a theme either the
¶‡ÚÁÔ Î·È ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ Ô˘ ›¯·Ó ˆ˜ ·ÓÙÈΛÌÂÓÔ Â›Ù ÙÔ
monument itself or the surrounding area. Maybe the sequence
ÌÓËÌÂ›Ô Î·ı’ ·˘Ùfi ›Ù ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ ÙÔ˘. ÿÛˆ˜ Ë ·ÎÔÏÔ˘-
of these photos facilitates our perception of why this specific
ı›· ÙˆÓ ÂÈÎfiÓˆÓ ‚ÔËı¿ Ï›ÁÔ Ó· ·ÓÙÈÏËÊıԇ̠ÁÈ· ÔÈÔ ÏfiÁÔ Ô ‡Ú-
tower gradually became the landmark of the city, through the
ÁÔ˜ ·˘Ùfi˜ ·ÔÙ¤ÏÂÛ ÛÙ·‰È·Î¿ Û‹Ì· ηٷÙÂı¤Ó Ù˘ fiÏ˘, ̤۷
changes in its surrounding area.
·fi ÙË ÌÂÙ·‚ÔÏ‹ ÙÔ˘ ‰ÔÌË̤ÓÔ˘ ÂÚÈ‚¿ÏÏÔÓÙfi˜ ÙÔ˘.
The Aristotle University of Thessaloniki & The Thessaloniki
∞¶£ & ¢∂£: ∏ ¤ÌÙË ÂÓfiÙËÙ· «·ÊËÁ›ٷȻ ÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘ ›
International Fair: The fifth unit "narrates" the conversion of the
ÙÔ˘ÚÎÔÎÚ·Ù›·˜ ÎÔÈÌËÙËÚÈ·ÎÔ‡ ÙfiÔ˘ Û ·ÓÂÈÛÙËÌÈÔ‡ÔÏË Î·È
cemetery – during the Turkish occupation – into a university
fiÏË ÂÎı¤ÛˆÓ. √È ÊˆÙÔÁڷʛ˜ Ù˘ ÂÓfiÙËÙ·˜ ·˘Ù‹˜ ¤¯Ô˘Ó ÂȉÈ΋
campus and a trade fair site. The photographs of this unit are
ÛËÌ·Û›·, ‰ÈfiÙÈ ‰Â›¯ÓÔ˘Ó Ò˜ ÔÈ ¯Ú‹ÛÂȘ ÙÔ˘ ¯ÒÚÔ˘ ‰È·‰¤¯ÔÓÙ·È Ë Ì›·
of special significance, since they present the way in which the
ÙËÓ ¿ÏÏË Î·È Ò˜ ¤Ó·˜ «·Î¿Ï˘ÙÔ˜» ÙfiÔ˜ ‰È¤Ê˘Á ÙÔÓ Î›Ó‰˘ÓÔ Ó·
usages of this site followed one another, how an "open" site
ÌÂÙ·Ùڷ› Û ÚÔÛÊ˘ÁÈÎfi ÔÈÎÈÛÌfi Î·È ÂÓÙ¿¯ıËΠÛÙÔ ·ÛÙÈÎfi
escaped the risk of becoming a refugee camp and it was placed
‰›ÎÙ˘Ô.
in the urban tissue.
ªÓËÌ›·: ∏ ¤ÎÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÓËÌ›· Ù˘ £ÂÛÛ·ÏÔӛ΢,
Monuments: The sixth unit includes some monuments of
·fi ‰È¿ÊÔÚ˜ ÂÚÈfi‰Ô˘˜ Ù˘ ÈÛÙÔÚ›·˜ Ù˘, Î·È ÙÔ˘˜ ÂÚÈ‚¿ÏÏÔÓÙ˜
Thessaloniki, from several historical periods, as well as their
¯ÒÚÔ˘˜ ÙÔ˘˜. ªÂÚÈΤ˜ ÊÔÚ¤˜ ÔÈ ÌÂÙ·‚ÔϤ˜ ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ Â›Ó·È
surroundings. Sometimes, the changes in the surrounding areas
ÙfiÛÔ ¤ÓÙÔÓ˜, ÒÛÙ ·ÔÛÔ‡Ó ÙÔ ÂӉȷʤÚÔÓ ·fi Ù· ÌÓËÌ›· ηı’
are so intense that they actually distract the interest from the
·˘Ù¿.
monuments themselves.
∏ ÂÓ‰fiÙÂÚË ÂÚÈÔ¯‹: ∏ ¤‚‰ÔÌË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi
The inner area: The seventh unit includes shots of other – inside
T H E S S A L O N I K I
13 k
∂ π ™ ∞ ° ø ° ∏
¿ÏÏ· ÛËÌ›· –ÂÛˆÙÂÚÈο- Ù˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ £ÂÛÛ·ÏÔӛ΢, Ô˘
the walls – sites of Thessaloniki, which mainly represent the
·Ô‰›‰Ô˘Ó ΢ڛˆ˜ ÙËÓ ÔÚ›· ·Ó·Û¯Â‰È·ÛÌÔ‡ Î·È ·ÓÔÈÎÔ‰fiÌËÛ‹˜
course of recasting and rebuilding after the great fire of 1917.
Ù˘ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. √È ÚÒÙ˜ ʈÙÔÁڷʛ˜ ·˘Ù‹˜ Ù˘
The first photos of this unit represent tiny shops; the surface
ÂÓfiÙËÙ·˜ ·Ú·‰›‰Ô˘Ó ‰Â›ÁÌ·Ù· ÏÈÏÈÔ‡ÙÂÈˆÓ Â·ÁÁÂÏÌ·ÙÈÎÒÓ
areas of these sites have rarely been more than five square
¯ÒÚˆÓ, Ô˘ ÌÂÚÈΤ˜ ÊÔÚ¤˜ ÙÔ ÂÌ‚·‰fiÓ ÙÔ˘˜ ‰ÂÓ ÍÂÂÚÓÔ‡Û ٷ
meters, yet no less than five persons were their owners.
¤ÓÙ ÙÂÙÚ·ÁˆÓÈο ̤ÙÚ·, ·ÏÏ¿ ÔÈ È‰ÈÔÎً٘ ÙÔ˘˜ ‰ÂÓ ‹Ù·Ó ÏÈÁfiÙÂ-
Works: Finally, the eighth unit concerns big public works as well
ÚÔÈ ·fi ¤ÓÙÂ.
as private investments, which have marked the life of
ŒÚÁ·: Δ¤ÏÔ˜, Ë fiÁ‰ÔË ÂÓfiÙËÙ· ·ÊÔÚ¿ ÌÂÁ¿Ï· ‰ËÌfiÛÈ· ¤ÚÁ· ηÈ
Thessaloniki since the 1960s and on. Especially, the investment
ȉȈÙÈΤ˜ ÂÂÓ‰˘ÙÈΤ˜ ÚˆÙÔ‚Ô˘Ï›Â˜ Ô˘ ÛËÌ¿‰Â„·Ó ÙË ˙ˆ‹ Ù˘
of Esso Pappas has been a catalyst to the development of the
£ÂÛÛ·ÏÔӛ΢ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 Î·È ¤ÂÈÙ·. ∂ȉÈο Ë Â¤Ó‰˘-
greater area of the city.
ÛË Ù˘ Esso Pappas ·ÔÙ¤ÏÂÛ ηٷχÙË ·Ó¿Ù˘Í˘ ÛÙËÓ Â˘Ú‡ÙÂ-
In the annotation of the photographs, under consideration were
ÚË ÂÚÈÔ¯‹.
taken their original comments. The latter have often been
√Û¿ÎȘ ÛÙËÓ ÚˆÙfiÙ˘Ë ÊˆÙÔÁÚ·Ê›· ÙÔ˘ ·Ú¯Â›Ô˘ ˘‹Ú¯Â Û¯ÔÏÈ·-
proved a valuable guide in the time identification of the
ÛÌfi˜, Ï‹ÊıËΠ˘fi„Ë ÛÙÔÓ ˘ÔÌÓËÌ·ÙÈÛÌfi Ù˘. Δ· Û¯fiÏÈ· ·˘Ù¿
documents.
·Ô‰Â›¯ıËÎ·Ó ÛÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÂÚÈÙÒÛÂȘ ÔχÙÈÌÔ˜ Ô‰ËÁfi˜ ÁÈ·
On an attempt to generally assess the relation between the
ÙË ¯ÚÔÓÈ΋ Ù·‡ÙÈÛË ÙˆÓ ÙÂÎÌËÚ›ˆÓ.
above mentioned units and the time scale of the photographs,
™Â ÌÈ· ÁÂÓÈ΋ ·ÔÙ›ÌËÛË Ù˘ Û¯¤Û˘ ·Ó¿ÌÂÛ· ÛÙȘ ÂÓfiÙËÙ˜ Ô˘
it should be noted that the shots concerning the topology of the
ÚԷӷʤÚıËÎ·Ó Î·È ÙË ¯ÚÔÓÈ΋ ÎÏÈ̿ΈÛË ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ,
"inner" city are – on average – older. On the contrary, the shots
ÛËÌÂÈÒÓÔ˘Ì fiÙÈ ÔÈ Ï‹„ÂȘ Ô˘ Û¯ÂÙ›˙ÔÓÙ·È Ì ÙË ‰È·ÌfiÚʈÛË Ù˘
concerning the public works and the landscaping of the
«ÂÓ‰Ô¯ÒÚ·˜» Ù˘ fiÏ˘ Â›Ó·È Î·Ù¿ ̤ÛÔ fiÚÔ ·Ï·ÈfiÙÂÚ˜. ∞ÓÙ›ıÂ-
university campus (which, of course, was also a significant
Ù·, ÔÈ Ï‹„ÂȘ Ô˘ ·ÊÔÚÔ‡Ó ‰ËÌfiÛÈ· ¤ÚÁ· Î·È ÙÔ Û¯ËÌ·ÙÈÛÌfi Ù˘
public work as well) mainly focus in the 1960s.
·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ (Ô˘ Î·È ·˘Ù‹ ·ÔÙ¤ÏÂÛÂ, ‚¤‚·È·, ¤Ó· ÌÂÁ¿ÏÔ
The photographic documents from the archive of the
‰ËÌfiÛÈÔ ¤ÚÁÔ) ÂÈÎÂÓÙÚÒÓÔ˘Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960.
Secretariat General of Communication – Secretariat General of
Δ· ʈÙÔÁÚ·ÊÈο ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜
Information contribute help us understand the changing identity
∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ‚ÔËıÔ‡Ó Ó·
of the city. If we accept that the change of the urban identity is
ηٷÓÔ‹ÛÔ˘Ì ÙȘ ·ÏÏ·Á¤˜ ÛÙËÓ Ù·˘ÙfiÙËÙ· ÌÈ·˜ fiÏ˘. ∞Ó ‰Â¯ÙÔ‡-
due to the combination of geographic changes as well as
Ì fiÙÈ Ë ·ÏÏ·Á‹ ÛÙËÓ ·ÛÙÈ΋ Ù·˘ÙfiÙËÙ· ·ÔÙÂÏ› Û˘Ó¿ÚıÚˆÛË Áˆ-
changes in attitude, these photographs will represent mainly
ÁÚ·ÊÈÎÒÓ ÌÂÙ·‚ÔÏÒÓ Î·È ÌÂÙ·‚ÔÏÒÓ Ù˘ ÓÔÔÙÚÔ›·˜, ÔÈ ÊˆÙÔÁÚ·-
the former. As far as attitudes are concerned, the elder readers
ʛ˜ Ì·˜ ı· ‰Â›ÍÔ˘Ó Î˘Ú›ˆ˜ ÙȘ ÚÒÙ˜. ™Â fi,ÙÈ ·ÊÔÚ¿ ÙȘ ÓÔÔÙÚÔ-
have a personal experience. They just have to avoid the trap of
›Â˜, Ô ·Ï·ÈfiÙÂÚÔ˜ ·Ó·ÁÓÒÛÙ˘ ‰È·ı¤ÙÂÈ ÚÔÛˆÈο ‚ÈÒÌ·Ù·. ¶Ú¤-
nostalgia. The younger readers – through the micro-historic
ÂÈ ·ÏÒ˜ Ó· ·ÔʇÁÂÈ ÙȘ ·Á›‰Â˜ Ù˘ ÓÔÛÙ·ÏÁ›·˜. √ ÓÂfiÙÂÚÔ˜
observations – will get an idea of the changes in attitudes and
k 14
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
I N T R O D U C T I O N
·Ó·ÁÓÒÛÙ˘ ̤۷ ·fi ÙȘ ÌÈÎÚÔ˚ÛÙÔÚÈΤ˜ ·Ú·ÙËÚ‹ÛÂȘ ı· ˘Ô„È·-
behaviours. They will see that – not long ago – there were pines
ÛÙ› ÙȘ ÌÂÙ·‚ÔϤ˜ ÛÙȘ ÓÔÔÙÚԛ˜ Î·È ÙȘ Û˘ÌÂÚÈÊÔÚ¤˜. £· ‰ÂÈ
on both sides of Egnatia Street and people were walking – not
ˆ˜ –fi¯È ÚÈÓ Ôχ ηÈÚfi- ˘‹Ú¯·Ó ‡η ¿Óˆ ÛÙËÓ ∂ÁÓ·Ù›· ηÈ
running – talking to each other and looking around them; they
ÔÈ ¿ÓıÚˆÔÈ ÂÚ·ÙÔ‡Û·Ó ¯ˆÚ›˜ Ó· ÙÚ¤¯Ô˘Ó, ÌÈÏÒÓÙ·˜ Î·È ÎÔÈÙ¿˙Ô-
will see familiar streets, yet they will recognize them through
ÓÙ·˜ Á‡Úˆ ÙÔ˘˜. £· ‰ÂÈ ‰ÚfiÌÔ˘˜ Ô˘ ı· ÙÔ˘˜ ·Ó·ÁÓˆÚ›ÛÂÈ, ·ÏÏ¿
an almost oneiric sense; they will see familiar – but at the same
̤۷ ·fi ÌÈ· ·›ÛıËÛË –ۯ‰fiÓ ÔÓÂÈÚÈ΋. £· ‰ÂÈ ÛÙÔȯ›· ÁÓˆÛÙ¿
time unperceivable – features.
Î·È Ù·˘ÙÔ¯ÚfiÓˆ˜ ·Î·Ù·ÓfiËÙ·.
There is a gap between historiography and the feeling created
À¿Ú¯ÂÈ ¤Ó· ÎÂÓfi ·Ó¿ÌÂÛ· ÛÙËÓ ÈÛÙÔÚÈÔÁÚ·Ê›· Î·È ÙËÓ ·›ÛıËÛË Ô˘
by the photographs. In order this gap to be bridged, the reader
·Ê‹ÓÔ˘Ó ÔÈ ÊˆÙÔÁڷʛ˜. °È· Ó· ηχ„ÂÈ ·˘Ùfi ÙÔ ÎÂÓfi, Ô ·Ó·ÁÓÒ-
will need more than his/ her perceptiveness; imagination will
ÛÙ˘ ‰ÂÓ ı· ¯ÚÂÈ·ÛÙ› ÌfiÓÔÓ ÙËÓ ·Ú·ÙËÚËÙÈÎfiÙËÙ¿ ÙÔ˘. £· Ú¤ÂÈ
also be necessary. This is exactly the charm of the visual
Ó· ÂÈÛÙÚ·Ù‡ÛÂÈ ÙË Ê·ÓÙ·Û›· ÙÔ˘. ∏ Ì·Á›· ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ
documents: they actually need imagination – rather than
Â›Ó·È ·ÎÚÈ‚Ò˜ ·˘Ù‹: fi¯È ÌfiÓÔÓ ‰ÂÓ ÂÍÔ‚ÂÏ›˙Ô˘Ó ÙËÓ Ê·ÓÙ·Û›·, ·ÏÏ¿
eliminate it; sometimes they even demand it.
ÙËÓ ÂÈ˙ËÙÔ‡Ó. ªÂÚÈΤ˜ ÊÔÚ¤˜, ÙËÓ ··ÈÙÔ‡Ó.
T H E S S A L O N I K I
15 k
Δ√
§πª∞¡π
ΔHE
PORT
ΔÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢ ·ÔÙÂÏ› ÙÔ ÙÌ‹Ì· Ù˘ fiÏ˘ Ì ÙË ÌÂÁ·-
The port of Thessaloniki constitutes the part of the city most
χÙÂÚË ‰È·¯ÚÔÓÈ΋ Û˘¯ÓfiÙËÙ· ÂÈηÛÙÈ΋˜ Î·È ÂȉÈÎÒ˜ ʈÙÔÁÚ·ÊÈ΋˜
frequently represented in visual and – more specifically –
·ÂÈÎfiÓÈÛ˘. ∏ ˘„ËÏ‹ Û˘¯ÓfiÙËÙ· ÂÚÌËÓ‡ÂÙ·È ·ÊÂÓfi˜ ·fi ÙË Û·ÁË-
photographic documents, throughout its history. This frequency
Ó¢ÙÈ΋ ·›ÛıËÛË Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÛÂ Ë fiÏË ÛÙÔÓ ÂÈÛΤÙË -fiÙ·Ó
is due, on the one hand, to the fascination that the city exerted
¤ÊÙ·Ó ·fi ÙË ı¿Ï·ÛÛ·- ·ÊÂÙ¤ÚÔ˘ ·fi ÙȘ ÌÂÁ¿Ï˜ ÌÂÙ·ÌÔÚÊÒÛÂȘ
to the visitor – arriving from the sea – and on the other, to the
Ô˘ ÁÓÒÚÈÛ ÙÔ ›‰ÈÔ ÙÔ ÏÈÌ¿ÓÈ Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô ·fi ÙÔ 1870 ̤¯ÚÈ Î·È
great transformations that the same port experienced from 1870
ÙȘ ̤Ú˜ Ì·˜. ∏ ·ÏÏËÏÔ˘¯›· Ù¯ÓÈÎÒÓ ¤ÚÁˆÓ ÚÔÛ‰›‰ÂÈ ÛÙȘ ÏÈÌÂÓÈΤ˜
up to nowadays. The sequence of the technical works lends to
ÂÁηٷÛÙ¿ÛÂȘ ·˘ÙÔÙÂϤ˜ ʈÙÔÁÚ·ÊÈÎfi ÂӉȷʤÚÔÓ.
the port facilities an individual interest for the photographer.
¶ÚÈÓ ·fi ÙÔ 1870 ÙÔ ÏÈÌ¿ÓÈ ‹Ù·Ó Ê˘ÛÈÎfi. ™ÙȘ ˘ÔÙ˘Ò‰ÂȘ ÂÁηٷ-
Before 1870, the port had been natural. To the substandard
ÛÙ¿ÛÂȘ Ô˘ ÔÈÎÔ‰ÔÌ‹ıËÎ·Ó ÙÔ 1870, ÚÔÛÙ¤ıËÎ·Ó ÙÔ 1900 ‰‡Ô
facilities constructed in 1870, two wharfs were added as well as
ÚÔ‚Ï‹Ù˜ Î·È ÙÔ ÎÂÓÙÚÈÎfi ÎÚË›‰ˆÌ· - Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜-
the central seawall – by alluviation of the sea – along with other
ηıÒ˜ Î·È ¿ÏϘ ÂÁηٷÛÙ¿ÛÂȘ ̤¯ÚÈ ÙÔ 1910. ΔÔ 1944 ·Ô¯ˆÚÒ-
facilities, too, up to 1910. In 1944, on their withdrawal the Nazi
ÓÙ·˜ Ù· Ó·˙ÈÛÙÈο ÛÙÚ·Ù‡̷ٷ ·Ó·Ù›Ó·Í·Ó Ù· ÎÙ›ÚÈ· Î·È ˘ÔÓfiÌ¢-
army blew the buildings and sabotaged the seafloor. The main
Û·Ó ÙÔÓ ˘ı̤ӷ. ø˜ ÙÔ 1950 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÔÈ Î˘ÚÈfiÙÂÚ˜ ÂÈ-
repairs lasted until 1950, and there followed the full restoration
Û΢¤˜ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÍÂΛÓËÛÂ Ë Ï‹Ú˘ ·ÔηٿÛÙ·ÛË Î·È Â¤-
and expansion of the port.
ÎÙ·ÛË ÙÔ˘ ÏÈÌ·ÓÈÔ‡.
The relevant photographs chosen from the collection of the
√È ÂÈÏÂÁ̤Ó˜ Û˘Ó·Ê›˜ ·ÂÈÎÔÓ›ÛÂȘ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜
Secretariat General of Communication – Secretariat General of
°Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ÍÂÎÈ-
Information cover the period from the First World War to the year
ÓÔ‡Ó ·fi ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È ÊÙ¿ÓÔ˘Ó ˆ˜ ÙÔ 1970. √È
1970. The older shots add to the small scale history field, while
·Ï·ÈfiÙÂÚ˜ Ï‹„ÂȘ ÚÔÛı¤ÙÔ˘Ó ÛÙÔÓ ÙÔ̤· Ù˘ ÈÛÙÔÚ›·˜ ÌÈÎÚ‹˜ ÎÏ›-
the more recent ones are significant as far as the expansion and
̷η˜, ÂÓÒ ÔÈ ÌÂÙ·ÁÂÓ¤ÛÙÂÚ˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÈÛ¯˘ÚfiÙÂÚÔ ÂӉȷʤÚÔÓ
completion works on the port facilities are concerned.
ˆ˜ ÚÔ˜ ÙË ‰Ú·ÛÙËÚÈfiÙËÙ· ÁÈ· ÙËÓ Â¤ÎÙ·ÛË Î·È Û˘ÌÏ‹ÚˆÛË ÙˆÓ ÏÈÌÂÓÈÎÒÓ ÂÁηٷÛÙ¿ÛˆÓ.
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8
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ÕÙÈÙÏË
Without Title
°·ÏÏÈο ÏÔ›· ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, 1915
French ships in the port of Thessaloniki, 1915
™ÙȘ 23 ™ÂÙÂÌ‚Ú›Ô˘ 1915 ·fi Ù· Á·ÏÏÈο Î·È ·ÁÁÏÈο ÔÏÂÌÈο
On 23 September 1915, from the French and English war ships,
ÏÔ›·, Ô˘ ›¯·Ó ·Ú¯›ÛÂÈ Ó· Û˘ÁÎÂÓÙÚÒÓÔÓÙ·È ÛÙÔ ÏÈÌ¿ÓÈ ·fi ÙȘ 17
that had started swarming in the port since the 17th of the
ÙÔ˘ ›‰ÈÔ˘ Ì‹Ó·, ¿Ú¯ÈÛ·Ó Ó· ·Ô‚È‚¿˙ÔÓÙ·È ÛÙÚ·ÙÈÒÙ˜. ™ÎÔfi˜ Ù˘
same month, soldiers started disembarking. Their gathering in
·Ô‚›‚·Û˘ Î·È Ù˘ Û˘ÁΤÓÙÚˆÛ‹˜ ÙÔ˘˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó Ó·
Thessaloniki aimed to the deterioration of an eventual attack by
ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘Ó ·ÔÙÚÂÙÈο ÁÈ· ÂӉ¯fiÌÂÓË Â›ıÂÛË Ù˘ μÔ˘ÏÁ·-
Bulgaria and Serbia. In the same afternoon, one more conflict
Ú›·˜ ηٿ Ù˘ ™ÂÚ‚›·˜. ΔÔ ›‰ÈÔ ·fiÁÂ˘Ì· ›¯Â ÛËÌÂȈı› Ì›· ·ÎfiÌË
had taken place between the king Konstantinos the 1st and the
Û‡ÁÎÚÔ˘ÛË ÌÂٷ͇ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã Î·È ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ηÈ
Prime Minister Mr. Eleftherios Venizelos – the latter being
Ô ÙÂÏÂ˘Ù·›Ô˜ ›¯Â ·Ú·ÈÙËı›.
released.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
T H E S S A L O N I K I
P O R T
8
35 k
9
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ÕÙÈÙÏË
Without Title
∞fi‚·ÛË Á·ÏÏÈÎÔ‡ ÈÈÎÔ‡ ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ì¿ÏÏÔÓ ÛÙË ‰Â‡ÙÂÚË ÚÔ‚Ï‹Ù· (™Â٤̂ÚÈÔ˜ ‹ √ÎÙÒ‚ÚÈÔ˜ 1915)
Disembarking of the French cavalry at the port of Thessaloniki, by all probability on the second wharf (September or October 1915)
Δ· Û˘ÌÌ·¯Èο ÛÙÚ·Ù‡̷ٷ ·Ú¤ÌÂÈÓ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ì¤¯ÚÈ ÙË Ï‹ÍË ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘. √ Û˘ÓÔÏÈÎfi˜ ·ÚÈıÌfi˜ ÙÔ˘˜
The allied armies remained in Thessaloniki until the First World
‰ÂÓ ¤¯ÂÈ ‰È·ÈÛÙˆı› ·Ú¿ ÌfiÓÔÓ Î·Ù¿ ÚÔÛ¤ÁÁÈÛË, ‹Ù·Ó fï˜
War was over. Their total number has only approximately been
·ÈÛıËÙ¿ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·fi ÙÔ ÌfiÓÈÌÔ ÏËı˘ÛÌfi Ù˘ fiÏ˘. ∏ ·ÚÔ˘-
established – yet they outnumbered the population settled in
Û›· ÙÔ˘˜ Û˘Ó‰¤ıËΠ̠ÏÔ˘ÙÈÛÌfi ÁÈ· ÔÚÈṲ̂ÓÔ˘˜ ÂÌfiÚÔ˘˜ ·ÏÏ¿
the city. Their presence was related to getting rich – for some
Î·È Ì ÛÙÂÓfiÙËÙ· ÙÚÔÊ›ÌˆÓ ÁÈ· ÙËÓ ÏÂÈÔÓfiÙËÙ· ÙÔ˘ ÏËı˘ÛÌÔ‡. Ÿ¯È
merchants – but also to lack of food for the greatest part of the
ÌfiÓÔ Ù· ‚·ÛÈο ÙÚfiÊÈÌ· ‰›ÓÔÓÙ·Ó Ì ‰ÂÏÙ›Ô, ·ÏÏ¿ ÙÔ 1917 ÌfiÓÔÓ ÛÂ
population. Not only the essential provisions were offered on
ÈÛÙÔÔÈË̤ÓÔ˘˜ ·ÛıÂÓ›˜ ·Ú¤¯ÔÓÙ·Ó Ì·Î·ÚfiÓÈ·.
coupons, but in 1917 only those certified as patients were provided with spaghetti.
k 36
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k 38
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ÕÙÈÙÏË
Without Title
∏ Û˘ÌÌ·¯È΋ ¤‰Ú· ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜, 1915
The headquarters of the allies at Salaminos Street, 1915
°¿ÏÏÔÈ ÛÙÚ·ÙÈÒÙ˜ ÌÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ Û˘ÌÌ·¯È΋˜ ÛÙÚ·ÙȈÙÈ΋˜
French soldiers in front of the building of the allied military
‰ÈÔ›ÎËÛ˘, ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜. ∏ ÛÎËÓ‹ ‹Ù·Ó Û˘Ó‹ı˘ ÛÙ· Ù¤ÏË
commandership, at Salaminos Street. Such scenes were
ÙÔ˘ 1915 Î·È ÙÔ 1916. ∏ Ô‰fi˜ ™·Ï·Ì›ÓÔ˜, Ô˘ ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ
common at late 1915 and in 1916. Salaminos Street – which had
ÙÌ‹Ì· ›¯Â ‰È·Ï·Ù˘Óı›, Ô‰ËÁÔ‡Û ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, Ô˘
been widened at that part – led to the customs building, which
ÛÙȘ ̤Ú˜ Ì·˜ ÏÂÈÙÔ˘ÚÁ› ˆ˜ ÂÈ‚·ÙÈÎfi˜ ÛÙ·ıÌfi˜.
nowadays operates as the passenger station.
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k 40
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√‰fi˜ ™·Ï·Ì›ÓÔ˜
Salaminos Street
√‰fi˜ ™·Ï·Ì›ÓÔ˜, 1915
Salaminos Street, 1915
∏ ›‰È· ÂÚÈÔ¯‹ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·. ∂ÈÎÔÓ›˙ÂÙ·È, ÙËÓ
The same area as in the previous photo. Here, during the same
›‰È· ÂÔ¯‹ ÙÔ ÚÔ˜ ‚ÔÚÚ¿ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ ™·Ï·Ì›ÓÔ˜. ∏ ·ÚÔ˘Û›·
period, the northern part of Salaminos Street is presented. The
ÙˆÓ Û˘ÌÌ·¯ÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Û˘Ó‰¤ıËΠ̠ÙËÓ Î˘ÎÏÔÊÔÚ›· ·˘-
absence of allied armies was related to the circulation of the –
ÙÔÎÈÓ‹ÙˆÓ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, Ë ÔÔ›· ‰È¤ıÂÙ ÂÏ¿¯ÈÛÙ·.
very few – cars that existed at that time in Thessaloniki.
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
The fire of Thessaloniki 5.8.1917
¶˘ÚηÁÈ¿ ÛÙÔ ÏÈÌ¿ÓÈ
Fire at the port
∏ ˘ÚηÁÈ¿ Ù˘ 5˘ Î·È 6˘ ∞˘ÁÔ‡ÛÙÔ˘ 1918 ·ÔÙ¤ÏÂÛ -ÏfiÁˆ Ù˘
The fire of the 5th and 6th August 1917 constitutes – because
¤ÎÙ·Û˘ ÙˆÓ Î·Ù·ÛÙÚÔÊÒÓ Ù˘- ÔÚfiÛËÌÔ ÛÙËÓ Û‡Á¯ÚÔÓË ÈÛÙÔÚ›·
of the extent of the damages caused – a landmark in the
Ù˘ £ÂÛÛ·ÏÔӛ΢. ŒıÈÍÂ, fï˜, ÙÔ ÏÈÌ¿ÓÈ ÏÈÁfiÙÂÚÔ ·fi ¿ÏÏ· ÛËÌ›·
contemporary history of Thessaloniki. Yet, this fire harmed the
Ù˘ fiÏ˘. ™ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· Á¿ÏÏÔÈ Ó·˘ÙÈÎÔ› ηÈ
port less than other parts of the city. On this photograph,
ÛÙÚ·ÙÈÒÙ˜ ÂÚÈÂÚÁ¿˙ÔÓÙ·È fi,ÙÈ ¿ÊËÛÂ Ë ÊˆÙÈ¿ ÌÚÔÛÙ¿ ÛÙȘ ·Ô-
French sailors and soldiers peer at the remains of fire in front of
ı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔӛ΢, ÛÙÔ ÏÈÌ¿ÓÈ. √ ÙfiÔ˜ ‹Ù·Ó ·ÚÎÂ-
the storehouses of the Bank of Thessaloniki. The site was
Ù¿ ¢ڇ¯ˆÚÔ˜, ·Ó Ï¿‚Ô˘Ì ˘fi„Ë fiÙÈ ÂΛ ÂͤıÂÛ·Ó ÔÈ °¿ÏÏÔÈ ÁÂÚ-
spacious enough, taking under consideration that the French
Ì·ÓÈÎfi ·ÂÚÔÏ¿ÓÔ Ô˘ ›¯Â ¤ÛÂÈ ÛÙ· ¯¤ÚÈ· ÙÔ˘˜.
exhibited there a German airplane that had played into their hands.
k 42
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
The fire of Thessaloniki 5.8.1917
ªÈ· ·Ú¿ÍÂÓË ¯ÚÔÓÈ΋ ˘ÛÙ¤ÚËÛË
A strange time lag One more shot in front of the storehouses of the Bank of
ª›· ·ÎfiÌË Ï‹„Ë ÌÚÔÛÙ¿ ÛÙȘ ·Ôı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔ-
Thessaloniki. Judging from the winter-weight outfit of the
ӛ΢. ∞Ó ÎÚ›ÓÔ˘Ì ·fi ÙË ¯ÂÈÌÂÚÈÓ‹ ÂÓ‰˘Ì·Û›· ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂ-
sailors and soldiers represented, the shot was taken many
ÓˆÓ Ó·˘ÙÈÎÒÓ Î·È ÛÙÚ·ÙȈÙÈÎÒÓ, Ë Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËΠ·ÚÎÂ-
months after the August fire. It is probably a demolition squad.
ÙÔ‡˜ Ì‹Ó˜ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ ∞˘ÁÔ‡ÛÙÔ˘. ¶Èı·ÓÒ˜ ÚfiÎÂÈÙ·È
The metal sign "Ethniki" (i.e. National) probably signifies the
ÁÈ· Û˘ÓÂÚÁÂ›Ô Î·Ù‰¿ÊÈÛ˘. ∏ ÌÂÙ·ÏÏÈ΋ ÈӷΛ‰· «∂ıÓÈ΋» ˘Ô‰Ë-
insurance company. Since 1908, the Bank of Thessaloniki was
ÏÒÓÂÈ ›Ûˆ˜ ÙËÓ ·ÛÊ·ÏÈÛÙÈ΋ ÂÙ·ÈÚ›·. ∞fi ÙÔ 1908 Ë ΔÚ¿Â˙· £ÂÛ-
based in Constantinople. Its branch in Thessaloniki operated
Û·ÏÔӛ΢ ›¯Â ¤‰Ú· ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ΔÔ ˘ÔηٿÛÙËÌ¿ Ù˘
until about 1950.
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÏÂÈÙÔ‡ÚÁËÛ ̤¯ÚÈ ÙÔ 1950 ÂÚ›Ô˘.
k 44
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k 46
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ÕÙÈÙÏË
Without Title
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, ÂÚ›Ô˘ 1948-1950
The building of the customs, at about 1948-1950
ΔÔ ÙÂψÓÂ›Ô (ÎÙ›ÛÌ· ÙÔ˘ 1910) ‹Ù·Ó ηÙÂÛÙÚ·Ì̤ÓÔ «Î·Ù¿ ÙÔ ‹ÌÈ-
The customs (a building of 1910) was "half" destroyed after the
Û˘» ÌÂÙ¿ ÙËÓ ·Ô¯ÒÚËÛË ÙˆÓ Ó·˙ÈÛÙÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ ·fi ÙË
withdrawal of the Nazi army from Thessaloniki (30.10.1944).
£ÂÛÛ·ÏÔÓ›ÎË (30.10.1944). ™‡Ìʈӷ Ì ›ÛËÌË ¤ÎıÂÛË Ù˘ ÂÔ-
According to a contemporary official statement, 80% of the
¯‹˜, ÙÔ 80% ÙˆÓ ÂÁηٷÛÙ¿ÛÂˆÓ ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ηٷÛÙÚ¿ÊËηÓ
port facilities were destroyed during the German Occupation. In
ηٿ ÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ΔÔÓ πÔ‡ÓÈÔ ÙÔ˘ 1948 ÔÏÔÎÏËÚÒıË-
June 1948, the construction of the seawall in front of the
ÎÂ Ë Î·Ù·Û΢‹ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ÌÚÔÛÙ¿ ÛÙÔ ÙÂψÓ›Ô. ΔÔ ›‰ÈÔ ÙÔ
customs was completed. The customs itself was restored by
ÙÂψÓÂ›Ô ÂȉÈÔÚıÒıËΠ̤¯ÚÈ Ù· Ù¤ÏË ÙÔ˘ 1950.
the end of 1950.
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ÕÙÈÙÏË
Without Title
§ÈÌ¿ÓÈ £ÂÛÛ·ÏÔӛ΢, Á‡Úˆ ÛÙ· 1970
The port of Thessaloniki, about 1970
∞fi ‰ÂÍÈ¿ ÚÔ˜ Ù· ·ÚÈÛÙÂÚ¿: Ë ÙÚ›ÙË, Ë Ù¤Ù·ÚÙË Î·È Ë Î·Ù·Û΢·˙fi-
From right to left: the third, the fourth and the – under
ÌÂÓË ¤ÌÙË ÚÔ‚Ï‹Ù·. ªÚÔÛÙ¿ ·ÏÒÓÂÙ·È Ô Î˘Ì·ÙÔıÚ·‡ÛÙ˘. ∏
construction – fifth wharf. In the foreground, there is the
ÙÚ›ÙË ÚÔ‚Ï‹Ù· ÔÈÎÔ‰ÔÌ‹ıËΠ·fi ÙÔ ‚ÚÂÙ·ÓÈÎfi Ù¿ÁÌ· Ì˯·ÓÈÎÔ‡
breakwater. The third wharf was constructed by the British
Lancashire ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ Î·È ·Ï·ÈfiÙÂÚ· ·ÔηÏÔ‡ÓÙ·Ó Ì ÙÔ
Battalion of Corps of Engineers – Lancashire – after the war
fiÓÔÌ· ÙÔ˘ Ù¿ÁÌ·ÙÔ˜. ∏ ٤ٷÚÙË ÚÔ‚Ï‹Ù· ۯ‰ȿÛÙËΠÙÔ 1960 ηÈ
and was previously named after this Battalion. The fourth wharf
ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÂÁ¿ÏÔ ÛÈÏfi. ΔÔ 1975 ÍÂΛÓËÛÂ Ë ‰È·‰Èηۛ· ÁÈ· ÙËÓ
was engineered in 1960 and includes a big silo. In 1975, the
ηٷÛ΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜, ·ÊÔ‡ ÛÙÔ ÌÂٷ͇ ›¯Â ÔÏÔÎÏËÚˆ-
construction of the sixth wharf was streamlined, since in the
ı› Ë Ù¤Ù·ÚÙË Î·È Â›¯Â ηٷÛ΢·ÛÙ› Ë ¤ÌÙË.
meanwhile the fourth one had already been completed and the fifth had been constructed, as well.
k 48
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New break water
The new breakwater
∫˘Ì·ÙÔıÚ·‡ÛÙ˘, ÂÚ›Ô˘ 1945-1948
Breakwater, about 1945-1948 The new breakwater, 650 meters long, completed the old one
√ Ó¤Ô˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘, Ì‹ÎÔ˘˜ 650 ̤ÙÚˆÓ, Û˘ÌÏ‹ÚˆÛ ÙÔÓ
(550 meter long). It was constructed by the Battalion of the
·Ï·Èfi (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ). ∫·Ù·Û΢¿ÛÙËΠ·fi ÙÔ Ù¿ÁÌ· Ì˯·-
Lancashire Corps of Engineers during 1945 – 1948.
ÓÈÎÔ‡ ÙÔ˘ Lancashire ÛÙËÓ ÂÚ›Ô‰Ô 1945-1948.
k 50
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51 k
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k 52
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∏ Ù¯ÓËÙ‹ ÓËÛ›˜ ÂÓÙfi˜ ÙÔ˘ ∫fiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ÂȘ ·fiÛÙ·ÛÈÓ 800 ̤ÙÚˆÓ ·fi Ù˘ ·ÎÙ‹˜ Î·È ÂȘ ‚¿ıÔ˜ ı·Ï¿ÛÛ˘ 12 ̤ÙÚˆÓ. ∂Ș Ù·‡ÙËÓ ı· ÂÎÊÔÚÙÒÓÔ˘Ó Î·È ı· ÊÔÚÙÒÓÔ˘Ó ÏÔ›· ̤¯ÚÈ Î·È 17.000 ÙfiÓˆÓ
The artificial island in the Gulf of Thessaloniki, some 800 meters off the coast and at a 12-meter deep sea. There, ships up to 17.000 tons are to be loaded and unloaded
∏ ¿ÁÓˆÛÙË «ÓËÛ›‰·»
The unknown «island»
∏ ·Ó·ÊÂÚfiÌÂÓË «ÓËÛ›‰·», Ô˘ Ë Î·Ù·Û΢‹ Ù˘ ÙÔÔıÂÙÂ›Ù·È ÛÙ·
This "island", the construction of which is set in late 1950s, is
Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950, ‰ÂÓ Â›Ó·È ÁÓˆÛÙ‹ ·fi ¿ÏÏË ËÁ‹. ∏
not acknowledged by any other source. The need for the
·Ó¿ÁÎË Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ Ù˘ ÚÔÂÚ¯fiÙ·Ó ÚÔÊ·ÓÒ˜ ·fi ÙËÓ ¤ÏÏÂÈ-
construction of such an "island’ was obviously due to the lack of
„Ë Î·Ù¿ÏÏËÏˆÓ ÎÚËȉˆÌ¿ÙˆÓ. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ÛÙÔ ¿ÎÚÔ Ù˘ ٤ٷÚ-
appropriate seawalls. Since at the end of the fourth wharf the
Ù˘ ÚÔ‚Ï‹Ù·˜ ÙÔ ‚¿ıÔ˜ ·Ó¤Ú¯ÂÙ·È Û 12 ̤ÙÚ· Î·È fiÙÈ Ë ÚÔ‚Ï‹Ù·
depth was 12 meters and this wharf had started being
·˘Ù‹ ›¯Â ·Ú¯›ÛÂÈ Ó· ηٷÛ΢¿˙ÂÙ·È ÙÔ 1960 (Û ̋ÎÔ˜ 130
constructed in 1960 (130 meters in length), the "artificial island"
̤ÙÚˆÓ), Ë «Ù¯ÓËÙ‹ ÓËÛ›˜» (Ô˘ ›¯Â ·˘Ù¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο) ı·
(which shared these very characteristics) might have been the
ÌÔÚÔ‡Û ӷ ‹Ù·Ó Úfi‰ÚÔÌË ÌÔÚÊ‹ Ù˘ ÚÔ‚Ï‹Ù·˜.
forerunner of this wharf.
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ÕÙÈÙÏË
Without Title
ΔÔ ÏÈÌ¿ÓÈ Î·È Ë ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ‚ÔÚÂÈÔ‰˘ÙÈ΋ ηÙ‡ı˘ÓÛË, Á‡Úˆ ÛÙ· 1970
The port and the waterfront of Thessaloniki, northwestwards, about 1970 In the foreground, the fourth wharf with the silo. On its left,
™Â ÚÒÙÔ Ï¿ÓÔ Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· Ì ÙÔ ÛÈÏfi. ™Ù· ·ÚÈÛÙÂÚ¿ Ù˘ Ë
there is the third wharf (Lancashire). The formerly unbuilt plots
ÙÚ›ÙË ÚÔ‚Ï‹Ù· (Lancashire). Δ· ÎÂÓ¿ ÔÈÎfi‰· Ù˘ Ï·Ù›·˜ ∞ÚÈ-
of Aristotelous Square have now been built, as well as the old
ÛÙÔÙ¤ÏÔ˘˜ ¤¯Ô˘Ó ·ÓÔÈÎÔ‰ÔÌËı›, fiˆ˜ Î·È Ù· ·Ï·È¿ ‰ÈÒÚÔÊ· ÎÙ›-
two-storey buildings on the corniche towards the White Tower.
ÛÌ·Ù· › Ù˘ ·Ú·Ïȷ΋˜ Ô‰Ô‡ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ.
k 54
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ÕÙÈÙÏË
Without Title
ΔÔ ÎÚË›‰ˆÌ· Á‡Úˆ ·fi ÙËÓ ÚÔ‚Ï‹Ù· Lancashire, ÂÚ› ÙÔ 1970
The seawall around the Lancashire wharf, around 1970 Along the seawall, a railway has been constructed, over which
∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ¤¯ÂÈ ÙÔÔıÂÙËı› ÛȉËÚÔ‰ÚÔÌÈ΋
the crane moves. On the left end, there is the customs building.
ÁÚ·ÌÌ‹, ¿Óˆ ÛÙËÓ ÔÔ›· ÎÈÓÂ›Ù·È Ô ÁÂÚ·Ófi˜. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ.
k 56
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ÕÙÈÙÏË
Without Title
¶ÏÔ›· ¯ˆÚ›˜ ÎÚËȉÒÌ·Ù·
Ships without seawalls
∏ ηٷÛ΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜ ·ÔÙ¤ÏÂÛ ‰È·¯ÚÔÓÈÎfi ÛÙfi¯Ô,
The construction of the sixth wharf was actually a long-term
ÒÛÙ ӷ ÌË ‰ËÌÈÔ˘ÚÁÂ›Ù·È Û˘ÌÊfiÚËÛË ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢,
project, so as not to cause traffic at the port of Thessaloniki –
ÚÒÙÔ ·fi ¿Ô„Ë ÂÍ·ÁˆÁÈÎÔ‡ fiÁÎÔ˘ ÛÙËÓ ∂ÏÏ¿‰·.
the first port of Greece as far as the volume of exports is concerned.
k 58
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59 k
¶∞ƒ∞§π∞ ΔHE
WATERFRONT
™ÙË ıÂÌ·ÙÈ΋ ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ë ·Ú·Ï›·
Among the themes of the visual documents concerning
·ÔÙÂÏ› ı¤Ì· ÓÂfiÙÂÚÔ ·fi ÙÔ ÏÈÌ¿ÓÈ ‰ÈfiÙÈ Û˘ÓÈÛÙ¿ Î·È Û¯ÂÙÈο Úfi-
Thessaloniki, the waterfront constitutes a more recent theme
ÛÊ·ÙÔ ÛÙÔÈ¯Â›Ô Ù˘ fiÏ˘. ª¤¯ÚÈ ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1870
than the port, since it is actually one of the recent features of the
‰ÂÓ ˘‹Ú¯Â ·Ú·Ï›·. ™ÙË ı¤ÛË Ù˘ ÛËÌÂÚÈÓ‹˜ Ô‰Ô‡ ¶ÚÔͤÓÔ˘ ∫ÔÚÔ-
city. Until the early 1870s there was no waterfront at all. On the
ÌËÏ¿ ˘„ˆÓfiÙ·Ó ·Ì˘ÓÙÈÎfi ı·Ï¿ÛÛÈÔ Ù›¯Ô˜. ΔÔ Ù›¯Ô˜ ÂΛÓÔ Î·Ù‰·-
site where nowadays Proxenou Koromila Street lies, a defensive
Ê›ÛÙËÎÂ Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜ ‰Âο‰Â˜ Ó¤·
sea wall was erected. That wall was demolished and – after the
ÔÈÎfi‰· Î·È ÌÈ· ÚÔÎ˘Ì·›·, Ì‹ÎÔ˘˜ 1.100 ̤ÙÚˆÓ, ·fi ÙÔ ÏÈÌ¿ÓÈ ˆ˜
alluviation of the sea – many new plots and a quay, 1.100 meters
ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ ÛÙÂÓfiÙÂÚË ·fi ÙË ÛËÌÂÚÈÓ‹. ™ÙËÓ ÂÚ›Ô‰Ô 1903-
long – from the port to the White Tower – narrower than the
1907 Ú·ÁÌ·ÙÔÔÈ‹ıËΠ‰È·Ï¿Ù˘ÓÛË Ù˘ ÚÔÎ˘Ì·›·˜ ηٿ ÔÎÙÒ
present one – were created. During 1903 – 1907, the quay was
̤ÙÚ·, Ì ·ÚÈÔ ÛÎÔfi ÙËÓ ÂÓ›Û¯˘ÛË Ù˘ ÛÙÂÚÂfiÙËÙ¿˜ Ù˘.
widened eight meters further, aiming mainly to the support of its
ΔËÓ ›‰È· ÂÚ›Ô‰Ô ÔÈ ÂÚÈÛÛfiÙÂÚ˜ Úfi¯ÂÈÚ˜ ÎÙÈÚȷΤ˜ ηٷÛ΢¤˜ Ù˘
stability underneath.
·Ú·Ï›·˜ ·Ú·¯ÒÚËÛ·Ó ÙË ı¤ÛË ÙÔ˘˜ Û ‰ÈÒÚÔÊ· ‹ ÙÚÈÒÚÔÊ· ÎÙ›ÚÈ·.
During the same period, most of the temporary constructions at
∏ ˘ÚηÁÈ¿ ÙÔ˘ 1917 η٤ÛÙÚ„ ٷ ÂÚÈÛÛfiÙÂÚ· ·fi ·˘Ù¿. ∞fi ÙÔ
the corniche were replaced by two- or three-storey buildings.
1920 ̤¯ÚÈ ÙÔ 1970, ÂÚ›Ô˘, Ù· ·Ú·Ïȷο ÔÈÎfi‰· ÎÙ›ÛıËηÓ
The fire of 1917 destroyed most of them. From 1920 to about
¿ÏϘ ‰‡Ô ÊÔÚ¤˜: ΔËÓ ÚÒÙË, Ì ÙÚÈÒÚÔÊ· ‹ ÙÂÙÚ·ÒÚÔÊ· ÎÙ›ÚÈ·. ΔË
1970, the coastal plots were built twice: the first time with three-
‰Â‡ÙÂÚË, Ì ÔÎÙ·fiÚÔʘ ÔÈÎÔ‰Ô̤˜.
or four-storey buildings; and the second one with eight-storey
√È 16 ʈÙÔÁڷʛ˜ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈ-
blocks of flats.
ÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó, ÂÓÙÔ›-
The 16 photographs, from the collection of the Secretariat
˙Ô˘Ó ÙȘ ÌÂÙ·‚ÔϤ˜ ÙÔ˘ ¯ÒÚÔ˘, ȉȷ›ÙÂÚ· ÛÙËÓ ÂӉȷʤÚÔ˘Û· ÂÚ›Ô‰Ô
General of Communication – Secretariat General of Information,
1950-1970. √È ÂÚÈÛÛfiÙÂÚ˜ ‹Ù·Ó ˆ˜ ÙÒÚ· ·Ó¤Î‰ÔÙ˜.
that follow, trace back the changes through time, especially during the very interesting period of 1950 – 1970. Most of them have been unpublished up to now.
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Without Title
¶·Ú·Ï›·, Ù¤ÏÔ˜ 19Ô˘ ·ÈÒÓ·
Waterfront, late 19th century
ΔÌ‹Ì· ·ÚıÚˆÙ‹˜ ʈÙÔÁÚ·Ê›·˜, Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÙËÓ ·Ï·È¿ ·Ú·-
Part of an unfolding photograph, representing the old
Ï›· ·Ó¿ÌÂÛ· ÛÙȘ (ÛËÌÂÚÈÓ¤˜) Ô‰Ô‡˜ ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘ (‰ÂÍÈ¿)
waterfront between the (contemporary) Chrysostomou
Î·È ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê (·ÚÈÛÙÂÚ¿). √È Â›ÛË̘ ÔÓÔ̷ۛ˜ ÙˆÓ
Smyrnis Street (on the right) and Mitropolitou Iosif Street (on
‰ÚfiÌˆÓ ·˘ÙÒÓ ÛÙËÓ ÙÔ˘ÚÎÈ΋ ‹Ù·Ó Ô‰fi˜ §Ô¯›· ∂ÓÙ¤Ì Î·È Ô‰fi˜
the left). The official names of these streets in the Turkish
¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘. ∏ ·Ú·Ï›· ›¯Â ÙÔ fiÓÔÌ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡Ú-
language were Lochia (i.e. Sergeant) Edem Street and Paleou
ÁÔ˘ (ªÂÁÈ¿˙ ∫Ô˘Ï¤). √È ¤ÏÏËÓ˜ ÙËÓ ÔÓfiÌ·˙·Ó ·ÏÒ˜ «ÚÔ΢-
Alogopazarou (i.e. Old Horseshow) Street, respectively. The
Ì·›·».
waterfront bared the name of the White Tower (Beyaz Koule).
∏ Ï‹„Ë ¯ÚËÛÈÌÔÔÈ‹ıËΠ۠ÌÂÙ·ÁÂÓ¤ÛÙÂÚË Î·ÚÙÔÛÙ¿Ï Î·È ‰ÂÓ
The Greeks called it just "quay".
¤¯ÂÈ Ô˘ÛÈ·ÛÙÈΤ˜ ‰È·ÊÔÚ¤˜ ·fi ÁÓˆÛÙ¤˜ ʈÙÔÁÚ·Ê‹ÛÂȘ, ¯ÚÔÓÔÏÔ-
This shot was used in a posterior postcard and presents no
ÁË̤Ó˜ ÛÙËÓ ÂÚ›Ô‰Ô 1893-1902. Δ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÛÌ·Ù· ÙÔ˘
significant differences than other known shots dated during
1870 ›¯·Ó ·ÓÙÈηٷÛÙ·ı› ̤¯ÚÈ ÙÔ 1917.
1893 – 1902. The buildings represented – dated back in 1870 – had been replaced until 1917.
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Without Title
§ÂˆÊfiÚÔ˜ ¡›Î˘, 1915 ‹ 1916
Nikis Avenue, 1915 or 1916
§‹„Ë ·fi Ù· ·Ó·ÙÔÏÈο ÂÚ›Ô˘ ÛÙÔ ‡„Ô˜ Ù˘ (ÛËÌÂÚÈÓ‹˜) Ô‰Ô‡
A shot from the east, at about the level of the (contemporary)
∫·ÏÏ¿ÚË. ∞fi ÙËÓ Î·Ù·Û΢‹ Ù˘ Î·È Ì¤¯ÚÈ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950,
Kallari Street. Ever since its construction, and until the 1950s,
ÛÙËÓ ÚÔÎ˘Ì·›· ¿Ú·˙·Ó Ù· ÈÛÙÈÔÊfiÚ· Ô˘ ÚÔÌ‹ı¢·Ó ÙË £ÂÛÛ·-
the sailboats that supplied Thessaloniki with food from the
ÏÔÓ›ÎË Ì ÙÚfiÊÈÌ· ·fi ÙȘ Á‡Úˆ ÂÚÈÔ¯¤˜ Î·È Ù· ÓËÛÈ¿ ÙÔ˘ μÔÚ›Ԣ
surrounding areas and the islands of the Northern Aegean Sea
∞ÈÁ·›Ô˘. ∂›Û˘, ·fi ÙËÓ ·Ú·Ï›· ÂÚÓÔ‡Û ÙÔ ÙÚ·Ì ·fi ÙÔ 1893
docked at the quay. In addition, the tram passed along the
̤¯ÚÈ ÙÔ 1926. ΔÔ 1916 ‰›Ï· ÛÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ù· Û˘Ì-
waterfront from 1893 to 1926. In 1916, by the tram way, the
Ì·¯Èο ÛÙÚ·Ù‡̷ٷ ÂÁη٤ÛÙËÛ·Ó Î·È ÌÈ· ÛȉËÚÔ‰ÚÔÌÈ΋, Ô˘
allied armies constructed a railway as well, which connected
Ô‰ËÁÔ‡Û ·fi ÙÔ ÏÈÌ¿ÓÈ ÛÙË ª›ÎÚ· (ÂÚ›Ô˘ 15 ¯ÈÏÈfiÌÂÙÚ·).
the port with Mikra (about 15 kilometres long).
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∫·ÚÙÔÛÙ¿Ï 1915 ‹ 1916
Postcard, 1915 or 1916
∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜». √ÈÎÔ‰ÔÌ‹ıËΠÙÔ
The Hotel "Splendid Palace" is represented. It was built in 1908,
1908, ÛÙÔ ¯ÒÚÔ fiÔ˘ ÚÔËÁÔ˘Ì¤Óˆ˜ ‚ÚÈÛÎfiÙ·Ó Ë «Ó¤· ȯı˘·ÁÔ-
on the site of the previous "new fish market", and was burnt in
Ú¿», Î·È Î¿ËΠÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. ™ÙË ı¤ÛË ÙÔ˘ ·ÓÂÁ¤ÚıËÎÂ
the fire of 1917. In its place in 1925 the hotel "Mediterranee"
ÙÔ 1925 ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «ªÂÓÙÈÙÂÚ·Ó¤». ™‡Ìʈӷ Ì ‰È·Ê‹ÌÈÛË Ô˘
was erected. According to an advertisement published on its
‰ËÌÔÛȇÙËΠfiÙ·Ó ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›, ‰È¤ıÂÙ «ΔÂÛÛ·Ú¿ÎÔÓÙ·
opening, it had "Forty rooms, a reading room, a piano and a
‰ˆÌ¿ÙÈ·, ·Ó·ÁÓˆÛÙ‹ÚÈÔÓ, ÎÏÂȉÔ·̂·ÏÔÓ Î·È ÏÔ˘ÙÚÒÓ·… ∂›Û˘
bathe… It also provided Table d’Ote in reasonable prices. Finally,
Û˘ÛÛ›ÙÈÔÓ (Table d’Ote) Ì ¢ÚfiÛÈÙÔ˘˜ ÙÈÌ¿˜. Δ¤ÏÔ˜ ¤¯ÂÈ ÙÔÓ ÚÒ-
it also features something unique for Thessaloniki: a room for
ÙÔÓ ‰È¿ ÙËÓ £ÂÛÛ·ÏÔÓ›ÎËÓ ÓˆÙÂÚÈÛÌfiÓ: ·›ıÔ˘Û·Ó ÂÓ Ë Û˘Ó¤Ú¯ÔÓÙ·È
the gathering and entertainment of families". Owner of this
·È ÔÈÎÔÁ¤ÓÂÈ·È ÚÔ˜ ¢¯¿ÚÈÛÙÔÓ Û˘Ó·Ó·ÛÙÚÔÊ‹Ó». π‰ÈÔÎÙ‹Ù˘ Ù˘
enterprise was Mr. Konstantinos Rompapas, who had also been
Âȯ›ÚËÛ˘ ‹Ù·Ó Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ƒÒÌ··˜, Ô ÔÔ›Ô˜ ˘‹ÚÍ ηÈ
the lessor of the White Tower garden. He had been the
ÂÎÌÈÛıˆÙ‹˜ ÙÔ˘ ΋Ԣ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ¢ÈÂÙ¤ÏÂÛ Úfi‰ÚÔ˜
Chairman of the Greek craft guilds (1916), a candidate Member
ÙˆÓ ÂÏÏËÓÈÎÒÓ Û˘ÓÙ¯ÓÈÒÓ (1916), ˘Ô„‹ÊÈÔ˜ ‚Ô˘ÏÂ˘Ù‹˜ (1915) ηÈ
of Parliament (1915) and a member of the Town Council (1917 –
̤ÏÔ˜ ÙÔ˘ ‰ËÌÔÙÈÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘ (1917-1920). ™ÙË ‰ÂηÂÙ›· ÙÔ˘
1920). During the 1930s he was a resident of Athens and a
1930 ‹Ù·Ó ϤÔÓ Î¿ÙÔÈÎÔ˜ ∞ıËÓÒÓ Î·È Û˘ÌÌÂÙ›¯Â ˆ˜ ̤ÙÔ¯Ô˜ ÛÂ
stockholder of a glove industry.
‚ÈÔÌ˯·Ó›· Á·ÓÙÔÔÈ›·˜.
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ÕÙÈÙÏË
Without Title
¶Ï·Ù›· ∂Ï¢ıÂÚ›·˜, 1916-1917
Eleftherias Square, 1916-1917
∏ Ï·Ù›· ∂Ï¢ıÂÚ›·˜ –Ô˘ÛÈ·ÛÙÈο ÙÔ ÓfiÙÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ μÂÓÈ˙¤-
Eleftherias Square – actually the southern part of Venizelou
ÏÔ˘ (ÙfiÙ ԉfi˜ ™·ÌÚ‹ ¶·Û¿) Î·È Ë Û˘Ì‚ÔÏ‹ Ù˘ Ì ÙËÓ ÚÔÎ˘Ì·›·-
Street (then Sabri Pasha Street) and the spot where it crossed
‰È·ÓÔ›¯ÙËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ¤Ï·‚ ÙËÓ ÔÓÔÌ·Û›· Ù˘ ÙÔ
with the quay – was opened in late 19th century and was
1908, ·fi ÙÔ Î›ÓËÌ· Ù˘ ∂Ï¢ıÂÚ›·˜ Î·È ¶ÚÔfi‰Ô˘ (ÙˆÓ ¡ÂfiÙÔ˘Ú-
named in 1908, after the Neoturks’ Eleftherias ke Proodou (i.e.
ΈÓ). ŒÙÛÈ, Â›Ó·È Ë ÌÔÓ·‰È΋ Ï·Ù›· Ù˘ £ÂÛÛ·ÏÔӛ΢ Ô˘ ‰È·ÙË-
Freedom and Progress) movement. Thus, it is the only square
Ú› ÙËÓ ›‰È· ÔÓÔÌ·Û›· › ¤Ó· ·ÈÒÓ·.
in Thessaloniki which maintains the same name for a whole
∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1916 (ÔfiÙ ÙÔÔıÂÙ‹ıËΠË
century now.
ÛȉËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ô˘ Û˘Ó¯›˙ÂÈ ÛÙÔ ÏÈÌ¿ÓÈ Î·È Â›Ó·È ‰È·ÊÔÚÂ-
The shot was taken after February 1916 (when the railway
ÙÈ΋ ·fi ÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ Ô˘ ·ÓËÊÔÚ›˙ÂÈ ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘),
leading to the port – other than the tram going up Venizelou
·ÏÏ¿ ÔˆÛ‰‹ÔÙ fi¯È ÚÈÓ ·fi ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1917, ÔfiÙ ηÈ
Street – was constructed), but surely not before August 1917,
Ù· ÂÚÈÛÛfiÙÂÚ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÚÈ· ηٷÛÙÚ¿ÊËÎ·Ó ·fi ÙËÓ ˘Ú-
when most of the buildings represented were destroyed by the
ηÁÈ¿.
fire.
√È ÂÓ‰˘Ì·Û›Â˜ ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ¯ÂÈ-
The outfits of the persons represented reveal that the shots
ÌÒÓ·. ÕÏψÛÙÂ, Ë Ì¤Ú· Ú¤ÂÈ Ó· ‹Ù·Ó „˘¯Ú‹, ‰È·ÊÔÚÂÙÈο Ë Ï·-
were taken in winter time. Anyway, the day must have been
Ù›· ı· ‹Ù·Ó ÁÂÌ¿ÙË ÙÚ·Â˙¿ÎÈ· ·fi Ù· ·Ú·Î›ÌÂÓ· ˙·¯·ÚÔÏ·-
cold; otherwise the square would be full of tables from the
ÛÙ›· (fiˆ˜ Û ÔÏϤ˜ ¿ÏϘ ʈÙÔÁڷʛ˜).
nearby patisseries (as it is the case in many other photographs).
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11 πÔ˘Ï›Ô˘ 1942. °ÂÚÌ·ÓÈΤ˜ ·Ú¯¤˜ ¤¯Ô˘Ó Û˘ÁÎÂÓÙÚÒÛÂÈ ÙÔ˘˜ ¿ÚÚÂÓ˜ ∂‚Ú·›Ô˘˜ Ù˘ fiÏ˘ ÁÈ· Ó· ÙÔ˘˜ ηٷÁÚ¿„Ô˘Ó. ΔÔ˘˜ ÎÙ˘Ô‡Ó Î·È ÙÔ˘˜ ˘Ô‚¿ÏÔ˘Ó Û ÂÍ¢ÙÂÏÈÛÌÔ‡˜
11 July 1942. The German authorities have gathered the male Jews of the city in order to record them. They hit and humiliate them
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (1)
The humiliation of Greek citizens (1)
ΔÔ ÚÒÙÔ ÛÔ‚·Úfi ·Óı‚ڷ˚Îfi ̤ÙÚÔ Â› ∫·ÙÔ¯‹˜ ÛËÌÂÈÒıËΠÛÙËÓ
The first grave anti-Jew measure during the German
Ï·Ù›· ∂Ï¢ıÂÚ›·˜ ÙÔ ™¿‚‚·ÙÔ 11.7.1942, fiÙ·Ó ÔÈ Ó·˙ÈÛÙÈΤ˜ ·Ú¯¤˜
Occupation took place at Eleftherias Square on Saturday
οÏÂÛ·Ó 9.000 ¿ÚÚÂÓ˜ ∂‚Ú·›Ô˘˜ Ù˘ £ÂÛÛ·ÏÔӛ΢, ËÏÈΛ·˜ 18-
11.7.1942, when the Nazi authorities called 9.000 male Jews of
45 ÂÙÒÓ, ÁÈ· Ó· ÙÔ˘˜ ηٷÁÚ¿„Ô˘Ó, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÙÔ˘˜ ÂÈÛÙÚ·-
Thessaloniki, aged between 18 – 45, in order to record them, so
Ù‡ÛÔ˘Ó ÁÈ· ηٷӷÁηÛÙÈ΋ ÂÚÁ·Û›· Û ϷÙÔÌ›· Î·È ¿ÏÏ· ÂÚÁÔÙ¿-
as to mobilize them for hard labour in quarries and other
ÍÈ· ÂÎÙfi˜ £ÂÛÛ·ÏÔӛ΢. ŸÛÔÈ ÚÔÛ‹Ïı·Ó ˘Ô¯ÚÂÒıËÎ·Ó Ó· ·Ú·-
worksites outside Thessaloniki. Those who appeared were
Ì›ÓÔ˘Ó Ì¤¯ÚÈ ÙȘ ‰‡Ô ÙÔ ÌÂÛË̤ÚÈ ¯ˆÚ›˜ η¤ÏÔ, οو ·fi ÙÔÓ
obliged to remain there until two o’clock in the afternoon
ηÏÔηÈÚÈÓfi ‹ÏÈÔ, ÂÓÒ ÔÏÏÔ› ¯Ù˘‹ıËÎ·Ó ·ÓËÏÂÒ˜ ‹ ˘Ô¯ÚÂÒıË-
uncapped, under the burning summer sun, while many of them
Î·Ó Û ÂÍ¢ÙÂÏÈÛÙÈΤ˜ ÎÈÓ‹ÛÂȘ.
had been ruthlessly beaten or compelled to make humiliating moves.
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[™˘Ó¤¯ÂÈ· ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË]
[Continued from the previous photo]
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (2)
The humiliation of Greek citizens (2)
∏ ÛÎÏËÚfiÙËÙ· Ù˘ ÌÂÙ·¯Â›ÚÈÛ˘ ‹Ù·Ó ÚÔÌÂÏÂÙË̤ÓË. ∂·ÎÔÏÔ‡ıË-
The cruelty with which they were treated had been wilful. They
Û ·ÎfiÌË ÛÎÏËÚfiÙÂÚË ÌÂÙ·¯Â›ÚÈÛË ÛÙ· ÂÚÁÔÙ¿ÍÈ·, ÌÂÙ¿ ÙËÓ ÂÈÛÙÚ¿-
were even more cruelly treated at the worksites, after the
Ù¢ÛË πÛÚ·ËÏÈÙÒÓ ·Î·Ù¿ÏÏËÏˆÓ ÁÈ· ‚·ÚÈ¿ ۈ̷ÙÈ΋ ÂÚÁ·Û›·, Ô˘
mobilization of the Jews incapable to do hard physical labour;
Ô‰‹ÁËÛ Û ·ıÚfiÔ˘˜ ı·Ó¿ÙÔ˘˜ ÙˆÓ ÂÈÛÙÚ·ÙÂ˘Ì¤ÓˆÓ. ŒÙÛÈ, Ë
something that led to numerous deaths of the mobilized Jews.
πÛÚ·ËÏÈÙÈ΋ ∫ÔÈÓfiÙËÙ· ˘Ô¯ÚÂÒıËΠӷ ÂÍ·ÁÔÚ¿ÛÂÈ ÙËÓ Î·Ù·Ó·Áη-
Thus, the Jewish Community was compelled to buy off this hard
ÛÙÈ΋ ÂÚÁ·Û›· ·ÓÙ› ÌÂÁ¿ÏÔ˘ ÔÛÔ‡, Ô˘ η٤‚·Ï ÛÙË Ó·˙ÈÛÙÈ΋
labour paying a rather high price to the Nazi Commandership.
‰ÈÔ›ÎËÛË. ∏ ›ÛÚ·ÍË ·˘ÙÒÓ ÙˆÓ Ï‡ÙÚˆÓ ¤ÁÈÓ Ì οı ÂÈÛËÌfiÙË-
The collection of this ransom was held officially: under
Ù·: ÌÂ Û˘Ì‚¿ÛÂȘ, ¯·ÚÙfiÛËÌ· Î·È ÙÚ·Â˙ÈΤ˜ ÂÈÙ·Á¤˜.
contracts, stamps and cashier’s checks.
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9 ∞ÚÈÏ›Ô˘ 1941. ΔÂıˆÚ·ÎÈṲ̂ӷ Ù˘ ÛÙÚ·ÙÈ¿˜ ÙÔ˘ §ÈÛÙ ¤¯Ô˘Ó ÂÈÛ¤ÏıÂÈ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·È Î·Ù¢ı‡ÓÔÓÙ·È ÚÔ˜ ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ
9 April 1941. The tanks of List’s army entered Thessaloniki and head to the White Tower
Δ·ÓΘ Ù˘ μ¤ÚÌ·¯Ù ÛÙËÓ ·Ú·Ï›·
The tanks of Wermacht at the waterfront
¶¤Ú· ·fi Ù· ‰ÂÈÓ¿ Ô˘ ˘¤ÛÙËÛ·Ó fiϘ ÔÈ ¿ÏϘ ÂÏÏËÓÈΤ˜ fiÏÂȘ,
Apart from the misfortunes that all the other Greek cities
Ë ∫·ÙÔ¯‹ ·ÔÛÙ¤ÚËÛ ÙË £ÂÛÛ·ÏÔÓ›ÎË ·fi ÙÔ ¤Ó· ¤ÌÙÔ ÙˆÓ
underwent, the German Occupation deprived Thessaloniki of
ηÙÔ›ÎˆÓ Ù˘, ‰ËÏ·‰‹ ÙÔ Û‡ÓÔÏÔ Û¯Â‰fiÓ ÙÔ˘ ‚ڷ˚ÎÔ‡ ÏËı˘ÛÌÔ‡
the one fifth of its citizens; i.e. almost all of its Jewish
Ù˘. ∂› ϤÔÓ Ë fiÏË ·ÔÙ¤ÏÂÛ ¤‰Ú· Ù˘ ÁÂÚÌ·ÓÈ΋˜ ∞ÓÒÙ·Ù˘
population. In addition, the city became the headquarters of the
¢ÈÔ›ÎËÛ˘ μÔÚ›Ԣ ∞ÈÁ·›Ô˘. ∏ ∫ÂÓÙÚÈ΋ ª·Î‰ÔÓ›· ÌÂÙ·ÙÚ¿ËΠ·fi
German Supreme Commandership of the Northern Aegean Sea.
ÙÔ 1943 Û ·گ›· ÙÔ˘ ƒ¿È¯. μ›ˆÓ ÙË ÌfiÓÈÌË ·ÂÈÏ‹ ÙˆÓ ÁÂÚÌ·-
Central Macedonia was transformed into a borough of the 3rd
ÓÈÎÒÓ ·Ú¯ÒÓ fiÙÈ ı· ÙËÓ ·Ú¤‰È‰·Ó ÛÙË μÔ˘ÏÁ·Ú›·, fiˆ˜ ›¯Â ‹‰Ë
Reich. It experienced the permanent menace of the German
Û˘Ì‚Â› Ì ÙËÓ ∞Ó·ÙÔÏÈ΋ ª·Î‰ÔÓ›·.
authorities that they would give it to Bulgaria, as it had already been the case with Eastern Macedonia.
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∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ, ‰ÂηÂÙ›· 1940
The waterfront from Aristotelous Square to the White Tower, 1940s
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÛοÊÔ˜, ÛÙÔ Ù¤ÏÔ˜ Ù˘ ∫·ÙÔ¯‹˜ ‹ Ï›ÁÔ ·ÚÁfiÙÂÚ·.
The shot was taken from a boat at the end of the German
√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ··ÏÏ·Á› ·fi ÙÔ ¯ÚˆÌ·ÙÈ-
Occupation, or even later. The White Tower does not seem to
Îfi ηÌÔ˘ÊÏ¿˙ Ô˘ ÙÔÓ ÂÚȤ‚·Ï ÏfiÁˆ ÙˆÓ ‚ÔÌ‚·Ú‰ÈÛÌÒÓ. ªfiÓÔÓ
be unloaded from its coloured camouflage during the bombings.
Ë ·ÚÔ˘Û›· ÏÔ›ˆÓ ÌÂÁ·Ï‡ÙÂÚˆÓ ·fi ÂΛӷ Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È ÛÙȘ
Only the presence of ships bigger than those appearing in the
ηÙÔ¯ÈΤ˜ ʈÙÔÁڷʛ˜ ‰Â›¯ÓÂÈ fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1944. ™ÙÔ
photographs taken during the German Occupation proves that
¿ÎÚÔ ·ÚÈÛÙÂÚ¿, ‰È·ÎÚ›ÓÂÙ·È Ô ¯ÒÚÔ˜ Ô˘ ÏÂÈÙÔ‡ÚÁËÛ (ÙÔ˘Ï¿¯ÈÛÙÔÓ
the shot was taken after 1944. On the left end, there is the site
·fi ÙÔ 1947) Ô ıÂÚÈÓfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜», ÛÙËÓ Ï·Ù›·
where the summer cinema "Zephyros" had been (at least since
∞ÚÈÛÙÔÙ¤ÏÔ˘˜. ∞ÎÔÏÔ˘ı› ÙÔ Ì¤Á·ÚÔ ∫ÔÓÈfiÚ‰Ô˘ (·ÓÂÁ¤ÚıËΠÙÔ
1947), at Aristotelous Square. Then, there stands the Koniordos
1934). ΔËÓ ›‰È· ÂÚ›Ô˘ ÂÔ¯‹ ÎÙ›ÛıËÎÂ Î·È ÙÔ ÂfiÌÂÓÔ «˘„ËÏfi ÎÙ›-
building (built in 1934). During about the same period, the next
ÚÈÔ», ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫. ¡ÙËÏ, fiÔ˘ ·ÚÁfiÙÂÚ· ÏÂÈÙÔ‡ÚÁËÛ ÙÔ
"high building" had also been built, on the corner of Karolou Dil,
ÂÛÙÈ·ÙfiÚÈÔ «™ÙÚ·Ù‹˜» (ηÙ‰·Ê›ÛÙËΠÙÔ 2005). ™ÙË Û˘Ó¤¯ÂÈ·, ÛÙË
where later the restaurant "Stratis" was established
Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∞Á›·˜ ™ÔÊ›·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ‰ÈÒÚÔÊÔ ÍÂÓÔ‰Ô-
(demolished in 2005). Then, on the crossroads of Aghias
¯Â›Ô «ª·˙¤ÛÙÈλ (·ÓÂÁ¤ÚıËΠÙÔ 1924 Î·È ÛÙËÓ ∫·ÙÔ¯‹ ÂÈÙ¿¯ıËÎÂ
Sophias Street, the two-storey hotel "Majestic" distinguishes,
·fi ÁÂÚÌ·ÓÈΤ˜ ˘ËÚÂۛ˜) Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË».
(built in 1924; during the German Occupation it had been requested by the German services) as well as the multi-storey building "Tyroloi".
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∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙËÓ ·Ï·È¿ ∏ÏÂÎÙÚÈ΋ ∂Ù·ÈÚ›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
The waterfront from Aristotelous Square to the old Electric Company, early 1950s The shot was taken from a caique, moored in front of the
k 78
∏ Ï‹„Ë ¤ÁÈÓ ·fi η˝ÎÈ, ·Ú·Á̤ÓÔ ÌÚÔÛÙ¿ ÛÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤-
Aristotelous Square. On the left part of the photograph (by the
ÏÔ˘˜. ™ÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ (‰›Ï· ·fi ÙÔ ‰›¯Ù˘)
net) the summer cinema "Zephyros" can be discerned, as well
‰È·ÎÚ›ÓÂÙ·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜» Î·È Ù· ÙÚ·¤˙È· ÙÔ˘ ÔÌÒ-
as the tables of the homonym restaurant. On the right of the
Ó˘ÌÔ˘ ÂÛÙÈ·ÙÔÚ›Ô˘. ¢ÂÍÈ¿ ·fi ÙÔ ÎÙ›ÚÈÔ ∫ÔÓÈfiÚ‰Ô˘ Ô˘ ·ÎÔÏÔ˘ı›
Koniordos building, that comes right after, a new building has
¤¯ÂÈ ·ÓÂÁÂÚı› (Ú‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·) Ó¤Ô ÎÙ›ÚÈÔ. √
been built (see previous photo). The White Tower has clear
§Â˘Îfi˜ ¶‡ÚÁÔ˜ ʤÚÂÈ ÂÌÊ·Ó‹ ηٿÏÔÈ· ·fi ÙÔ Î·ÙÔ¯ÈÎfi ηÌÔ˘-
remainders of its camouflage during the German Occupation,
ÊÏ¿˙ ÙÔ˘, ÂÓÒ ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ (·Ó·ÙÔÏÈÎÒ˜ ÙÔ˘ ¶‡ÚÁÔ˘) ‰È·ÎÚ›ÓÔ-
while on the right end (east of the Tower) the three chimneys
ÓÙ·È ÔÈ ÙÚÂȘ ηÌÈÓ¿‰Â˜ Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜.
and the building of the Electric Company are clearly shown.
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∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, Ù¤ÏË ‰ÂηÂÙ›·˜ 1950
The waterfront of Thessaloniki, late 1950s
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ·Ú·ı·Ï¿ÛÛÈÔ Â˙Ô‰ÚfiÌÈÔ. ∞ÚÈÛÙÂÚ¿ ·fi ÙÔ
The shot was taken from a littoral pavement. On the left of the
ÍÂÓÔ‰Ô¯Â›Ô «ª·˙¤ÛÙÈλ ¤¯ÂÈ ÚÔÛÙÂı› ¤Ó· ·ÎfiÌË ÔÏ˘ÒÚÔÊÔ ÎÙ›-
"Majestic" hotel one more multi-storey building has been
ÚÈÔ. ΔÔ ÈÛfiÁÂÈÔ ÛÙÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË» (Ì ÙËÓ ¿ÛÚË Ù¤ÓÙ·) ÛÙÂÁ¿-
erected. The ground floor of the "Tyroloi" building (with the
˙ÂÈ ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·». Δ· ·˘ÙÔΛÓËÙ· Â›Ó·È ·ÎfiÌË Û·ÓÈfiٷٷ.
white awning) accommodates the "Astoria" café. The cars are
¢ÂÍÈ¿, Ù· ÏÔÈ¿ÚÈ· Ô˘ ÂÎÙÂÏÔ‡Û·Ó ÙË Û˘ÁÎÔÈÓˆÓ›· Ì ٷ ¯ˆÚÈ¿ ÙÔ˘
still scarce. On the right, there are the small crafts – the
£ÂÚÌ·˚ÎÔ‡ (¶ÂÚ·›·, ¡¤ÔÈ ∂È‚¿Ù˜, ∞Á›· ΔÚÈ¿‰·), fiÔ˘ ·Ú·ı¤ÚÈ˙·Ó
transport means of the villages of the Thermaikos Gulf (Peraia,
ÔÈ £ÂÛÛ·ÏÔÓÈΛ˜.
Nei Epivates, Aghia Triada), where the citizens of Thessaloniki spent the summer.
k 80
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1.3.1963.ΔÌ‹Ì· ·Ú·Ïȷ΋˜ Ô‰Ô‡ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘ Ì ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ ÂȘ ÙÔ ‚¿ıÔ˜
1.3.1963. Part of the corniche of the Greek second largest city with the White Tower in the background
∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1960
The waterfront of Thessaloniki, early 1960s
∞fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë ¤¯Ô˘Ó ÂÚ¿ÛÂÈ ÌÂÚÈο ¯ÚfiÓÈ·. ∏ ʈÙÔ-
A few years have past since the previous shot. The photograph
ÁÚ·Ê›· ηχÙÂÈ ÙÔ ÙÌ‹Ì· Ù˘ ÚÔÎ˘Ì·›·˜ ·Ó¿ÌÂÛ· ÛÙËÓ Ô‰fi
covers the part of the quay between Mitropolitou Iosif Street
ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ. ∏ ÂfiÌÂÓË ‰È·ÎÚÈÓfiÌÂÓË
and the White Tower. The next corner that is discerned
ÁˆÓ›· (ÛÙÔ ÛËÌÂ›Ô Ô˘ ηχÙÂÈ Ô ÛÙ‡ÏÔ˜) Â›Ó·È Ë Ô‰fi˜ ÃÚ˘ÛÔÛÙfi-
(covered by the column) is Chrysostomou Smyrnis Street,
ÌÔ˘ ™Ì‡ÚÓ˘, fiÔ˘ ÛÙÂÁ·˙fiÙ·Ó (̤¯ÚÈ ÚÈÓ ·fi Ï›Á· ¯ÚfiÓÈ·) ÙÔ
where the consulate of the U.S.A had been housed (until
ÚÔÍÂÓÂ›Ô ÙˆÓ ∏¶∞. ™ÙËÓ ÂfiÌÂÓË ÁˆÓ›· ·fi ÙÔ ÚÔÍÂÓÂ›Ô –Ô‰fi˜
recently). On the next corner after the consulate –Morgentau
ªÔÚÁÎÂÓÙ¿Ô˘- ¤¯ÂÈ ·ÓÂÁÂÚı› Ë ÚÒÙË ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ Ô˘
Street – a multi-storey block of flats has been built (the first
Û˘Ó·ÓÙ‹Û·Ì ÛÙȘ ̤¯ÚÈ ÙÒÚ· ·ÂÈÎÔÓ›ÛÂȘ Ù˘ ·Ú·Ï›·˜. ™ÙËÓ Âfi-
one represented in the photos of the waterfront up to now). On
ÌÂÓË ÁˆÓ›· (ÛÙÔ ‰ÈÒÚÔÊÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙) ÛÙÂÁ·˙fiÙ·Ó ÙÔ Î·ÊÂ-
the next corner, (at the two-storey building "Francaise") the
ÓÂ›Ô Î·È ÛÊ·ÈÚÈÛÙ‹ÚÈÔ «¶ÙÈ ¶·Ï·›», ÛÙË ÁˆÓ›· Ù˘ Ô‰Ô‡ ∫·ÏÏ¿ÚË.
café and poolroom "Petit Palais" was housed (on the corner of
∞˘ÙÔΛÓËÙ· ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ÂÏ¿¯ÈÛÙ·. ∏ Ë̤ڷ ›ӷÈ
Kallari Street). The cars are still scarce. The day had been sunny
ËÏÈfiÏÔ˘ÛÙË Î·È ¤Ó· ÌÈÎÚfi ÛοÊÔ˜ ÂÚÈ̤ÓÂÈ ÂÈ‚¿Ù˜ ÁÈ· ÙÔ Á‡ÚÔ
and a small craft was waiting for passengers to sail them
ÙÔ˘ ÎfiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢.
around in the Gulf of Thessaloniki.
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¶·Ú·Ï›· £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ Ô‰fi ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê ̤¯ÚÈ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∂ıÓÈÎfiÓ», ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
The waterfront of Thessaloniki, from Mitropolitou Iosif Street to the "Ethnikon" cinema, early 1950s
∞fi ÙËÓ ÔÓÔÌ·Û›· ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ‰‡Ô ÚÒÙ·
One can distinguish only the first two letters from the name of
ÁÚ¿ÌÌ·Ù·. ªÂÙÔÓÔÌ¿ÛÙËΠ۠«∫ÂÓÙÚÈÎfiÓ» ÛÙË Û·È˙fiÓ 1954-1955.
the cinema. It was renamed into "Kentrikon" during 1954 –
™˘ÓÂÒ˜, Ë Ï‹„Ë ¤ÁÈÓ ÚÈÓ ·fi ÙÔ ™Â٤̂ÚÈÔ ÙÔ˘ 1954. ∞ÚÈÛÙÂÚ¿
1955. Thus, the shot was taken before September 1954. On the
·fi ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ·ÌÂÚÈηÓÈÎfi ÚÔÍÂÓÂ›Ô (Ì ÙË
left of the cinema, there is the American consulate (with the
ÛËÌ·›·), ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘. ™ÙË Ì¤ÛË ÙÔ˘
flag), on the corner of Chrysostomou Smyrnis Street. In the
‰ÚfiÌÔ˘, ¤Ó· ·È‰› οÓÂÈ ·Ù›ÓÈ. °Ú¿ÊÂÈ £ÂÛÛ·ÏÔÓÈΤ·˜ Ô˘ ¤˙ËÛÂ
middle of the street, a child is skating. A citizen of Thessaloniki,
ÛÙËÓ ÂÚÈÔ¯‹ ˆ˜ ·È‰› ·ÎÚÈ‚Ò˜ ÂΛÓË ÙËÓ ÂÔ¯‹: «ΔÔ ÙÈ ıfiÚ˘‚Ô
who was a child during that very period, cites: "The noise of the
¤Î·Ó·Ó Ù· ·Ù›ÓÈ· ¿Óˆ ÛÙȘ ÌÈÎÚ¤˜ ÙÂÙÚ¿ÁˆÓ˜ ϷΛÙÛ˜ ÙÔ˘
skates on the small square flagstones of the pavements is
Â˙Ô‰ÚÔÌ›Ô˘, ‰ÂÓ Ï¤ÁÂÙ·È. (…) Δ· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ ¤Î·Ó·Ó ÙȘ
indescribable. (…) The older children were skating on the
‚fiÏÙ˜ Ì ÙÔ ·Ù›ÓÈ ÙÔ˘˜ ÛÙÔÓ ‰ÚfiÌÔ Ù˘ ·Ú·Ï›·˜ ‹ ÛÙÔÓ ·Ú·ÏÈ·-
corniche or on the pavement that was not covered with
Îfi Â˙fi‰ÚÔÌÔ Ô˘ ‰ÂÓ Â›¯Â ϿΘ. ŸÌˆ˜ ÂÂȉ‹ ÔÏÏÔ› Á›ÙÔÓ˜
flagstones. However, as many neighbours made complaints
‰È·Ì·ÚÙ˘Ú‹ıËÎ·Ó ÁÈ· ÙÔ ıfiÚ˘‚Ô, ¿Ú¯ÈÛ·Ó ÔÈ ¯ˆÚÔʇϷΘ Ó·
about the noise, the policemen started turning away (…) the
΢ÓËÁÔ‡Ó (…) ÙȘ ̿Ϙ Î·È Ù· ·Ù›ÓÈ·» (¢. ∫·Ú·Ì‹ÙÛÔ˜).
balls and the skates" (Mr. D. Karamitsos).
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∞fi ÙÔÓ ÂÔÚÙ·ÛÌfiÓ Ù˘ ÂıÓÈ΋˜ ÂÂÙ›Ԣ Ù˘ 25˘ ª·ÚÙ›Ô˘ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ. ∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó, ·Ú¤Ï·ÛȘ ·ÓÙÈ·ÂÚÔÔÚÈÎÔ‡ ˘ÚÔ‚ÔÏÈÎÔ‡ ‰È· Ù˘ ·Ú·Ïȷ΋˜ ψÊfiÚÔ˘
From the festivities of the national anniversary of 25th March in Thessaloniki. In the photograph, the parade of an anti air artillery along the corniche
¶·Ú¤Ï·ÛË ÛÙËÓ ·Ú·Ï›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
A parade at the waterfront, early 1950s
√ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ÔÓÔÌ¿˙ÂÙ·È Î·È ¿ÏÈ «∂ıÓÈÎfiÓ», ÂÓÒ ‰ÂÓ ‰È·ÎÚ›-
The cinema is called "Ethnikon", while no significant difference is
ÓÂÙ·È Î¿ÔÈ· Ô˘ÛÈ·ÛÙÈ΋ ‰È·ÊÔÚ¿ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë.
evident in comparison to the previous shot. Impressive is the
∂ÓÙ˘ˆÛÈ¿˙ÂÈ ÙÔ Ï‹ıÔ˜ Ô˘ ¤Û¢Û ӷ ·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙË ÛÙÚ·-
crowd that rushed to watch the military parade – an especially
ÙȈÙÈ΋ ·Ú¤Ï·ÛË, ȉȷ›ÙÂÚ· ÂÏ΢ÛÙÈÎfi ı¤·Ì· ÛÙËÓ ÚÔÙËÏÂÔÙÈ΋
attractive event in the pre-television era.
ÂÔ¯‹.
k 86
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∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1950
The waterfront shot from the top of the White Tower, in about 1950
ΔÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‰ÂÓ Î·Ù·ÛÙÚ¿ÊËÎÂ
The part of the waterfront towards the White Tower was not
ÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. Δ· ‰‡Ô ÚÒÙ· ÎÙ›ÚÈ· ÛÙ· ‰ÂÍÈ¿ (ÙÔ ÁˆÓÈ·-
destroyed by the fire of 1917. The first two buildings on the
Îfi Â›Ó·È ÙÔ ÂÛÙÈ·ÙfiÚÈÔ «∂ÚÌ›ÔÓ») ‰È·ÎÚ›ÓÔÓÙ·È Î·È Û ϋ„ÂȘ ÙˆÓ
right (the one on the corner is the "Ermeion" restaurant) are also
·Ú¯ÒÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·. Δ· ÂfiÌÂÓ· ‰‡Ô ¯·ÌËÏfiÙÂÚ· ÎÙ›ÚÈ·
present in shots taken in early 20th century. The next two
˘‹Ú¯·Ó ÛÙ· Ù¤ÏË ÙÔ˘ ‰¤Î·ÙÔ˘ ¤Ó·ÙÔ˘. ªÂÛÔÏ·‚› Ë Ô‰fi˜ ¢ËÌËÙÚ›-
lower buildings stood still in late 19th century. Dimitriou Gounari
Ô˘ °Ô‡Ó·ÚË (Ô˘ ‰ÂÓ Â›¯Â ·ÎfiÌË ‰È·ÓÔÈÁ› Ï‹Úˆ˜). ΔÔ ¤ÌÙÔ (ηÈ
Street comes in between (not fully opened up yet). The fifth
˘„ËÏfiÙÂÚÔ) ÎÙ›ÚÈÔ ·fi ‰ÂÍÈ¿ ‹Ù·Ó ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ª·ÛÙ·˙›ÓË Î·È
(and the highest) building from the right was "Bastazini" Hotel,
˘‹Ú¯Â ηٿ ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ΔÔ ¤ÎÙÔ (ÌÔÓfiÚÔÊÔ)
which has been standing there ever since the First World War.
ÎÙ›ÚÈÔ ‹Ù·Ó Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¶·ÏÏ¿˜», ÛÙÔ ›‰ÈÔ ÛËÌÂ›Ô ·fi ÙÔÓ
The sixth (one-storey) building was the "Palace" cinema, on the
ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ «¶·ÏÏ¿˜» ‚Ï¤Ô˘ÌÂ
same spot since the First World War. On the left of the "Palace"
¤Ó· ·ÎfiÌË ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ, Ô˘ ÂÌÊ·Ó›˙ÂÙ·È Î·È Û ϋ„ÂȘ ÙÔ˘
cinema, one can see one more three-storey building, also
1915. Δ¤ÏÔ˜, ÙÔ ÂfiÌÂÓÔ (ÁˆÓÈ·Îfi) ÎÙ›ÚÈÔ Â›Ó·È ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙,
present in shots of 1915. Finally, the next building (on the corner)
(Ì ÙÔ Î·ÊÂÓÂ›Ô ¶ÙÈ ¶·Ï·› ÛÙÔ ÈÛfiÁÂÈÔ, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ™ÙÚ·-
is the "Francaise" edifice, (with the "Petit Palais" café on the
ÙËÁÔ‡ ∫·ÏÏ¿ÚË). ∞fi Ù· ÛÙÔȯ›· ·˘Ù¿, ÙÔÓ Ù‡Ô ÙˆÓ ÛÙ‡ÏˆÓ ÙÔ˘
corner of Kallari Street). From these evidence, the style of the
‰ËÌÔÙÈÎÔ‡ ʈÙÈÛÌÔ‡, ÙË Û˘Ó¤¯ÈÛË Ù˘ ·Ì·ÍÈÙ‹˜ Ô‰Ô‡ (·ÓÙ› Â˙Ô-
columns of municipal lightings, the continuation of the carriage
‰ÚÔÌ›Ô˘) ÚÔ˜ ÙÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ,
way (instead of the pavement) towards the part of the
ÙËÓ ÏËıÒÚ· ÙˆÓ ÈÛÙÈÔÊfiÚˆÓ, ÚÔ·ÙÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ Ú¤ÂÈ Ó·
waterfront in front of the White Tower and the great number of
¤ÁÈÓ Ôχ ÌÂÙ¿ ÙÔ 1950. ª¤Ú· ÂÔÚÙ¿ÛÈÌË, ÔˆÛ‰‹ÔÙÂ, ·Ó ÎÚ›ÓÂÈ
sail boats, it is assumed that the photo should be taken many
ηÓ›˜ ·fi ÙÔ ÛËÌ·ÈÔÛÙÔÏÈÛÌfi ·fi ÙËÓ ÔÌ‹ Ô˘ Ê·›ÓÂÙ·È Ó·
years after 1950. Surely, it had been a national anniversary
¤Ú¯ÂÙ·È ·fi Ì·ÎÚÈ¿.
since the city is decorated with flags and a procession is coming from afar.
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29.10.1960. ™ÙÈÁÌÈfiÙ˘ÔÓ ·fi ÙËÓ ·Ú¤Ï·ÛÈÓ Ù˘ Ì·ıËÙÈÒÛ˘ ÓÂÔÏ·›·˜ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ Â› ÙË ÂÂÙ›ˆ ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ √Ãπ
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1960
29.10.1960. A snapshot of the students; parade in Thessaloniki, on the occasion of the historical √Ãπ ("Ochi", i.e. "No" to the Italian invaders)
The waterfront shot from the top of the White Tower, 1960 In the years between this photo and the previous one (from the
™Ù· ¯ÚfiÓÈ· Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó ·Ó¿ÌÂÛ· Û ·˘Ù‹Ó Î·È ÙËÓ ÚÔËÁÔ‡-
same spot), the urban tissue had been greatly damaged.
ÌÂÓË Ï‹„Ë (·fi ÙÔ ›‰ÈÔ ÛËÌ›Ô), Ô ·ÛÙÈÎfi˜ ÈÛÙfi˜ ˘¤ÛÙË ‚·ÚÈ¿ Ï‹Á-
Despite the fact that half of the buildings traced in the previous
Ì·Ù·. ¶·Ú¿ ÙÔ ÁÂÁÔÓfi˜ fiÙÈ ‰È·ÙËÚÔ‡ÓÙ·È ·ÎfiÌË Ù· ÌÈÛ¿ ·fi Ù· ÎÙ›-
photograph still remain, a multi-storey block of flats has been
ÚÈ· Ô˘ ÂÓÙÔ›ÛÙËÎ·Ó ÛÙËÓ ÚÔËÁÔ‡ÌÂÓË ÂÈÎfiÓ·, ¤¯ÂÈ ‹‰Ë ÎÙÈÛÙ›
erected, another one is also being under construction (on the
ÌÈ· ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹, ÌÈ· ¿ÏÏË ·ÓÂÁ›ÚÂÙ·È (ÁˆÓ›· Ì ÙËÓ Ô‰fi
corner of Stratigou Kallari Street), while old "Ermeion" is being
™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË), ÂÓÒ Î·Ù‰·Ê›˙ÂÙ·È ÙÔ ·Ï·Èfi «∂ÚÌ›ÔÓ». ∞fi
demolished. The sail boats are no more in the quay. The parade
ÙËÓ ÚÔÎ˘Ì·›· ÏÂ›Ô˘Ó Ï¤ÔÓ Ù· ÈÛÙÈÔÊfiÚ·. ∏ ‰È·‰ÚÔÌ‹ Ù˘ ·Ú¤-
path along the waterfront has been one of the many things that
Ï·Û˘ ·fi ÙËÓ ·Ú·Ï›· Â›Ó·È ÌÈ· ·fi ÙȘ ÔÏϤ˜ Ô˘ ‰ÔÎÈÌ¿ÛÙËηÓ
have changed in Thessaloniki, along with the city itself.
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ·ÏÏ¿˙ÔÓÙ·˜ Ì·˙› Ì ÙËÓ fiÏË.
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A view of Thessaloniki
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1970
The waterfront shot from the top of the White Tower, early 1970s During the decade that came in between since the previous
∫·Ù¿ ÙË ‰ÂηÂÙ›· Ô˘ ÌÂÛÔÏ¿‚ËÛ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·-
photograph, and with the exception of the "Francaise" edifice,
Ê›·, Î·È Ì ÂÍ·›ÚÂÛË ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·Ï-
on the corner of Kallari Street (which had the common fate
Ï¿ÚË (Ô˘ ·ÎÔÏÔ‡ıËÛ ÙËÓ ÎÔÈÓ‹ ÌÔ›Ú· ÌÂÚÈο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·),
some years later), all the other buildings have been replaced by
fiÏ· Ù· ¿ÏÏ· ÎÙ›ÛÌ·Ù· ¤¯Ô˘Ó ·Ú·¯ˆÚ‹ÛÂÈ ÙȘ ı¤ÛÂȘ ÙÔ˘˜ ÛÂ
multi-storey blocks of flats. The corniche scale has been
ÔÏ˘ÒÚÔʘ ÔÈÎÔ‰Ô̤˜. ∏ ·Ó·ÙÚÔ‹ Ù˘ Îϛ̷η˜ Ù˘ ·Ú·Ïȷ΋˜
completely overbalanced. The traffic is still limited, yet the
ψÊfiÚÔ˘ ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ∏ ΢ÎÏÔÊÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ Â›Ó·È
presence of cars is intense.
ÂÚÈÔÚÈṲ̂ÓË ·ÎfiÌË, ·ÏÏ¿ Ë ·ÚÔ˘Û›· ÙÔ˘˜ ¤ÓÙÔÓË.
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§∂À∫√™ ΔHE
¶Àƒ°√™
WHITE
TOWER
√ ΢ÎÏÈÎfi˜ «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Ù˘ £ÂÛÛ·ÏÔӛ΢ ¤¯ÂÈ ÙÔ ›‰ÈÔ Û¯‹Ì·
The circular "White Tower" of Thessaloniki has the same shape
Î·È ·Ú·Ï‹ÛȘ ·Ó·ÏÔÁ›Â˜ Ì ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ» , ÁÓˆÛÙfi ¤ÚÁÔ ÙÔ˘
and similar proportions with the "Black Tower", the famous work
·Ú¯ÈÙ¤ÎÙÔÓ· ™ÈÓ¿Ó, Ô ÔÔ›Ô˜ ˘„ÒÓÂÙ·È ÛÙÔ «∫¿ÛÙÚÔ Ù˘ ƒÔ‡ÌÂÏ˘»,
of the architect Sinan, standing at the "Castle of Roumeli", in
ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∞ÓÙ›ıÂÙ·, fï˜ ÚÔ˜ ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ»
Constantinople. Yet, contrary to the "Black Tower" (Kara Koule),
(∫·Ú¿ ∫Ô˘Ï¤), Ë ÔÓÔÌ·Û›· «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Â›Ó·È ÓÂfiÙÂÚË. ª¤¯ÚÈ ÙÔ
the name "White Tower" is more recent. Until 1883, it was known
1883 ··ÓÙ¿ Ë ÔÓÔÌ·Û›· «¶‡ÚÁÔ˜ ÙÔ˘ ∞›Ì·ÙÔ˜», ÂÓÒ Ì¤¯ÚÈ ÙËÓ Âfi-
as "Blood Tower", while until the decade that followed it had been
ÌÂÓË ‰ÂηÂÙ›· ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ˆ˜ Ê˘Ï·Î‹ Ì ÂηÙÔÓÙ¿‰Â˜ ÎÚ·ÙÔ‡-
used as a jail, where hundreds of prisoners were held. In the first
ÌÂÓÔ˘˜. ™ÙȘ ÚÒÙ˜ ·ÁÁÂÏÌ·ÙÈΤ˜ ʈÙÔÁÚ·Ê‹ÛÂȘ Ù˘ £ÂÛÛ·ÏÔÓ›-
professional photographs of Thessaloniki – which the Sultan
΢ -Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Á‡Úˆ ÛÙ· 1890 ÁÈ· ÏÔÁ·ÚÈ·ÛÌfi ÙÔ˘
Abdul Hamid had them taken around 1890 – the White Tower is
ÛÔ˘ÏÙ¿ÓÔ˘ ∞ÌÓÙÔ‡Ï Ã·Ì›ÓÙ- Ô §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ ¤¯ÂÈ Î·Ì›· ÚÔ-
not treated with any preference, being shot only occasionally.
ÓÔÌȷ΋ ÌÂÙ·¯Â›ÚÈÛË Î·È ÊˆÙÔÁÚ·Ê›˙ÂÙ·È ÌfiÓÔÓ Û˘Ìو̷ÙÈο. ∞ÏÏ¿
However, on the first chromolithographic postcards printed in
ÛÙȘ ÚÔ‰ÚÔÌÈΤ˜ ¯ÚˆÌÔÏÈıÔÁÚ·ÊÈΤ˜ ηÚÙÔÛÙ¿Ï Ô˘ ÂÎÙ˘ÒÓÔÓÙ·È
Germany or Austria in 1896 and 1897, it occupies a prominent
ÛÙË °ÂÚÌ·Ó›· ‹ ÙËÓ ∞˘ÛÙÚ›· ÛÙ· 1896 Î·È 1897, ηٷϷ̂¿ÓÂÈ Âͤ-
position among the monuments chosen by the publishers of
¯Ô˘Û· ı¤ÛË ·Ó¿ÌÂÛ· ÛÙ· ÌÓËÌ›· Ô˘ ÂÈϤÁÔ˘Ó ÔÈ ÂΉfiÙ˜ Ù˘ £ÂÛ-
Thessaloniki.
Û·ÏÔӛ΢.
The tower was surrounded with octagonal low walls (about five
√ ‡ÚÁÔ˜ ÂÚÈ‚·ÏÏfiÙ·Ó ·fi ÂÚÈÙ›¯ÈÛÌ· Ô˘ ›¯Â ÔÎÙ·ÁˆÓÈÎfi Û¯‹Ì·
meters in height). On three of the peaks of this wall, there were
Ì ¯·ÌËÏfi ‡„Ô˜ (ÂÚ›Ô˘ ¤ÓÙ ̤ÙÚ·). ™Â ÙÚÂȘ ·fi ÙȘ ·È¯Ì¤˜ ÙÔ˘
an equal number of octagonal turrets, while a fourth and bigger
ÂÚÈÙÂȯ›ÛÌ·ÙÔ˜ ˘‹Ú¯·Ó ÈÛ¿ÚÈıÌÔÈ ÔÎÙ·ÁˆÓÈÎÔ› ˘ÚÁ›ÛÎÔÈ, ÂÓÒ ¤Ó·˜
one stood within the ring. This wall was demolished in 1911. The
٤ٷÚÙÔ˜ Î·È ÌÂÁ·Ï‡ÙÂÚÔ˜ ˘ÚÁ›ÛÎÔ˜ ˘‹Ú¯Â ̤۷ ÛÙÔÓ ÂÚ›‚ÔÏÔ. ΔÔ
tower was declared a national archeological monument on the
ÂÚÈÙ›¯ÈÛÌ· ηÙ‰·Ê›ÛÙËΠÙÔ 1911. √ ‡ÚÁÔ˜ ÎËÚ‡¯ıËΠÂıÓÈÎfi
23.8.1913. The 12 photographs of this unit cover the period
·Ú¯·ÈÔÏÔÁÈÎfi ÌÓËÌÂ›Ô ÛÙȘ 23.8.1913. √È 12 ʈÙÔÁڷʛ˜ Ù˘ ÂÓfi-
during 1907-1970, i.e. they coincide with the period during which
ÙËÙ·˜ ·˘Ù‹˜ ηχÙÔ˘Ó ÙËÓ ÂÚ›Ô‰Ô 1907-1970, Ù·˘Ù›˙ÔÓÙ·È ‰ËÏ·‰‹
the tower was transformed from a "monument" (as many others)
Ì ÙË ¯ÚÔÓÈ΋ ÂÚ›Ô‰Ô Î·Ù¿ ÙËÓ ÔÔ›· Ô ‡ÚÁÔ˜ ÌÂÙ·‚Ï‹ıËΠ·fi
into the landmark of Thessaloniki.
«ÌÓËÌ›Ի (fiˆ˜ ÔÏÏ¿ ¿ÏÏ·) Û ۋ̷ ηٷÙÂı¤Ó Ù˘ £ÂÛÛ·ÏÔӛ΢.
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Débarcadère de la Tour Blanche
Débarcadère de la Tour Blanche
√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ Î·È Ë Í‡ÏÈÓË ·Ô‚¿ıÚ· ÙÔ˘, 1907
The White Tower with its wooden dock, 1907
√ ¯ÒÚÔ˜ Á‡Úˆ ·fi ÙÔÓ ‡ÚÁÔ ‰È·ÌÔÚÊÒıËΠÛÙȘ ·Ú¯¤˜ ÙÔ˘ ÂÈÎÔ-
The area around the tower was landscaped in early 20th
ÛÙÔ‡ ·ÈÒÓ·. ΔÔ 1907 ÔÈÎÔ‰ÔÌ‹ıËΠ͇ÏÈÓË ·Ô‚¿ıÚ·, ÚÔÎÂÈ̤ÓÔ˘
century. In 1907, the wooden dock was constructed in order to
Ó· Â͢ËÚÂÙ‹ÛÂÈ ÙË Ó·˘ÛÈÏÔ˝· ÙÔ˘ £ÂÚÌ·˚ÎÔ‡ ∫fiÏÔ˘. ∏ ¯Ú‹ÛË
serve the navigation within Thermaikos Gulf. This usage
·˘Ù‹ Ì·˜ ÂÈÙÚ¤ÂÈ Ó· ·ÓÙÈÏËÊıԇ̠ÙË ÛÎÔÈÌfiÙËÙ· Ù˘ ·„›‰·˜ ηÈ
explains the utility of both the arch and the fencing, which
Ù˘ ÂÚ›Êڷ͢, Ô˘ ·¤ÎÏÂÈ ÙËÓ ·Ô‚¿ıÚ· ·fi ÙÔ ¯ÒÚÔ Ù˘ ÚÔ-
separated the dock from the quay. Although the shipping
Î˘Ì·›·˜. ∞Ó Î·È Ë ÂÙ·ÈÚ›· Ó·˘ÛÈÏÔ˝·˜ £ÂÚÌ·˚ÎÔ‡ ÙÒ¯Â˘Û ÁÚ‹-
company of Thermaikos soon went bankrupt, the dock was
ÁÔÚ·, Ë ·Ô‚¿ıÚ· ‰È·ÙËÚ‹ıËΠÁÈ· ÌÂÚÈΤ˜ ‰ÂηÂٛ˜. ™ÙÔ ‚¿ıÔ˜,
maintained for some decades. In the background, through the
̤۷ ·fi ÙËÓ ·„›‰·, Ê·›ÓÂÙ·È Ë Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘.
arch, Ethnikis Amynis Street appears.
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Souvenir de Salonique - Fontaine Hamidie
Souvenir de Salonique - Fontaine Hamidie
ΔÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÛÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘), 1908
The upper part of Ethnikis Amynis Street and the fountain (in the present Sintrivaniou Square), 1908
∏ ÂÈÎfiÓ· ÚÔ¤Ú¯ÂÙ·È ·fi ηÚÙÔÛÙ¿Ï ÙˆÓ Matarasso, Saragoussi
The photograph is part of a postcard by Matarasso, Saragoussi
& Rousso, Ô˘ ÂΉfiıËΠÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1908. √ ·ÂÈÎÔÓÈ˙fi-
& Rousso, published in Thessaloniki in 1908. The represented
ÌÂÓÔ˜ ËÏÂÎÙÚÈÎfi˜ ÙÚÔ¯Èfi‰ÚÔÌÔ˜ ·ÔÙÂÏÔ‡Û ÚfiÛÊ·ÙÔ ·fiÎÙËÌ·
electric tram was a comparatively recent feature of
Ù˘ £ÂÛÛ·ÏÔӛ΢, ‰Â‰Ô̤ÓÔ˘ fiÙÈ ÙÔ ¤ÙÔ˜ ÂΛÓÔ ÔÈ ÈÔΛÓËÙÔÈ ÙÚÔ-
Thessaloniki, since in that year the horse drawn trams were
¯Èfi‰ÚÔÌÔÈ ·ÓÙÈηٷÛÙ¿ıËÎ·Ó Ì ËÏÂÎÙÚÔΛÓËÙÔ˘˜.
replaced by electric ones.
∏ Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘ (÷ÌÈÓÙȤ) ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ
The construction of Ethnikis Amynis Street (Hamidie) started in
1889, Û ¤‰·ÊÔ˜ Ô˘ ·Ï·ÈfiÙÂÚ· ·Ó‹Î Û ıÚËÛ΢ÙÈο ȉڇ̷ٷ
1889, on land formerly belonging to religious institutes and then
·ÏÏ¿ ›¯Â ÂÚȤÏıÂÈ ÛÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi Ù·Ì›Ô. ΔÔ ÛÈÓÙÚÈ‚¿ÓÈ ·ÓÂ-
came to the imperial fund. The fountain was constructed during
Á¤ÚıËΠÙËÓ ›‰È· ÂÔ¯‹ ·fi ÙÔ ÛÔ˘ÏÙ¿ÓÔ Ã·Ì›ÓÙ. ™‡Ìʈӷ Ì ÙÔÓ
the same period by Sultan Hamid. According to the report of the
·ÔÏÔÁÈÛÌfi ÙÔ˘ ‚ÈÏ·ÂÙ›Ô˘ £ÂÛÛ·ÏÔӛ΢, Ë ˘‰ÚÔ‰fiÙËÛ‹ ÙÔ˘ ı·
vilaeti (county) of Thessaloniki, a local underground stream
ÁÈÓfiÙ·Ó ·fi ÙÔÈ΋ ˘fiÁÂÈ· ÚÔ‹ ηÈ, Û‡Ìʈӷ Ì ÙÔÓ ·Ú¯ÈÎfi Û¯Â-
would supply it with water and, according to the initial plan, it
‰È·ÛÌfi, ÙÔ ‡„Ô˜ ÙÔ˘ ı· ‹Ù·Ó ÔÎÙÒ Ì¤ÙÚ· (‰ÂÓ ¤ÊÙ·Û ԇÙ ٷ ÌÈÛ¿).
would be eight meters in height (finally, it was less than the
ΔÔ ÎfiÛÙÔ˜ ÙÔ˘, Ô˘ ÚÔ¸ÔÏÔÁ›ÛıËΠ۠600 ϛژ, ı· ¯ÚˆÓfiÙ·Ó
half). The budget was 600 liras; while it would burden the
ÛÙÔ «ÚÔÛˆÈÎfi Ù·ÌÂ›Ô ÙÔ˘ ™Ô˘ÏÙ¿ÓÔ˘, fiˆ˜ Î·È ¿ÏϘ ¢ÏÔÁË̤-
"Sultan’s personal fund, as well as other blessed charities of His
Ó˜ ÊÈÏ·ÓıÚˆ›Â˜ Ù˘ ∞.ª.».
Majesty".
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ÕÊÈÍË ÙÔ˘ μÂÓÈ˙¤ÏÔ˘. ΔÂÏÂ˘Ù·›Â˜ ÚÔÂÙÔÈ̷ۛ˜ ÁÈ· ÙË ‰È·ÎfiÛÌËÛË ÙˆÓ ‰ÚfiÌˆÓ ÚÈÓ ·fi ÙËÓ ·Ú¤Ï·ÛË
Venizelos’s arrival. The last preparations for the decoration of the streets before the parade
∞Ó·ÌÔÓ‹ ÁÈ· ÙËÓ ¤Ï¢ÛË ÙÔ˘ ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ÛÙËÓ Ï·Ù›· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 25.1.1913
Waiting for Eleftherios Venizelos’s arrival at the White Tower Square, 25.1.1913 The first time Eleftherios Venizelos visited the liberated – by the
∏ ÚÒÙË ÊÔÚ¿ Ô˘ Ô ∂Ï¢ı¤ÚÈÔ˜ μÂÓÈ˙¤ÏÔ˜ ÂÈÛΤÊÙËΠÙËÓ ·Â-
Greek Army – city of Thessaloniki was during his return from
Ï¢ıÂڈ̤ÓË ·fi ÙÔÓ ÂÏÏËÓÈÎfi ÛÙÚ·Ùfi £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó ηٿ ÙËÓ
the London Conference, in January 1913. According to the
ÂÈÛÙÚÔÊ‹ ÙÔ˘ ·fi ÙË Û˘Ó‰È¿ÛÎÂ„Ë ÙÔ˘ §ÔÓ‰›ÓÔ˘, ÙÔÓ π·ÓÔ˘¿ÚÈÔ
newspaper "Nea Alithia" (26.1.1913): "long before noon, the
ÙÔ˘ 1913. ™‡Ìʈӷ Ì ÙËÓ ÂÊËÌÂÚ›‰· «¡¤· ∞Ï‹ıÂÈ·» (26.1.1913):
crowd started gathering at the White Tower Square, where
«Ôχ ÚÔ Ù˘ ÌÂÛËÌ‚Ú›·˜ ·ÎfiÌË ÙÔ Ï‹ıÔ˜ ‹Ú¯ÈÛÂ Û˘ÁÎÂÓÙÚÔ‡ÌÂ-
members of all crafts also swarm, along with the shop
ÓÔÓ ÂȘ ÙËÓ ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Ï·Ù›·Ó, fiÔ˘ ›Û˘ ÚÔ-
assistants (…) and much crowd; Thus, a great number of people
Û‹ÏıÔÓ Ù· ̤ÏË ·ÛÒÓ ÙˆÓ Û˘ÓÙ¯ÓÈÒÓ, ÔÈ ÂÌÔÚÔ¸¿ÏÏËÏÔÈ (…)
was gathered".
Î·È Ï‹ıÔ˜ Ôχ, Ô‡Ùˆ˜ ÒÛÙÂ Ë Û˘ÁΤÓÙÚˆÛȘ η٤ÛÙË ÔÏ˘ÏË-
Eleftherios Venizelos arrived at 3 o’clock in the afternoon at the
ı‹˜».
railway station. In the photograph, the crowd is looking at the
√ ∂. μÂÓÈ˙¤ÏÔ˜ ¤ÊÙ·Û ÛÙȘ 3 ÙÔ ·fiÁÂ˘Ì· ÛÙÔ ÛȉËÚÔ‰ÚÔÌÈÎfi
upper part of Ethnikis Amynis Street, expecting the Prime
ÛÙ·ıÌfi. ™ÙË ÊˆÙÔÁÚ·Ê›·, Ô ÎfiÛÌÔ˜ ¤¯ÂÈ ÛÙÚ·Ì̤ÓÔ ÙÔ ‚ϤÌÌ· ÚÔ˜
Minister to cross Egnatia Street (where also a big crowd was
ÙÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘, ÂÚÈ̤ÓÔÓÙ·˜ fiÙÈ Ô Úˆ-
waiting for him); he would walk down Ethnikis Amynis Street
ı˘Ô˘ÚÁfi˜ ı· ‰È¤Û¯È˙ ÙËÓ ∂ÁÓ·Ù›· (fiÔ˘ ›Û˘ ÙÔÓ ÂÚ›ÌÂÓ·Ó
towards the Exohon Avenue in order to visit the temporary
ÔÏÏÔ›), ı· η٤‚·ÈÓ ÙËÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ı· Û˘Ó¤¯È˙ ÚÔ˜ ÙË
palace (at the current "Gheorgiou" bus station). However,
ψÊfiÚÔ ÙˆÓ ∂ÍÔ¯ÒÓ ÁÈ· Ó· ÂÈÛÎÂÊÙ› ÙÔ ÚÔÛˆÚÈÓfi ·Ó¿ÎÙÔÚÔ
Venizelos went directly – via Kountourioti Street – to the
(ÛÙË ÛËÌÂÚÈÓ‹ ÛÙ¿ÛË °ÂˆÚÁ›Ô˘). ŸÌˆ˜ Ô μÂÓÈ˙¤ÏÔ˜ ‹Á ·Â˘ı›·˜
"Splendid" Hotel, by the seaside, in order to have some rest.
-̤ۈ Ù˘ Ô‰Ô‡ ∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘- ÛÙÔ ·Ú·ÏÈ·Îfi ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤-
"Thus, thousand of people (…) were disappointed".
ÓÙÈÙ» ÁÈ· Ó· ·Ó··˘Ù›. «√‡Ùˆ˜, ÔÈ ¯ÈÏÈ¿‰Â˜ ÙÔ˘ ÎfiÛÌÔ˘ (…) ¤ÌÂÈÓ·Ó Ì ÙËÓ ·ÔÁÔ‹Ù¢ÛÈÓ».
k 100
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k 102
§ ∂ À ∫ √ ™
¶ À ƒ ° √ ™
™˘ÁΤÓÙÚˆÛË ‰È·Ì·ÚÙ˘Ú›·˜
Protestation
™˘ÁΤÓÙÚˆÛË ÛÙÔÓ ∫‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1916
Gathering at the White Tower Garden, 1916
√ ΋Ԙ ·˘Ùfi˜ ‚ÚÈÛÎfiÙ·Ó ·Ó¿ÌÂÛ· ÛÙÔÓ ‡ÚÁÔ Î·È ÙÔ ÛËÌÂÚÈÓfi
This garden was stretching between the White Tower and the
μ·ÛÈÏÈÎfi £¤·ÙÚÔ. ∏ ·ÚÔ˘Û›· ¿ÁÁÏˆÓ Î·È Á¿ÏÏˆÓ ·ÍȈ̷ÙÈÎÒÓ
current Royal Theatre. The presence of British and French
ηıÈÛÙ¿ ‚¤‚·ÈË ÙË ¯ÚÔÓÔÏfiÁËÛË ÛÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔ-
officers securely dates the photograph during the First World
ÛÌ›Ô˘ ÔϤÌÔ˘. √È Û˘ÁÎÂÓÙÚÒÛÂȘ Ô˘ ÁÓˆÚ›˙Ô˘Ì ·fi ÙËÓ ÂÔ¯‹
War. The known gatherings of the time known (anyway, only a
ÂΛÓË (‰ÂÓ ÂÈÙÚ¿ËÎ·Ó ÔÏϤ˜) Û˘Ó‰¤ÔÓÙ·È Ì ÙËÓ ÂͤÏÈÍË ÙÔ˘
few were allowed to take place) are related to the course of the
ÂıÓÈÎÔ‡ ‰È¯·ÛÌÔ‡. ¶Èı·Ó‹ ÂÚ›ÛÙ·ÛË Â›Ó·È Ë Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ™˘Ï-
"national split". A possible occasion might have been the
ÏfiÁÔ˘ ºÈÏÂÏ¢ı¤ÚˆÓ, ÛÙȘ 17.4.1916, Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢ËÌ‹ÙÚÈÔ
gathering of the Liberals Association, on 17.4.1916, where Mr.
¢›Áη. ¢ÂÓ ·ÔÎÏ›ÂÙ·È, fï˜, Ó· ÚfiÎÂÈÙ·È ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ‰È·-
Dimitrios Digas was the speaker. Yet, it is not impossible to be
Ì·ÚÙ˘Ú›·˜ Ù˘ 8˘ ∞˘ÁÔ‡ÛÙÔ˘ 1916, ·fi ÙËÓ ÔÔ›· ÍÂΛÓËÛÂ Î·È ÙÔ
the protestation of 8th August 1916, from which the National
∫›ÓËÌ· Ù˘ ∂ıÓÈ΋˜ ÕÌ˘Ó·˜ (¿ÏÈ Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢. ¢›Áη). ∫·È ÔÈ
Defence Movement started (where Mr. Dimitrios Digas was the
‰‡Ô ËÌÂÚÔÌËӛ˜ (Ì ÙÔ ·Ï·Èfi ËÌÂÚÔÏfiÁÈÔ) Â›Ó·È Û˘Ì‚·Ù¤˜ Ì ÙÔ
speaker, once more). Both these dates (according to the old
„¿ıÈÓÔ Î·¤ÏÔ «·Ó·Ì¿», Ô˘ ÊÔÚÔ‡Ó ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ˘˜
calendar) are compatible with the "panama" leghorns that most
ÂÈÎÔÓÈ˙fiÌÂÓÔ˘˜. ™ÙËÓ ÚÒÙË ÂÚ›ÙˆÛË, Ë ÔÌÈÏ›· ¤ÁÈÓ ̤۷ ÛÙÔ
of the men represented wear. In the first case, the speech was
΢ڛˆ˜ (ÌË ÂÈÎÔÓÈ˙fiÌÂÓÔ) ÎÙ›ÚÈÔ ÙÔ˘ ΋Ԣ. ™ÙË ‰Â‡ÙÂÚË, ÔÈ ÔÌÈÏËÙ¤˜
held in the main (non- represented) building of the garden; in the
·Ó¤‚ËÎ·Ó Â¿Óˆ ÛÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ÂÚ›ÙÂÚÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·È-
second case, the speakers climbed on the represented kiosk of
Ú›·˜.
the electric company.
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ΔÔ Ì¤Á·ÚÔÓ ÙÔ˘ ∂ıÓÈÎÔ‡ £Â¿ÙÚÔ˘ Ù˘ fiψ˜, ÚÔ Ù˘ Ï·Ù›·˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Î·È ÌÈ·˜ ÙˆÓ ÎÂÓÙÚÈÎˆÙ¤ÚˆÓ Ô‰ÈÎÒÓ ·ÚÙËÚÈÒÓ Ù˘ fiψ˜, 7.6.1962
The building of the National Theatre of the city, in front of the White Tower Square and on one of the most central roads of the city, 7.6.1962
¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1962
The White Tower Square, 1962
™Ù· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· Ô˘ ·ÎÔÏÔ‡ıËÛ·Ó, Ë Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔÓ
In the following half century, the square in front of the tower
‡ÚÁÔ ˘¤ÛÙË ÔÈΛϘ ÌÂÙ·‚ÔϤ˜. ª›· ·fi ·˘Ù¤˜ ‹Ù·Ó Ë Î·Ù‰¿ÊÈ-
underwent many changes. One of these changes was the
ÛË ÙÔ˘ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ ÙÔ˘ Ù·˘ÙÒÓ˘ÌÔ˘ ΋Ԣ (1958) Î·È Ë ·Ó¤-
demolition of the homonymous garden (1958) and the
ÁÂÚÛË ‰‡Ô ‰ËÌÔÛ›ˆÓ ÎÙÈÚ›ˆÓ ÛÙË Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∂ıÓÈ΋˜ ∞̇-
construction of two public buildings at the crossroads of
Ó˘, Ô˘ ηıfiÚÈÛ·Ó ÙÔÓ ·ÈÛıËÙÈÎfi ¯·Ú·ÎÙ‹Ú· Ù˘ ÂÚÈÔ¯‹˜ (ÛÙÔ
Ethnikis Amynis Street, which shaped the aesthetic character of
‰ÂÍÈfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜): Ù· ÎÙ›ÚÈ· ÙÔ˘ ∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘
the area (on the right part of the photograph): these are the
μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ (1952-1962) Î·È Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔ-
buildings of the National Theatre of Northern Greece (1952 –
ӛ΢ (1952). ∏ ΢ÎÏÔÊÔÚȷ΋ Ú‡ıÌÈÛË Ù˘ Ï·Ù›·˜, Ì ÙËÓ ˘Ô-
1962) and the Thessaloniki Garrison Service Club (1952). The
¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›·, ÂÚfiÎÂÈÙÔ Ó· ηٷÚÁËı› ÌÂÙ¿ ·fi ÌÂÚÈο
traffic control around the square, with the compulsory circular
¯ÚfiÓÈ·, fiÙ·Ó ÌÔÓÔ‰ÚÔÌ‹ıËÎ·Ó Ë Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ (Ô˘ ηÙ‚·›-
direction, was to be revoked a few years later, when Pavlou
ÓÂÈ ·fi ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜) Î·È Ë Ô‰fi˜ μ·ÛÈ-
Mela Street (which runs down the upper left part pf the
Ϥˆ˜ °ÂˆÚÁ›Ô˘ (Ô˘ ·fi ÙËÓ Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Û˘Ó¯›˙ÂÈ
photograph) and Vassileos Gheorgiou Street (which continues
ÚÔ˜ Ù· ·Ó·ÙÔÏÈο). ™ÙÔ Î¿Ùˆ ‰ÂÍÈfi ̤ÚÔ˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘
eastwards from the White Tower Square) became one way
μ·ÛÈÏÈÎÔ‡ £Â¿ÙÚÔ˘. ∏ 7Ë πÔ˘Ó›Ô˘ 1962 ‹Ù·Ó Ë̤ڷ ¶¤ÌÙË. Ÿˆ˜
streets. On the lower right part of the photograph, one can
‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜, Ë Ï‹„Ë ¤ÁÈÓ ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·. ∏ ΛÓËÛË Ô¯Ë-
distinguish the roof of the Royal Theatre. The 7th June 1962
Ì¿ÙˆÓ Â›Ó·È ÂÏ¿¯ÈÛÙË ÛÙËÓ ÂÚÈÔ¯‹, ·ÏÏ¿ ·ÚÎÂÙÔ› Â˙Ô› ‚Ú›ÛÎÔÓÙ·È
was Thursday. Judging from the shadows, the shot was taken
ÌÚÔÛÙ¿ ÛÙÔÓ ‡ÚÁÔ.
in the afternoon. The traffic in the area is scarce, yet many pedestrians are in front of the tower.
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™˘ÁÎÔÈÓˆÓÈ·Îfi˜ ÎfiÌ‚Ô˜ Ù˘ ̷ΉÔÓÈ΋˜ ÚˆÙ¢ԇÛ˘, Ì ÙËÓ ÏˆÊfiÚÔÓ ¡›Î˘ ¿ÁÔ˘Û·Ó ÚÔ˜ ÙËÓ Ï·Ù›·Ó ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ‰ÈÂÚ¯Ô̤ÓËÓ ¤ÌÚÔÛıÂÓ ·˘ÙÔ‡ Î·È ‰È·‰Ú¿ÌÔ˘Û·Ó ÔÏfiÎÏËÚÔÓ ÙËÓ ·Ú·Ï›·Ó Ù˘ fiψ˜, 24.10.1962
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (·)
¶ À ƒ ° √ ™
An interchange of the Macedonian capital, where Nikis Avenue leads to the White Tower Square, passing in front of the tower and running the whole waterfront of the city, 24.10.1962
The crossroads of Vassileos Gheorgiou and Despere streets, 1962 (a)
∏ Ï‹„Ë ¤ÁÈÓ ÚÔ˜ ÙËÓ Ô‰fi μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘. ∏ ÂÈÎfiÓ· ÍÂÓ›˙ÂÈ ÙÔÓ ÛËÌÂÚÈÓfi £ÂÛÛ·ÏÔÓÈΤ·, ‰ÈfiÙÈ Ë ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›· ÛÙË
The shot was taken towards Vassileos Gheorgiou Street. This
‰È·ÛÙ·‡ÚˆÛË ·˘Ù‹ ¤¯ÂÈ Î·Ù·ÚÁËı› ÚÔ ÂÙÒÓ, ÂÓÒ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘
photograph seems awkward to the modern citizen of
ø‰Â›Ô˘ (ÛÙ· ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, Ì fi„Ë ÚÔ˜ ÙÔ Ê·Îfi) ¤¯ÂÈ Î·Ù‰·-
Thessaloniki, since the compulsory circular direction on this
ÊÈÛÙ›, fiˆ˜ Î·È Ù· ¿ÏÏ· ÎÙ›ÚÈ· ›Ûˆ ÙÔ˘. ŒÙÛÈ, ÙÔ ÙÔ›Ô ¿ÏÏ·Í ÚÈ˙È-
crossroads has been revoked years ago; also, building of the
ο. ™Ù· ‰ÂÍÈ¿ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÛÙÚ·ÙfiÂ‰Ô ΔÛÈÚÔ-
Conservatory (on the right part of the photograph, facing the
ÁÈ¿ÓÓË (fiÔ˘ ÙÒÚ· ·ÓÂÁ›ÚÂÙ·È ‰Ë̷گȷÎfi ̤Á·ÚÔ), ÂÓÒ ÛÙ· ·ÚÈ-
camera) has been demolished, as well as the other buildings
ÛÙÂÚ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜ (ÙÒÚ· ÙÔ ¯ÒÚÔ Î·Ù·-
behind it. Thus, the landscape has completely changed. On the
Ï·Ì‚¿ÓÂÈ Ï˘fiÌÂÓÔ Û¯ÔÏ›Ô). ¶ÈÔ ·ÚÈÛÙÂÚ¿, ‚Ú›ÛÎÂÙ·È Ë Ó¤· ·Ú·Ï›·.
photographer’s right side, the Tsirogiannis camp was located
™‡Ìʈӷ Ì ÙË ÛËÌ›ˆÛË, Ë Ï‹„Ë ¤ÁÈÓ ΔÂÙ¿ÚÙË ÌÂÛË̤ÚÈ, ÂÚÁ¿ÛÈ-
(where now the new City Hall is being constructed), while on his
ÌË Ë̤ڷ. ∂ÈÎÚ·Ù› Î·È Â‰Ò Ë ·›ÛıËÛË Ù˘ ÎÂÓ‹˜ fiÏ˘.
left there is the building of the electric company (now a prefabricated school has been erected there). Further on the left, there is the new waterfront. According to the annotation, the shot was taken on a working day – Wednesday – noon. Yet, the city gives the impression of being empty as well.
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11.1.1962. ∫˘ÎÏÔÊÔÚÈ·Îfi˜ ÎfiÌ‚Ô˜
11.1.1962. An interchange
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (‚)
The crossroads of Vassileos Gheorgiou and Despere streets, 1962 (b)
∏ Ï‹„Ë ¤ÁÈÓ ÂÚ›Ô˘ ·fi ÙÔ ›‰ÈÔ ÛËÌ›Ô, ·ÂÈÎÔÓ›˙ÔÓÙ·˜ ÙËÓ ›‰È· ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›·, ·ÏÏ¿ Ô Ê·Îfi˜ ¤¯ÂÈ ÛÙÚ·Ê› ÚÔ˜ ÙËÓ
The shot was taken from about the same spot, representing the
Ô‰fi ¢ÂÛÂÚ¤. ∞ÔηχÙÂÈ ¤ÙÛÈ ÙÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ (Ì ÙÔ Î·Ì·-
same compulsory circular direction; however, the camera has
Ó·ÚÈfi Ì ÙÔÓ ÙÚÔ‡ÏÔ), ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË Î·È ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛ-
been turned towards Despere Street. Thus, the building of
Û·ÏÔӛ΢. ™Ù· ‰ÂÍÈ¿, Û ÚÒÙÔ Ï¿ÓÔ, ÙÔ ÂÚÈÙ›¯ÈÛÌ· ÙÔ˘ ÛÙÚ·ÙÔ-
YMCA of Thessaloniki is revealed (with the campanile and the
¤‰Ô˘ ΔÛÈÚÔÁÈ¿ÓÓË Î·È ÙÔ «™ÙÚ·ÙȈÙÈÎfi £¤·ÙÚÔ» (¤¯ÂÈ Î·Ù‰·ÊÈ-
dome), along with Aggelaki Street and the International Trade
ÛÙ›). √˘ÛÈ·ÛÙÈο, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤¯ÂÈ Û˘ÏÏ¿‚ÂÈ ÛÙÔ Ê·Îfi ÙÔ˘ ÙËÓ
Fair of Thessaloniki. On the right and in the foreground, there
·Ï·È¿ fiÏË (ÛÙÔ˘˜ ÏfiÊÔ˘˜) Î·È ÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘ ÓÂfiÙÂÚ˘
are the fencing of Tsirogiannis camp and the "Military Theatre"
fiÏ˘.
(which has been demolished). Actually, the photographer has captured the old city (on the hills) and the western side of the contemporary city with his camera.
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ÕÙÈÙÏË
Without Title
¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1970
The White Tower Square, around 1970
∞fi ÙËÓ ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ Ê·›ÓÂÙ·È fiÙÈ Ë Ï‹„Ë ¤¯ÂÈ Ú·Á-
Judging from the outfits of the people represented, it seems
Ì·ÙÔÔÈËı› ηÏÔη›ÚÈ. ™ÙÔ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ Ï·Ù›·˜ Á›ÓÔÓÙ·È ¤ÚÁ·
that the shot was taken during summer. At the right part of the
Î·È ¤¯ÂÈ ÌfiÏȘ ·Ó·Óˆı› Ô ·ÛÊ·ÏÙÔÙ¿ËÙ·˜ Ù˘ Ô‰Ô‡ μ·ÛÈϤˆ˜
square, public works are made, while the blacktop of Vassileos
°ÂˆÚÁ›Ô˘, ÌÚÔÛÙ¿ ·fi ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ (‰ÂÍÈ¿). ŒÙÛÈ, Ë ÌÈÎÚ‹
Gheorgiou Street has just been repaved, in front of the Royal
΢ÎÏÔÊÔÚ›· ‰ÈÔ¯ÂÙ‡ÂÙ·È –Ì ··ÁÔÚ¢ÙÈÎfi Û‹Ì· Î·È ÙÚÔ¯ÔÓfiÌÔ˘˜-
Theatre (on the right). Thus, the limited traffic is channelled – by
ÚÔ˜ ÙËÓ Ô‰fi ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡ (·ÚÈÛÙÂÚ¿). ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ø‰Â›Ô˘
means of a no entry sign and traffic policemen – to Nikolaou
(ÛÙÔ Î¤ÓÙÚÔ Î·È ÚÔ˜ Ù· ¿Óˆ ·ÚÈÛÙÂÚ¿) ‰ÂÓ ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ› ·Îfi-
Germanou Street (on the left). The building of the Conservatory
ÌË, Ô‡Ù fï˜ Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÍÂÓÔ‰Ô¯Â›Ô ÛÙÔ ‚¿ıÔ˜ (Ó˘Ó
(in the middle and towards the upper left part of the
«ª·Î‰ÔÓ›· ¶·ÏÏ¿˜») ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ ‡ÚÁÔ˘
photograph) has not yet been demolished; neither the multi-
ÏÂÈÙÔ˘ÚÁ› ·Ó·„˘ÎÙ‹ÚÈÔ. ™Â Û˘Ó‰˘·ÛÌfi Ì ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ Ô¯ËÌ¿-
storey hotel in the background (the present "Macedonia
ÙˆÓ, Ë Ï‹„Ë ÌÔÚ› Ó· ¯ÚÔÓÔÏÔÁËı› Á‡Úˆ ÛÙ· 1970 ‹ 1971.
Palace") has been completed yet. On top of the tower, there is a refreshment stand. Judging from the types of the vehicles, the shot can be dated around 1970 or 1971.
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¶·Ú¤Ï·ÛȘ ÙÌËÌ¿ÙˆÓ μ.¡. ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ
A parade of the Navy in front of the White Tower, at Thessaloniki
¡·˘ÙÈ΋ Ì¿ÓÙ· ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ, ‰ÂηÂÙ›· 1960
The Navy band at the White Tower, 1960s
√È ÌÂÁ¿Ï˜ ÔÌÔÈfiÙËÙ˜ –·ÎfiÌË Î·È ÛÙË ‚Ï¿ÛÙËÛË-Ì ÙËÓ ÂfiÌÂÓË
The great similarities – even in vegetation – with the following
ʈÙÔÁÚ·Ê›·, ÚÔÛ‰ÈÔÚ›˙Ô˘Ó ¯ÚÔÓÔÏÔÁÈο ÙË Ï‹„Ë. √È Ó·˘ÙÈΤ˜
photo, determine the time when this shot was taken. The navy
ÛÙÔϤ˜ Â›Ó·È ıÂÚÈÓ¤˜. ¢ÂÓ Ê·›ÓÂÙ·È Ó· ˘¿Ú¯Ô˘Ó ·Ú·ÙËÚËÙ¤˜,
uniforms are summer-weight. There seem to be no spectators,
Ú¿ÁÌ· ÂÚ›ÂÚÁÔ ÁÈ· Ó·˘ÙÈ΋ ·Ú¤Ï·ÛË, ·ÎfiÌË Î·È ÁÈ· ‰È¤Ï¢ÛË
something strange in the case of a navy parade – even for a
Ì¿ÓÙ·˜, ηٿ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960.
band procession – during the 1960s.
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13 ª·ÚÙ›Ô˘ 1969
13 March 1969
§Â˘Îfi˜ ¶‡ÚÁÔ˜, 1969 (;)
The White Tower, 1969 (;)
∏ Û˘Ó‹ı˘ fi„Ë Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘
The usual view of the White Tower area during the 1960s. The
1960. √È ÂÓ‰˘Ì·Û›Â˜ (Î·È Ë ·Ú¤· Ô˘ „·Ú‡ÂÈ ÛÙ· ‰ÂÍÈ¿) Ì·ÚÙ˘-
outfits (and the men fishing on the right) proclaim an earlier
ÚÔ‡Ó Î¿ˆ˜ ÚÔÁÂÓ¤ÛÙÂÚË ¯ÚÔÓÔÏÔÁ›· Î·È ÔˆÛ‰‹ÔÙ (fiÏÔÈ
date and of course (they are all wearing shirts) a hot summer
ÊÔÚ¿ÓÂ Ô˘Î¿ÌÈÛÔ) ÈÔ Î·ÏÔηÈÚÈÓfi ηÈÚfi. ∫¿Ùˆ ·fi ÙÔÓ ‡ÚÁÔ
weather. Under the tower, the outdoor photographers of the
Â›Ó·È Û˘ÁÎÂÓÙڈ̤ÓÔÈ ÔÈ ˘·›ıÚÈÔÈ ÊˆÙÔÁÚ¿ÊÔÈ ÙÔ˘. ™ÙË ‰ÂηÂÙ›·
area are gathered. During the 1950s they were 17 (in this
ÙÔ˘ 1950 ›¯·Ó ÊÙ¿ÛÂÈ ÙÔ˘˜ 17 (ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›-
photograph four of them are represented, yet those in the park
˙ÔÓÙ·È Ù¤ÛÛÂÚȘ, ·ÏÏ¿ ‰ÂÓ Ê·›ÓÔÓÙ·Ó fiÛÔÈ Â›Ó·È Ì¤Û· ÛÙÔ ¿ÚÎÔ).
are not shown in the photograph).
√ ÂÚ›·ÙÔ˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ù˘È΋ Û˘Ó‹ıÂÈ· ÙˆÓ £ÂÛ-
Walking towards the White Tower was a typical habit of the
Û·ÏÔÓÈΤˆÓ ̤¯ÚÈ ·ÎfiÌË ÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. Ÿˆ˜ ‰Â›¯ÓÂÈ Ô
citizens of Thessaloniki until the 1970s. As it is evident from the
fiÁÎÔ˜ ÙˆÓ È‰ÈˆÙÈÎÒÓ ÊˆÙÔÁÚ·ÊÈÒÓ Ô˘ ηٷϋÁÔ˘Ó ÛÙ· ·Ï·ÈÔˆ-
volume of the private photographs ending up to antique shops,
Ï›·, Ë ÊˆÙÔÁÚ¿ÊËÛË ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ôχ Û˘ÓË-
taking photographs in front of the White Tower has been a very
ıÈṲ̂ÓË ·fi ÙËÓ ÂÔ¯‹ ÙÔ˘ ÌÂÛÔÔϤÌÔ˘ ̤¯ÚÈ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ
common habit ever since the interwar period and until walking
ÂÚÈ¿ÙˆÓ.
was abandoned.
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∏ ·Ú¿ ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ Ï·Ù›· Ù˘ fiψ˜, ÚˆÙ¢ԇÛ˘ ÙÔ˘ μÔÚ›Ԣ ÂÏÏËÓÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜, 1.3.1963
The Square located by the White Tower, at the capital city of Northern Greece, 1.3.1963
∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963
The crossroads of Pavlou Mela and Tsirogianni streets, 1963
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ∏ ÁˆÓȷ΋ (ÛÙ·
The shot has been taken from the top of the White Tower. The
‰ÂÍÈ¿) ÔÈÎÔ‰ÔÌ‹ (Ô˘ ·ÓÙÈη٤ÛÙËÛ ÙÔ 1960 ÎÙ›ÛÌ· Ù˘ ÙÔ˘ÚÎÔ-
block of flats (on the right) on the corner (which replaced, in
ÎÚ·Ù›·˜) ÙÂÏÂÈÒÓÂÈ. ¢›Ï· Ù˘, ÛÙÔ ÈÛfiÁÂÈÔ, Ë Ù·‚¤ÚÓ· «μÏ¿¯Ô˜».
1960, a building dated back in the Turkish occupation) is almost
™ÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›·, ÙÔ «∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ». ™ÙÔ ‚¿ıÔ˜, Ô
finished. By that, on the ground floor, there is the "Vlachos"
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∏χÛÈ·» (› Ù˘ ¶·‡ÏÔ˘ ªÂÏ¿). ∏ Ô‰fi˜ ·˘Ù‹
tavern. On the opposite corner, there is the "Hunters’ Café"; in
ۯ‰ȿÛÙËΠˆ˜ Ì›· ·fi ÙȘ «‰È·ÁˆÓ›Ô˘˜» ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡
the background, the "Ilysia" cinema (on Pavlou Mela Street).
ۯ‰›Ô˘. ™˘Ó¤‰ÂÛ ÙÔ §Â˘Îfi ¶‡ÚÁÔ Ì ÙËÓ ∞Á›· ™ÔÊ›· (‰‡Ô ‚·ÛÈο
This street had been planned as one of the "diagonals" of the
ÌÓËÌ›· Ù˘ fiÏ˘) Î·È ‰ËÌÈÔ‡ÚÁËÛ ÌÈ· ‰˘Ó·ÙfiÙËÙ· ΢ÎÏÔÊÔÚȷ΋˜
urban plan. It connected the White Tower with the temple of
·Ó·ÎÔ‡ÊÈÛ˘ ÙˆÓ ·Ú¿ÏÏËÏˆÓ ÚÔ˜ ÙË ı¿Ï·ÛÛ· ·ÚÙËÚÈÒÓ.
Aghia Sophia (two significant monuments of the city) and it helped the traffic of the roads parallel to the sea.
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Without Title
∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963 (;)
The crossroads of Pavlou Mela and Tsirogianni streets, 1963 (;)
∏ Ï‹„Ë Â›Ó·È Û¯Â‰fiÓ ›‰È· Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË. ∞ÏÏ¿ ÛÙÚ¤ÊÔÓÙ·˜ ÙÔ
The shot is almost the same as the previous one. However, by
Ê·Îfi ÂÚ›Ô˘ 10 ÌÔ›Ú˜ ÚÔ˜ Ù· ‰ÂÍÈ¿ ÙÔ˘, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ·ÔÙ‡-
turning the camera at about 10 degrees to the right, the
ˆÛ ÙȘ ÔÈÎÔ‰Ô̤˜ ·¤Ó·ÓÙÈ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, Ì ›ÎÂÓÙÚÔ ÙÔ
photographer captured the blocks of flats opposite the White
ηʤ «¡ÙÔÚ¤» (ÛÙË ÁˆÓ›· ‰ÂÍÈ¿). ∏ Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ ‰È·ÎÚ›ÓÂÙ·È
Tower, focusing on the café "Dore" (on the right corner). Pavlou
Û ÌÂÁ·Ï‡ÙÂÚÔ ‚¿ıÔ˜. ∏ ÌfiÓË ‰È·ÊÔÚ¿ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔ-
Mela Street is even further in the background. The only
ÁÚ·Ê›· (ÂÎÙfi˜ ·fi ÙÔ ¿ÛÚÔ ·˘ÙÔΛÓËÙÔ ÌÚÔÛÙ¿ ÛÙËÓ Ù·‚¤ÚÓ· Ô˘
difference compared to the previous photograph (apart from
¤¯ÂÈ ÌÂÙ·ÎÈÓËı›) Â›Ó·È ÙÔ Ì¤ÁÂıÔ˜ ÙÔ˘ ı¿ÌÓÔ˘, ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì·
the white car in front of the tavern that has been removed) is
Ù˘ ʈÙÔÁÚ·Ê›·. ∏ ‰È·ÊÔÚ¿ ·˘Ù‹ ÚÔ‰›‰ÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ ¤ÁÈÓ ÙËÓ
the size of the bush, on the left part of the photograph. This
›‰È· ̤ڷ, ·ÏÏ¿ ·ÚÁfiÙÂÚ·.
difference means that the shot has not been taken on the same day, but some time later.
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UNIVERSITY ΔÔ 1925, ÌfiÏȘ 13 ¯ÚfiÓÈ· ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢, ˘fi Û˘Óı‹Î˜ Ù·¯Â›·˜ ‰È·ÊÔÚÔÔ›ËÛ˘ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Ù˘ (ۇ̂·ÛË ·ÓÙ·ÏÏ·Á‹˜ ÏËı˘ÛÌÒÓ) Î·È ÙÔ˘ ÚfiÏÔ˘ Ù˘ ÛÙË ÓfiÙÈ· μ·ÏηÓÈ΋ (ÏfiÁˆ Ù˘ ·ÏÏ·Á‹˜ ÙˆÓ Û˘ÓfiÚˆÓ), Ë fiÏË ·¤ıÂÛ ÙȘ ÂÏ›‰Â˜ Ù˘ ÁÈ· ÙÔ Ì¤ÏÏÔÓ Û ‰‡Ô Ó¤Ô˘˜ ıÂÛÌÔ‡˜ Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÙÔ ¤ÙÔ˜ ÂΛÓÔ: ΔË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (¢∂£) Î·È ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ (Ô˘ ÙÔ 1954 ÌÂÙÔÓÔÌ¿ÛÙËΠ۠∞ÚÈÛÙÔÙ¤ÏÂÈÔ (∞¶£). ΔÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ÏÂÈÙÔ‡ÚÁËÛ ÙËÓ ÚÒÙË ¯ÚÔÓÈ¿ Ì 27 ÊÔÈÙËÙ¤˜. √Á‰fiÓÙ· ¯ÚfiÓÈ· ÌÂÙ¿ ›¯Â 70.000. ΔËÓ ŒÎıÂÛË ÔÏÏÔ› ÙËÓ ıÂÒÚËÛ·Ó ˆ˜ ·ÙfiËÌ·. ∞ԉ›¯ıËÎÂ Ô Ì·ÎÚÔ‚ÈfiÙÂÚÔ˜ ÔÈÎÔÓÔÌÈÎfi˜ ıÂÛÌfi˜ Ù˘ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜. ∫·È Ù· ‰‡Ô Ó¤· ȉڇ̷ٷ ÛÙÂÁ¿ÛÙËÎ·Ó ÛÙÔ ÌÔÓ·‰ÈÎfi ‰È·ı¤ÛÈÌÔ ¯ÒÚÔ Ù˘ fiÏ˘, ÂΛÓÔÓ Ô˘ ÛÙ·‰È·Î¿ ·ÂÏ¢ıÂÚÒıËΠ·fi ÙËÓ ÎÔÈÌËÙËÚȷ΋ ¯Ú‹ÛË. ∫¿ÔÙÂ, ÔÈ ÂÎÙ¿ÛÂȘ Ô˘ η٤Ϸ‚·Ó Ë ¢∂£ Î·È ÙÔ ∞¶£ ‚Ú›ÛÎÔÓÙ·Ó ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Î·È ¯ÚËÛÈÌÔÔÈ‹ıËÎ·Ó ˆ˜ ÎÔÈÌËÙ‹ÚÈ·, ‰È·‰Ô¯Èο ηٿ ÙË ÚˆÌ·˚΋, ÚˆÙÔ¯ÚÈÛÙÈ·ÓÈ΋, ‚˘˙·ÓÙÈÓ‹ Î·È ÔıˆÌ·ÓÈ΋ ÂÚ›Ô‰Ô. ªÂ Ù· Ó¤· ÔÏÂÔ‰ÔÌÈο Û¯¤‰È· Î·È ÙËÓ ·ÏÏ·Á‹ ÛÙË Û‡ÓıÂÛË ÙÔ˘ ÏËı˘ÛÌÔ‡, ÔÈ ¯ÒÚÔÈ ·˘ÙÔ› ÛÙ·‰È·Î¿ –Û ‰È¿ÛÙËÌ· ‰ÂηÂÙÈÒÓ- ·Ô‰ÂÛ̇ÙËÎ·Ó Î·È ·ÊÈÂÚÒıËÎ·Ó ÛÙȘ Ӥ˜ ¯Ú‹ÛÂȘ. ∫·ıÒ˜ Ù· ÎÙÈÚȷο ÚÔÁÚ¿ÌÌ·Ù· ÙˆÓ ‰‡Ô È‰Ú˘Ì¿ÙˆÓ ÚÔ¯ˆÚÔ‡Û·Ó, ȉȷ›ÙÂÚ· ÌÂÙ¿ ÙÔ 1950, Ë ÛÙ·‰È·Î‹ ηٿÏË„Ë ÙÔ˘ ¯ÒÚÔ˘ ÚÔÛʤÚÔÓÙ·Ó ÁÈ· ʈÙÔÁÚ¿ÊËÛË. ∞˘Ù‹ ηı’ ·˘Ù‹ Ë ¢∂£, ‚¤‚·È·, ·ÔÙ¤ÏÂÛ ·˘ÙfiÓÔÌÔ ·ÓÙÈΛÌÂÓÔ ·ÂÈÎfiÓÈÛ˘ ·fi ÙËÓ ÚÒÙË Ì¤Ú· Ù˘ ‡·ÚÍ‹˜ Ù˘. ŒÙÛÈ, ÙÔ Û˘Ó·Ê¤˜ ʈÙÔÁÚ·ÊÈÎfi (Î·È ¯·ÚÙÔÁÚ·ÊÈÎfi) ˘ÏÈÎfi Ô˘ Û˘ÛÛˆÚ‡ÙËÎÂ Â›Ó·È ÔÁÎ҉˜. √È 17 ʈÙÔÁڷʛ˜ ·fi ÙÔ ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ‰È·ÌÔÚÊÒÓÔ˘Ó ¤Ó· ÈηÓÔÔÈËÙÈÎfi ÔÙÈÎfi ·Ê‹ÁËÌ· ÁÈ· ÙÔ Û¯ËÌ·ÙÈÛÌfi ÙˆÓ ‰‡Ô «fiψӻ Ô˘ ·ÔÙÂÏÔ‡Ó ¯·Ú·ÎÙËÚÈÛÙÈÎfi Î·È Úԛη Ù˘ £ÂÛÛ·ÏÔӛ΢.
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In 1925, only 13 years after the liberation of Thessaloniki, under the existing conditions of fast population divergence (the population exchange Treaty) and its role in the South Balkan area (due to the change of borders), the city put its future hopes on two new institutions established that year: The Thessaloniki International Fair (¢∂£) and the University of Thessaloniki [which in 1954 was renamed as Aristotle University of Thessaloniki (∞¶£)]. In the first year of its operation, the University had only 27 students. Eighty years later it had 70.000 students. The Fair was considered by many people as an absurdity. It was proved to be the longest lasting institution in Northern Greece. Both these new institutes were established in the only land available within the city, replacing gradually the cemeteries that had previously been there. The land on which the Thessaloniki International Fair and the Aristotle University of Thessaloniki have been established, once have been outside the walls and were used as cemeteries, during the roman, the early Christian, the Byzantine and the ottoman period, successively. After the new urban planning and the change in population, this land had gradually – within some decades – been released and devoted to new usages. As the construction of these two projects advanced, especially after 1950, the gradual taking up of the land was ideal for taking photographs. Of course, the Thessaloniki International Fair itself has been an autonomous theme for photography from the very first day of its existence. Thus, the relevant photographic (as well as cartographic) material accumulated is voluminous. The 17 photographs from the archive of the Secretariat General of Communication – Secretariat General of Information create a satisfactory visual narration concerning the shaping of these two "towns" which constitute a characteristic feature as well as the dowry of Thessaloniki.
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¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (1931)
The Thessaloniki International Fair (1931)
∏ ·Ï·È¿ ¢∂£ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜ (1931)
The old Thessaloniki International Fair at Pedio tou Areos (i.e. Mars’s field) (1931)
√È ÚÒÙ˜ 14 ‰ÈÔÚÁ·ÓÒÛÂȘ Ù˘ ¢∂£ (1926-1939) Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜, ÙÔ ÔÔ›Ô ·Ú·¯ÒÚËÛ·Ó ÔÈ ¤ÓÔϘ
For the first 14 years, the Thessaloniki International Fair (1926
‰˘Ó¿ÌÂȘ (ÂΛ ÙÒÚ· Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È ÔÈ «·ÓıÔÂÎı¤ÛÂȘ»). √
– 1939) was organized at Pedio tou Areos, given by the army
¯ÒÚÔ˜ ‹Ù·Ó 38 ÛÙÚ¤ÌÌ·Ù· ÂÚ›Ô˘, ÏÈÁfiÙÂÚÔ ·fi ÙÔ ¤Ó· ٤ٷÚÙÔ
(where nowadays the "flower shows" take place). The area
Ù˘ ÛËÌÂÚÈÓ‹˜ ¤ÎÙ·Û˘ Ù˘ ¢∂£. ∞ÚıÚˆÓfiÙ·Ó Á‡Úˆ ·fi ¤Ó·
extended to about 38.000 m2; less than one quarter of its
ÎÂÓÙÚÈÎfi ‰È¿‰ÚÔÌÔ, Ë Â›ÛÔ‰Ô˜ ÙÔ˘ ÔÔ›Ô˘ ‚ÚÈÛÎfiÙ·Ó ÛÙË ÛËÌÂÚÈÓ‹
present surface area. It was organized around a central
Ô‰fi μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È Ë ¤ÍÔ‰Ô˜ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ (ÛÙÔ
passageway, the entrance of which was at the present
‚¿ıÔ˜ Ê·›ÓÂÙ·È ÙÔ °ã ™ÒÌ· ™ÙÚ·ÙÔ‡). ∞fi ÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿
Vassileos Gheorgiou Street and the exit at Stratou Avenue (in
·ÏÒÓÔÓÙ·Ó Ù· ȉȈÙÈο ÂÚ›ÙÂÚ· Î·È ·fi ÙË ‰ÂÍÈ¿ Ù· ‰ËÌfiÛÈ·.
the background there is the 3rd Army Corps). On the left side of
ªÂÙ¿ ÙËÓ ·ÁÎfiÛÌÈ· ÔÈÎÔÓÔÌÈ΋ ÎÚ›ÛË (1929) Ô ‰ÈÂıÓ‹˜ ¯·Ú·ÎÙ‹-
this passageway there were the private stands, while on the
Ú·˜ Ù˘ ¢∂£ ‰ÔÎÈÌ¿ÛÙËÎÂ, ·ÏÏ¿ Ô ıÂÛÌfi˜ ÂÈ‚›ˆÛÂ.
right the public ones. After the international crash (1929), the international character of the Trade Fair of Thessaloniki suffered, yet the institution survived.
k 122
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∏ ÓfiÙÈ· ‡ÏË Ù˘ ¢∂£
The south entrance of the Thessaloniki International Fair
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (1951)
The Thessaloniki International Fair (1951)
ΔÔ 1940 Ë ¢∂£ η٤Ϸ‚ ÙÌ‹Ì· ÙÔ˘ ÛËÌÂÚÈÓÔ‡ ¯ÒÚÔ˘ Ù˘ ÎÈ ÂΛ
In 1940, the Thessaloniki International Fair occupied a part of its
ÏÂÈÙÔ‡ÚÁËÛÂ. ∏ 15Ë ¢∂£ ‰È·ÎfiËΠ·fi ÙËÓ ÂÈÛ‚ÔÏ‹ ÙˆÓ πÙ·ÏÒÓ.
present area and it was held there. The 15th Thessaloniki
∞ÎÔÏÔ‡ıËÛÂ Ô fiÏÂÌÔ˜, Ë Î·ÙÔ¯‹ Î·È Ë ‰‡ÛÎÔÏË ÂÚ›Ô‰Ô˜ ÌÂÙ¿ ÙÔÓ
International Fair was interrupted by Italy’s invasion. Then,
fiÏÂÌÔ. ∏ ŒÎıÂÛË Â·Ó·ÏÂÈÙÔ‡ÚÁËÛ ÙÔ 1951. ∏ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ-
there came the War, the German Occupation and the hard post-
‰Ô˜ ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ Î·È Û˘ÁÎÂÎÚÈ̤ӷ ÛÙÔ
war times. The Trade Fair started operating again in 1951. The
ηٷÚÁËı¤Ó ÙÌ‹Ì· Ù˘ ·fi ÙÔ ÛÙÚ·ÙȈÙÈÎfi Ó·fi ÙÔ˘ ∞Á›Ô˘ ∫ˆÓÛÙ·-
entrance represented was on the Stratou Avenue and more
ÓÙ›ÓÔ˘ ̤¯ÚÈ ÙÔ ™ÈÓÙÚÈ‚¿ÓÈ. ΔÔ ÙÌ‹Ì· ·˘Ùfi ÙÔ˘ ‰ÚfiÌÔ˘ ÂÓۈ̷ÙÒ-
specifically on the part later rescinded from the military temple
ıËΠÛÙÔ ¯ÒÚÔ Ù˘ ¢∂£ ÙÔ 1960, Ì·˙› Ì ÌÈ· ψڛ‰· Á˘ ÛÙ· ÓfiÙÈ·
of Aghios Konstantinos up to the Fountain. That part of the
ÙÔ˘. ∞Ó¿ÌÂÛ· ÛÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ‰Ô Î·È ÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· Ù˘
street was incorporated in the area of the Thessaloniki
Ã∞¡£ ˘‹Ú¯Â ÎÂÓ‹ ¤ÎÙ·ÛË, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ÁÈ· ÙË ÛÙ¿ıÌ¢-
International Fair in 1960, along with a stripe of land on its south
ÛË ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ ÙˆÓ ÂÈÛÎÂÙÒÓ.
part. Between the entrance represented and the present Square of YMCA of Thessaloniki, there was an unbuilt site, used as visitors’ parking area.
k 124
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125 k
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k 126
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ÕÙÈÙÏË
Without Title
¶ÚÔ‚ÔÏ‹ ΢‚ÂÚÓËÙÈÎÔ‡ ¤ÚÁÔ˘ (1960)
Presentation of the government’s acts (1960)
™ÙÔ ÎÂÓÙÚÈÎfi ÂÚ›ÙÂÚÔ Ù˘ ¢∂£, ÙÔ ¶ÂÚ›ÙÂÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜,
In the central kiosk of the Thessaloniki International Fair, the
Ô˘ ηÙ‰·Ê›ÛÙËΠÙÔ 1960 ÁÈ· Ó· ·ÓÂÁÂÚı› ÙÔ ÎÏÂÈÛÙfi Á‹Â‰Ô
Kiosk of National Output, demolished in 1960 in order Palais de
(¶·Ï¤ ÓÙ ™ÔÚ), ·ÚÔ˘ÛÈ¿˙ÔÓÙ·Ó Î·Ù¿ ·Ú¿‰ÔÛË Ë ÁˆÚÁÈ΋
Sports to be constructed, the produce has been traditionally
·Ú·ÁˆÁ‹. ◊‰Ë, fï˜, ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 Ë ·Ó¿ÁÎË
exhibited. However, in late 1950s, the need to promote the
ÁÈ· ÙËÓ ÚÔ‚ÔÏ‹ ÙˆÓ ·ÁÚÔÙÈÎÒÓ ÚÔ˚fiÓÙˆÓ Ù˘ ÂÚÈʤÚÂÈ·˜ ›¯Â
agricultural products of the country was limited. Thus, on the
ϤÔÓ ·Ì‚Ï˘Óı›. ŒÙÛÈ, ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘, Ô˘ ·ÔÙÂÏÔ‡-
ground floor of the kiosk, which actually was "state-of-the-art,
Û «ÙËÓ ÙÂÏÂ˘Ù·›·Ó ϤÍÈÓ ·fi ·fi„ˆ˜ Ù¯ÓÈ΋˜», ÚÔ‚Ï‹ıËÎÂ
from a technical point of view", there was displayed – during
–ηٿ ÙÔ ÙÂÏÂ˘Ù·›Ô ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘- ÙÔ Î˘‚ÂÚÓËÙÈÎfi ¤ÚÁÔ
the last quarter of its operation – the government’s acts of the
Ù˘ ÂÚÈfi‰Ô˘ 1955-1960. «∏ ÚÔ‚ÔÏ‹ ·˘Ù‹ ÂÈÙ˘Á¯¿ÓÂÙ·È Î·Ù¿
period 1955 – 1960. "This display is achieved in a discreet and
Ì›·Ó ‰È·ÎÚÈÙÈÎ‹Ó Î·È ÔÚıÔÏÔÁÈÎ‹Ó ÛÂÈÚ¿Ó Ì ·ÚÈÔÓ ¯·Ú·ÎÙËÚÈÛÙÈÎfiÓ:
rational sequence around a common characteristic: The Greece
∏ ∂ÏÏ¿˜ Ù˘ Ãı˜, Ë ∂ÏÏ¿˜ Ù˘ ™‹ÌÂÚÔÓ, Ë ∂ÏÏ¿˜ Ù˘ ∞‡ÚÈÔÓ»,
of yesterday; the Greece of Today; the Greece of Tomorrow" –
ÛËÌÂÈÒÓÂÈ Ô‰ËÁfi˜ Ù˘ ÂÔ¯‹˜. ∏ ̤ıÔ‰Ô˜ Ù˘ «ÚÔ‚ÔÏ‹˜ ÙˆÓ ¿Û˘
as a contemporary guide states. The method of "displaying all
ʇÛˆ˜ ÂÎıÂÌ¿ÙˆÓ» ‹Ù·Ó «Ó¤·»: «…Û˘ÌÏËÚÔ‡Ù·È ÌÂ Û˘Á¯ÚÔÓÈ-
kinds of exhibits had been "a new one": "…it is accompanied by
ÛÌfiÓ Î·È ÂÓ·ÚÌfiÓÈÛÈÓ ‹¯Ô˘». Δ· ÛηÏÔ¿ÙÈ· ›¯·Ó ·Ê·ÈÚÂı› ηÈ
modernization as well as sound harmonization". The staircases
ÙÔÔıÂÙ‹ıËÎ·Ó Ú¿Ì˜, ÂÓÒ ÌÂÁ¿Ï˜ ÂÈÙÔ›¯È˜ ˙ˆÁÚ·ÊÈΤ˜ Û˘Óı¤-
had been removed and ramps had been placed, while vast wall
ÛÂȘ Î¿Ï˘Ù·Ó ÙÔ ÂÛˆÙÂÚÈÎfi ÙËÓ ÚfiÛÔ„‹ ÙÔ˘ ÎÙÈÚ›Ô˘, Ô˘ ÌÂÙ¿ ·fi
paintings covered the internal part of the façade. This building
ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ ηÙ‰·Ê›ÛÙËÎÂ. √È ‰‡Ô ʈÙÔÁڷʛ˜ ÂÌÊ·Ó›˙Ô˘Ó
was demolished a few months later. The two photographs
ÙÔÓ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó Ù· ÂÈÙ‡ÁÌ·Ù· ÛÙË Ú·‰ÈÔ-
present the way in which the advances in radio broadcasting
ʈӛ· Î·È ÙËÓ Âη›‰Â˘ÛË.
and education had been brought forward.
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Without Title
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢, 1964
The Thessaloniki International Fair, 1964
∞Ó¿ÌÂÛ· ÛÙË Ó¤· Ô‰fi ∞ÁÁÂÏ¿ÎË (Ì Ӥ· ÙfiÙ ÔÏ˘ÒÚÔÊ· ÎÙ›ÚÈ·:
Between the new Aggelaki Street (featuring contemporary new
¿Óˆ ·ÚÈÛÙÂÚ¿) Î·È ÙÔÓ ÚÔÛÊ˘ÁÈÎfi Û˘ÓÔÈÎÈÛÌfi Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜
multi-storey buildings: at the upper left part) and the refugees’
(ÌÔÓÒÚÔÊ· Ì ·˘Ï¤˜ Î·È ‰¤ÓÙÚ·, ¿Óˆ ‰ÂÍÈ¿), Ë ¢∂£ ÛËÌ›ˆÓ ÌÂÁ¿-
settlement of Aghia Photini (one-storey houses with yards and
ÏË ÂÈÙ˘¯›·, ·Ó ÎÚ›ÓÂÈ Î·Ó›˜ ·fi ÙÔÓ ·ÚÈıÌfi ÙˆÓ ÂÈÛÎÂÙÒÓ Ù˘. ΔÔ
trees, at the upper right part), the Thessaloniki International Fair
1965 ¤ÊÙ·Û ÙÔ ˙ÂÓ›ı ÛÙËÓ ÈÛÙÔÚ›· Ù˘: 1.623.488 ¿ÙÔÌ· Ï‹Úˆ-
was more than successful, judging from the number of visitors.
Û·Ó ÂÈÛÈÙ‹ÚÈÔ ÁÈ· Ó· ÂÚ¿ÛÔ˘Ó ÙȘ ‡Ï˜ Ù˘. √ ·ÚÈÔ˜ ÂÎıÂÛÈ·Îfi˜
In 1965 it reached its zenith: 1.623.488 visitors paid ticket to
fiÁÎÔ˜ ÚÔ¤Ú¯ÔÓÙ·Ó ·fi ÔÏ˘ÏËı›˜ ȉȈÙÈÎÔ‡˜ ÂÎıÂÛÈ·ÎÔ›
enter the Fair. The main volume of the exhibits came from
¯ÒÚÔ˘˜, Ô˘ ηÙ›¯·Ó –fiˆ˜ Ê·›ÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›·- ÙÔ ÎÂÓÙÚÈ-
numerous private exhibitions, which occupied – as shown in the
Îfi ÙÌ‹Ì· Ù˘. ªÂ ‚¿ÛË ÙÔ˘˜ ¯ÒÚÔ˘˜ ·˘ÙÔ‡˜ ÂȯÂÈÚÂ›Ù·È Î·È Ë ¯ÚÔ-
photograph – the central part of the Fair. The dating of the
ÓÔÏfiÁËÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÙÔ ¤ÙÔ˜ 1964.
present photograph is being attempted on this basis; it was taken around 1964.
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°ÂÓÈ΋ ¿Ô„Ș Ù˘ ∂Îı¤Ûˆ˜, 19.9.1968
An overall view of the International Trade Fair, 19.9.1968
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢, 1969
The Thessaloniki International Fair, 1969
ΔÔ 1968, ÂÎÙfi˜ ·fi ¤ÓÙ Ӥ· ȉȈÙÈο ÂÚ›ÙÂÚ·, ·ÔÂÚ·ÙÒıËÎÂ
In 1968, apart from five new privately owned kiosks, the
Î·È ÙÔ «∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ» Ù˘ ¢∂£ (Ó˘Ó ÂÚ›ÙÂÚÔ 8). ∞ÚÈÛÙÂÚ¿, Ë
"Shopping Centre" (currently Kiosk 8) of the Thessaloniki
Ô‰fi˜ ∞ÁÁÂÏ¿ÎË. ™ÙÔ ¿Óˆ ̤ÚÔ˜ ÙÔ˘ ÂÎıÂÛÈ·ÎÔ‡ ¯ÒÚÔ˘ Ù· ÁÚ·Ê›·
International Fair was completed. On the left, there is Aggelaki
‰ÈÔÈ΋Ûˆ˜ Î·È ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÂÚ›ÙÂÚÔ 1. μÔÚÂÈfiÙÂÚ·, Ë ·ÓÂÈÛÙË-
Street. At the upper part of the Fair, there are the
ÌÈÔ‡ÔÏË. ΔÔ ÂfiÌÂÓÔ ¤ÙÔ˜ Ô ÂÎıÂÛÈ·Îfi˜ ¯ÒÚÔ˜ ı· ¤·ÈÚÓ ۯ‰fiÓ
Administration Offices and on their right, Kiosk 1. Further in the
ÙËÓ ÔÚÈÛÙÈ΋ ÌÔÚÊ‹ ÙÔ˘.
north, there is the university campus. In the year that followed, the Fair would take its final shape.
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11.1.1965. ∏ Ô‰fi˜ ∞ÁÁÂÏ¿ÎË ¢ÂÛÂÚ¤, Ì›· ·fi Ù·˜ ˆÚ·›·˜ ψÊfiÚÔ˘˜ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘
11.1.1965. Aggelaki Despere Street, one of the beautiful avenues of the second largest city of Greece
√‰fi˜ ∞ÁÁÂÏ¿ÎË, 1965
Aggelaki Street, 1965
∞Ó Î·È ¯·ÚÙÔÁÚ·ÊÈο Ô ‰ÚfiÌÔ˜ ÂÌÊ·Ó›˙ÂÙ·È ·fi ÙÔ 1898, Ë Ô‰fi˜
Although the street is represented in cartography as early as
∞ÁÁÂÏ¿ÎË ‰È·ÌÔÚÊÒıËΠÌfiÏȘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960. ª¤¯ÚÈ Ù·
1898, Aggelaki Street was shaped in the 1960s. Until late 19th
Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÙËÓ ÂÚÈÔ¯‹ ‰È¤Û¯È˙ ¯Â›Ì·ÚÚÔ˜, Ô˘ η٤‚·È-
century, the area was crossed by a stream, flowing from the
Ó ·fi ÙÔ ‚ÔÚÚ¿ Î·È Û˘Ó¤¯È˙ ÚÔ˜ ÙË ı¿Ï·ÛÛ·. ∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘
north down to the sea. Along this stream there were
¯ÂÈÌ¿ÚÚÔ˘ ˘‹Ú¯·Ó Ï·Ù¿ÓÈ·, ÛÙ· ÔÔ›· Á›ÓÔÓÙ·Ó ı·Ó·ÙÈΤ˜ ÂÎÙÂ-
sycamores, where death penalties were executed. During the
ϤÛÂȘ. ™ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘, Ô ¯ÒÚÔ˜
First World War, this area had been used for storage and
¯ÚËÛÈÌÔÔÈ‹ıËΠÁÈ· ·Ôı‹Î¢ÛË Î·È ÛÙÚ·ÙˆÓÈÛÌfi. ™ÙÔ ‰˘ÙÈÎfi
camping. At the left end of the current Thessaloniki
¿ÎÚÔ Ù˘ ÛËÌÂÚÈÓ‹˜ ¢∂£, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË, ηٷÛ΢¿ÛıË-
International Fair, towards Aggelaki Street, wooden sheds had
Î·Ó Í‡ÏÈÓ˜ ·Ú¿ÁΘ ÁÈ· Ó· ÛÙÂÁ·ÛÙÔ‡Ó ˘ÚÔ·ı›˜. ªfiÏȘ ÛÙË
been constructed in order the fire victims to be accommodated.
‰ÂηÂÙ›· ÙÔ˘ 1950 ¯·Ú¿¯ıËΠÙÔ ‚fiÚÂÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡. ºˆÙÔÁÚ·-
It was in the 1950s that the northern part of the street was
ʛ˜ Ù˘ ÂÔ¯‹˜ Ì·˜ ‰Â›¯ÓÔ˘Ó fiÙÈ Á›ÓÔÓÙ·Ó ÂΛ ¯ˆÌ·ÙÔ˘ÚÁÈΤ˜
planned. Contemporary photographs show that landscaping
ÂÚÁ·Û›Â˜ ÁÈ· ÙË ‰È·ÌfiÚʈÛË ÙÔ˘ ‰¿ÊÔ˘˜ Î·È ÙË ‰È¢ı¤ÙËÛË ÙÔ˘
works were held there in order to shape the area and to bank
¯ÂÈÌ¿ÚÚÔ˘, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÊ·ÚÌÔÛÙ› ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ
up the stream, so as the urban plan to be applied (1959). The
(1959). ∏ ʈÙÔÁÚ·Ê›· ÙÔ˘ 1965 Ì·˜ ‰Â›¯ÓÂÈ ¤Ó·Ó ÂÓÙÂÏÒ˜ Ó¤Ô ‰Úfi-
photograph of 1965 reveals a completely different street with
ÌÔ, Ì ηÈÓÔ‡ÚÁÈ· ÎÙ›ÚÈ·. ∏ Ô‰fi˜ ¢ÂÛÂÚ¤ (ÙÔ ·Ó·ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘
new buildings. Despere Street (the eastern part of which has
ÔÔ›·˜ Û˘Ó·ÓÙ‹Û·Ì Û ÚÔËÁÔ‡ÌÂÓ˜ Ï‹„ÂȘ) Û˘Ó¯›˙ÂÙ·È Û¯Â‰fiÓ
been represented in many of the previous photos) continues
·Ú¿ÏÏËÏ· Ì ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË (›Ûˆ ·fi ÙȘ ÔÏ˘Î·ÙÔÈ˘).
almost in parallel with Aggelaki Street (behind the blocks of flats).
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ΔÔ Ó¤ÔÓ ·Ú¯·ÈÔÏÔÁÈÎfiÓ ÌÔ˘ÛÂ›Ô Ù˘ fiψ˜ 24.10.1962
The new archaeological museum of the city 24.10.1962
∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, ·Ó·ÙÔÏÈ΋ Ù¤Ú˘Á·, 1962
Archaeological museum, eastern wing, 1962
ΔÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ ȉڇıËΠÙÔ 1925 ηÈ
The archaeological museum of Thessaloniki was founded in
ÛÙÂÁ¿ÛÙËΠ«ÚÔÛˆÚÈÓ¿» ÛÙÔ «Ó¤Ô Ù¤ÌÂÓÔ˜» (°ÂÓ› Δ˙·Ì›). ŒÎÙÔÙÂ
1925 and had been "temporarily" accommodated in "Yeni
ÍÂΛÓËÛÂ Ë ·Ó·˙‹ÙËÛË ÙÔ˘ ηٿÏÏËÏÔ˘ ¯ÒÚÔ˘ ÁÈ· ÙËÓ ÔÚÈÛÙÈ΋ ÛÙ¤-
Tzami" (the New Mosque). Ever since, the research for a place
Á·Û‹ ÙÔ˘. ΔÔ 1949 ·Ú·¯ˆÚ‹ıËΠÔÈÎfiÂ‰Ô 35 ÛÙÚÂÌÌ¿ÙˆÓ, ·fi
appropriate to permanently house the museum begun. In 1949,
ÙËÓ ·ÓÙ·ÏÏ¿ÍÈÌË ÂÚÈÔ˘Û›·, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË. ΔÔ ¯ÒÚÔ ·˘ÙfiÓ
a plot of 35.000 m2 surface area – of the estates exchanged –
fï˜ ‰ÈÂΉÈÎÔ‡ÛÂ Î·È Ë ¢∂£, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÂÎÙ›ÓÂÈ ÙȘ ÂÁηٷ-
towards Aggelaki Street was found. However, this area had
ÛÙ¿ÛÂȘ Ù˘. ∂ΉËÏÒıËÎÂ, ¤ÙÛÈ, ÈÛ¯˘Ú‹ ÙÔÈ΋ ‰È¤ÓÂÍË, Ë ÔÔ›· ÍÂÂ-
been claimed by the Thessaloniki International Fair, in order to
Ú¿ÛÙËΠÙÔ 1956, fiÙ·Ó ÙÔ ÀÔ˘ÚÁÂ›Ô ∂ıÓÈ΋˜ ∞̇Ó˘ ·Ú·¯ÒÚËÛÂ
expand its facilities. Thus, an intense local controversy
ÙÌ‹Ì· ÙÔ˘ ¶Â‰›Ô˘ ÙÔ˘ ÕÚˆ˜ (12 ÛÙÚ¤ÌÌ·Ù·) ÁÈ· Ó· ÔÈÎÔ‰ÔÌËı› ÙÔ
emerged, which was overcome in 1956, when the Ministry of
·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô. ∏ ·Ó¤ÁÂÚÛË Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ 1961 ηÈ
National Defence gave a part of Pedio tou Areos (12.000 m2) in
ÔÏÔÎÏËÚÒıËΠÙÔ 1962. Δ· Û¯¤‰È· ÂÎfiÓËÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¶¿ÙÚÔ-
order the archaeological museum to be constructed. The
ÎÏÔ˜ ∫·Ú·ÓÙÈÓfi˜, Ì ¿ÌÂÛ˜ ·Ó·ÊÔÚ¤˜ ÛÙÔ ·Ú¯·›Ô ÂÏÏËÓÈÎfi Û›ÙÈ,
construction started in 1961 and was completed in 1962. The
Ì ٷ ÂÛˆÙÂÚÈο ·›ıÚÈ·. √ ÂÁηÈÓÈ·ÛÌfi˜ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÚÂȘ
architect Mr. Patroklos Karantinos produced the blueprints,
̤Ú˜ ÌÂÙ¿ ·fi ÙË ÊˆÙÔÁÚ·ÊÈ΋ Ï‹„Ë, ÛÙȘ 27.10.1962, Ì ·ÊÔÚ-
which resembled an ancient Greek residence, featuring interior
Ì‹ ÙËÓ ÂÓÙËÎÔÛÙ‹ ¤ÙÂÈÔ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔÓ›-
atriums. The inauguration was held three days after this
΢.
photograph was taken, on 27.10.1962, on the anniversary of the liberation of Thessaloniki.
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§¿ÚÓ·Í ¯Ú˘Û‹ Ô˘ ÂÚÈ›¯Â Ù· ÔÛÙ¿ ÙÔ˘ ÓÂÎÚÔ‡ ‚·ÛÈÏÈ¿. ΔÔ ¯Ú˘Ûfi ÛÙÂÊ¿ÓÈ Ô˘ ÂÈÎÔÓ›˙ÂÙ·È ·fi ¿Óˆ, ‚Ú¤ıËΠ›Û˘ ̤۷ ÛÙË Ï¿Úӷη. ∞ÔÙÂÏÂ›Ù·È ·fi ʇÏÏ· Î·È Î·ÚÔ‡˜ ‰Ú˘fi˜. μÂÚÁ›Ó·, ‚·ÛÈÏÈÎfi˜ Ù¿ÊÔ˜ 1977 (350-325 .Ã.)
A reliquary made of gold, containing the deceased king’s relics. The gold wreath shown above had also been found in the reliquary. It is made of oak tree leaves and fruits. Vergina, royal tomb 1977 (350-325 B.C.)
∏ Ï¿Úӷη
The reliquary
™ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ Ê˘Ï¿ÛÛÂÙ·È Ë ÂÚ›ÊË-
The famous reliquary excavated by the archaeologist Mr.
ÌË Ï¿Úӷη Ô˘ ‚Ú‹ÎÂ Ô ·Ú¯·ÈÔÏfiÁÔ˜ ª. ∞Ó‰ÚfiÓÈÎÔ˜ ÛÙÔÓ ı·˘Ì¿-
Manolis Andronikos, in the prominent tomb Bã of the Great Tomb
ÛÈÔ Ù¿ÊÔ μã ÙÔ˘ ªÂÁ¿ÏÔ˘ Δ‡Ì‚Ô˘, ÙÔÓ ÔÔ›Ô ÔÏÏÔ› ıˆÚÔ‡Ó ˆ˜
– believed to be King Philippos’s burial site – is kept in the
ÓÂÎÚÈÎfi Ù¿ÊÔ ÙÔ˘ ‚·ÛÈÏÈ¿ ºÈÏ›Ô˘. ∏ Ï¿Úӷη ÎfiÛÌËÛ ÙÔ ÂÍÒ-
archaeological museum of Thessaloniki. The reliquary was
Ê˘ÏÏÔ ÙÔ˘ Ô‰ËÁÔ‡ ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘Û›Ԣ, ÙÔÓ ÔÔ›Ô Âͤ‰ˆÛÂ
illustrated on the cover of the archaeological museum guide,
ÙÔ 1981 Ô ·Â›ÌÓËÛÙÔ˜ ª·ÓfiÏ˘ ∞Ó‰ÚfiÓÈÎÔ˜.
published in 1981 by the ever memorable Mr. Manolis Andronikos.
k 136
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∫fiÌ‚Ô˜, 23.12.1967
An interchange, 23.12.1967
∏ Ï·Ù›· Ù˘ Ã∞¡£ Ì ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, 1967
The Square of YMCA of Thessaloniki with the archaeological museum, 1967
∏ ÔÏÔÎÏ‹ÚˆÛË ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘Û›Ԣ, ·ÏÏ¿ Î·È Ë Â¤ÎÙ·ÛË Ù˘ ¢∂£ ÚÔ˜ Ù· ÓÔÙÈÔ·Ó·ÙÔÏÈο, ‰ËÌÈÔ‡ÚÁËÛ·Ó ÌÈ· Ó¤· Ú˘ÌÔÙÔÌÈ-
The completion of the archaeological museum, as well as the
΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·. ŒÙÛÈ, ¤Ú ӷ ηٷÚÁËıÔ‡Ó ÙÌ‹Ì·Ù· ‰ÚfïÓ
expansion of the Thessaloniki International Fair eastwards,
Î·È Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤·, Ì ·ÔÙ¤ÏÂÛÌ· ÛÙÔÓ ¿ÏÏÔÙ ·Î¿Ï˘ÙÔ
produced a new street layout. Thus, certain parts of streets
¯ÒÚÔ Ô˘ ˘‹Ú¯Â ÌÚÔÛÙ¿ ÛÙË Ã∞¡£ Ó· ‰È·ÌÔÚʈı› ÌÈ· Ï·Ù›·,
had to be abolished, while some new parts should be created;
Ô˘ ÚÔ‚¿ÏÂÈ ÙËÓ ÎÂÓÙÚÈ΋ ›ÛÔ‰Ô Ù˘ ¢∂£ Î·È ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi
this contributed to the formation of a square on the unbuilt site
ÌÔ˘Û›Ô. ™’ ·˘Ù‹Ó Û˘Ì‚¿ÏÏÔ˘Ó ÔÈ Ô‰Ô›: ΔÛÈÌÈÛ΋, ∞ÁÁÂÏ¿ÎË, §ÂˆÊfi-
in front of the YMCA of Thessaloniki, spotlighting the central
ÚÔ˜ ™ÙÚ·ÙÔ‡, ¢ÂÛÂÚ¤ Î·È ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡.
entrance of the Fair, as well as the archaeological museum. Tsimiski Street, Aggelaki Street, Stratou Avenue, Despere Street and Nikolaou Germanou Street converge in this square.
k 138
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¶·Ï·› ¡Ù ™ÔÚ £ÂÛÛ·ÏÔӛ΢, 5.9.1966
The Palais de Sports of Thessaloniki, 5.9.1966
ΔÔ ÎÏÂÈÛÙfi Á‹Â‰Ô ÂÙÔÈÌ¿˙ÂÙ·È ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï ÙÚ·ÁÔ˘‰ÈÔ‡, 1966
The sports hall is being prepared for the Song Festival, 1966
∏ ‰ËÌÈÔ˘ÚÁ›· ÎÏÂÈÛÙÔ‡ Áˤ‰Ô˘ Ì¿ÛÎÂÙ ‹Ù·Ó ¤Ó· ·fi ·ÈÙ‹Ì·Ù· Ù˘
The construction of a basketball sports hall had been a demand
ÌÂÙ·ÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔӛ΢. ∏ ÔÈÎÔ‰fiÌËÛ‹ ÙÔ˘ ÛÙÔ ¯ÒÚÔ Ù˘
of post-war Thessaloniki. Its construction within the Fair,
¢∂£, Ì ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚÈÒÓ ·Ï·ÈÔÙ¤ÚˆÓ ÂÚÈÙ¤ÚˆÓ Ù˘,
replacing three of its older kiosks, took from 1960 to 1964. In
‰È‹ÚÎÂÛ ·fi ÙÔ 1960 ˆ˜ ÙÔ 1964. ΔÔ 1964 ‰ÈÔÚÁ·ÓÒıËΠ–ÁÈ·
1964, the third Greek Pop Song Festival was organized – for the
ÚÒÙË ÊÔÚ¿ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ- ÙÔ ÙÚ›ÙÔ ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏË-
first time in Palais de Sports – attended by an audience of
ÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡, Ì 25.000 ·ÎÚÔ·Ù¤˜. ΔÔ 1966, Ï›Á˜ ̤Ú˜ ÌÂÙ¿
25.000 people. In 1966 – a few days after this photograph was
·fi ÙË Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜, Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ ¤ÌÙÔ
taken – the fifth Greek Pop Song Festival was organized. 149
ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏËÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡. ¢È·ÁˆÓ›ÛıËÎ·Ó 149
songs participated. Mr. G. Mavromoustakis won the first prize
Û˘Óı¤ÛÂȘ. √ °. ª·˘ÚÔÌÔ˘ÛÙ¿Î˘ ¤Ï·‚ ÙÔ ÚÒÙÔ ‚Ú·‚›Ô, Ì ÙÔ
with his song "To panigyri" (i.e. "The celebration"). The second
ÙÚ·ÁÔ‡‰È «ΔÔ ·ÓËÁ‡ÚÈ». ΔÔ ‰Â‡ÙÂÚÔ ‚Ú·‚Â›Ô ¤Ï·‚Â Ô ∑·Î π·Îˆ‚›-
prize went to Mr. Jacques Iakovidis ["Dose mou" (i.e. "Give me")]
‰Ë˜ («¢ÒÛ ÌÔ˘») Î·È ÙÔ ÙÚ›ÙÔ Ô ¶. ∫·„Ôη‚¿‰Ë˜ («ΔÔ ÔÙ¿ÌÈ»).
and the third one to Mr. Kapsokavadis ["To Potami" (i.e. "The river")].
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™Â٤̂ÚÈÔ˜ 1970, 35Ë ¢ÈÂıÓ‹˜ ŒÎıÂÛȘ £ÂÛÛ·ÏÔӛ΢. ∂Ș ÙÔ Î¤ÓÙÚÔÓ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂
September 1970, 35th Thessaloniki International Fair. The Telecommunications Company tower rises in the middle
¢∂£, 1970
The Thessaloniki International Fair, 1970
ΔÔ 1970 ÏÂÈÙÔ‡ÚÁËÛ ϋڈ˜ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂, ·Ú¯ÈÙÂÎÙÔÓÈÎfi ¤ÚÁÔ ÙÔ˘ ∞. ¢. ∞Ó·ÛÙ·ÛÈ¿‰Ë. ∫·Ù¤Ï·‚ ÙË ı¤ÛË ÙÔ˘ ÏÔ‡Ó· ·ÚÎ (Ô˘
In 1970, the Telecommunications Company tower – the
ÂÌÊ·Ó›˙ÂÙ·È ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ Ï‹„˘ ÙÔ˘ 1964). ŒÎÙÔÙÂ, Ô
architect’s Mr. A. D. Anastasiadis project – was fully operated.
‡ÚÁÔ˜ ·ÔÙ¤ÏÂÛ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÓÒÚÈÛÌ· Ù˘ ¢∂£. ™ÙÔÓ ¤ÌÙÔ
It occupied the site where previously the entertainment park
fiÚÔÊÔ ÙÔ˘ ‡ÚÁÔ˘, Ô √Δ∂ Î·È Ë ¢∂£ ›¯·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÎÔÈÓfi
(appearing on the left part of the 1964 shot) stood. Ever since,
ÙËÏÂÔÙÈÎfi ÛÙ·ıÌfi, Ô ÔÔ›Ô˜ ÂͤÂÌ ηı’ fiÏË Ù˘ ‰È¿ÚÎÂÈ· Ù˘
the tower has been a characteristic feature of the International
‰ÈÔÚÁ¿ÓˆÛ˘. ΔÔ ÎÔÈÓfi ·Ú·ÎÔÏÔ˘ıÔ‡Û ·fi ‰¤ÎÙ˜, Ô˘ ‹Ù·Ó
Fair. On the fifth floor of the tower, the Telecommunications
·Ó·ÚÙË̤ÓÔÈ ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ Ù˘ ¤ÎıÂÛ˘. ∏ ÂÏÏËÓÈ΋ ‚ÈÔÙ¯ӛ·, ÌÂ
Company had established a common TV station, which
΢ÚÈfiÙÂÚ· ÂÎı¤Ì·Ù· Ù· ¤ÈÏ·, Ù· ¯·ÏÈ¿ Î·È Ù· ·È¯Ó›‰È·, ·ÚÔ˘ÛÈ¿-
broadcasted during the Fair. The audience had been watching
ÛıËΠηٿ ÙÔÌ›˜ ÛÙÔ Ó¤Ô ÎÙ›ÚÈÔ °ã (·ÚÈÛÙÂÚ¿).
the program on screens set up at the pathways within the Fair. The Greek small industry – with furniture, carpets and toys as its main exhibits – had been arranged in sections in the new building Cã (on the left).
k 142
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ÕԄȘ 37˘ ŒÎıÂÛ˘ £ÂÛÛ·ÏÔӛ΢
A view of the 37th Fair of Thessaloniki
¢∂£ 1972
The Thessaloniki International Fair 1972
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÎÙ›ÚÈÔ Ù˘ Ô‰Ô‡ ∂ÁÓ·Ù›·˜. √ ʈÙÔÁÚ¿ÊÔ˜ ÛÎfi¢Û ÛÙËÓ ‡ÏË Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘, Ì ¿ÍÔÓ· ÙËÓ ÂÁοÚÛÈ· ψÊfiÚÔ Ù˘ ¢∂£. ¢ÂÍÈ¿, Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂. ∏ ʈٷÁÒÁËÛË –Û ÌÈ· fiÏË Ô˘ › ‰ÂηÂٛ˜ ‰ÂÓ ‰È¤ıÂÙ ¿ÚÎÂÈ· ËÏÂÎÙÚÈÎÔ‡ Ú‡̷ÙÔ˜- ·ÔÙ¤ÏÂÛ ÛÙÔÈ¯Â›Ô ÚÔ‚ÔÏ‹˜ Ù˘ ¢∂£ ·fi ÙÔ ÚÒÙÔ ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ Ù˘. ∞Ó Î·È Ë Ï·Ù›· Ô˘ ·ÂÈÎÔÓ›˙ÂÙ·È Û ÚÒÙÔ Ï¿ÓÔ ÔÓÔÌ¿˙ÂÙ·È «™˘ÓÙÚÈ‚·Ó›Ô˘», ÙËÓ ÂÔ¯‹ ÂΛÓË ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÎÙ›ÛÌ· ÙÔ˘ 1890) ›¯Â ·ÔÛ˘Ó·ÚÌÔÏÔÁËı›. ∂·Ó·ÙÔÔıÂÙ‹ıËΠÌÂÚÈο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·. Ÿˆ˜ Î·È ÔÈ ¿ÏϘ Ï·Ù›˜ Ô˘ ‰È·ÌÔÚÊÒıËÎ·Ó ·Ó¿ÌÂÛ· ·fi ÙË ¢∂£ Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ ÛÙȘ ‰ÂηÂٛ˜ ÙÔ˘ 1950 Î·È ÙÔ˘ 1960, ¤ÙÛÈ Î·È Ë Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘ ›¯Â ˘Ô¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ.
The shot was taken from a building on Egnatia Street. The photographer captured the entrance on the Sintrivaniou Square, focusing on the traverse pathway of the Fair. On the right, there is the Telecommunications Company tower. The lighting – in a city which for decades lacked sufficient power supply – had been a feature that promoted the Fair as early as it first year of operation. Although the square in the foreground is called "Sintrivaniou Square" (i.e. Square of the Fountain"), yet during that period the Fountain (made in 1890) had been disassembled. It was reinstated some years later. Just like all the other squares that were landscaped between the Thessaloniki International Fair and the White Tower during the 1950s and the 1960s, Sintrivaniou Square featured a compulsory circular direction as well.
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™ÙÈÁÌÈfiÙ˘ÔÓ ·fi Ù· ÂÁη›ÓÈ· Ù˘ 40‹˜ ¢ÈÂıÓÔ‡˜ ∂Îı¤Ûˆ˜ £ÂÛÛ·ÏÔӛ΢, 30.8.1975
A snapshot from the opening day of the 40th Thessaloniki International Fair, 30.8.1975
¢∂£, 1975
The Thessaloniki International Fair, 1975
∞ÂÈÎÔÓ›˙ÂÙ·È Ë Â͈ÙÂÚÈ΋ fi„Ë Ù˘ ¢∂£ ·fi ÙËÓ ÏÂ˘Ú¿ Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘. √È ÛËÌ·›Â˜ ÙˆÓ 21 ¯ˆÚÒÓ Ô˘ Û˘ÌÌÂÙ›¯·Ó ÂΛÓË
The outer view of the Fair from the Sintivaniou Square is
ÙË ¯ÚÔÓÈ¿ Ì ›ÛËÌÔ ÎÚ·ÙÈÎfi ÂÚ›ÙÂÚÔ (‰ÈfiÙÈ ÔÏϤ˜ ͤÓ˜ Û˘ÌÌÂ-
represented. The flags of the 21 countries that participated
ÙÔ¯¤˜ ‹Ù·Ó ·Ó›ÛË̘ ) ¤¯Ô˘Ó ÙÔÔıÂÙËı› › Ù˘ Ï·Ù›·˜ Ù˘
that year, each in an official state kiosk (since many foreign
Ã∞¡£. ΔÔ 1975 Ë ‰È¿ÚÎÂÈ· Ù˘ ¤ÎıÂÛ˘ ÂÚÈÔÚ›ÛÙËΠ۠‰‡Ô ‚‰Ô-
participants were unofficial) have been hoisted at the Square of
Ì¿‰Â˜, ·fi ÙȘ ÙÚÂȘ Ô˘ ‰È·ÚÎÔ‡ÛÂ. ∏ Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ
YMCA of Thessaloniki. In 1975, the duration of the Fair was
Ë̤ڷ ™¿‚‚·ÙÔ Î·È- fiˆ˜ ‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜- ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·.
limited to a fortnight, in contrast to the previous three-week period. The shot was taken on a Saturday afternoon – judging from the shadows.
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¶ÂÚ›ÙÂÚÔÓ ∂√∫- ∫Ú¿ÙË Ì¤ÏË Ù˘ ∂˘Úˆ·˚΋˜ ∫ÔÈÓfiÙËÙ·˜ 1980
The Kiosk of the E.E.C. – Member States of the European Community 1980
¶ÂÚ›ÙÂÚÔ 8, 1980
Kiosk 8, 1980
ΔÔ 1980, ÂÓ fi„ÂÈ Ù˘ ›ÛËÌ˘ ¤ÓÙ·Í˘ Ù˘ ∂ÏÏ¿‰·˜ ÛÙËÓ ∂˘Úˆ-
In 1980, in view of the official accession of Greece in the
·˚΋ ∫ÔÈÓfiÙËÙ·, fiˆ˜ ÔÓÔÌ·˙fiÙ·Ó ÙfiÙÂ Ë ∂˘Úˆ·˚΋ ŒÓˆÛË, ÙÔ
European Community – as the European Union was called at the
ÁÚ·ÊÂ›Ô ÏËÚÔÊÔÚÈÒÓ Ô˘ ‰È·ÙËÚÔ‡ÛÂ Ë ∫ÔÈÓfiÙËÙ· ÛÙȘ ÂÙ‹ÛȘ
time – the Community information office of the annual Fairs was
¢∂£ ·Ó·‚·ıÌ›ÛÙËÎÂ. ∏ ∫ÔÈÓfiÙËÙ· ·ÚÔ˘ÛÈ¿ÛÙËΠ۠¤Ó·Ó ÔÏfiÎÏË-
upgraded. The Community occupied a whole floor of Kiosk 8. It
ÚÔ fiÚÔÊÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘ 8. ∞˜ ÛËÌÂȈı› fiÙÈ Î·È Ù· ÂÓÓ¤· ÏÔÈ¿
should be noted that the remaining nine member-states of the
̤ÏË Ù˘ ÎÔÈÓfiÙËÙ·˜ ¤Ï·‚·Ó ̤ÚÔ˜ ÛÙË ¢∂£ ÙÔ˘ 1980.
Community also participated in the Fair of 1980.
ΔÔ ÂÚ›ÙÂÚÔ 8 ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1968 Û ۯ¤‰È· ÙÂÛÛ¿ÚˆÓ Î·ıË-
Kiosk 8 was constructed in 1968 based on the blueprints of four
ÁËÙÒÓ ÙÔ˘ ÔÏ˘Ù¯Ó›Ԣ ÙÔ˘ ∞¶£, Î·È ÔÓÔÌ¿ÛÙËΠ·Ú¯ÈÎÒ˜ «∂ÌÔ-
professors of the School of Technology of the Aristotle
ÚÈÎfi ∫¤ÓÙÚÔ».
University of Thessaloniki, and it had been initially called "Commercial Centre".
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149 k
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¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢ 24.10.1962
The University campus of Thessaloniki 24.10.1962
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘, ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Î·È Ô‰Ô‡ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, 1962
The crossroads of Ethinkis Amynis, Aghiou Dimitriou and Saranta Ekklision streets, 1962
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ‰È·Û¯›˙ÂÈ ÙËÓ
An oblique photomap: Aghiou Dimitriou Street crosses the photo
ÂÈÎfiÓ· ·fi ·ÚÈÛÙÂÚ¿ ÚÔ˜ Ù· ‰ÂÍÈ¿, Ì ÁˆÓ›· 45 ÌÔÈÚÒÓ ÂÚ›Ô˘.
from left to right, in an angle of about 45 degrees. Above Aghiou
¶¿Óˆ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ·ÏÒÓÂÙ·È Ë Û˘ÓÔÈΛ· ÙˆÓ
Dimitriou Street, there stretches the Saranta Ekklisies quarter,
™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ë ÔÔ›· ηÙ‚·›ÓÂÈ ÚÔ˜ Ù· ‰˘ÙÈο ÛÙÔ Û˘ÓÔÈ-
which runs down westwards the Tsaldari quarter, where the
ÎÈÛÌfi Δ۷ω¿ÚË, fiÔ˘ Î·È ÔÈ ÊÔÈÙËÙÈΤ˜ ÂÛٛ˜. ∫¿Ùˆ ·fi ÙËÓ Ô‰fi
student hostels are located. Below Aghiou Dimitriou Street (in
∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ( Û ÚÒÙÔ Ï¿ÓÔ) Ë º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹.
the foreground), there is the School of Physics and
¶›Ûˆ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ·ÎÔÏÔ˘ı› -˘fi ·Ó¤ÁÂÚÛË- Ë
Mathematics. Right behind it, there is the School of Agronomics
∫ÙËÓÈ·ÙÚÈ΋. ŒÂÙ·È, ÚÔ˜ ÙÔ ‚¿ıÔ˜ (Î·È ˘fi ·Ó¤ÁÂÚÛË Â›Û˘) Ë
and Forestry; there follows the – under construction – School of
π·ÙÚÈ΋. ¶ÏËÓ Ù˘ ÚÒÙ˘, fiϘ ÔÈ ÏÔȤ˜ Û¯ÔϤ˜ ‹Ù·Ó Ó¤· ÎÙ›ÛÌ·-
Veterinarians. Further towards the background (also under
Ù·. ™Ù· ‰ÂÍÈ¿ Ù˘ º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋˜, ÙÔ ÃËÌ›Ô, ›Û˘ Ó¤Ô ÎÙ›ÛÌ·.
construction) there is the School of Medicine. Apart from the
∞Ó Î·È Ë ÊˆÙÔÁÚ·Ê›· ‰›ÓÂÈ ÙËÓ ·›ÛıËÛË ÓÂÎÚ‹˜ fiÏ˘ ‹ ̷Τٷ˜, Ë
first one, all the other Schools were accommodated in new
Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ Ë̤ڷ ΔÂÙ¿ÚÙË, ÂÚÁ¿ÛÈÌË, ÓˆÚ›˜ ÙÔ ·fiÁÂ˘Ì·.
buildings. On the right of the School of Physics and Mathematics, there is the School of Chemistry – a new building as well. Although the photograph seems rather to represent a still city or a model, the shot has been taken early in the noon on a working day – Wednesday.
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¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢ 24.10.1962
The University campus of Thessaloniki 24.10.1962
¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË, Á‹Â‰Ô ¶∞√∫, ∞Á›· ºˆÙÂÈÓ‹, 1962
University campus, the PAOK playground, Aghia Photini, 1962
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. Œ¯ÂÈ Ú·ÁÌ·ÙÔÔÈËı› Ï›ÁË ÒÚ· ÌÂÙ¿
An oblique photomap: It has been taken a few minutes after the
ÙËÓ ÚÔËÁÔ‡ÌÂÓË, ÙËÓ ÔÔ›· Û˘ÌÏËÚÒÓÂÈ. ¢È·ÎÚ›ÓÂÙ·È Ë º˘ÛÈÎÔÌ·-
previous one, supplementing it. There is the School of Physics
ıËÌ·ÙÈ΋, ÛÙ· ·ÚÈÛÙÂÚ¿ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ›Ûˆ Ù˘
and Mathematics; on its left, there is the School of Agronomics
ÔÏfiÎÏËÚÔ ÙÔ ÃËÌ›Ô, ÛÙÔ Î¤ÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™Â ÚÒÙÔ Ï¿-
and Forestry and behind it the entire building of the School of
ÓÔ, ÙÔ ÎÔÈÌËÙ‹ÚÈÔ Ù˘ ∂˘·ÁÁÂÏ›ÛÙÚÈ·˜. ∫¿Ùˆ ‰ÂÍÈ¿, ÙÔ ∫ÂÓÙÚÈÎfi
Chemistry, in the middle of the photograph. In the foreground,
¡ÔÛÔÎÔÌÂ›Ô (Ó˘Ó «°. °ÂÓÓËÌ·Ù¿˜»). ¢ÂÍÈ¿ Î·È ›Ûˆ ÙÔ˘, Ë Û¯ÔÏ‹
there is the Evaggelistria cemetery. On the lower right corner,
ÓÔÛÔÎfïÓ. ¶›Ûˆ Ù˘, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿, ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ÙÔ˘ ·ÓÂÈ-
there is the Kentriko Hospital (currently "G. Genimatas"). On the
ÛÙËÌ›Ô˘. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ¤¯ÂÈ ¤Ó· ÚfiÛÎÙÈÛÌ·, ÙÔ ÔÔ›Ô ·ÚÁfiÙÂÚ·
right and behind the hospital there is the School of Nurses;
ηÙ‰·Ê›ÛÙËÎÂ. ¶›Ûˆ ·fi ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ Ì¤¯ÚÈ ÙfiÙÂ
behind the latter, at the right end, the old University building. On
Á‹Â‰Ô ÙÔ˘ ¶∞√∫, ÛÙÔ ÔÔ›Ô ˘¿Ú¯Ô˘Ó ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·.
its left it features an outbuilding, which later was demolished.
™ÙÔ ¯ÒÚÔ ÂΛÓÔ ·ÓÂÁ¤ÚıËΠ·ÚÁfiÙÂÚ· Ë £ÂÔÏÔÁÈ΋ Û¯ÔÏ‹. ™ÙÔ
Behind the old building, the – up to then – PAOK playground
ΤÓÙÚÔ Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ‰ÂÓ ¤¯Ô˘Ó ηٷÛ΢·ÛÙ› ·ÎfiÌË
appears, in which some cars are parked. On that site, the
ÎÙ›ÚÈ·. ¢È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔÓ: ÙÔ ªÂÙˆÚÔÛÎÔÂ›Ô (΢ÎÏÈÎfi ÎÙ›ÛÌ· ÛÙÔ
building of the School of Theology was later constructed. In the
ΤÓÙÚÔ), ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ ∞ÛÙÂÚÔÛÎÔÂ›Ô Î·È, ·ÎfiÌË ÈÔ ·ÚÈÛÙÂ-
middle of the University campus no buildings have yet been
Ú¿, ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞. ¶ÈÔ ¿Óˆ ·fi ÙÔ ∞Ã∂¶∞, Ë ¶ÔÏ˘Ù¯ÓÈ΋
constructed. There are only the Meteorological Station (the
Û¯ÔÏ‹. √È ¯ÒÚÔÈ ÚÔ˜ ÙÔ ¿Óˆ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ ʈÙÔÁÚ·Ê›·˜ ›ӷÈ
circular building in the middle), on its left the Observatory and,
Ù˘ ¢∂£, Ì ›ÎÂÓÙÚÔ ÙÔ ÎÏ·ÛÈ΋˜ Ù¯ÓÔÙÚÔ›·˜ ÎÙ›ÚÈÔ Ù˘ ∂ıÓÈ΋˜
even further on the left, the AHEPA Hospital. Above AHEPA,
¶·Ú·ÁˆÁ‹˜, Ô˘ ·Ú·¯ÒÚËÛ ÙË ı¤ÛË ÙÔ˘ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ.
there is the School of Technology. The site towards the upper
∞Ó¿ÌÂÛ· ÛÙËÓ ¶ÔÏ˘Ù¯ÓÈ΋, ÙË ¢∂£ Î·È ÙÔ Á‹Â‰Ô ÙÔ˘ ¶∞√∫,
right part of the photograph belongs to the Thessaloniki
·ÏÒÓÂÙ·È fi,ÙÈ Â›¯Â ·ÔÌ›ÓÂÈ ·fi ÙËÓ ÚÔÛÊ˘ÁÈ΋ ÔÏÈÙ›· Ù˘
International Fair, extending around the classical building of
∞Á›·˜ ºˆÙÂÈÓ‹˜.
National Output, which was replaced by Palais de Sports. In the space surrounded by the School of Technology, the Thessaloniki International Fair and the PAOK playground, the remains of the refugees’ settlement of Aghia Photini were stretching.
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153 k
ª¡∏ª∂π∞ THE
MONUMENTS
∞fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ù˘ °ÂÓÈ-
From the collection of the Secretariat General of Communication
΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ¤¯Ô˘Ó ÂÈÏÂÁ› 26 Ï‹„ÂȘ ‚˘˙·ÓÙÈÓÒÓ
– Secretariat General of Information there have been chosen 26
Î·È ÓÂfiÙÂÚˆÓ ÌÓËÌ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËηÓ
shots of Byzantine and more recent monuments of Thessaloniki,
Û ‰È¿ÊÔÚ˜ ¯ÚÔÓÈΤ˜ ÂÚÈfi‰Ô˘˜ ·fi ÙÔ 1900 ˆ˜ ÙÔ 1970. π‰È·›ÙÂÚ·
taken during several periods from 1900 to 1970. Of special
ÔχÙÈ̘ Â›Ó·È ÔÈ Ï‹„ÂȘ ÙˆÓ ‰ÂηÂÙÈÒÓ ÙÔ˘ 1950 Î·È 1960, fiÙ·Ó
significance are the shots taken in the 1950s and 1960s, when
·ÎfiÌË Ë £ÂÛÛ·ÏÔÓ›ÎË ‰È·ÙËÚÔ‡Û ›¯ÓË ÙÔ˘ ‚˘˙·ÓÙÈÓÔ‡ ÈÛÙÔ‡ Ù˘
Thessaloniki still preserved some traces of its Byzantine tissue –
–̤۷ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ÂÈ‚ÈÒÛÂȘ ÙÔ˘- ÁÂÁÔÓfi˜ Ô˘ ¤ÙÚ ÙËÓ
surviving through the ottoman features – something that
ηχÙÂÚË Î·Ù·ÓfiËÛË ÙÔ˘ ·ÛÙÈÎÔ‡ ÙÔ›Ô˘.
allowed the better perception of the urban landscape.
√È ÊˆÙÔÁÚ·Ê‹ÛÂȘ ·˘Ù¤˜ ¤¯Ô˘Ó Û‹ÌÂÚ· ȉȷ›ÙÂÚË ·Í›· ÁÈ· fiÔÈÔÓ
These shootings are of special significance nowadays to those
·Û¯ÔÏÂ›Ù·È Ì ÙËÓ fiÏË –ÈÛÙÔÚÈο, ÁˆÁÚ·ÊÈο Î·È ÔÏÂÔ‰ÔÌÈο-
who try to approach the city – from an historical, geographical
‰ÈfiÙÈ ¤¯Ô˘Ó Á›ÓÂÈ Ì ÙË Û˘Ó›‰ËÛË Ù˘ ··ı·Ó¿ÙÈÛ˘ ÂÓfi˜ ·ÍÈÔı¤·ÙÔ˘,
and urban-planning point of view – since the former have been
¯ˆÚ›˜ ‚¤‚·È· –ʈÙÔÁÚ¿ÊÔÈ Î·È Û˘ÏϤÎÙ˜- Ó· ˘ÔÙ‡ÔÓÙ·Ó fiÙÈ,
taken with a view to capture a sight; without of course – both
Ôχ Û‡ÓÙÔÌ·, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ı· ÌÂÙ·‚·ÏÏfiÙ·Ó Û ٤ÙÔÈÔ ‚·ıÌfi, ÒÛÙÂ
photographers and collectors – suspecting that, soon enough,
Ë ÊˆÙÔÁÚ·Ê›· ı· ›¯Â ÌÂÁ·Ï‡ÙÂÚË ›Ûˆ˜ ·Í›· ÁÈ· ÙËÓ ·ÂÈÎfiÓÈÛË ÙˆÓ
the landscape would be transformed to such an extend, that the
¤ÚÈÍ, ·Ú¿ ÙÔ˘ ›‰ÈÔ˘ ÙÔ˘ ÌÓËÌ›Ԣ.
photograph might be more important, as far as the
[°È· ÙË Û‡ÓÙ·ÍË ÙˆÓ ˘ÔÌÓËÌ¿ÙˆÓ ÛÙȘ ÂÈÎfiÓ˜ 67 Î·È 68 ¢¯·ÚÈÛٛ˜
representation of the surroundings are concerned, than the
ÔÊ›ÏÔÓÙ·È ÛÙËÓ Î˘Ú›· ŒÏÏË °ÂˆÚÁÈÏ¿].
monument itself. [Mrs. Elli Gheogila should be thanked for her contribution in annotating Photographs No. 67 and 68].
kkk
66
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ÕÙÈÙÏË
Without Title
∏ ÕÓˆ ¶fiÏË Ù˘ £ÂÛÛ·ÏÔӛ΢, ›Ûˆ˜ Ù¤ÏË ‰ÂηÂÙ›·˜ 1920
Ano Poli (the Old City) of Thessaloniki, probably late 1920s
√ ʈÙÔÁÚ¿ÊÔ˜ Ú¤ÂÈ Ó· ·Ó¤‚ËΠ۠ԛÎËÌ· ÛÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘
The photographer should have climbed on a building on the
Ô‰Ô‡ ∞ÎÚÔfiψ˜ Î·È Ó· ·ÍÈÔÔ›ËÛ ÙËÓ ˘„ÔÌÂÙÚÈ΋ ‰È·ÊÔÚ¿ ÁÈ·
west side of Akropoleos Street, taking advantage of the
Ó· ÚÔ‚¿ÏÂÈ Ù· ‚fiÚÂÈ· Ù›¯Ë Ù˘ fiÏ˘ Î·È ÙÔÓ ÛÙÚÔÁÁ˘Ïfi ‡ÚÁÔ
different levelling in order to show the northern walls of the city
ÛÙÔ ΔÚÈÁÒÓÈÔ. ∞Ó¤‰ÂÈÍ ¤ÙÛÈ ÙȘ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ ¶fiÏ˘. ∏ ¯ÚÔÓÔ-
and the round tower of Trigonio. Thus, the quarters of the Old
ÏfiÁËÛË Ù˘ Ï‹„˘ Â›Ó·È ÚÔ‚ÏËÌ·ÙÈ΋. ¢ÂÓ ‰È·ÎÚ›ÓÂÙ·È Î·Ó¤Ó·
City have been presented. The dating of the photograph has
ÛËÌÂ›Ô ÓˆÙÂÚÈÛÌÔ‡ Ô‡Ù ›¯ÓÔ˜ ÌÂÙ·ÊÔÚÈÎÔ‡ ̤ÛÔ˘. ∂Í ¿ÏÏÔ˘, ‰ÂÓ
been somehow problematic. Neither any innovation element nor
‰È·ÎÚ›ÓÂÙ·È Ë ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ÌÔÚÊÒÓ ∏ ·Ô˘Û›· ÌÈÓ·-
any transportation means is presented; neither of the persons’
Ú¤‰ˆÓ ‰Â›¯ÓÂÈ ˆ˜ terminus ante quem ÙÔ ¤ÙÔ˜ 1925 (ÔfiÙ ηÈ
represented outfits are evident. The absence of minarets
ηÙ‰·Ê›ÛÙËÎ·Ó fiÏÔÈ, ÏËÓ Ù˘ ƒÔÙfiÓÙ·˜).
shows as terminus ante quem the year 1925 (when they all had been demolished, except the one at Rotonda).
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£ÂÛÛ·ÏÔÓ›ÎË. Δ· ‚˘˙·ÓÙÈÓ¿ Ù›¯Ë Ù˘ fiψ˜ «∂Ù·‡ÚÁÈÔÓ», 6.3.1963
Thessaloniki. The Byzantine walls of the city «Eptapyrgio», 6.3.1963
Δ· Ù›¯Ë, 1963
The walls, 1963
∏ Â͈ÙÂÚÈ΋ ÏÂ˘Ú¿ ÙˆÓ ‚fiÚÂÈˆÓ ÙÂȯÒÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ
The outer part of the north walls of Thessaloniki, on the side of
ÏÂ˘Ú¿ ÙÔ˘ ∂Ù·˘ÚÁ›Ô˘: fi,ÙÈ ‚ϤÂÈ Î·Ó›˜ ÌfiÏȘ ÂÚ¿ÛÂÈ ÙËÓ fiÏË
Eptapyrgio: what the visitor sees on passing from the gate
Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó Ù· ψÊÔÚ›· ÁÈ· Ó· ÂÈÛ¤ÏıÔ˘Ó ÛÙÔ ∂Ù·‡ÚÁÈÔ.
used by buses to enter Eptapyrgio. The picture is exactly the
∏ ÂÈÎfiÓ· Â›Ó·È ÂÓÙÂÏÒ˜ ›‰È· Î·È Û‹ÌÂÚ·.
same even nowadays.
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¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔӛ΢ 5.8.1917
The fire of Thessaloniki 5.8.1917
∂Ú›ȷ ·Ù·‡ÙÈÛÙÔ˘ Ó·Ô‡ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917
Ruins of an unidentified temple after the fire of 1917
∏ ˘ÚηÁÈ¿, ÂÎÙfi˜ ·fi ÙÔ˘˜ ÙÚÂȘ ÁÓˆÛÙÔ‡˜ ÌÂÁ¿ÏÔ˘˜ Ó·Ô‡˜ (ÕÁÈÔ
The fire, apart from the three famous temples (Aghios Dimitrios,
¢ËÌ‹ÙÚÈÔ, ÕÁÈÔ ¡ÈÎfiÏ·Ô, ∞Á›· £ÂÔ‰ÒÚ·) Î·È ÙÔÓ Ó·˝ÛÎÔ Ù˘ ¶·Ó·-
Aghios Nikolaos and Aghia Theodora) as well as the chapel of
Á›·˜ ∂ÏÂÔ‡Û·˜ (ÎÔÓÙ¿ ÛÙË ªËÙÚfiÔÏË) η٤η˘Û ӷ˝ÛÎÔ˘˜ ηÈ
Panagia Eleousa (near the Cathedral), burned down chapels and
·ÁÈ¿ÛÌ·Ù·, ÔÈ ÔÓÔ̷ۛ˜ ÙˆÓ ÔÔ›ˆÓ Ì·˜ Â›Ó·È ÁÓˆÛÙ¿ ÌfiÓÔÓ ·fi
small temples, the names of which are known to us only from
·Ú¯ÂȷΤ˜ ËÁ¤˜. ∂›Û˘ η٤ÛÙÚ„ ÈÛÏ·ÌÈο ıÚËÛ΢ÙÈο ȉڇ̷-
the records. In addition, it ruined certain Islamic religious
Ù· Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó Û ·Ï·ÈÔ‡˜ ¯ÚÈÛÙÈ·ÓÈÎÔ‡˜ Ó·Ô‡˜.
foundations housed in old Christian temples.
√ ÂÈÎÔÓÈ˙fiÌÂÓÔ˜ Ó·fi˜ ‹Ù·Ó ÌÈÎÚfi˜. ∏ ‰Â‡ÙÂÚË ÛÂÈÚ¿ Ù˘ ÂÈÎÔÓÔÁÚ¿-
The temple represented was a small one. The second line on the
ÊËÛ˘ Ù˘ ·„›‰·˜ ÙÔ˘ ÈÂÚÔ‡ ·Ó··ÚÈÛÙ¿ ÙË ªÂÙ¿ÏË„Ë ÙÔ˘ √›ÓÔ˘
apse of the temple represents the Wine Communion from the
·fi ÙË ˙ˆ‹ ÙÔ˘ ÃÚÈÛÙÔ‡ (·ÓÙ›ÛÙÔÈ¯Ë ÙÔȯÔÁÚ·Ê›· ˘¿Ú¯ÂÈ ÛÙÔ
life of Jesus (a corresponding wall painting is found in the chapel
·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘ ∂˘ı˘Ì›Ô˘, ÛÙÔÓ ÕÁÈÔ ¢ËÌ‹ÙÚÈÔ Ù˘ £ÂÛÛ·ÏÔ-
of Aghios Efthimios, at the Aghios Dimitrios Temple of
ӛ΢). Δ· ¯Ù˘‹Ì·Ù· ÛÙÔ˘˜ ÙÔ›¯Ô˘˜ Î·È Ù· ˘ÔÏ›ÌÌ·Ù· ÙÔ˘ ÛÔ‚¿
Thessaloniki). The cracks on the walls and the remains of
Ì·ÚÙ˘ÚÔ‡Ó fiÙÈ Ô Ó·fi˜ ›¯Â ÌÂÙ·Ùڷ› Û ٤ÌÂÓÔ˜. Δ¤ÏÔ˜, ÙÔ Â›Â-
plaster reveal that the temple had been turned into a mosque.
‰Ô ÙˆÓ Ì¿˙ˆÓ ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÂÚÔ‡, ÙÔ ÔÔ›Ô ··Ú·›ÙËÙ· ÛÙÂÁ¿˙Â-
Finally, the level of debris in the built-roofed chancel is
Ù·È Ì ¯ÙÈÛÙ‹ ÛÙ¤ÁË, ‚Ú›ÛÎÂÙ·È ÂÌÊ·ÓÒ˜ ˘„ËÏfiÙÂÚ· ·fi Ù· Ì¿˙·
obviously higher than the debris in the main temple. That means
ÛÙÔÓ Î˘Ú›ˆ˜ Ó·fi. ÕÚ·, Ë ÛÙ¤ÁË ÙÔ˘ ΢ڛˆ˜ Ó·Ô‡ οËÎÂ Î·È Î·Ù¤Ú-
that the roof of the main temple burnt down leaving behind
Ú¢ÛÂ, ·Ê‹ÓÔÓÙ·˜ Ôχ ÏÈÁfiÙÂÚ· ˘ÔÏ›ÌÌ·Ù·. ŒÙÛÈ, Ì¿ÏÏÔÓ, Úfi-
much less debris. Thus, probably, it is a small wooden-roofed
ÎÂÈÙ·È ÁÈ· ÌÈÎÚ‹ ͢ÏfiÛÙÂÁË ‚·ÛÈÏÈ΋, Ô˘ ›¯Â ÌÂÙ·Ùڷ› -ÁÈ· Ôχ
basilica, converted – for a short time – into a mosque and burnt
‹ Ï›ÁÔ- Û ٤ÌÂÓÔ˜ Î·È Î¿ËΠÙÔ 1917.
down in 1917.
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k 162
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∞Á›· ™ÔÊ›·
Aghia Sophia
∏ ˙ËÌ›· Ô˘ ÚÔÎÏ‹ıËΠÛÙËÓ ∞Á›· ™ÔÊ›· ·fi ÈÙ·ÏÈÎfi ‚ÔÌ‚·Ú‰ÈÛÌfi, 1941
The damage caused to Aghia Sophia by the Italian bombing, 1941
∫·Ù¿ ÙË ÌÂÁ¿ÏË ÈÙ·ÏÈ΋ ·ÂÚÔÔÚÈ΋ ÂȉÚÔÌ‹ Ù˘ 9˘ ºÂ‚ÚÔ˘·Ú›Ô˘
During the extended Italian blitz of 9th February 1941, "the
1941, «Â‚Ï‹ıË ÌÓËÌ›ÔÓ ∞Á›·˜ ™ÔÊ›·˜ ÂÓ μ¢ ÁˆÓ›· ÙÂÙÚ·ÁÒÓÔ˘
monument of Aghia Sophia was hit; the exterior part of the
‚¿Ûˆ˜ Ù˘Ì¿ÓÔ˘ ÙÚÔ‡ÏÏÔ˘ ηٷÛÙÚ·Ê›ÛË Â͈ÙÂÚÈÎÒ˜, Ù·
north-west corner of the vault’s square base was destroyed;
μ[fiÚÂÈ·] Î·È ¢[˘ÙÈο] ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ÌÂÁ¿Ï· ÙfiÍ· Î·È Ù· ÌÈÎÚfiÙÂÚ·
the internal north and west high arches, as well as the smaller
ÙÔ˘ Ù˘Ì¿ÓÔ˘ ÙˆÓ ÂÚÚ¿ÁËÛ·Ó, Ë μ[ÔÚ›·˜] ÏÂ˘Ú¿˜ ÛÙ¤ÁË Á˘Ó·ÈΈ-
ones of the drum, exhibited fissures; the north part of the loft
Ó›ÙÔ˘, ÙÔ ‹ÌÈÛ˘ ‰˘ÙÈ΋˜ Î·È ÛÙ¤ÁË ÙÚÔ˘ÏˆÙ‹ Έ‰ˆÓÔÛÙ·Û›Ô˘ ηÙÂ-
roof along with half the west one, as well as the vaulted roof of
ÛÙÚ¿ÊË», Û‡Ìʈӷ Ì ÙËÏÂÁÚ·ÊÈ΋ ¤ÎıÂÛË ÙÔ˘ ÂÊfiÚÔ˘ ·Ú¯·ÈÔÙ‹-
the bell tower were destroyed", according to a telegraphic
ÙˆÓ ª·Î‰ÔÓ›·˜, Ô˘ ˘Ô‚Ï‹ıËΠÙËÓ Â·‡ÚÈÔÓ. ∏ ¤ÎıÂÛË ·Ó¤ÊÂÚÂ
report of the curator of Macedonian antiquities, submitted on
·ÎfiÌË fiÙÈ ¿ÏÏÔ ‚Ï‹Ì· η٤ÛÙÚ„ ÙË ÛÙ¤ÁË ÙÔ˘ ÚÔÛÙÒÔ˘, fiÏ· Ù·
the following day. The report also mentioned that another shell
˘·ÏÔÈÓ¿ÎÈ· Î·È ÔÚÈṲ̂Ó˜ ÊÔÚËÙ¤˜ ÂÈÎfiÓ˜. Δ· ̈۷˚ο ‰ÂÓ ¤·-
destroyed the roof of the porch, all the glasses and some of the
ı·Ó Ù›ÔÙÂ. ΔÔ ÎfiÛÙÔ˜ ÙˆÓ ÂȉÈÔÚıÒÛÂˆÓ ·Ó¤Ï·‚Â Ë ÂÓÔÚȷ΋ ÂÈ-
portable icons. The mosaics remained untouched. The cost of
ÙÚÔ‹.
the repairs was undertaken by the parish council.
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ºÂ‚ÚÔ˘¿ÚÈÔ˜ 1947 [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
February 1947 [Stamped as: D. A. Charisiadis]
∏ ›ÛÔ‰Ô˜ Ù˘ ƒÔÙfiÓÙ·˜ Î·È Ë ·Ï·È¿ Ô‰fi˜ ºÈÏ›Ô˘, 1947
The entrance of Rotonda and the old Philippou Street, 1947
√ ʈÙÔÁÚ¿ÊÔ˜ ·ÂÈÎfiÓÈÛ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ Ù˘ ƒÔÙfiÓÙ·˜,
The photographer represented the surrounding area of
·fi ÙËÓ ÛÙ¤ÁË ÚÔÊ·ÓÒ˜ ÙÔ˘ ÌÓËÌ›Ԣ. ¢ÂÓ ·Ê‹ÓÂÈ ·ÌÊÈ‚Ôϛ˜ ÁÈ’
Rotonda, probably from the roof of the monument. The
·˘Ùfi Ë ¯·Ú·ÎÙËÚÈÛÙÈ΋ ›ÛÔ‰Ô˜ Î·È Ù· Ì·ÚÌ¿ÚÈÓ· ıÚ·‡ÛÌ·Ù· Ô˘
characteristic entrance and the marble fragments around it
Â›Ó·È ·ÎÔ˘ÌÈṲ̂ӷ Á‡Úˆ Ù˘. ∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ÌÔÓ·‰È΋ ·ÊÂ-
leave no doubt. The photograph is unique because of the
Ófi˜ ·fi ÙËÓ ¿Ô„Ë Ù˘ ·ÔÙ‡ˆÛ˘ ÙˆÓ ·Ï·ÈÒÓ Î·ÙÔÈÎÈÒÓ Î·È Ù˘
representation of both the old houses of the individually original
·˘ıÂÓÙÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘˜ ·ÊÂÙ¤ÚÔ˘ ·fi ÙËÓ ÂÌÊ¿ÓÈÛË Ù˘
architecture, and the old Philippou Street, as compared to the
·Ï·È¿˜ Ô‰Ô‡ ºÈÏ›Ô˘, Û ·ÓÙÈ·Ú·‚ÔÏ‹ ÚÔ˜ ÙË Ó¤· (Î·È ˘ÊÈÛÙ¿-
new one (and still existing) homonymous street – the crest of
ÌÂÓË) Ù·˘ÙÒÓ˘ÌË Ô‰fi, Ë ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹ Ù˘ ÔÔ›·˜ ‰È·ÎÚ›ÓÂÙ·È
which is represented by the higher (and more recent) buildings
ÛÙ· ˘„ËÏfiÙÂÚ· (Î·È ÓÂfiÙÂÚ·) ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿. ∏ ‰È·Ûˆ˙fiÌÂ-
on the left. The date saved (1947) is not contrary to the internal
ÓË ¯ÚÔÓÔÏfiÁËÛË (1947) ‰ÂÓ ·ÓÙÈÊ¿ÛÎÂÈ ÚÔ˜ Ù· ÂÛˆÙÂÚÈο ¯·Ú·-
features of the photograph.
ÎÙËÚÈÛÙÈο Ù˘ ʈÙÔÁÚ·Ê›·˜.
k 164
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ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
Without Title [Stamped as: D. A. Charisiadis]
∏ £ÂÛÛ·ÏÔÓ›ÎË ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘, 1947
Thessaloniki at the north of Philippou Street, 1947
ŒÂÈÙ·, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ÛÙÚ¿ÊËΠÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ··ı·Ó¿ÙÈÛÂ
Then, the photographer turned to the right and captured the
ÙËÓ ÂÚÈÔ¯‹ ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘. ª·˜ ÎÏËÚÔ‰fiÙËÛÂ, ¤ÙÛÈ, ÙË
area at the north of Philippou Street. Thus, he left us the unique,
ÌÔÓ·‰È΋, ›Ûˆ˜, ‰È·ı¤ÛÈÌË ÌÂÙ·ÔÏÂÌÈ΋ ·ÂÈÎfiÓÈÛË ÙÔ˘ ‚ÔÚÂÈÔ·Ó·-
perhaps, available post-war representation of the north-
ÙÔÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ Ù˘ fiÏ˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ Î·È Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ-
eastern part of the city – within the walls –and its architecture.
΋˜ ÙÔ˘.
k 166
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167 k
72
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ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
Without Title [Stamped as: D. A. Charisiadis]
√‰fi˜ ∂ÁÓ·Ù›·, Ù¤ÏË ‰ÂηÂÙ›·˜ 1940
Egnatia Street, late 1940s The photographer’s theme might have been Kamara, i.e. the
ΔÔ ·ÓÙÈΛÌÂÓÔ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‹Ù·Ó ›Ûˆ˜ Ë ∫·Ì¿Ú·, ‰ËÏ·‰‹ Ë
Galerious Arch. However, the geographic and social
·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘. ∞ÏÏ¿ ÙÔ ÁˆÁÚ·ÊÈÎfi Î·È ÎÔÈÓˆÓÈÎfi ÂÚÈ‚¿ÏÏÔÓ
environment revealed by the photo is more interesting – in the
Ô˘ ·ÔηχÙÂÈ Ë ÂÈÎfiÓ· Â›Ó·È ÈÔ ÂӉȷʤÚÔÓ, ÂÓ ÚÔÎÂÈ̤ӈ, ·fi
present case – than the much photographed and preserved
ÙÔ ÔÏ˘ÊˆÙÔÁÚ·ÊË̤ÓÔ Î·È ‰È·Ûˆ˙ÒÌÂÓÔ ÌÓËÌ›Ô. ∏ Ï‹„Ë ¤¯ÂÈ ˆ˜
monument. The time limits of the shot are the years 1938 (when
¯ÚÔÓÈο fiÚÈ· ÙÔ 1938 (ÔfiÙÂ Î·È ·ÓÂÁ¤ÚıËΠÙÔ ÂÓÙ·fiÚÔÊÔ ÎÙ›ÚÈÔ
the five-storey building on the left was constructed) and 1952,
ÛÙ· ·ÚÈÛÙÂÚ¿) Î·È ÙÔ 1952, ÔfiÙ ڷÁÌ·ÙÔÔÈ‹ıËÎÂ Ë ‰È·Ï¿Ù˘Ó-
when the street was widened to the right and the pines were
ÛË Ù˘ Ô‰Ô‡ ÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ÎfiËÎ·Ó Ù· ‡η (Ù˘ Ô‰Ô‡ ∂ÁÓ·-
cut down (on Egnatia Street!). The soldiers walking are at the
Ù›·˜!). √È ÛÙÚ·ÙÈÒÙ˜ Ô˘ ÚÔ¯ˆÚÔ‡Ó ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡
level of Paleon Patron Germanou Street. The tram still passes
¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡. ∏ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ ÂÍ·ÎÔÏÔ˘ı›
(until 1952) under the Arch. Taking under consideration the
Ó· ‰È¤Ú¯ÂÙ·È (̤¯ÚÈ ÙÔ 1952) οو ·fi ÙËÓ ·„›‰·. ∏ ÁÂÓÈ΋ ·›ÛıË-
outfits, the impression made is that the shot was taken in late
ÛË –Ï·Ì‚¿ÓÔÓÙ·˜ ˘fi„Ë ÙȘ ÂÓ‰˘Ì·Û›Â˜- Â›Ó·È fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ù·
1940s; probably by the same person who captured the
Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1940. ¢ÂÓ ·ÔÎÏ›ÂÙ·È Ë Ï‹„Ë Ó· ¤ÁÈÓ ·fi
surrounding area of Rotonda in 1947 (see previous photos).
ÙÔ ›‰ÈÔ ÚfiÛˆÔ Ô˘ ··ı·Ó¿ÙÈÛ ÙËÓ ÂÚÈÔ¯‹ Á‡Úˆ ·fi ÙË ƒÔÙfiÓÙ· ÙÔ 1947 (‚Ï. ÚÔËÁÔ‡ÌÂÓ˜ ʈÙÔÁڷʛ˜).
k 168
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169 k
73
k 170
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¶‡ÏË °·ÏÂÚ›Ô˘ [ʤÚÂÈ ÛÊÚ·Á›‰· ¶·‡ÏÔ˜ M˘ÏÒÊ]
Galerious Entrance [Stamped as: Pavlos Mylov]
∞„›‰· °·ÏÂÚ›Ô˘, 1955
Galerious Arch, 1955
∏ ‰È¿ÓÔÈÍË Ù˘ ∂ÁÓ·Ù›·˜ Î·È Ô Î·ı·ÚÈÛÌfi˜ Ù˘ ·„›‰·˜, Ô˘ Ú·Á-
The widening of Egnatia Street and the cleanup of the arch, held
Ì·ÙÔÔÈ‹ıËÎ·Ó ÛÙ· Ù¤ÏË ÙÔ˘ 1952 Î·È ÙȘ ·Ú¯¤˜ ÙÔ˘ 1953, ›¯·Ó
in late 1952 and early 1953, had been completed when the shot
ÔÏÔÎÏËÚˆı› fiÙ·Ó ¤ÁÈÓÂ Ë Ï‹„Ë. ΔÔ 1955 Ô ÊˆÙÔÁÚ¿ÊÔ˜ °. §˘Î›-
was taken. In 1955, the photographer Mr. G. Lykidis has
‰Ë˜ ›¯Â ʈÙÔÁÚ·Ê‹ÛÂÈ ÙÔ ÌÓËÌÂ›Ô Î·È Â›¯Â Ï¿‚ÂÈ ÙËÓ ¤ÁÎÚÈÛË ·fi
photographed the monument and got an approval by the
ÙËÓ ·ÚÌfi‰È· ˘ËÚÂÛ›· ÁÈ· Ó· ΢ÎÏÔÊÔÚ‹ÛÂÈ Î·ÚÙÔÛÙ¿Ï. ∏ ÂÈÎfiÓ·
competent authority to publish postcards. The picture we see
Ô˘ ‚Ï¤Ô˘Ì ı˘Ì›˙ÂÈ ¤ÓÙÔÓ· ÙȘ Ï‹„ÂȘ ÙÔ˘ §˘Î›‰Ë ÙÔ˘ ¤ÙÔ˘˜ ÂΛ-
reminds us of Mr. Lykidis’s shots on the same year. Through the
ÓÔ˘. ª¤Û· ·fi ÙËÓ ·„›‰· ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ ÛÙË ÁˆÓ›·
arch, a three-storey building is shown on the corner of Paleon
Ì ÙËÓ Ô‰fi ¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, ÂÓÒ ÛÙ· ‰ÂÍÈ¿ (ÛÙË ÁˆÓ›· ÌÂ
Patron Germanou Street, while on the right (on the corner of
ÙËÓ ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘), ÙÔ Ê·ÚÌ·ÎÂ›Ô ¢ËÌ¿‰Ë.
Apostolou Pavlou Street), there is the "Dimadis" Apothecary.
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ÕÙÈÙÏÔ
Without Title
∞„›‰· °·ÏÂÚ›Ô˘, ̤۷ ‰ÂηÂÙ›·˜ 1960
Galerious Arch, mid 1960s The shot was taken from the ∞μC Hotel, at the Sintrivaniou
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ∞μC, ÛÙËÓ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘.
Square. It is dated between 1961 (when the multi-storey block
ÃÚÔÓÔÏÔÁÂ›Ù·È ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1961 (ÔfiÙ ÎÙ›ÛıËÎÂ Ë ÔÏ˘ÒÚÔ-
of flats was built on the corned of Apostolou Pavlou Street, at
ÊË ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘, ÛÙË ı¤ÛË
the place where "Dimadis" Apothecary once stood: see the
ÙÔ˘ Ê·Ú̷ΛԢ ¢ËÌ¿‰Ë: ‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·), ηÈ
previous photo), and 1968, when the frame of the building of the
ÛÙÔ 1968, ÔfiÙ ÔÏÔÎÏËÚÒıËÎÂ Ô ÛÎÂÏÂÙfi˜ Ù˘ ÔÈÎÔ‰ÔÌ‹˜ ÙÔ˘ ÎÙÈ-
National Bank of Greece was completed, on the corner of
Ú›Ô˘ Ù˘ ∂Δ∂, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·Ì‚Ô˘Ó›ˆÓ (·ÚÈÛÙÂÚ¿: ÛÙÔ
Kamvounion Street (on the left: in the gap, through which one
ÎÂÓfi, ·fi ÙÔ ÔÔ›Ô ·Ê‹ÓÂÙ·È Ó· ‰È·ÎÚÈı› Ë ‰È·ÊËÌÈÛÙÈ΋ ÈӷΛ‰·
can see the advertisement of TWA). The old buildings on the left
Ù˘ TWA). Δ· ·Ï·È¿ ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿ –Ô˘ Û‡ÓÙÔÌ· ÂÚfi-
– which would soon be demolished – reveal the old crest of
ÎÂÈÙÔ Ó· ηÙ‰·ÊÈÛÙÔ‡Ó- ‰Â›¯ÓÔ˘Ó ÙËÓ ·Ï·È¿ ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹
buildings (in true line with Galerious Arch). Exactly opposite the
(Û ÓÔËÙ‹ ¢ı›· Ì ÙËÓ ·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘). ∞ÎÚÈ‚Ò˜ ·¤Ó·ÓÙÈ ·fi
arch, a part of the temple of Panagia Dexia is shown.
ÙËÓ ·„›‰·, ‰È·ÎÚ›ÓÂÙ·È ¤Ó· ÙÌ‹Ì· ÙÔ˘ Ó·Ô‡ Ù˘ ¶·Ó·Á›·˜ ¢ÂÍÈ¿˜.
k 172
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173 k
75
k 174
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¶‡ÏË °·ÏÂÚ›Ô˘
Galerious Entrance
¶ÂÚÈÁÚ·Ê‹ ÙÔ˘ ÌÓËÌ›Ԣ
Description of the monument
∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓ ÌÂÙ¿ ÙÔÓ Î·ı·ÚÈÛÌfi ÙÔ˘ ÌÓËÌ›Ԣ (1953).
The shot must have been taken after the cleanup of the
◊‰Ë, ‚¤‚·È·, ÂÚÈÁÚ·Ê‹ ÙÔ˘ ›¯Â ÂȯÂÈÚËı› ·fi ÙÔÓ 19Ô ·ÈÒÓ·.
monument (1953). Of course, the attempt to be described has
™ÙËÓ ÎÔÚ˘Ê‹ ‚Ú›ÛÎÔÓÙ·È ˙ÒÓ˜ Ì ‰È·ÎÔÛÌËÙÈο ·Ó¿ÁÏ˘Ê·, ʇÏÏ·
been as early as 19th century. At the upper part, there are
Î·È ·ÛÙÚ·Á¿ÏÔ˘˜. Δ· ·Ó¿ÁÏ˘Ê· Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó Ì¤¯ÚÈ ÙË Ì·ÚÌ¿ÚÈ-
zones of brocatelle, leaves and astragaluses (knobs). The
ÓË ‚¿ÛË Ù˘ ·„›‰·˜, Â›Ó·È ‰È·Ù·Á̤ӷ Û ˙ÒÓ˜, Ô˘ ¯ˆÚ›˙ÔÓÙ·È ÌÂ
glyphs down to the marble basis of the arch are arranged in
·Ó¿ÁÏ˘Ê· ÎÔÛÌ‹Ì·Ù·. ™ÙËÓ ·ÓÒÙÂÚË ˙ÒÓË È›˜ ÂÈÙ›ıÂÓÙ·È ÂÓ·-
zones, divided by brocatelle. On the upper zone, horsemen are
ÓÙ›ÔÓ fiψ˜ Î·È ÂÈÛ¤Ú¯ÔÓÙ·È ·fi Ù· Ù›¯Ë. ™ÙË ‰Â‡ÙÂÚË ˙ÒÓË ·Ó·-
attacking the city and invade the walls. On the second zone, the
·Ú›ÛÙ·Ù·È Ì¿¯Ë ÌÂٷ͇ ȤˆÓ. ™ÙËÓ ÙÚ›ÙË ˙ÒÓË ‚·ÛÈÏÈ¿˜ οıÂÙ·È
battle among the horsemen is represented. On the third zone, a
·Ó¿ÌÂÛ· Û ·ÍȈ̷ÙÔ‡¯Ô˘˜. Δ¤ÏÔ˜, Ë Î·ÙÒÙÂÚË ˙ÒÓË ÂÚÈÏ·Ì‚¿ÓÂÈ
king is seated among officers. Finally, the lower zone includes
ӛΘ Ô˘ ʤÚÔ˘Ó ÙÚfi·È·.
victories bringing trophies.
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¶‡ÏË °·ÏÂÚ›Ô˘
Galerious Entrance
°·Ï¤ÚÈÔ˜ ÂÓ·ÓÙ›ÔÓ ÙˆÓ ¶ÂÚÛÒÓ
Galerius against the Persians
∞fi Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÔÈ ÂȉÈÎÔ› ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ·„›‰· ·ÊÈÂ-
Ever since the late 19th century, experts believe that the arch
ÚÒıËΠÛÙÔÓ °·Ï¤ÚÈÔ ÏfiÁˆ Ù˘ ӛ΢ ÙÔ˘ › ÙˆÓ ¶ÂÚÛÒÓ. Èڛ˜ Ó·
was dedicated to Galerius on the occasion of his victory over
·ÔÎÏ›ÔÓÙ·È ¿ÏϘ ÂΉԯ¤˜, Ë ‰Â‡ÙÂÚË ÂÎ ÙˆÓ ¿Óˆ ˙ÒÓË Ô˘ ·ÂÈ-
the Persians. Without the exclusion of other interpretations, the
ÎÔÓ›˙ÂÙ·È ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë, Ë Ì¿¯Ë ÌÂٷ͇ ȤˆÓ, ÌÔÚ› Ó·
second upper zone, represented in this shot – i.e. the battle
ÂÎÏËÊı› ˆ˜ ·Ó·Ì¤ÙÚËÛË ÌÂٷ͇ ƒˆÌ·›ˆÓ Î·È ¶ÂÚÛÒÓ.
among horsemen – might be considered as the encounter of Romans and Persians.
k 176
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177 k
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ÕÙÈÙÏË
Without Title
¶·Ó·Á›· ÷ÏΤˆÓ, ‰ÂηÂÙ›· 1950
Panagia Chalkeon, 1950s Unknown Byzantine temple which, during the ottoman period,
ÕÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜, Ô˘ › Ù˘ ÔıˆÌ·ÓÈ΋˜ ÂÚÈfi‰Ô˘
was converted into a mosque. It is located on the corner of
ÌÂÙ·ÙÚ¿ËΠ۠٤ÌÂÓÔ˜. μÚ›ÛÎÂÙ·È ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ ∂ÁÓ·Ù›·˜
Egnatia and Chalkeon Street. From a point of view, the wall
Î·È Ã·ÏΤˆÓ. ∫·Ù¿ Ì›· ¿Ô„Ë, ÔÈ ÙÔȯÔÁڷʛ˜ Ô˘ ·ÔηχÊıËηÓ
paintings revealed proclaim that it was a temple dedicated to
˘Ô‰ËÏÒÓÔ˘Ó fiÙÈ ‹Ù·Ó Ó·fi˜ Ù˘ ¶·Ó·Á›·˜ Î·È ÂÓ‰¤¯ÂÙ·È Ó· ‹Ù·Ó
Virgin Mary (Panagia) while it might have been the catholicon of
ηıÔÏÈÎfi ÌÔÓ‹˜. ªÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, Ô Ó·fi˜ ηı·ÁÈ¿ÛÙËÎÂ
a monastery. After the liberation, the temple was hallowed
ÙÈÌÒÌÂÓÔ˜ ÛÙÔ fiÓÔÌ· Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ (Ë ÔÓÔÌ·Û›· ÙÔ˘
after the name of Panagia Chalkeon (the name of the mosque
ÙÂ̤ÓÔ˘˜ ‹Ù·Ó «Δ¤ÌÂÓÔ˜ ÙˆÓ Ã·ÏΤˆÓ»). ∏ È‰Ú˘ÙÈ΋ ÂÈÁÚ·Ê‹ ÙÔ˘
had been "Chalkeon Mosque"). The establishing tablet on the
ÛÙÔ ˘¤Úı˘ÚÔ Ù˘ ÂÈÛfi‰Ô˘ ‰Â›¯ÓÂÈ fiÙÈ ·ÓÂÁ¤ÚıËΠÛÙ· 1028 ÛÂ
entrance lintel indicates that it has been built in 1028 on a
«ÚÈÓ ‚¤‚ËÏÔÓ ÙfiÔÓ». ∏ ‰È·ÊÔÚ¿ Ù˘ ÛÙ¿ıÌ˘ ÙÔ˘ ÂȤ‰Ô˘ ÙÔ˘
"formerly unholy site". The level difference between the temple
Ó·Ô‡ ·fi ÙÔ ÛËÌÂÚÈÓfi Â›Â‰Ô ÙÔ˘ ‰ÚfiÌÔ˘ Ì·ÚÙ˘Ú› ÙȘ ÌÂÙ·‚ÔϤ˜
and the current street shows the changes that the city terrene
Ô˘ ˘¤ÛÙË ÙÔ ·Ó¿ÁÏ˘ÊÔ Ù˘ fiÏ˘, ÂȉÈο ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi. ∏ Ï‹„Ë
– especially this specific part – underwent. The shot must have
–·Ó ÎÚ›ÓÔ˘Ì ·fi ÙËÓ Â˘¯¤ÚÂÈ· Ì ÙËÓ ÔÔ›· ΢ÎÏÔÊÔÚÔ‡Ó Î¿Ú·,
been taken in mid 1959s – judging from the facility in which
Ô‰‹Ï·Ù· Î·È Î·ÚfiÙÛÈ·, ηıÒ˜ Î·È ·fi ÙË ÁÚ·ÌÌ‹ ÙÔ˘ ÙÚ·Ì, ·fi
carts, bicycles and wagons move around as well as from the
ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ ÙÚÔ¯ÔÊfiÚˆÓ, ·fi ÙË ÛÙÔÏ‹ ÙÔ˘ ÌÈÎÚÔˆÏËÙ‹
tram and the types of vehicles, the peddler’s outfit (behind the
(›Ûˆ ·fi ÙÔÓ Ô‰ËÏ¿ÙË) Î·È ·fi Ù· ÏÔÈ¿ ÛÙÔȯ›· Ù˘ ʈÙÔÁÚ·-
cyclist) and the other features of the photograph.
Ê›·˜, Â›Ó·È ÙˆÓ Ì¤ÛˆÓ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950.
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£ÂÛÛ·ÏÔÓ›ÎË, ÁÂÓÈ΋ ¿Ô„Ș 1.3.1963
Thessaloniki, a general view 1.3.1963
ΔÔ ÚÔ·‡ÏÈÔ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ Î·È ÙÔ ª¤Ë ÷̿Ì, 1963
The courtyard of Panagia Chalkeon and Bey Hamam, 1963 It has been probably taken from a scaffold at Panagia Chalkeon.
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ª¿ÏÏÔÓ ·fi ÛηψÛÈ¿ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ, Ô ÊˆÙÔÁÚ¿ÊÔ˜
The photographer captured the landscaped temple’s yard, the
·ÂÈÎfiÓÈÛ ÙÔÓ ÂÈÌÂÏË̤ÓÔ Î‹Ô ÙÔ˘ Ó·Ô‡, ÙÔ Î¿Ùˆ ̤ÚÔ˜ Ù˘ ¶Ï·-
lower part of Dikastirion Square and Bey Hamam (known to the
Ù›·˜ ¢ÈηÛÙËÚ›ˆÓ Î·È ÙÔ ª¤Ë Ã·Ì¿Ì (ÁÓˆÛÙfi ÛÙÔ˘˜ ÓÂfiÙÂÚÔ˘˜
younger citizens of Thessaloniki as "Loutra Paradisos" [i.e.
£ÂÛÛ·ÏÔÓÈΛ˜ ˆ˜ «§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜»), ÎÙ›ÛÌ· ÙÔ˘ 15Ô˘ ·ÈÒÓ·.
Paradise Baths]), a building of the 15th century. On the right,
¢ÂÍÈ¿ Ë Ô‰fi˜ ∂ÁÓ·Ù›·. ∏ ·Ô‰È‰fiÌÂÓË ¯ÚÔÓÔÏÔÁ›· Û˘Ì‚·‰›˙ÂÈ Ì ÙÔ
there stretches Egnatia Street. The date attributed conforms
ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. [™ÙÔ ÏÔ˘ÙÚfi Ô Î·ı·ÚÈÛÌfi˜ Á›ÓÂÙ·È ÌÂ
to the content of the photograph [In a bath, water is the
ÓÂÚfi, ÛÙÔ ¯·Ì¿Ì ÌÂ ·ÙÌfi].
cleaning means, while in a hamam, vapour].
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ÕԄȘ £ÂÛÛ·ÏÔӛ΢
A view of Thessaloniki
ªÓËÌ›· Ù˘ fiÏ˘ ̤۷ ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi, ‰ÂηÂÙ›· 1950
Monuments of the city within the urban tissue, 1950s
ª›· Ï‹„Ë ·fi ÙËÓ ¿Óˆ fiÏË, ›Ûˆ˜ ÙË ÌÔÓ‹ μÏ·Ù¿‰ˆÓ, Û˘ÏÏ·Ì‚¿-
A shot taken from the upper city – maybe from the Vlatadon
ÓÂÈ Ì¤Û· ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi Ù¤ÛÛÂÚ· ÌÓËÌ›· Î·È Î·Ù·ÁÚ¿ÊÂÈ ÙË Û¯¤-
Monastery – captures four monuments within the urban tissue
ÛË ÙÔ˘˜ Ì ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ. ∫ÂÓÙÚÈ΋ ı¤ÛË ¤¯ÂÈ Ô ÕÁÈÔ˜
and records their interrelation with their surroundings. In the
¢ËÌ‹ÙÚÈÔ˜. ¶Ôχ ÎÔÓÙ¿ ÙÔ˘, ÙÔ °ÂÓ› [¡¤Ô] ÷̿Ì, › Ù˘ Ô‰Ô‡ ∫·Û-
centre, there is Aghios Dimitrios. Very close to it, there is Yeni
Û¿Ó‰ÚÔ˘, Î·È Ï›ÁÔ ÈÔ ·ÚÈÛÙÂÚ¿ ÙÔ ∞Ï·Ù˙¿ πÌ·Ú¤Ù, ÎÙ›ÛÌ·Ù· ÙÔ˘
(New) Hamam, on Kassandrou Street; further on the left, there
15Ô˘/16Ô˘ ·ÈÒÓ· Ô˘ ‰È·ÎÚ›ÓÔÓÙ·È ·fi ÙÔ˘˜ ÙÚÔ‡ÏÔ˘˜ ÙÔ˘˜. ™ÙÔ
is the Alatza Imaret, a building of the 15th/ 16th century,
‰ÂÍÈfi ̤ÚÔ˜ ÙË ÊˆÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ô ¿ÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜
distinguished by its vaults. On the left part of the photograph,
Ó·fi˜ Ô˘ ÙÈÌ¿Ù·È ÛÙÔ fiÓÔÌ· ÙÔ˘ ¶ÚÔÊ‹ÙË ∏Ï›·. μÔÚ›ˆ˜ ÙÔ˘ ∞Á›Ô˘
an unknown Byzantine temple stands named after Prophet Elias
¢ËÌËÙÚ›Ô˘ ‰È·ÙËÚÔ‡ÓÙ·È Ù· ·Ï·È¿ Û›ÙÈ· Î·È Ë Ú˘ÌÔÙÔÌ›· ÙÔ˘ 19Ô˘
(Profitis Ilias). On the north of Aghios Dimitrios, the old houses
·ÈÒÓ·. ™ÙË ÊˆÙÔÁÚ·Ê›· Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ÌÂÓ ·ÔηٷÛÙ·ı›
as well as the 19th century street layout are preserved. In the
·fi ÙȘ ˙Ë̛˜ Ù˘ ˘ÚηÁÈ¿˜ ÙÔ˘ 1917, ·ÏÏ¿ ÛÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘
photograph, Aghios Dimitrios has – of course – been repaired
‰ÂÓ ¤¯Ô˘Ó ·ÓÂÁÂÚı› ÔÏ˘Î·ÙÔÈ˘, ÛÙÔȯ›· Ô˘ ÙÔÔıÂÙÔ‡Ó ¯ÚÔ-
from the damages caused by the fire of 1917, yet Kassandrou
ÓÈο ÙË Ï‹„Ë ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950.
Street does not feature any blocks of flats, thus dating the shot in the 1950s.
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ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, 1940
Aghios Dimitrios, 1940
√ ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ÌÂÙ¿ ÙÔ 1948
Aghios Dimitrios after 1948 The Byzantine temple of Aghios Dimitrios was destroyed in the
√ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ηٷÛÙÚ¿ÊËΠηٿ ÙËÓ
fire of 1917. A lot of problems arose from its repair. The first
˘ÚηÁÈ¿ ÙÔ˘ 1917. ∏ ·ÔηٿÛÙ·Û‹ ÙÔ˘ Û˘Ó‰¤ıËΠ̠ÏËıÒÚ·
erection phase lasted until 1937. Then, it stopped because of
ÚÔ‚ÏËÌ¿ÙˆÓ. ∏ ÚÒÙË ·Ó·ÛÙËψÙÈ΋ Ê¿ÛË ‰È‹ÚÎÂÛ ˆ˜ ÙÔ 1937.
the ordeal of war and was resumed in 1946, when a special
™ÙË Û˘Ó¤¯ÂÈ· Ë ·ÔηٿÛÙ·ÛË ‰È·ÎfiËΠÏfiÁˆ ÙˆÓ ‰ÂÈÓÒÓ ÂÚÈ-
organization was established for the collection of the necessary
ÛÙ¿ÛÂˆÓ Î·È Â·Ó·Ï‹ÊıËΠÙÔ 1946, fiÙ·Ó Û˘ÛÙ‹ıËΠȉȷ›ÙÂÚÔ˜
resources. The fund raisings and the systematic contributions,
ÔÚÁ·ÓÈÛÌfi˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙˆÓ ·Ó·Áη›ˆÓ fiÚˆÓ. ŒÚ·ÓÔÈ Î·È
as well as the aid from the Municipality of Thessaloniki and the
Û˘ÛÙËÌ·ÙÈ΋ ÚÔÛ¤Ï΢ÛË ÂÈÛÊÔÚÒÓ, ηıÒ˜ Î·È Ë ÂÓ›Û¯˘ÛË ÙÔ˘
Chamber of Commerce and Industry, were not enough to
¢‹ÌÔ˘ £ÂÛÛ·ÏÔӛ΢ Î·È ÙÔ˘ ∂ÌÔÚÈÎÔ‡ Î·È μÈÔÌ˯·ÓÈÎÔ‡ ∂ÈÌÂÏË-
accumulate the whole amount needed. The financial trouble
ÙËÚ›Ô˘, ‰ÂÓ Â¿ÚÎÂÛ·Ó ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ÔÛÔ‡. ΔÔ ÔÈÎÔÓÔ-
was solved when the Post Offices issued a special stamp for
ÌÈÎfi Úfi‚ÏËÌ· χıËΠfiÙ·Ó Ù· Δ·¯˘‰ÚÔÌ›· ΢ÎÏÔÊfiÚËÛ·Ó ÂȉÈÎfi
the erection of the temple, to which 45% of the receipts came.
ÁÚ·ÌÌ·ÙfiÛËÌÔ ÁÈ· ÙËÓ ·Ó·ÛًψÛË ÙÔ˘ Ó·Ô‡, ÛÙÔÓ ÔÔ›ÔÓ ÂÚÈ‹Ï-
Thus, the encaenia of the temple were held in all grandeur in
ı ÔÛÔÛÙfi 45% ÙˆÓ ÂÛfi‰ˆÓ. ŒÙÛÈ, Ì ÌÂÁ·ÏÔÚ¤ÂÈ· ¤ÁÈÓ·Ó Ù·
1948, with the presence of the political leadership of the
ÂÁη›ÓÈ· ÙÔ˘ Ó·Ô‡ ÙÔ 1948, Ì ÙËÓ ·ÚÔ˘Û›· Ù˘ ÔÏÈÙÈ΋˜ ËÁÂÛ›·˜
country. The shot has as terminus ante quem the same date,
Ù˘ ¯ÒÚ·˜. ∏ Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ ¤¯ÂÈ ˆ˜ terminus ante quem
since not only the roof is completed (it absorbed much effort
·˘Ù‹ ÙË ¯ÚÔÓÔÏÔÁ›·, ‰ÈfiÙÈ fi¯È ÌfiÓÔÓ Ë ÛÙ¤ÁË Â›Ó·È ÔÏÔÎÏËڈ̤ÓË
during the second phase of erection), but also the surroundings
(·ÔÚÚfiÊËÛ ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ Ù˘ ÚÔÛ¿ıÂÈ·˜ ηٿ ÙË ‰Â‡ÙÂÚË ·Ó·-
are landscaped as well. The marbles, gathered on the left within
ÛÙËψÙÈ΋ Ê¿ÛË), ·ÏÏ¿ Î·È Ô ÂÚÈ‚¿ÏÏˆÓ ¯ÒÚÔ˜ Â›Ó·È ‰È·ÌÔÚʈ̤-
the yard, come from the destroyed Jew cemetery. In the yard,
ÓÔ˜. Δ· Ì¿ÚÌ·Ú·, Ô˘ ‚Ú›ÛÎÔÓÙ·È Û˘ÁÎÂÓÙڈ̤ӷ ·ÚÈÛÙÂÚ¿ ÛÙËÓ
the basin of the temple is still featured. On the north-east, the
·˘Ï‹, ÚÔ¤Ú¯ÔÓÙ·È ·fi ÙÔ Î·ÙÂÛÙÚ·Ì̤ÓÔ Â‚Ú·˚Îfi ÎÔÈÌËÙ‹ÚÈÔ. ™ÙËÓ
vaults of Yeni Hamam are shown. Finally, on the right upper end
·˘Ï‹, ·ÎfiÌË, ‰È·ÎÚ›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ Ó·Ô‡. μÔÚÂÈÔ·Ó·ÙÔÏÈο, ͯˆ-
of the photograph the basin of Alatza Imaret (no longer existing)
Ú›˙Ô˘Ó ÔÈ ÙÚÔ‡ÏÔÈ ÙÔ˘ °ÂÓ› ÷̿Ì. Δ¤ÏÔ˜, ÛÙÔ ‰ÂÍÈfi ¿Óˆ ¿ÎÚÔ Ù˘
is also shown. In the foreground: on the right there stretches
ʈÙÔÁÚ·Ê›·˜ Ê·›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ ∞Ï·Ù˙¿ πÌ·Ú¤Ù (‰ÂÓ ˘Ê›ÛٷٷÈ
Makedonikis Amynis Street and on the left – not landscaped yet
ϤÔÓ). ™Â ÚÒÙÔ Ï¿ÓÔ: ‰ÂÍÈ¿ Ë Ô‰fi˜ ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘ Î·È ·ÚÈ-
– there lies the site of the small park, where once Aghios
ÛÙÂÚ¿ –·‰È·ÌfiÚʈÙÔ˜ ·ÎfiÌË- Ô ¯ÒÚÔ˜ ÙÔ˘ ÌÈÎÚÔ‡ ¿ÚÎÔ˘, fiÔ˘
Nestoras stood.
¿ÏÏÔÙ ‚ÚÈÛÎfiÙ·Ó Ô ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜.
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∏ fiÏȘ ‹ÎÌ·Û ˆ˜ ‚˘˙·ÓÙÈÓfiÓ Î¤ÓÙÚÔÓ. ∂Î ÙÔ˘ ÏfiÁÔ˘ ·˘ÙÔ‡, ‰È·ÙËÚ› Û‹ÌÂÚÔÓ Ù· ÂÚÈÛÛfiÙÂÚ· ÂÎ ÙˆÓ ¤ÚÁˆÓ Ù˘ ‚˘˙·ÓÙÈÓ‹˜ Ù¤¯Ó˘. ∞ÓÙÈÚÔÛˆÂ˘ÙÈÎfiÓ ÙˆÓ ¤ÚÁˆÓ ·˘ÙÒÓ Â›Ó·È Î·È Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÔÏÈÔ‡¯Ô˘
The city was a prosperous centre of the Byzantine era. Thus, nowadays it preserves most of its works of Byzantine art. Representative of these works is the temple of Aghios Dimitrios, patron saint of the city
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, ‰ÂηÂÙ›· 1950
Aghios Dimitrios, 1950s
∏ ‰˘ÙÈ΋ ÏÂ˘Ú¿ ÙÔ˘ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘. ∏ ÂÈÎfiÓ· Û˘ÌÏË-
The west side of the temple of Aghios Dimitrios. This
ÚÒÓÂÈ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ˆ˜ ÚÔ˜ ÙËÓ ·›ÛıËÛË Ù˘ «ÎÂÓ‹˜ fiÏ˘». √
photograph is complementary to the previous one, as far as the
ÔÓËÏ¿Ù˘, ›Ûˆ˜ Ï·Ófi‰ÈÔ˜ ¤ÌÔÚÔ˜, ‚·‰›˙ÂÈ ÛÙÔ Â˙Ô‰ÚfiÌÈÔ. ÿÛˆ˜
"empty city" feeling is concerned. The donkey driver – maybe a
ÚÔÂÙÔÈÌ¿˙ÂÙ·È Ó· ·ÓËÊÔÚ›ÛÂÈ ÁÈ· ÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘ ·fi Ù·
vendor – walks towards the pavement. He might be ready to
ÛηÏÔ¿ÙÈ· Ô˘ ÂÚÓÔ‡Ó ÛÙ· ‰˘ÙÈο ÙÔ˘ Ó·Ô‡. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌË-
walk up the Kassandrou Street from the stairs on the west side
ÙÚ›Ô˘ Â›Ó·È ÏÈıfiÛÙÚˆÙË, fiˆ˜ ‹Ù·Ó Î·È Ë ·Ú¿ÏÏËÏfi˜ Ù˘ Ô‰fi˜ ∫·Û-
of the temple. Aghiou Dimitriou Street is paved, just like its
Û¿Ó‰ÚÔ˘.
parallel Kassandrou Street.
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æËÊȉˆÙfi Ó·Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ÔÏÈÔ‡¯Ô˘, 20.3.1963
A mosaic from the temple of Aghios Dimitrios, patron saint of the city, 20.3.1963
ΔÔ „ËÊȉˆÙfi ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Ì ÙÔ˘˜ ÎÙ›ÛÙ˜ (Ï‹„Ë 1963)
The mosaic of Aghios Dimitrios featuring the founders (shot in 1963)
£ÂˆÚÂ›Ù·È ˆ˜ ¤Ó· ·fi Ù· ·Ï·ÈfiÙÂÚ· Ô˘ ‰È·ÛÒ˙ÔÓÙ·È ÛÙÔÓ Ó·fi. √
It is considered to be one of the earliest mosaics saved in the
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ‰ÂÍÈ¿ ÙÔ˘ ÙÔÓ ·Ú¯È›ÛÎÔÔ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ˘
temple. Saint Dimitrios has the archbishop on his right and the
ÙÔÓ ¤·Ú¯Ô Ù˘ £ÂÛÛ·ÏÔӛ΢. √È ‰‡Ô ·˘Ù¤˜ ÌÔÚʤ˜ ÂÎÊÚ¿˙Ô˘Ó
tetrarch of Thessaloniki on his left. These two figures reflect
ÂΛÓÔ˘˜ Ô˘ ÊÚfiÓÙÈÛ·Ó ÁÈ· ÙËÓ ·ÓÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡, ÌÂÙ¿ ÙËÓ
those who undertook the restoration of the temple, after its
ηٷÛÙÚÔÊ‹ ÙÔ˘ ηٿ ÙÔÓ ¤‚‰ÔÌÔ ·ÈÒÓ·. √ ¿ÁÈÔ˜ ·ÎÔ˘Ì¿ Ù· ¯¤ÚÈ·
destruction in the 7th century. The saint puts his hands on their
ÙÔ˘ ÛÙÔ˘˜ ÒÌÔ˘˜ ÙÔ˘˜. ∏ ÂÈÁÚ·Ê‹ ÙÔ˘ ÁÏ˘ÙÔ‡ ¤¯ÂÈ ˆ˜ ÂÍ‹˜: «∫Ù›-
shoulders. The inscription on the sculpture goes: "You should
ÛÙ·˜ ıˆÚ›˜ ÙÔ˘˜ ·ÓÂÓ‰fiÍÔ˘ ‰fiÌÔ˘ ÂΛıÂÓ ¤ÓıÂÓ Ì¿ÚÙ˘ÚÔ˜
consider them founders of the glorious house of the martyr
¢ËÌËÙÚ›Ô˘/ ÙÔÓ ‚¿Ú‚·ÚÔÓ Îχ‰ˆÓ· ‚·Ú‚¿ÚˆÓ ÛÙfiÏˆÓ ÌÂÙ·ÙÚ¤Ô-
Dimitrios/ who defeated the barbarian’s fleets and saved the
ÓÙÔ˜ Î·È fiÏÈÓ Ï˘ÙÚÔ˘Ì¤ÓÔ˘»
city".
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Δ· ‰ËÌfiÛÈ· ÏÔ˘ÙÚ¿ Ù˘ fiψ˜ ¯ÚÔÓÔÏÔÁÔ‡ÓÙ·È ·fi ÙË ‚˘˙·ÓÙÈÓ‹ ÂÚ›Ô‰Ô Î·È ·ÔÙÂÏÔ‡Ó ·ÍÈfiÏÔÁ· ¤ÚÁ· Ù˘ Ù¤¯Ó˘
The public baths of the city date back to the Byzantine era and constitute remarkable works of art
∏ Û΋ ÙÔ˘ ÌÂ˙ÂÛÙÂÓ›Ô˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1960)
The roof of Bezesteni of Thessaloniki (shot in 1960s) Bezesteni (the typical roofed shopping area of valuables) of
ΔÔ ÌÂ˙ÂÛÙ¤ÓÈ (Ù˘È΋ ÎÏÂÈÛÙ‹ ·ÁÔÚ¿ ÔÏ˘Ù›ÌˆÓ ÂȉÒÓ) Ù˘ £ÂÛÛ·-
Thessaloniki was constructed during the first decades after the
ÏÔӛ΢ ·ÓÂÁ¤ÚıËΠÛÙȘ ÚÒÙ˜ ‰ÂηÂٛ˜ ÌÂÙ¿ ÙËÓ ÔıˆÌ·ÓÈ΋
ottoman occupation of the city (1430), on the current Venizelou
ηٿÎÙËÛË Ù˘ fiÏ˘ (1430), ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi μÂÓÈ˙¤ÏÔ˘, Ï›ÁÔ
Street, a bit further in the north from the present Ermou Street.
‚ÔÚÂÈfiÙÂÚ· ·fi ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ∂ÚÌÔ‡. ∂Í·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔ-
It continues to be used (having undergone many changes,
ÔÈÂ›Ù·È (Ì ÔÏϤ˜ ÌÂÙ·ÙÚÔ¤˜) ·ÎfiÌË Î·È Û‹ÌÂÚ·. ∏ ÔÈÎÔ‰ÔÌ‹ ÌÂ
though) even nowadays. The building with the projecting
ÙÔ˘˜ ÚÔÂͤ¯ÔÓÙ˜ ˘·ÏÔÊÚ¿ÎÙ˜, ÛÙ· ‰ÂÍÈ¿ (̤Á·ÚÔ «∂ÚÌ›ÔÓ»:
glasses on the right ("Ermeion" building: constructed in 1925), is
ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1925), ÂÍ·ÎÔÏÔ˘ı› Ó· ˘Ê›ÛٷٷÈ, ÙÔ ›‰ÈÔ Î·È Ë
still there, as well as the building on the corner of Ermou Street
ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÚÌÔ‡ (ª¤Á·ÚÔ ™›ÁÁÂÚ: ‚Ï. ÛÙËÓ ÂfiÌÂ-
(Singer building: see the following unit). The two buildings on the
ÓË ÂÓfiÙËÙ·). ¢ÂÓ ˘Ê›ÛÙ·ÓÙ·È Ï¤ÔÓ Ù· ‰‡Ô ÎÙ›ÚÈ· ÛÙ· ·ÚÈÛÙÂÚ¿, ·¤-
left, opposite Bezesteni, are not there any more; the one in the
Ó·ÓÙÈ ·fi ÙÔ ÌÂ˙ÂÛÙ¤ÓÈ, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÌÂÛ·›Ô («∫¿Ô˘Ê ÃÔÊ»)
middle ("Kauf Hof") had been the Commercial Union building. The
‹Ù·Ó ÙÔ Ì¤Á·ÚÔ Ù˘ ∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜. ∏ ∂ÌÔÚÈ΋ ŒÓˆÛË ¤·„Â
Commercial Union stopped operating in 1959 and "Kauf Hof"
Ó· ÏÂÈÙÔ˘ÚÁ› ÙÔ 1959 Î·È ÙÔ «∫¿Ô˘Ê ÃÔÊ» ÂÁηٷÛÙ¿ıËΠÛÙÔ ÎÙ›-
was accommodated in the building on 1961. This information
ÚÈÔ ÙÔ 1961. √È ÏËÚÔÊÔڛ˜ ·˘Ù¤˜ Ì·˜ ‚ÔËıÔ‡Ó Ó· ¯ÚÔÓÔÏÔÁ‹-
helps us date the shot after 1961.
ÛÔ˘Ì ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1961.
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ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ˘Ô˘ÚÁ›Ԣ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ï‹„Ë ÚÈÓ ·fi ÙÔ 1912
The building of the Ministry of Northern Greece
"Diikitirio" (i.e. Residency) of Thessaloniki, shot before 1912 The current building of the Ministry of Macedonia – Thrace, on
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ΔÔ ÛËÌÂÚÈÓfi ÎÙ›ÚÈÔ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ª·Î‰ÔÓ›·˜ - £Ú¿Î˘, › Ù˘
Aghiou Dimitriou Street, known as "Diikitirio", started being
Ô‰Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÁÓˆÛÙfi ˆ˜ «¢ÈÔÈÎËÙ‹ÚÈÔ», ¿Ú¯ÈÛ ӷ ¯Ù›˙Â-
constructed in 1891 – in the place of the previous residency –
Ù·È ÙÔ 1891 –ÛÙË ı¤ÛË ÚÔËÁÔ‡ÌÂÓÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘- Î·È ÔÏÔÎÏËÚÒ-
and was completed in the year 1895. Initially, the building was
ıËΠÙÔ ¤ÙÔ˜ 1895. ΔÔ ·Ú¯ÈÎfi ÎÙ‹ÚÈÔ ‹Ù·Ó ηٿ ¤Ó· fiÚÔÊÔ ¯·ÌË-
one storey lower than the present one. On the ground floor,
ÏfiÙÂÚÔ ·fi ÙË ÛËÌÂÚÈÓ‹ ÌÔÚÊ‹ ÙÔ˘. ™ÙÔ ÈÛfiÁÂÈÔ ‚Ú›ÛÎÔÓÙ·Ó Ù·
there were the municipal rolls, the interrogation offices and the
‰ËÌÔÙÔÏfiÁÈ·, Ù· ·Ó·ÎÚÈÙÈο ÁÚ·Ê›· Î·È ÙÔ ÏËÌÌÂÏÂÈÔ‰ÈΛÔ, Ë
magistrate’s court, along with the counting house and the
ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÏÔÁÈÛÙËÚ›Ô˘ Î·È ÙÔ ÁÚ·ÊÂ›Ô ÙÔ˘ ÔÈÎÔÓÔÌÈÎÔ‡
revenue servant’s office. In addition, there were also the
ÂÊfiÚÔ˘. ∂›Û˘, ÙÔ ÎÙËÌ·ÙÔÏfiÁÈÔ, ÙÔ ˘ÔıËÎÔÊ˘Ï·ÎÂ›Ô Î·È ÙËÓ
cadastre, the land registry and the competent service for the
˘ËÚÂÛ›· ‰È·¯Â›ÚÈÛ˘ ÙˆÓ ‚·ÎÔ˘Ê›ˆÓ. ™ÙÔ ·ÓÒÁÂÈÔ ‚ÚÈÛÎfiÙ·Ó Ë
"vakoufia". On the upper storey, there was the grand hall of the
ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÓÔ̷گȷÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘, Ë ¢È‡ı˘ÓÛË ∂͈ÙÂ-
prefecture committee, the Foreign Affairs Service, the police
ÚÈÎÒÓ ÀÔı¤ÛˆÓ, Ë ‰È‡ı˘ÓÛË Ù˘ ·ÛÙ˘ÓÔÌ›·˜, ÙÔ ÚˆÙÔ‰ÈÎÂ›Ô Î·È
headquarters, the first instance court and the mercantile court.
ÙÔ ÂÌÔÚÔ‰ÈΛÔ. Δ¤ÏÔ˜, ÛÙÔ ‰Â‡ÙÂÚÔ ¿ÙˆÌ· ÛÙÂÁ·˙fiÙ·Ó ÙÔ ÈÂÚÔ‰È-
Finally, on the second floor there was the ecclesiastical court
ÎÂ›Ô Î·È ÙÔ Û˘Ì‚ÔÏ·ÈÔÁÚ·Ê›Ô.
and the notary’s office.
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21 ª·›Ô˘ 1916. √ ÂÈÎÂÊ·Ï‹˜ ÙˆÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Ù˘ «∞ÓÙ¿ÓÙ» Á¿ÏÏÔ˜ ÛÙÚ·ÙËÁfi˜ ™·Ú¿ÈÁ ÎËÚ‡ÛÛÂÈ ÛÙÚ·ÙȈÙÈÎfi ÓfiÌÔ
™ÙËÓ Â›ÛÔ‰Ô ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘
21 May 1916, The Chief of the "Entente" army, the French General Saralle, imposes a martial law
At entrance gate of “Diikitirio” (i.e. Residency)
∏ ÛÎËÓ‹ ‰È·‰Ú·Ì·Ù›˙ÂÙ·È ÛÙËÓ ¤ÍÔ‰Ô ÙÔ˘ ÚÔ·˘Ï›Ô˘ ÙÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘, ÛÙÔ ÔÔ›Ô ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ (√ÎÙÒ‚ÚÈÔ˜ 1912), ¤¯Ô˘Ó ÂÁηٷÛÙ·ı› Ù· ÁÚ·Ê›· Ù˘ °ÂÓÈ΋˜ ¢ÈÔÈ΋Ûˆ˜ ª·Î‰ÔÓ›·˜, Ù˘ ¡ÔÌ·Ú¯›·˜ £ÂÛÛ·ÏÔӛ΢ Î·È ¿ÏÏˆÓ ‰ËÌfiÛÈˆÓ ˘ËÚÂÛÈÒÓ. ΔÔÓ ª¿ÚÙÈÔ ÙÔ˘ 1915 ηٷÚÁ‹ıËÎ·Ó ·fi ÙË ‚Ú·¯‡‚È· ΢‚¤ÚÓËÛË ¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË fiϘ ÔÈ ˘ÊÈÛÙ¿ÌÂÓ˜ ÁÂÓÈΤ˜ ‰ÈÔÈ΋ÛÂȘ. ŒÙÛÈ, Ô ·ÓÒÙÂÚÔ˜ ÎÚ·ÙÈÎfi˜ ÏÂÈÙÔ˘ÚÁfi˜ ÛÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ‹Ù·Ó Ô ÓÔ̿گ˘. ø˜ Û˘Ó¤ÂÈ· Ù˘ ·Ú¿‰ÔÛ˘ ÙÔ˘ ƒÔ‡ÂÏ, ÛÙȘ 21.5.1916 Ô ™·Ú¿ÈÁ ΋ڢÍ ÛÙÚ·ÙȈÙÈÎfi ÓfiÌÔ Î·È Î·Ù¤Ï·‚ ÙÔ ¢ÈÔÈÎËÙ‹ÚÈÔ. ∂ÏÏËÓÈ΋ ÛÙÚ·ÙȈÙÈ΋ ÌÔÓ¿‰· ·Ô¯ˆÚ› ˘fi ÙËÓ ·ÂÈÏ‹ ÙˆÓ fiψÓ. ¶¿ÓÙˆ˜, ÔÈ °¿ÏÏÔÈ Ù˘ ·Ô‰›‰Ô˘Ó ÙÈ̤˜, ηٿ ÙËÓ ÛÙÚ·ÙȈÙÈ΋ ‰ÂÔÓÙÔÏÔÁ›·.
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The scene takes place at the residency yard exit, where – after the liberation of Thessaloniki (October 1912) – the headquarters of the General Commandership of Thessaloniki had been housed, along with other public services. In March 1915, Mr. Dimitriou Gounari’s short lived government rescinded all the general commanderships. Thus, the higher public servant at the Residency was the Prefect. As a consequence of the surrendering of Roupel, on 21.5.1916, Saralle imposed a martial law and occupied the Residency. A Greek outfit leaves at gunpoint. Anyway, the French honour them, according to military ethics.
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ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ
Diikitirio
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ÌÂÙ¿ ÙËÓ Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË (1955-1960)
"Diikitirio" (i.e. Residency) after its expansion in height (1955-1960)
™ÙȘ ·Ú¯¤˜ ÙÔ˘ 1954, ÚÔÎÂÈ̤ÓÔ˘ Ó· Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ ‰ËÌfiÛȘ
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˘ËÚÂۛ˜ Û ¤Ó· ¯ÒÚÔ, ·ÔÊ·Û›ÛÙËÎÂ Ë Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË ÙÔ˘
In early 1954, in order all public services to be housed under the
¢ÈÔÈÎËÙËÚ›Ô˘ ηٿ ¤Ó·Ó fiÚÔÊÔ. ΔÔ ¤ÚÁÔ ÔÏÔÎÏËÚÒıËΠ۠‰È¿ÛÙË-
same roof, the expansion of the building of residency on one
Ì· ÌfiÓÔ ÔÎÙÒ ÌËÓÒÓ. «[ΔÔ ¤ÚÁÔ Ô˘ ¿Ú¯ÈÛÂ] ÚÔ ÔÎÙ·Ì‹ÓÔ˘»,
more floor was decided. The project was completed within
ÛËÌÂÈÒÓÂÈ ‰ËÌÔÛÈÔÁÚ·ÊÈ΋ ·ÓÙ·fiÎÚÈÛË ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1955,
eight months. "[The project that started] eight month ago",
«ÂÂÚ·ÙÒıË ÙËÓ Ï‹Í·Û· ‚‰ÔÌ¿‰·. ÀÔÏ›ÂÙ·È Ó· ÚÔÛÙÂıÔ‡Ó
cites a journal report in February 1955, "was completed the
ÂÏ·Èԯڈ̷ÙÈÛÌÔ› ÙÈÓ¤˜ Î·È ¿ÏÏ·È ÏÂÙÔ̤ÚÂÈ·È Î·› ÂÛˆÙÂÚÈη› ηٷ-
previous week. There remain some of the painting as well as
Û΢·›. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜ fiÚÔÊÔ˜ ʤÚÂÈ Â› ÙÔ˘ ·ÂÙÒÌ·Ùfi˜ ÙÔ˘
some other details and interior constructions. The fifth floor
ÙÔ ‚·ÛÈÏÈÎfiÓ ÛÙ¤ÌÌ·. ∂Ș ÙÔÓ ‰Â‡ÙÂÚÔÓ fiÚÔÊÔÓ Ì ÙÔ˘˜ ÂÍÒÛÙ·˜ ı·
which has been adder features the royal crown on its pediment.
Â›Ó·È Ù· ˘Ô˘ÚÁÈο ÁÚ·Ê›· Î·È ·È ·›ıÔ˘Û·È ‰ÂÍÈÒÛÂˆÓ Î·È ‰È·ÛΤ-
On the second floor, which featured balconies, the ministerial
„ˆÓ, ÔÏ˘ÙÂϤÛÙÂÚ· ÂÍ fiψÓ. ¶ÂÓÙ·ÒÚÔÊÔÓ, fiˆ˜ η٤ÛÙË Ì ÙËÓ
offices and the luxurious ball and conference rooms will be
ÚÔÛı‹ÎËÓ ÂÓfi˜ ·ÎfiÌË ÔÚfiÊÔ˘, ¤¯ÂÈ ·Ó·Î·ÈÓÈÛı‹ ÚÈ˙ÈÎÒ˜ ÂȘ ÙÔ
housed. The building was expanded in one further floor and has
ÂÛˆÙÂÚÈÎfiÓ ÙÔ˘ Î·È ‹ÏÏ·Í·Ó fi„ÈÓ Ù· ·Ï·È¿ ·Ó·ÙÔÏ›ÙÈη ‰È·ÌÂÚ›-
been fully renovated in the interior, while its eastern part has
ÛÌ·Ù¿ ÙÔ˘. Œ¯ÂÈ Û˘ÓÔÏÈÎÒ˜ 177 ‰ˆÌ¿ÙÈ·. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜
been totally changed. It features 177 rooms in total. The added
fiÚÔÊÔ˜ ÂÚÈÏ·Ì‚¿ÓÂÈ 48 ‰ˆÌ¿ÙÈ·».
fifth floor includes 48 rooms".
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∞Ï¢ÚfiÌ˘ÏÔ˜ ∞ÏÏ·Ù›ÓË, £ÂÛÛ·ÏÔÓ›ÎË 1914
Flourmill Allatini, Thessaloniki 1914
√ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜!
The biggest flourmill in the East! The entrepreneurship in Thessaloniki during the 19th century
∏ ÂȯÂÈÚËÌ·ÙÈÎfiÙËÙ· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 19Ô ·ÈÒÓ· Û˘Ó-
has been associated with the Allatini family, which shone in all
‰¤ıËΠ̠ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË, Ë ÔÔ›· ‰È¤Ú„ Û fiÏÔ˘˜ ÙÔ˘˜
financial fields, as well as in the social life of the city. They
ÔÈÎÔÓÔÌÈÎÔ‡˜ ÎÏ¿‰Ô˘˜, ·ÏÏ¿ Î·È ÛÙËÓ ÎÔÈÓˆÓÈ΋ ˙ˆ‹ Ù˘ fiÏ˘.
founded the biggest flourmill in Thessaloniki before the mid 19th
ÿ‰Ú˘Û·Ó ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ·Ï¢ÚfiÌ˘ÏÔ ÛÙÔ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi Ù·
century, close to Pedio tou Areos. In 1880s, the new seven-
̤۷ ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÎÔÓÙ¿ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜. ™ÙË ‰ÂηÂÙ›· ÙÔ˘
storey flourmill by the sea was established on its current
1880 ‰ËÌÈÔ˘ÚÁ‹ıËΠӤԘ ÂÙ·fiÚÔÊÔ˜ ·Ú·ı·Ï¿ÛÛÈÔ˜ ·Ï¢ÚfiÌ˘-
location, which gave its name to the whole area (Allatini). This
ÏÔ˜ ÛÙË ÛËÌÂÚÈÓ‹ ı¤ÛË, Ô˘ ÔÓÔÌ·ÙÔ‰fiÙËÛÂ Î·È ÙËÓ ÂÚÈÔ¯‹ (∞ÏÏ·-
mill burned down in late 19th century and was rebuilt on the
Ù›ÓË). √ ̇ÏÔ˜ ·˘Ùfi˜ οËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ·ÓÔÈÎÔ‰Ô-
same location in 1900. A source of the first Greek
Ì‹ıËΠÛÙËÓ ›‰È· ı¤ÛË ÙÔ 1900. ¶ËÁ‹ Ù˘ ÚÒÙ˘ ÂÏÏËÓÈ΋˜ ‰ÈÔ›ÎË-
commandership after the liberation notes: "It is the biggest
Û˘ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË ÛËÌÂÈÒÓÂÈ: «∂›Ó·È Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢-
flourmill in the East, as far as its range, innovation of machinery
ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜ ηٿ Ù ÙËÓ ¤ÎÙ·ÛÈÓ Î·È ·ÂÈÚ›·Ó ÙˆÓ Ì˯·-
and large output are concerned. Its total surface area is about
ÓËÌ¿ÙˆÓ ·˘ÙÔ‡ ˆ˜ Î·È ÙËÓ ÌÂÁ¿ÏËÓ ·˘ÙÔ‡ ·Ú·ÁˆÁ‹Ó. ∏ fiÏË ·˘ÙÔ‡
15.000 m2, around half of which is occupied by the plant, the
¤ÎÙ·ÛȘ Â›Ó·È 15.000 Ù.Ì. ÂÚ›Ô˘, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÂÓ ‰Â‡ÙÂÚÔÓ
engine house and the auxiliary workshops. It operated by steam
ÂÚ›Ô˘ η٤¯Ô˘ÛÈ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔÓ, Ì˯·ÓÔÛÙ¿ÛÈÔÓ Î·È ‚ÔËıËÙÈο
supply of 850 horses". In 1926, the Allatini family was fully
Û˘ÓÂÚÁ›·. ∫ÈÓÂ›Ù·È ‰È’ ·ÙÌÔ‡ Î·È ··Û¯ÔÏ› ‰‡Ó·ÌÈÓ 850 ›ˆÓ».
drawn away by the ownership – the Commercial and Industrial
™Ù· 1926 ÔÈ ∞ÏÏ·Ù›ÓË ·ÔÍÂÓÒıËÎ·Ó Ï‹Úˆ˜ ·fi ÙËÓ È‰ÈÔÎÙ‹ÙÚÈ·
Company SA. – which came to fund holders from Southern
∞ÓÒÓ˘ÌÔ μÈÔÌ˯·ÓÈ΋ Î·È ∂ÌÔÚÈ΋ ∂Ù·ÈÚ›·, Ë ÔÔ›· ÂÚÈ‹Ïı ÛÂ
Greece. The mill had stopped operating and the site – which for
ÎÂÊ·Ï·ÈÔ‡¯Ô˘˜ ·fi ÙË ¡fiÙÈ· ∂ÏÏ¿‰·. √ ̇ÏÔ˜ ¤¯ÂÈ ¿„ÂÈ Ó· ÏÂÈ-
many years now is within the urban tissue – is to be reformed.
ÙÔ˘ÚÁ› Î·È Ë ÂÚÈÔ¯‹ –Ô˘ ‚Ú›ÛÎÂÙ·È Ï¤ÔÓ Â‰Ò Î·È ÔÏÏ¿ ¯ÚfiÓÈ· ̤۷ Û ·ÛÙÈÎfi ÂÚÈ‚¿ÏÏÔÓ- ÚÔÔÚ›˙ÂÙ·È ÁÈ· ·Ó¿Ï·ÛË.
k 198
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ÕÙÈÙÏË
Without Title
√ÈΛ· ∞ÏÏ·Ù›ÓË, Ó˘Ó ¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢, 1925
The Allatini residence, currently the Prefecture of Thessaloniki, 1925
¶ÂÚ› ÙÔ 1890 Ë ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË ÂÁη٤ÏÂÈ„Â ÙËÓ Î·ÙÔÈΛ· Ù˘ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™˘ÁÁÚÔ‡ Î·È ÂÁηٷÛÙ¿ıËΠÛÙËÓ ÂÍÔ¯È΋ ¤·˘-
At about 1890, the Allatini family abandoned its residence at the
Ï‹ Ù˘, ÎÔÓÙ¿ ÛÙÔÓ ·Ï¢ÚfiÌ˘ÏÔ, fiÔ˘ ÛÙÂÁ¿˙ÂÙ·È Û‹ÌÂÚ· Ë ÓÔÌ·Ú-
contemporary Sigrou Street and moved to its summer mansion,
¯›· £ÂÛÛ·ÏÔӛ΢. ΔÔ ·Ú¯ÔÓÙÈÎfi ·˘Ùfi, Ì ÂÌ‚·‰fiÓ 4.060 ÙÂÙÚ·Áˆ-
close to the flourmill, where nowadays the Prefecture is
ÓÈÎÔ‡˜ ‹¯ÂȘ Î·È 31 ‰ˆÌ¿ÙÈ·, ÎfiÛÙÈÛ ̷˙› Ì ÙË ‰È·ÎfiÛÌËÛË
housed. This mansion, of total surface area 4.060 square alls
14.000 ¯Ú˘Û¤˜ ϛژ. ™‡Ìʈӷ Ì ÙËÓ ÙÔÈ΋ ·Ú¿‰ÔÛË, ÛÙÔÓ ÙfiÔ
and 31 rooms, cost along with its decoration 14.000 gold liras.
ÙÔ˘ ·Ú¯ÈÎÔ‡ ÔÈÎÔ¤‰Ô˘ ˘‹Ú¯Â ÂÎÎÏËÛ›· ‹ ÌÔÓ·ÛÙ‹ÚÈ. √È ∞ÏÏ·Ù›ÓË
According to the local folklore, on the site of the plot there had
·„‹ÊËÛ·Ó ÙËÓ ·Ú¿‰ÔÛË Î·È ¤¯ÙÈÛ·Ó ÂΛ ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘˜, fiÔ˘
previously been a church or a monastery. The Allatini family
¤˙ËÛ·Ó ˆ˜ ÙÔ 1908. ΔÔ ÎÙ›ÚÈÔ ¤ÁÈÓ ·ÁÎÔÛÌ›ˆ˜ ÁÓˆÛÙfi, ‰ÈfiÙÈ ÂΛ
disregarded the tradition and built there their mansion, which
‰È¤ÌÂÈÓÂ Ô ¤ÎÙˆÙÔ˜ ÛÔ˘ÏÙ¿ÓÔ˜ ∞ÌÙÔ‡Ï Ã·Ì›Ó٠ηٿ ÙËÓ ÂÎÙfiÈÛ‹
they inhabited until 1908. The building became famous
ÙÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ÌÂÙ¿ ÙÔ Î›ÓËÌ· ÙˆÓ ¡ÂfiÙÔ˘ÚÎˆÓ (1909-
worldwide, as the fallen Sultan Abdul Hamid resided there
1912). ™ÙÔ ¯ÒÚÔ ·˘Ùfi, Ô˘ ÂÚÈ‹Ïı ÛÙÔ ÂÏÏËÓÈÎfi ‰ËÌfiÛÈÔ, ÂÁηٷ-
during his suspension in Thessaloniki – after the Neoturks’
ÛÙ¿ıËΠηٿ ÙÔ ÚÒÙÔ ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ
movement (1909 – 1912). In this place, which came to the Greek
£ÂÛÛ·ÏÔӛ΢ (1926). ∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ‰ËÌÔÛÈ¢Ù› Û ¤ÓÙ˘·
government, the University of Thessaloniki had been
ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ Ó· Â›Ó·È ÙÔ˘ 1925.
established during its first year of operation (1926). This photograph has been published in 1926. The shot must have been taken in 1925.
k 200
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88
201 k
89
ª ¡ ∏ ª ∂ π ∞
ÕÙÈÙÏË
Without Title
™¯ÔÏ‹ πÓÙ·ÓÙÈÁȤ - ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ (ÚÔÔÏÂÌÈ΋ Ï‹„Ë)
Idadye School - University of Thessaloniki (a pre-war shot) At about 1890 – surely before 1898, when it has been noted on
°‡Úˆ ÛÙÔ ¤ÙÔ˜ 1890 –ÔˆÛ‰‹ÔÙ ÚÈÓ ·fi ÙÔ 1898, ÔfiÙ ÛËÌÂÈ-
a map – the building of the ottoman secondary school of
ÒÓÂÙ·È Û ¯¿ÚÙË- ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÔıˆÌ·ÓÈ΋˜ ̤Û˘
administration – called Idadye was constructed. This building
‰ÈÔÈÎËÙÈ΋˜ Û¯ÔÏ‹˜, Ô˘ ÔÓÔÌ·˙fiÙ·Ó «πÓÙ·ÓÙÈÁȤ». ΔÔ ÎÙ›ÚÈÔ ·˘Ùfi
had been used during the Balkan wars and the First World War
¯ÚËÛÈÌÔÔÈ‹ıËΠηٿ ÙÔ˘˜ ‚·ÏηÓÈÎÔ‡˜ ÔϤÌÔ˘˜ Î·È Î·Ù¿ ÙÔÓ
as a hospital. It came to the University of Thessaloniki in 1927,
ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ ˆ˜ ÓÔÛÔÎÔÌ›Ô. ∞Ô‰fiıËΠÛÙÔ ¶·ÓÂÈ-
since the Allatini mansion was located – at that period – far
ÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ ÙÔ 1927, ‰ÈfiÙÈ Ë ‚›Ï· ∞ÏÏ·Ù›ÓË ‚ÚÈÛÎfiÙ·Ó, ÌÂ
from the city. Ever since, despite the post-war building
Ù· ̤ÙÚ· Ù˘ ÂÔ¯‹˜, Ì·ÎÚÈ¿ ·fi ÙËÓ fiÏË. ŒÎÙÔÙÂ, ·Ú¿ ÙË ÌÂÙ·-
expansion of the university campus, this old building continues
ÔÏÂÌÈ΋ ÎÙÈÚȷ΋ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘, ÙÔ ·Ï·Èfi
to be used by the University.
·˘Ùfi ÎÙ›ÚÈÔ ÂÍ·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ.
k 202
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90
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ÕÙÈÙÏÔ
Without Title
§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1970)
Folklore Ethnologic Museum of Macedonia (shot in 1970s) The facet of the building looking at the sea is presented. It was
∂ÈÎÔÓ›˙ÂÙ·È Ë ÚÔ˜ ÙË ı¿Ï·ÛÛ· fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘. ∫Ù›ÛıËΠÙÔ 1906
built in 1906 as the residence of the banker Mr. Jacob Modiano,
ˆ˜ ηÙÔÈΛ· ÙÔ˘ ÙÚ·Â˙›ÙË π·ÎÒ‚ ªÔ‰È¿ÓÔ, Ì ۯ¤‰È· ÙÔ˘ ÁÈÔ˘ ÙÔ˘
on the blueprints made by his son, Eli Modiano. At that time –
∂Ï› ªÔ‰È¿ÓÔ. ΔËÓ ÂÔ¯‹ ÂΛÓË –Î·È Ì¤¯ÚÈ ÙËÓ ¤ÌÏËÛË Ù˘ ı¿Ï·Û-
and until the alluviation of the sea, in order Megalou Alexandrou
Û·˜ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ù˘ ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘- ÙÔ
Avenue to be constructed – the plot was by the sea. During the
ÔÈÎfiÂ‰Ô ‹Ù·Ó ·Ú·ı·Ï¿ÛÛÈÔ. ™ÙËÓ ÂÚ›Ô‰Ô Ù˘ ¶ÚÔÛˆÚÈÓ‹˜
Temporary Government of Thessaloniki ("Triandria", i.e. Troika),
∫˘‚¤ÚÓËÛ˘ £ÂÛÛ·ÏÔӛ΢ (ΔÚÈ·Ó‰Ú›·) ÙÔ ÎÙ›ÚÈÔ ¯ÚËÛÈÌÔÔÈ‹ıËÎÂ
the building had been used as the headquarters of the three
ˆ˜ ¤‰Ú· ÙˆÓ ÙÚÈÒÓ ÌÂÏÒÓ Ù˘. ΔÔÓ πÔ‡ÏÈÔ ÙÔ˘ 1917 ÙÔ ‰ËÌÔÙÈÎfi
members of the troika. In June 1917, the city council decided to
Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ÙË Û‡Ó·„Ë ‰·Ó›Ԣ ÁÈ· ÙËÓ ·ÁÔÚ¿ ÙÔ˘ ÎÙÈÚ›-
get a loan in order to buy the building, in which "the restoration
Ô˘, ÛÙÔ ÔÔ›Ô «ÛÊ˘ÚËÏ·Ù‹ıËÎÂ Ë ·ÔηٿÛÙ·ÛȘ Î·È ÛˆÙËÚ›· Ù˘
and redemption of the Greek Homeland had been hammered"
∂ÏÏËÓÈ΋˜ ¶·ÙÚ›‰Ô˜» Î·È Î·Ù¤ÛÙË, ¤ÙÛÈ, «ÂıÓÈÎfiÓ ÎÂÈÌ‹ÏÈÔÓ». ∏ ·fi-
and thus it became a "national jewel". The decision was not
Ê·ÛË ‰ÂÓ ÂÎÙÂϤÛÙËΠÏfiÁˆ ÙˆÓ ÂÚÈÛÙ¿ÛˆÓ. ΔÔ 1921 ¿ÏÏÔ ‰ËÌÔ-
performed due to the conditions that arouse. In 1921, another
ÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ Û˘Ó¿„ÂÈ ÂÈÎÔÛ·ÂÙ¤˜ ‰¿ÓÂÈÔ ÁÈ· ÙËÓ
city council decided to get a twenty-year long loan in order to
·ÁÔÚ¿ Ù˘ ÔÈΛ·˜ ÚÔÎÂÈ̤ÓÔ˘ –ϤÔÓ- Ó· ¯ÚËÛÈ̤„ÂÈ ˆ˜ ·Ó¿ÎÙÔ-
buy this building, so as to be used as the palace of king
ÚÔ ÙÔ˘ ‚·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã. ΔÔ ÂfiÌÂÓÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ
Konstantinos the 1st. The following city council (1922 – 1923)
(1922-1923) ·Ó·Î¿ÏÂÛ ÙË ‰ˆÚ¿, ‰Â‰Ô̤ÓÔ˘ fiÙÈ Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜
revoked the donation, since Konstantinos had been expelled
›¯Â ÂΉȈ¯ı› ·fi ÙËÓ ∂ÏÏ¿‰·. ΔÔ 1936, Û ¤Ó‰ÂÈÍË «·ÊÔÛÈÒÛˆ˜
from Greece. In 1936, as a movement of "the city’s devotion" to
Ù˘ fiψ˜» ÚÔ˜ ÙÔ «ÚfiÛˆÔ Ù˘ ∞.ª. ÙÔ˘ ‚·ÛÈϤˆ˜», ¿ÏÏÔ
"His Majesty the king", another city council decided to donate
‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ ‰ˆÚ›ÛÂÈ ÙÔ ÎÙ›ÚÈÔ ÛÙÔÓ °ÂÒÚÁÈÔ
the building to King George the 2nd. In 1948, the military school
μã. ΔÔ 1948 ÛÙÂÁ¿ÛÙËΠÛÙÔ ÎÙ›ÚÈÔ ÛÙÚ·ÙȈÙÈ΋ È·ÙÚÈ΋ Û¯ÔÏ‹ ηÈ
of medicine and later on the hieratic school were housed in this
·ÚÁfiÙÂÚ· ÈÂÚ·ÙÈ΋ Û¯ÔÏ‹. ΔÔ 1970 ÙÔ ÎÙ›ÚÈÔ ·Ú·¯ˆÚ‹ıËΠÛÙÔ
building. In 1970, the building came to the Folklore Ethnologic
∂ıÓÔÏÔÁÈÎfi §·ÔÁÚ·ÊÈÎfi ªÔ˘Û›Ô, ÙÔ˘ ÔÔ›Ô˘ ·ÔÙÂÏ› ¤ÎÙÔÙ ÙËÓ
Museum, where it has been housed ever since.
¤‰Ú·.
k 204
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91
k 206
ª ¡ ∏ ª ∂ π ∞
ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£
The building of YMCA of Thessaloniki
ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£ (‰ÂηÂÙ›· 1950)
The building of YMCA of Thessaloniki (1950s)
ΔÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ ·ÓÂÁ¤ÚıËΠÙÔ 1925 ÚÔÎÂÈ̤ÓÔ˘ Ó· ÊÈÏÔÍÂ-
The building of YMCA of Thessaloniki was built in 1925, in order
Ó‹ÛÂÈ –ÛÙȘ ·ÓÔȯ٤˜ Î·È ÎÏÂÈÛÙ¤˜ ·ıÏËÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ ÙÔ˘- ÙȘ
to house – in both its open and roofed sport facilities – the
‰Ú·ÛÙËÚÈfiÙËÙ˜ Ù˘ ÓÂÔÏ·›·˜ Ù˘ fiÏ˘. °È· ÙËÓ ·Ó¤ÁÂÚÛ‹ ÙÔ˘
activities of the city’s youths. The Metropolitan Gennadios
ÂӉȷʤÚıËΠÚÔÛˆÈο Ô ÌËÙÚÔÔÏ›Ù˘ °ÂÓÓ¿‰ÈÔ˜ ∞ÏÂÍÈ¿‰Ë˜, Ô
Alexiadis – who played the leading part in the fund rising held –
ÔÔ›Ô˜ ÚˆÙÔÛÙ¿ÙËÛ ÛÙÔ˘˜ Û¯ÂÙÈÎÔ‡˜ ÂÚ¿ÓÔ˘˜.
minded its construction personally.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
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91
207 k
Δ∞ THE
∂¡¢√Δ∂ƒ∞ INNER
FEATURES
√È ·ÂÈÎÔÓ›ÛÂȘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙÔ 1880 ̤¯ÚÈ Û‹ÌÂÚ·, ‰›ÓÔ˘Ó
The representations of Thessaloniki, from 1880 up to nowadays,
Û˘Ó‹ıˆ˜ ¤ÌÊ·ÛË ÛÙ· ÌÓËÌ›· Ù˘, ÛÙËÓ ÚÔÎ˘Ì·›· Ù˘ ‹ (ÔÈ ÓÂfiÙÂ-
usually emphasize its monuments, its quay or (the more recent
Ú˜) ÛÙÔÓ ¿ÍÔÓ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È Ù˘ ¢ÈÂ-
ones) the axis of the White Tower, the University and the
ıÓÔ‡˜ ŒÎıÂÛ˘. À‹ÚÍ·Ó ˆÛÙfiÛÔ Î·È Ï‹„ÂȘ Ù˘ «·ÛÙÈ΋˜ ÂÓ‰Ô¯Ò-
International Trade Fair of Thessaloniki. However, there have also
Ú·˜» Ù˘ fiÏ˘ Ô˘ ÔÊ›ÏÔÓÙ·È Â›Ù ÛÙËÓ ÚÔÛ¿ıÂÈ· ÙÔ˘ ʈÙÔÁÚ¿-
been some shots of the "urban inland" of the city, attributed
ÊÔ˘ Ó· ·ÂÈÎÔÓ›ÛÂÈ ÌÈ· ÙÔÈ΋ ȉȷÈÙÂÚfiÙËÙ· ›Ù ÛÙËÓ ·Ó¿ÁÎË ÙÔ˘ Ó·
either to the photographer’s efforts to represent the local
·Ô‰ÒÛÂÈ ¤Ó·Ó ÓˆÙÂÚÈÛÌfi. ŒÙÛÈ, ÙÔ ˘ÏÈÎfi Ô˘ ·ÔÙÂÏ› ÙËÓ ÂÓfiÙËÙ·
character or his need to capture an innovation. Thus, the material
·˘Ù‹, Ï‹„ÂȘ ·fi 1910 ˆ˜ ÙÔ 1960 ÂÚ›Ô˘, Â›Ó·È ·ÓÔÌÔÈÔÁÂÓ¤˜ ˆ˜
included in this unit – shots taken from 1910 to about 1960 – is
ÚÔ˜ ÙË Û‡ÓıÂÛ‹ ÙÔ˘, ·ÏÏ¿ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÈ· ÙÔÓ ÙÚfiÔ ÌÂ ÙÔÓ
uneven as far as its themes are concerned – yet it is
ÔÔ›Ô ‰È·ÌÔÚÊÒıËÎ·Ó Ù· ÂÓ‰fiÙÂÚ· ÙÔ˘ ·Ï·ÈÔ‡ ·Ú·ı·Ï¿ÛÛÈÔ˘ ÙÌ‹-
representative of the way in which the inner part of the old city
Ì·ÙÔ˜ Ù˘ fiÏ˘.
by the sea was landscaped.
kkk
92
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
1914 ÂÏÏËÓÈÎfi ·˙¿ÚÈ
1914 Greek bazaar
∫·¿ÓÈ, 1914
Kapani, 1914
∏ ¯ÚÔÓÔÏfiÁËÛË Ô˘ ÛËÌÂÈÒÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›· ÂȂ‚·ÈÒÓÂÙ·È
The date inscribed on the photograph is verified by its inner
·fi Ù· ÂÛˆÙÂÚÈο Â˘Ú‹Ì·Ù· Ù˘ ʈÙÔÁÚ·Ê›·˜, ‰ËÏ·‰‹ ÙËÓ ·Ó·ÁÚ·-
features, i.e. the inscription of the shop in both Greek and
Ê‹ Ù˘ ÂˆÓ˘Ì›·˜ ÙÔ˘ ηٷÛÙ‹Ì·ÙÔ˜ ÛÙËÓ ÂÏÏËÓÈ΋ Î·È ÙËÓ Â‚Ú·˚-
Hebrew language, in combination to the fezzes worn; Features
΋, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙË ¯Ú‹ÛË ÊÂÛÈÒÓ, ÛÙÔȯ›· Ô˘ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë
that show that the shot was taken soon after the liberation of
Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ Ôχ ÎÔÓÙ¿ Û ·˘Ù‹Ó. ™ÙÔ
the city. In the middle of the photograph (over the chimneys) the
ΤÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ (¿Óˆ ·fi ÙȘ ηÌÈÓ¿‰Â˜) ÂÈÎÔÓ›˙ÂÙ·È ÙÔ
upper part of a minaret appears. The most possible spot for a
·ÓÒÙÂÚÔ ÙÌ‹Ì· ÌÈÓ·Ú¤. ΔÔ ÛËÌÂ›Ô Ô˘ ÌÂÁÈÛÙÔÔÈÂ›Ù·È Ë Èı·ÓfiÙËÙ·
mosque to be present along with a besom maker’s are blocks
Û˘Ó‡·Ú͢ ÙÂ̤ÓÔ˘˜ Î·È Û·ÚˆıÚÔÔÈ›Ԣ Â›Ó·È Ù· ÔÈÎÔ‰ÔÌÈο
no. 42, 43 and 45, at the old Alevropazarou Street (Oun Kapani),
ÙÂÙÚ¿ÁˆÓ· 42, 43 Î·È 45, ÓÔÙ›ˆ˜ Ù˘ ·Ï·È¿˜ Ô‰Ô‡ ∞Ï¢ÚÔ¿˙·-
which was the current Solomou Street intersecting Venizelou
ÚÔ˘ (√˘Ó ∫··Ó›), Ë ÔÔ›· ·ÓÙÈÛÙÔȯԇÛ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™Ôψ-
Street. This could be the Suleiman or the Hamza Bey Mosque,
ÌÔ‡ Î·È ‹Ù·Ó οıÂÙÔ˜ ÚÔ˜ ÙË μÂÓÈ˙¤ÏÔ˘. ΔÔ Ù¤ÌÂÓÔ˜ ÌÔÚÔ‡Û ӷ
both on Egnatia Street.
‹Ù·Ó ÙÔ ™Ô˘ÏÂ˚Ì¿Ó ‹ ÙÔ Ã¿Ì˙· ª¤Ë, ·ÌÊfiÙÂÚ· ÛÙËÓ ∂ÁÓ·Ù›·.
k 210
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92
211 k
93
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
1915, ·ÏÈ·Ù˙›‰Èη
1915, antique shops
∫·¿ÓÈ, 1914
Kapani, 1914
Δ· ·ÏˆÌ¤Ó· ÚÔ‡¯·, Ô˘ ·Ú¤Û˘Ú·Ó ÙÔÓ Û˘ÓÙ¿ÎÙË ÙÔ˘ Û¯ÔÏ›Ô˘,
The laundry laid – which misled the commentator – belongs to
·Ó‹ÎÔ˘Ó ÛÙÔ Û›ÙÈ Ô˘ ‚Ú›ÛÎÂÙ·È ¿Óˆ ·fi ÙÔ Î·Ù¿ÛÙËÌ·. √ Ù‡Ô˜
the house over the shop. This kind of buildings – the shop on the
·˘Ùfi˜–ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ· Î·È ·ÓÒÁÂÈ· ηÙÔÈΛ·- ‹Ù·Ó ‰È·‰Ô̤ÓÔ˜
ground floor and the house on the upper floor – was common in
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ÂÔ¯‹˜ Ô˘ Ï‹ÊıËÎÂ Ë ÊˆÙÔÁÚ·Ê›· (12% ÙˆÓ
Thessaloniki during the period when the photograph was taken
ÎÙÈÛÌ¿ÙˆÓ ÛÙÔ Î¤ÓÙÚÔ Ù˘ fiÏ˘, ÌÂٷ͇ μÂÓÈ˙¤ÏÔ˘ Î·È ∂ÁÓ·Ù›·˜).
(12% of the buildings in the city centre, between Venizelou and
ΔÔ Î·Ù¿ÛÙËÌ· οو ·fi ÙÔ Û›ÙÈ Î·È ÂΛÓÔ ·¤Ó·ÓÙÈ ·fi ÙÔ ÊˆÙÔ-
Egnatia streets). The shop under the house, as well as the one
ÁÚ¿ÊÔ Ê·›ÓÔÓÙ·È Ó· Ô˘Ï¿Ó ͇Ϸ. √ Â͈ÙÂÚÈÎfi˜ ¯ÒÚÔ˜ ‰ÂÓ Â›Ó·È
opposite the photographer, seems to sell lumber. The outer
‰ÚfiÌÔ˜, ·ÏÏ¿ ·˘Ï‹. Δ· ÛÙÔȯ›· ·˘Ù¿, ÛÙÔ Û‡ÓÔÏfi ÙÔ˘˜, «ÂÓÔ¯ÔÔÈ-
space is not a street but a yard. These features, as a whole,
Ô‡Ó» ‰‡Ô ÔÈÎÔ‰ÔÌÈο ÙÂÙÚ¿ÁˆÓ· (˘’ ·ÚÈıÌ. 199 Î·È 203), Ô˘ ‰È¤-
"implicate: two building blocks (no. 199 and 203), which included
ıÂÙ·Ó «Í˘ÏԈϛ·», ÂÛˆÙÂÚÈΤ˜ ·˘Ï¤˜ Î·È ÙÔÓ ÔÈÎÔ‰ÔÌÈÎfi Ù‡Ô
"lumber shops", courtyards and the ground floor shop – upper
ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ·-·ÓÒÁÂÈ· ηÙÔÈΛ·. Δ· ÙÂÙÚ¿ÁˆÓ· ·˘Ù¿ ‹Ù·Ó ÁÂÈ-
floor house combination. These neighbouring blocks were on the
ÙÔÓÈο Î·È ‚Ú›ÛÎÔÓÙ·Ó Â› Ù˘ ‚fiÚÂÈ·˜ ÏÂ˘Ú¿˜ Ù˘ ∂ÁÓ·Ù›·˜, ·Ó¿-
northern side of Egnatia Street, between Bey Hamam and
ÌÂÛ· ÛÙÔ ª¤Ë Ã·Ì¿Ì Î·È ÛÙËÓ ¶·Ó·Á›· ÷ÏΤˆÓ, ‰ËÏ·‰‹ Û ÌÈÎÚ‹
Panagia Chalkeon, i.e. very close to the spot the previous shot
·fiÛÙ·ÛË ·fi ÙÔ ÛËÌÂ›Ô Ô˘ Ï‹ÊıËÎÂ Ë ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·.
was taken. Because of the similar photographic aspect, one
§fiÁˆ Î·È Ù˘ ÔÌÔÈfiÙËÙ·˜ Ù˘ ʈÙÔÁÚ·ÊÈ΋˜ Ì·ÙÈ¿˜, ‡ÏÔÁ· ÌÔ-
could suppose that both these shots ware taken by the same
Úԇ̠ӷ ˘Ôı¤ÛÔ˘Ì fiÙÈ ÔÈ ‰‡Ô Ï‹„ÂȘ ¤ÁÈÓ·Ó ·fi ÙÔ ›‰ÈÔ ÚfiÛˆ-
person, on the same day, and at the same quarter (Kapani).
Ô, ÙËÓ ›‰È· ̤ڷ, ÛÙËÓ ›‰È· Û˘ÓÔÈΛ· (∫·¿ÓÈ).
k 212
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93
213 k
94
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
5.8.1917 ˘ÚηÁÈ¿
5.8.1917, the fire
™˘Ì‚ÔÏ‹ ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ˙¤ÏÔ˘, 1917
Crossroads of Egnatia and Venizelou streets, 1917
ΔÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ η̤Ó˘ fiÏ˘ ‚Ú›ÛÎÂÙ·È ÛÂ
The represented left part of the burnt city is found on a higher
ÌÂÁ·Ï‡ÙÂÚÔ ˘„fiÌÂÙÚÔ ·fi ÙÔ ‰ÂÍÈfi. ™˘ÓÂÒ˜, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ›¯Â
level than the right part. Thus, the photographer had the sea on
ÙË ı¿Ï·ÛÛ· ÛÙ· ‰ÂÍÈ¿ ÙÔ˘, ÙËÓ ¿Óˆ fiÏË ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Î·È ‚ÚÈ-
his right, the old (upper) city on his left and he was standing in
ÛÎfiÙ·Ó ÂÚ›Ô˘ ÛÙË Ì¤ÛË Ù˘ fiÏ˘, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi Ô˘
the middle of the city, on the corner of the street going up
·ÓËÊfiÚÈ˙ ÚÔ˜ ÙÔ ˘„ËÏfiÙÂÚÔ ÙÌ‹Ì·. ™ÙÔ Î·Ì¤ÓÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ
towards the upper part of the city. On the burnt three-storey
Û ÚÒÙÔ Ï¿ÓÔ ·Ó·ÁÚ¿ÊÂÙ·È ÙÔ fiÓÔÌ· ÙÔ˘ Ô‰ÔÓÙÈ¿ÙÚÔ˘ μÈÙ¿ÏË. ΔÔ
building in the foreground, the name of the dentist Mr. Vetali is
1915 Ô Ô‰ÔÓÙ›·ÙÚÔ˜ ¶ÂÛ¿¯ μÈÙ¿ÏÈ –Ù˘¯ÈÔ‡¯Ô˜ ·ÌÂÚÈηÓÈÎÔ‡ ·ÓÂ-
inscribed. In 1915, the dentist Pesah Vetali – graduate of an
ÈÛÙËÌ›Ô˘- ›¯Â ÙÔ È·ÙÚÂ›Ô ÙÔ˘ ÛÙËÓ Ô‰fi ∂ÁÓ·Ù›· 165, ‰ËÏ·‰‹ ÎÔÓÙ¿
American university – had his surgery at 165 Egnatia Street, i.e.
ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ‰ÂÓ ·Ó·Ê¤-
close to the crossroads of Venizelou Street. Given the fact that
ÚÂÙ·È ¿ÏÏÔ˜ Ô‰ÔÓÙ›·ÙÚÔ˜ Ì ÙÔ ›‰ÈÔ Â›ıÂÙÔ Î·È fiÙÈ Ë ı¤ÛË ÙÔ˘
no other dentist is referred with the same surname and that the
È·ÙÚ›Ԣ Ù·ÈÚÈ¿˙ÂÈ Ì ÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË, ÌÔÚԇ̠ӷ Û˘ÌÂÚ¿ÓÔ˘ÌÂ
location of the surgery fits the represented one, it can be
fiÙÈ Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤Ï·‚ ı¤ÛË ÛÙË ‰È·ÛÙ·‡ÚˆÛË ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ-
assumed that the photographer was set on the crossroads of
˙¤ÏÔ˘, Èı·ÓÒ˜ ¿Óˆ ÛÙË ÛÙ¤ÁË ÙÔ˘ ÙÂ̤ÓÔ˘˜ ÿÌ˙· ª¤Ë.
Egnatia and Venizelou streets, possibly on the roof of the Hamza Bey Mosque.
k 214
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94
215 k
95
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ΔÛÈÌÈÛ΋
Tsimiski Street
√‰fi˜ ΔÛÈÌÈÛ΋, Á‡Úˆ ÛÙ· 1930
Tsimiski Street, about 1930
√ ‰ÚfiÌÔ˜ Â›Ó·È ÂÓÙÂÏÒ˜ Ó¤Ô˜. ¢ËÌÈÔ˘ÚÁ‹ıËΠ̠ÙÔ Ó¤Ô Û¯¤‰ÈÔ,
The street is completely new. It has been constructed
Ú·ÎÙÈο ÌÂÙ¿ ÙÔ 1923. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ·fi Ô‰fi ∞Á›·˜
according to the new street layout, after 1923. The part of
™ÔÊ›·˜ ÚÔ˜ ÙËÓ Ô‰fi ∫·ÚfiÏÔ˘ ¡ÙËÏ. ∞ÚÈÛÙÂÚ¿, ›Ûˆ ·fi ÙÔ ÂÚ›-
Aghias Sophias Street towards Karolou Dil Street is
ÙÂÚÔ, ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·», fiÔ˘ Û‡¯Ó·˙·Ó ÔÈ ÏÔÁÔÙ¤¯Ó˜ Ù˘
represented. On the left, behind the newsstand, there is the
£ÂÛÛ·ÏÔӛ΢. ™ÙÔ ÛΤ·ÛÙÚÔ ÙÔ˘ ηÊÂÓ›Ԣ ¤Ó· ·Ófi ·Ó·ÎÔÈÓÒ-
"Astoria" café, where the intellects of Thessaloniki gathered. On
ÓÂÈ fiÙÈ «·fi Ù˘ ÚÔÛ¯ԇ˜ ∫˘Úȷ΋˜ Ù· ‘ª·Î‰ÔÓÈο ¡¤·’ ı· ›ӷÈ
the shade of the café, a banner informs that "from next Sunday
Ï‹Úˆ˜ ·Ó·Óˆ̤ӷ». ∏ ÂÊËÌÂÚ›‰· «ª·Î‰ÔÓÈο ¡¤·», Ì ÂΉfiÙË
on, Makedonika Nea will be fully renovated". "Makedonika Nea"
ÙÔ ‰ËÌÔÛÈÔÁÚ¿ÊÔ ¶¤ÙÚÔ §Ô‡‚·ÚË, ÂΉȉfiÙ·Ó ·fi ÙȘ ·Ú¯¤˜ ÙÔ˘
newspaper, published by the journalist Mr. Petros Louvaris, had
1924 ̤¯ÚÈ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1934. ∏ ÂÈÁÚ·Ê‹ «™Δ∞™π™ 15», Ô˘
been published from early 1924 to February 1934. The sign
‰È·ÎÚ›ÓÂÙ·È ‰ÂÍÈ¿ ·fi ÙÔ ·Ófi, ·Ó·Ê¤ÚÂÙ·È ÛÙÔ ÙÚ·Ì. ∏ ‰È¤Ï¢ÛË ÙÔ˘
"™Δ∞™π™ 15" ("STASIS", i.e. bus stop 15), on the left of the banner,
ÙÚ·Ì ¯ÚÔÓÔÏÔÁ› ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1927. ŒÙÛÈ, Ë ÊˆÙÔÁÚ·Ê›· ÔÚÈÔ-
refers to the tram. The tram dates the shot after 1927. Thus,
ıÂÙÂ›Ù·È ¯ÚÔÓÈο ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1927 Î·È 1934. ∏ Û¯ÂÙÈ΋ ÏËÚfi-
the photography must have been taken between the years
ÙËÙ· ÛÙËÓ ÔÈÎÔ‰fiÌËÛË ˘Ô‰ËÏÒÓÂÈ ¯ÚfiÓÔ ÌÂÙ¿ ÙÔ 1930.
1927 and 1934. The relevant density of construction suggests that it was taken after 1930.
k 216
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95
217 k
96
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Street
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
Aghias Sophias Street, about 1930
∏ Ô‰fi˜ ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ·Ï·Èfi˜ ‰ÚfiÌÔ˜, ·ÏÏ¿ ‰È·ÓÔ›¯ÙËΠηÈ
Aghias Sophias Street was an old street, widened and aligned
¢ı˘ÁÚ·ÌÌ›ÛÙËΠ̠ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘.
after the application of the new urban plan. Thus, the
√ ʈÙÔÁÚ¿ÊÔ˜, ‰ËÏ·‰‹, ·ÂÈÎfiÓÈ˙ ÌÈ· ·ÛÙÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·
photographer presented a contemporary urban reality: the part
Ï›ÁˆÓ ÂÙÒÓ. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ÙÔ˘ ‰ÚfiÌÔ˘ ·fi ÙË ‰È·ÛÙ·‡Úˆ-
of the street from the crossroads of Tsimiski Street towards
ÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ ÚÔ˜ ÙËÓ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜. ™Ù· ·ÚÈÛÙÂ-
Aghias Sophias Square. On the left, the "Egyptian" style building
Ú¿, ÙÔ ÎÙ›ÚÈÔ «·ÈÁ˘ÙÈ·ÎÔ‡» Ú˘ıÌÔ‡ Â›Ó·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¢ÈÔÓ‡-
is the cinema "Dionysia", over which the Editors’ Association
ÛÈ·», ¿Óˆ ·fi ÙÔÓ ÔÔ›Ô ÛÙÂÁ·˙fiÙ·Ó Ë ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ. Δ·
was accommodated. "Dionysia" opened in November 1926. The
«¢ÈÔÓ‡ÛÈ·» ÂÁηÈÓÈ¿ÛÙËÎ·Ó ÙÔ ¡Ô¤Ì‚ÚÈÔ ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ
shot must have been taken in about 1930.
Ó· ¤ÁÈÓ Á‡Úˆ ÛÙ· 1930.
k 218
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96
219 k
97
k 220
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Street
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, 1913-1917
Aghias Sophias Street, 1913-1917
∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ ÚÈÓ ·fi ÙËÓ ˘ÚηÁÈ¿
The shot have been taken after the liberation, but before the
ÙÔ˘ 1917, Ë ÔÔ›· ¤Î·„ ٷ Á‡Úˆ ÎÙ›ÚÈ· Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ÛÙË ÊˆÙÔ-
fire of 1917, which burnt down the nearby buildings represented
ÁÚ·Ê›· ·˘Ù‹. √ ʈÙÔÁÚ¿ÊÔ˜ ›¯Â ÛÙ· ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ ÛÙÔ ÔÔ›Ô
in this photo. The photographer had on his right the building
ÛÙÂÁ¿ÛÙËΠÙÔ ÂÏÏËÓÈÎfi ÚÔÍÂÓÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ (‰È·ÎÚ›ÓÂÙ·È
where the Greek Consulate of Thessaloniki was based (shown
ÛÙ· ‰ÂÍÈ¿: ¡˘Ó ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·). ™ÙÔ ÎÙ›ÚÈÔ ·˘Ùfi ÛÙÂ-
on the right: currently the Macedonian Struggle Museum). In this
Á¿ÛÙËΠÙÔ 1915 Ë °ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜ Î·È ÙÔ 1917
building the Agricultural Bank of Macedonia was housed in 1915,
Û˘ÛÙÂÁ¿ÛÙËΠÁÈ· ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ Ë ∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜,
while in 1917 the National Bank of Greece was co-
fiÙ·Ó Î¿ËÎ·Ó ÔÈ ÂÁηٷÛÙ¿ÛÂȘ Ù˘ ÛÙËÓ Ô‰fi ∞Á›Ô˘ ªËÓ¿. ¢›Ï· ÛÙÔ
accommodated for a few months time, when its facilities on
ÎÙ›ÚÈÔ Â›Ó·È ÙÔ ÚÔ·‡ÏÈÔ ÙÔ˘ ÌËÙÚÔÔÏÈÙÈÎÔ‡ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ °ÚËÁÔ-
Aghiou Mina Street were burnt. By the building, there is the yard
Ú›Ô˘ ¶·Ï·Ì¿. ∞¤Ó·ÓÙÈ ‚Ú›ÛÎÂÙ·È ·Î¿Ï˘ÙÔ ÂÚÈÊÚ·Á̤ÓÔ ÔÈÎfi‰Ô,
of the Cathedral of Aghios Grigorios Palamas. Opposite, there is
Ô˘ ÙËÓ ÂÔ¯‹ Ù˘ Ï‹„˘ ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜ Ì·ÚÌ·ÚÔÁÏ˘Ê›Ô. (ª¤¯ÚÈ
an unbuilt fenced plot – a marble workshop at the time the shot
ÙÔ 1890 ÛÙÔÓ ÙfiÔ ÂΛÓÔ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÌËÙÚÔÔÏÈÙÈÎfi ̤Á·ÚÔ Ù˘
was taken. (Until 1890, on that site stood the metropolitan
£ÂÛÛ·ÏÔӛ΢). ΔÔ ÔÈÎfiÂ‰Ô ¯Ù›ÛÙËΠÌfiÏȘ ÙÔ 1938, fiÙ·Ó Î·Ù·-
edifice of Thessaloniki). The plot was built in 1938, when the
Û΢¿ÛÙËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÌËÙÚfiÔÏ˘, Ô˘ ÊÈÏÔͤÓËÛ › ¯ÚfiÓÈ· ÙË
building of the Cathedral was constructed – which housed for
™¯ÔÏ‹ μ·Ï·ÁÈ¿ÓÓË Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙËÓ ∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯Ô-
years the Valagianni School and then the Higher School of
Ï‹.
Industry.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
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97
221 k
98
k 222
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Square
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
Aghias Sophias Square, about 1930
∏ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ¤Ó· ·fi Ù· ÂӉȷʤÚÔÓÙ· ÛËÌ›· Ù˘
Aghias Sophias Square has been one of the most significant
Ó¤·˜ ÔÏÂÔ‰ÔÌÈ΋˜ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ Ù˘ ÌÂÛÔÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔ-
monuments of the new urban reality in interwar Thessaloniki.
ӛ΢. ∏ ·Ó¿‰ÂÈÍË Ù˘ ∞Á›·˜ ™ÔÊ›·˜ Î·È Ë ¿ÌÂÛË ÔÙÈ΋ ·ʋ Ì ÙËÓ
The marking out of Aghia Sophia and its direct visual contact
ÕÓˆ ¶fiÏË ÚÔοÏÂÛ·Ó ÙÔ ÂӉȷʤÚÔÓ ÙˆÓ ÊˆÙÔÁÚ¿ÊˆÓ ÙÔ˘ ÌÂÛÔ-
with Ano Poli attracted the interwar photographers’ interest;
ÔϤÌÔ˘, Ô˘ ÂÓ¤Ù·Í·Ó ÙËÓ Ï·Ù›· ÛÙË ıÂÌ·ÙÈ΋ ÙˆÓ Î·ÚÙÔÛÙ¿Ï
thus, they included the square among the themes of the
Ô˘ Âͤ‰ˆÛ·Ó. ∏ Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· ÂΉfiıËΠˆ˜ ηÚÙÔ-
postcards published. The specific photograph was published as
ÛÙ¿Ï Ù˘ «¢¤ÏÙ·», ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930. ∏ Ï‹„Ë Ú¤-
a postcard by "Delta", in early 1930s. The shot must have been
ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ·fi fiÚÔÊÔ ÎÙÈÚ›Ô˘. ™ÎÔfi˜ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‰ÂÓ
taken from the floor of a building. The photographer’s aim was
‹Ù·Ó Ó· Û˘ÏÏ¿‚ÂÈ ÙËÓ Ï·Ù›· (Û’ ·˘Ù‹Ó ÙËÓ ÂÚ›ÙˆÛË ı· ¤‰ÈÓ ÙËÓ
to capture neither the square (in such a case he would focus on
¤ÌÊ·ÛË ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿, ÚÔ˜ ÙËÓ Ô‰fi ∂ÚÌÔ‡), Ô‡Ù ÙËÓ
the left side, towards Ermou Street), nor the temple of Aghia
ÂÎÎÏËÛ›· Ù˘ ∞Á›·˜ ™ÔÊ›·˜ (Ô˘ ‚Ú›ÛÎÂÙ·È ÚÔ˜ Ù· ‰ÂÍÈ¿), ·ÏÏ¿ ÙÔ
Sophia (on the right), but rather the upper part of Aghias
¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜ Î·È ÙË ı¤· Ù˘ ÕÓˆ ¶fiÏ˘. ¶¿Óˆ
Sophias Street and the view of Ano Poli. Over Egnatia Street,
·fi ÙËÓ ∂ÁÓ·Ù›· Ê·›ÓÂÙ·È Ë Ï·Ù›· ª·Î‰ÔÓÔÌ¿¯ˆÓ. ΔÔ Ô›ÎËÌ·
Makedonomachon Square is also shown. The building
Ô˘ ‰ÂÛfi˙ÂÈ ·ÌÊÈı·ÙÚÈο Û’ ·˘Ù‹Ó Ú¤ÂÈ Ó· ‹Ù·Ó Ë ÔÈΛ· ª·Ï-
amphitheatrically dominating this square must have been the
Ù·‰ÒÚÔ˘. ™Ù· ‰ÂÍÈ¿, ÙÔ Ï¢Îfi Ô›ÎËÌ· ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÁÓ·Ù›· ‹Ù·Ó
Baltadorou residence. On the right, the white building on the
Ë ÎÏÈÓÈ΋ ªÈÛÈÚÏfiÁÏÔ˘.
corner of Egnatia Street was Misirloglou Clinic.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
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98
223 k
99
k 224
Δ ∞
∂ ¡ ¢ √ Δ ∂ ƒ ∞
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Square
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, ‰ÂηÂÙ›· 1950
Aghias Sophias Square, 1950s
∞ÂÈÎÔÓ›˙ÂÙ·È Ë ·Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜, ÙÔ ·Ó·-
well as the eastern part of the square and Keramopoulou Street
ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘ Ï·Ù›·˜ Î·È Ë Ô‰fi˜ ∫ÂÚ·ÌÔÔ‡ÏÔ˘ (‚ÔÚ›ˆ˜ ÙÔ˘
(in the north of the temple of Aghia Sophia). The shot has been
Ó·Ô‡ Ù˘ ∞Á›·˜ ™ÔÊ›·˜). ∏ Ï‹„Ë ¤ÁÈÓ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏
taken in the 1950s. Compared to the previous photograph, new
Û‡ÁÎÚÈÛË Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›· ‰Â›¯ÓÂÈ fiÙÈ ¤¯Ô˘Ó ·ÓÂ-
buildings are shown, another one (on the corner) has been made
ÁÂÚı› Ó¤· ÎÙ›ÛÌ·Ù·, ¤Ó· (ÛÙË ÁˆÓ›·) ¤¯ÂÈ ÂÂÎÙ·ı› ηı’ ‡„Ô˜ ηÈ
higher while another was under construction also to be made
¤Ó· ·ÎfiÌË ÙÂÏ› ˘fi ¤ÎÙ·ÛË (Ë ÎÏÈÓÈ΋ ÛÙËÓ Ô‰fi ∫ÂÚ·ÌÔÔ‡ÏÔ˘).
higher (the clinic on Keramopoulou Street). The photographer
√ ʈÙÔÁÚ¿ÊÔ˜ ·Ó·˙‹ÙËÛ ÙËÓ ·ÙÌfiÛÊ·ÈÚ· Ù˘ Ï·Ù›·˜ –ÚˆÈÓfi
was interested in the atmosphere of the square – obviously on
ÌÈ·˜ ·ÚÁ›·˜, ÚÔÊ·ÓÒ˜ ÂıÓÈ΋˜ ÂÔÚÙ‹˜- Î·È fi¯È ÙËÓ Ú˘ÌÔÙÔÌÈ΋ ȉÈ-
a national holiday morning – rather than the character of the
·ÈÙÂÚfiÙËÙ¿ Ù˘. ∏ Ï·Ù›· ‰ÂÓ ‹Ù·Ó ϤÔÓ Î·ÈÓÔ‡ÚÁÈ·.
square layout. The square was not new any more.
The eastern part of Aghias Sophias Street is represented, as
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√‰fi˜ ∂ÚÌÔ‡
Ermou Street
√‰fi˜ ∂ÚÌÔ‡, Á‡Úˆ ÛÙ· 1930
Ermou Street, about 1930
∏ Ô‰fi˜ ∂ÚÌÔ‡ ˘‹ÚÍÂ Î·È ÂΛÓË ÚÔ˚fiÓ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡
Ermou Street has also been the outcome of the new urban plan.
ۯ‰›Ô˘. ™˘Ó¤‰ÂÛÂ, Û ¢ı›· ÁÚ·ÌÌ‹, ÙËÓ ·ÁÔÚ¿ Ì ÙÔÓ Ó·fi Ù˘
It connected – by aligning them – the market place with the
∞Á›·˜ ™ÔÊ›·˜, ÙÔÓ ÔÔ›Ô ·Ó·‰Â›ÎÓ˘Â. ∏ ÚÔÔÙÈ΋ Ù˘ ∞Á›·˜ ™ÔÊ›·˜
temple of Aghia Sophia, which it actually revealed. The view of
ÛÙÔ ‚¿ıÔ˜ ÙÔ˘ ‰ÚfiÌÔ˘ Î·È ÙÔ ÌÂÁ¿ÏÔ –Ì ٷ ‰Â‰Ô̤ӷ Î·È ÙȘ ·Ó¿-
Aghia Sophia in the backdrop of the street and its width – for
ÁΘ Ù˘ ÂÔ¯‹˜- ‡ÚÔ˜ ÙÔ˘, η٤ÛÙËÛ·Ó ÙËÓ Ô‰fi ∂ÚÌÔ‡ ›˙ËÏÔ
that period – rendered Ermou Street an desirable photography
·ÓÙÈΛÌÂÓÔ ÊˆÙÔÁÚ¿ÊËÛ˘ ÛÙÔ ÌÂÛÔfiÏÂÌÔ. ∏ ÌÂϤÙË ÙˆÓ Ù·¯˘-
theme during the interwar years. The study of the posted (and
‰ÚÔÌËÌ¤ÓˆÓ (Î·È ¿Ú· ¯ÚÔÓÔÏÔÁË̤ӈÓ) ηÚÙÔÛÙ¿Ï Ì·˜ ÂÈÙÚ¤ÂÈ
thus dated) postcards enables us to know the progress of the
Ó· ÁÓˆÚ›˙Ô˘Ì Ҙ ÂÍÂÏ›¯ÙËÎÂ Ë ‰È·ÌfiÚʈÛË ÙÔ˘ ‰ÚfiÌÔ˘. ∏
landscaping of the street. The specific shot represents the
Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›˙ÂÈ ÙÔ ‰ÚfiÌÔ ·fi ÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡
street on the level of Komninon Street up to Aghia Sophia, as
∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙËÓ ∞Á›· ™ÔÊ›· Î·È ÙËÓ Î·Ù¿ÛÙ·ÛË fiˆ˜ ›¯Â ‹‰Ë
well as the condition of the region in 1928. On the right, the
‰È·ÌÔÚʈı› ÙÔ 1928. ™Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È Ë ·ÁÔÚ¿ ªÔ‰È¿ÓÔ Î·È
Modiano market place and Nea Agora (i.e. New Market Place)
Ë ¡¤· ∞ÁÔÚ¿. ∏ ·ÛÊ·ÏÙfiÛÙÚˆÛË Ù˘ Ô‰Ô‡ ∂ÚÌÔ‡ ¤ÁÈÓ ÙÔ 1933.
are shown. The blacktop of Ermou Street was held in 1933. In
™ÙË ÊˆÙÔÁÚ·Ê›· Ô ‰ÚfiÌÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È ·ÛÊ·ÏÙÔÛÙڈ̤ÓÔ˜. ™˘ÓÂ-
the photograph, the street doesn’t seem to be blacktopped.
Ò˜ Ë Ï‹„Ë ¤ÁÈÓ ÛÙËÓ ÂÚ›Ô‰Ô 1928-1933.
Thus, the shot was taken between the years 1928 – 1933.
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∂ÚÌÔ‡ Î·È μÂÓÈ˙¤ÏÔ˘
Ermou and Venizelou streets
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ÚÌÔ‡ Î·È μÂÓÈ˙¤ÏÔ˘, Á‡Úˆ ÛÙ· 1930
Crossroads of Ermou and Venizelou streets, about 1930
∏ Ô‰fi˜ μÂÓÈ˙¤ÏÔ˘ ‹Ù·Ó ·Ï·Èfi˜ Î·È ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜ Ù˘ £ÂÛÛ·-
Venizelou Street has been an old commercial street of
ÏÔӛ΢, ·ÏÏ¿ Ì ÙÔ Ó¤Ô Û¯¤‰ÈÔ ‰È·Ï·Ù‡ÓıËÎÂ Î·È Â˘ı˘ÁÚ·ÌÌ›ÛÙË-
Thessaloniki, which after the new urban plan was widened and
ÎÂ. ¢ÂÓ ‰È·ÛÙ·˘ÚˆÓfiÙ·Ó Ï¤ÔÓ Ì ÛÙÂÓÔ‡˜ ‰ÚÔÌ›ÛÎÔ˘˜, ·ÏÏ¿ ÌÂ
aligned. It did not cross anymore with narrow streets but with
Ӥ˜ ¢Ú›˜ Ô‰Ô‡˜, ÁÂÁÔÓfi˜ Ô˘ ¤‰ˆÛ ÛÙÔ ‰ÚfiÌÔ ÂÓÙÂÏÒ˜ Ó¤· fi„Ë.
new wide streets, something that gave to the street a
∫·Ù¿ ÙËÓ ÂÎÔ›ËÛË ÙˆÓ ÔÈÎÔ¤‰ˆÓ ÙÔ˘ Ó¤Ô˘ ۯ‰›Ô˘ ·Ô‰Â›¯ÙËÎÂ
completely new character. During the sale of the plots of the
Ô ·ÎÚÈ‚fiÙÂÚÔ˜, Ì ÌÂÁ¿ÏË ‰È·ÊÔÚ¿ ·fi ÙÔ˘˜ ÁÂÈÙÔÓÈÎÔ‡˜. Δ· ÎÙ›ÚÈ·
new urban plan, it was proved to be a far most expensive street
Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ‹Ù·Ó fiÏ· ÂÌÔÚÈο Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÂÍ ·Ú¯‹˜
than the neighbouring ones. The buildings represented were all
ÁÈ· ÂÌÔÚÈ΋ ¯Ú‹ÛË Î·È ÂÎÌÂÙ¿ÏÏ¢ÛË. ΔÔ ÎÙ›ÚÈÔ Ô˘ ‰ÂÛfi˙ÂÈ ÛÙË
shops, created for commercial usage and operation. The
ʈÙÔÁÚ·Ê›· ÔÓÔÌ·˙fiÙ·Ó «Ì¤Á·ÚÔ ™›ÁÁÂÚ», ‰ÈfiÙÈ Û ·˘Ùfi ‹Ù·Ó
building dominating the photograph was called "Singer
ÂÁηÙÂÛÙË̤ÓË (̤¯ÚÈ Ù· 1930 ÂÚ›Ô˘) Ë ÂÙ·ÈÚ›· Burne Company,
building", as there was based (until about 1930) the Burne
Ë ÔÔ›· ÂÌÔÚ¢fiÙ·Ó ÙȘ Ú·ÙÔÌ˯·Ó¤˜ ™›ÁÁÂÚ. ™ÙËÓ ·ÔÁÚ·Ê‹ Ô˘
Company, which traded the Singer sewing machines. In the
Ú·ÁÌ·ÙÔÔ›ËÛ ÙÔ ∂ÌÔÚÈÎfi Î·È μÈÔÌ˯·ÓÈÎfi ∂ÈÌÂÏËÙ‹ÚÈÔ £ÂÛÛ·-
census conducted by the Chamber of Commerce and Industry
ÏÔӛ΢ ÙÔ 1924 Û˘Ó·ÓÙԇ̠‰¤Î· ÂÚ›Ô˘ ÂÌÔÚÈΤ˜ ÂȯÂÈÚ‹ÛÂȘ
of Thessaloniki in 1924, about ten commercial companies were
Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó ÛÙÔ ›‰ÈÔ ÎÙ›ÚÈÔ (‰È‡ı˘ÓÛË: μÂÓÈ˙¤ÏÔ˘ 44 ›ÙÂ
housed in the same building (address: 44 Venizelou Street or
̤Á·ÚÔ ™›ÁÁÂÚ), ÔÈ ÂÚÈÛÛfiÙÂÚ˜ ÙˆÓ ÔÔ›ˆÓ ÂÌÔÚ‡ÔÓÙ·Ó ˘Ê¿-
Singer building), most of which traded textiles. Relevant were
ÛÌ·Ù·. ∞Ó¿ÏÔÁ˜ ‹Ù·Ó Î·È ÔÈ ¯Ú‹ÛÂȘ ÙˆÓ ‰ÈÏ·ÓÒÓ ÎÙÈÚ›ˆÓ.
also the usages of the nearby buildings as well.
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∫ÂÓÙÚÈ΋ ψÊfiÚÔ˜ Ù˘ ̷ΉÔÓÈ΋˜ ÚˆÙ¢ԇÛ˘ ¿ÁÔ˘Û· ÚÔ˜ ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, 24.11.1962
√‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ 1962
Central road of the Macedonian capital leading to Aristotelous Street, 24.11.1962
Aristotelous Street, a crossroads of Tsimiski Street 1962 According to the new urban plan, the new Aristotelous Street
∫·Ù¿ ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ Ë Ó¤· Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ‹Ù·Ó Ë ÛËÌ·-
was the most significant street of Thessaloniki. It connected
ÓÙÈÎfiÙÂÚË Ù˘ £ÂÛÛ·ÏÔӛ΢. ™˘Ó¤‰Â ‰‡Ô ÌÂÁ¿Ï˜ Ï·Ù›˜: ΔËÓ
two big squares: Dikastirion Square (where the suggestion the
¶Ï·Ù›· ¢ÈηÛÙËÚ›ˆÓ (fiÔ˘ Ë Úfi‚ÏÂ„Ë Ó· ·Ó·ÁÂÚıÔ‡Ó Ù· ‰Èη-
courthouse and the city hall to be built was not realized as the
ÛÙ‹ÚÈ· Î·È ÙÔ ‰Ë̷گȷÎfi ̤Á·ÚÔ ‰ÂÓ ÙÂÏÂÛÊfiÚËÛ ‰ÈfiÙÈ ·Ó·Î·Ï‡-
ancient forum was excavated there) and Aristotelous Square,
ÊıËÎÂ Ë ·Ú¯·›· ·ÁÔÚ¿) Î·È ÙËÓ ·Ú·ı·Ï¿ÛÛÈ· ¶Ï·Ù›· ∞ÚÈÛÙÔÙ¤-
which was planned to become (and finally became) a recreation
ÏÔ˘˜, Ô˘ ۯ‰ȿÛÙËΠÁÈ· Ó· Á›ÓÂÈ (Î·È ¤ÁÈÓÂ) ΤÓÙÚÔ ·Ó·„˘¯‹˜. ∂›
centre. In addition, via Aristotelous Square Aghios Dimitrios
ϤÔÓ, Ì ÙÔÓ ¿ÍÔÓ· Ù˘ Ô‰Ô‡ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ı· ·Ó·‰ÂÈÎÓ˘fiÙ·Ó ·fi
would be visible from the sea. The buildings of this street had
ÙË ı¿Ï·ÛÛ· Î·È Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜. °È· Ù· ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ηıÔÚ›-
to comply with predetermined facades (which were applied). In
ÛÙËÎ·Ó ÂȂ‚ÏË̤Ó˜ fi„ÂȘ (ÔÈ Ôԛ˜ ÙËÚ‹ıËηÓ). ΔÔ 1962, Ô˘
1962, when the shot was taken, the excavations in the ancient
¤ÁÈÓÂ Ë Ï‹„Ë, ›¯·Ó ·Ú¯›ÛÂÈ ÔÈ ·Ó·Ûηʤ˜ ÛÙËÓ Ï·Ù›· Ù˘ ·Ú¯·›-
forum square had begun but they were not yet in progress. The
·˜ ·ÁÔÚ¿˜, ·ÏÏ¿ ‰ÂÓ Â›¯·Ó ÚÔ¯ˆÚ‹ÛÂÈ. √ ¯ÒÚÔ˜ ‹Ù·Ó ·ÎfiÌË ÎÂÓfi˜
site is still empty (an earthen downhill surface). The date
(ÌÈ· ¯ˆÌ¿ÙÈÓË Î·ÙËÊÔÚÈ΋ ÂÈÊ¿ÓÂÈ·). ∏ ·Ó·ÊÂÚfiÌÂÓË ËÌÂÚÔÌËÓ›·
referred ([Saturday] 24 November) is rather improbable;
([™¿‚‚·ÙÔ] 24 ¡ÔÂÌ‚Ú›Ô˘) ‰ÂÓ Â›Ó·È Èı·Ó‹, ·Ó ÎÚ›ÓÔ˘Ì ·fi Ù·
judging from the people’s represented short-sleeved shirts.
ÎÔÓÙÔÌ¿ÓÈη Ô˘Î¿ÌÈÛ· Ô˘ ÊÔÚÔ‡Ó fiÏÔÈ ÔÈ ÂÈÎÔÓÈ˙fiÌÂÓÔÈ. ∂›Ù Ë
Regardless whether the shot was taken from a helicopter or a
Ï‹„Ë ¤ÁÈÓ Ì ÂÏÈÎfiÙÂÚÔ Â›Ù ·fi ÛηψÛÈ¿, ¤¯ÂÈ ÚÔηϤÛÂÈ ÙÔ
scaffold, it aroused the interest of the passer-bys.
ÂӉȷʤÚÔÓ ÙˆÓ ‰ÈÂÚ¯Ô̤ӈÓ. À¿Ú¯ÂÈ, Ì¿ÏÈÛÙ·, Î·È ÙÔ Ì˘ÛÙ‹ÚÈÔ
Furthermore, there is also the mystery of the open door of the
Ù˘ ·ÓÔȯً˜ fiÚÙ·˜ ÙÔ˘ ÚÒÙÔ˘ ·˘ÙÔÎÈÓ‹ÙÔ˘ ‰ÂÍÈ¿, ·fi ÙÔ ÔÔ›Ô
first car on the right, which has no passengers.
ÏÂ›Ô˘Ó ÔÈ ÂÈ‚¿Ù˜.
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Without Title
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ Î·È ¶·‡ÏÔ˘ ªÂÏ¿, Á‡Úˆ ÛÙ· 1960
Crossroads of Tsimiski and Pavlou Mela streets, about 1960
™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË, ·ÎÚÈ‚Ò˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË
In the foreground there is the Valaouri building, on the Tsimiski
ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ Î·È ¶·‡ÏÔ˘ ªÂÏ¿ (¢È·ÁˆÓ›Ô˘). ∞Ó Î·È Ë ÔÓÔÌ·-
and Pavlou Mela crossroads (Diagonios). Although the name
Û›· ¢È·ÁÒÓÈÔ˜ ·ÊÔÚ¿ ÙËÓ Ô‰fi ¶·‡ÏÔ˘ ªÂÏ¿ (‰È·ÁÒÓÈÔ ˆ˜ ÚÔ˜ ÙÔÓ
"Diagonios" refers to Pavlou Mela Street (a diagonal on the
ÔÚıÔÁÒÓÈÔ Î¿Ó·‚Ô ÙÔ˘ Ú˘ÌÔÙÔÌÈÎÔ‡ ۯ‰›Ô˘), ¤¯ÂÈ ÂÈÎÚ·Ù‹ÛÂÈ Ó·
orthogonal canvas of the street layout), it has come to mean
ϤÁÂÙ·È ÁÈ· ÙË Û˘ÁÎÂÎÚÈ̤ÓË ‰È·ÛÙ·‡ÚˆÛË. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ Ì¤Á·-
this specific crossroads. On the left end, there is the Moscov
ÚÔ ªÔÛÎÒÊ. ∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚ·Ì Ô˘ ÂÊ·Ú-
building. The shot has been taken after the abolition of tram,
ÌfiÛÙËΠ·fi Ù· Ù¤ÏË ÙÔ˘ 1955 (ÛÙË ÊˆÙÔÁÚ·Ê›· ‰ÂÓ Ê·›ÓÔÓÙ·È Î·Ó
which was applied in the city ever since late 1955 (in the photo,
›¯ÓË ÙˆÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎÒÓ ÁÚ·ÌÌÒÓ) Î·È ÙËÓ Î·ıȤڈÛË ÙˆÓ ÏˆÊÔ-
not even traces of the tram ways are evident) and bus
ÚÂÈ·ÎÒÓ Û˘ÁÎÔÈÓˆÓÈÒÓ. ∞fi ÙÔ 1963 ÛÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË ‹Ù·Ó
transport was put on the map. Since 1963, the youths of the
ÂÁηÙÂÛÙË̤ÓË Ë ÓÂÔÏ·›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜ Ù˘ ∂ƒ∂. ∞ÏÏ¿ ÛÙË ÊˆÙÔ-
National Radical Union (∂ƒ∂) party was housed in the Valaouri
ÁÚ·Ê›· ‰ÂÓ Ê·›ÓÂÙ·È Î·Ó¤Ó· ›¯ÓÔ˜ Ù˘. ŒÙÛÈ, Ë Ï‹„Ë ÚÔÛ‰ÈÔÚ›˙ÂÙ·È
building; yet, in the photograph there is no evidence of it. Thus,
¯ÚÔÓÈο ÛÙËÓ ÂÚ›Ô‰Ô 1956-1962. ΔfiÙ ı˘ÌÔ‡ÓÙ·È Î·È ÔÈ ·Ï·ÈÔ›
the shot must have been taken between 1956 and 1962. Then,
ÂÚ›ÔÈÎÔÈ fiÙÈ ÏÂÈÙÔ˘ÚÁÔ‡Û ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ ÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ
according to the old neighbours, on the ground floor of the
·ÓÙÔˆÏÂ›Ô «∫˘„¤ÏË», ¤Ó· ·fi Ù· ÔÏÏ¿ ·ÓÙԈϛ· Ô˘ ›¯Â
building the represented grocery "Kipseli" – one of the many
ÙfiÙÂ Ë Ô‰fi˜ ΔÛÈÌÈÛ΋.
groceries of Tsimiski Street at that time – operated.
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Without Title
√‰fi˜ ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, 1959
Philikis Eterias Street, 1959
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, fi¯È fï˜ ÁÈ· Ó· ··ı·Ó·Ù›ÛÂÈ
The shot has been taken from the White Tower, yet not in order
ÙËÓ ·Ú·Ï›· ‹ Ù· ¤ÚÈÍ ÙÔ˘ ÌÓËÌ›Ԣ, ·ÏÏ¿ ÁÈ· Ó· ‰Â›ÍÂÈ ÙÔ ÂÛˆÙÂ-
to capture the waterfront or the surroundings of the
ÚÈÎfi Ù˘ fiÏ˘. √ ʈÙÔÁÚ¿ÊÔ˜ ¤ÏÂÍ ˆ˜ ÔÙÈÎfi ¿ÍÔÓ· ÙËÓ Ô‰fi
monument, but rather to reveal the inner part of the city. The
ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, ¯ˆÚ›˜ ›Ûˆ˜ Ó· ÁÓˆÚ›˙ÂÈ fiÙÈ Î·Ù¿ Ì‹ÎÔ˜ Ù˘ ÂÚ-
photographer focused on Philikis Eterias Street, probably
ÓÔ‡Û ÙÔ ·Ó·ÙÔÏÈÎfi Ù›¯Ô˜ Ù˘ fiÏ˘. ΔÔ ÎÙ›ÚÈÔ Ô˘ ÊÈÏÔͤÓËÛ ÙÔ
without knowing that the eastern walls of the city run along this
ηÊÂÓÂ›Ô «¡ÙÔÚ¤» (fiÔ˘ Û‡¯Ó·˙·Ó ÔÏÈÙÈÎÔ› Î·È ‰ËÌÔÛÈÔÁÚ¿ÊÔÈ)
axis. The building that housed the "Dore" café (where politicians
‰ÂÓ ¤¯ÂÈ ·ÎfiÌË ÎÙÈÛÙ›. ΔÔ ÔÈÎfi‰fi ÙÔ˘ ·Ó·ÛοÙÂÙ·È. √È ÔÈÎÔÁ¤-
and journalists gathered) has not yet been built. The plot is
ÓÂȘ Ù˘ ÁˆÓȷ΋˜ ÔÏ˘Î·ÙÔÈΛ·˜ (Ì ÙÔ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ΢ÎÏÈÎfi
being dug up. The families living in the block of flats on the
Û¯‹Ì·) ÎÚÂÌÔ‡Ó ÙȘ ÌÔ˘Á¿‰Â˜ ÙÔ˘˜ ηٿ Ï¿ÙÔ˜ Ù˘ ºÈÏÈ΋˜ ∂Ù·È-
corner (of the distinctive circulate shape) lay their laundry width
Ú›·˜. Àfi ·Ó¤ÁÂÚÛË ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜
wise the Philikis Eterias Street. The building of the Thessaloniki
£ÂÛÛ·ÏÔӛ΢, Ô˘ ÔÏÔÎÏËÚÒıËΠÙÔ 1959. ¶›Ûˆ ÙÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È
Garrison Service Club is also under construction; it was finished
Ù· ·Ï·È¿ «ÛÔ˘ÏÙ·ÓÈο» ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘. ∏ Ï¢΋
in 1959. Behind it, the old "sultan" buildings on Ethnikis Amynis
ÔÈÎÔ‰ÔÌ‹, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, ‚Ú›ÛÎÂÙ·È ÛÙË Û˘Ì‚ÔÏ‹ ÙˆÓ
Street are shown. The white block of flats, on the right end of
Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ΔÛÈÌÈÛ΋. ∞ÚÎÂÙ¤˜ ÔÈÎÔ‰Ô̤˜ ·ÓÂÁ›ÚÔ-
the photo, stands on the crossroads of Ethnikis Amynis and
ÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈÎfi Ù˘ fiÏ˘. ™ÙÔ ‚¿ıÔ˜, ÔÈ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ
Tsimiski streets. Many blocks of flats are being built in the city.
¶fiÏ˘, Ë ·ÎÚfiÔÏË Î·È ÔÈ ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Û˘ÓÔÈÎÈÛÌÔ› ÙÔ˘ ∞Á›Ô˘
In the background, the quarters of Ano Poli, the citadel and the
¶·‡ÏÔ˘ Î·È ÙˆÓ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ.
out-of-wall quarters of Aghios Pavlos and Saranta Ekklisies.
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THE
WORKS
™ÙËÓ ÂÚ›Ô‰Ô 1955-1965 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË μfiÚÂÈ· ∂ÏÏ¿‰·
During the years 1955 – 1965, significant public works as well as
ÛËÌ·ÓÙÈο ‰ËÌfiÛÈ· ¤ÚÁ· ·ÏÏ¿ Î·È È‰ÈˆÙÈΤ˜ ÂÂÓ‰‡ÛÂȘ, Û ‚·ıÌfi Ô˘,
private investments were made in Northern Greece, to such an
ÁÈ· ÚÒÙË ÊÔÚ¿ ·fi ÙÔ 1912, Ô Ú˘ıÌfi˜ ·‡ÍËÛ˘ ÙÔ˘ ÚÔ˚fiÓÙÔ˜ ÛÙË
extend that – in 1912 for the first time – the rate of product
Û˘ÁÎÂÎÚÈ̤ÓË ÂÚÈÔ¯‹ ͤڷÛ ÔÔÈ·‰‹ÔÙ ¿ÏÏË. Δ· ÛËÌ·ÓÙÈÎfiÙÂ-
increase in this region overpassed all previous ones. The most
Ú· ·fi Ù· ¤ÚÁ· ·˘Ù¿ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∂ÎÙfi˜
significant of these works were made in Thessaloniki. Apart from
·fi ÙËÓ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂ-
the development of the university campus and the International
Û˘, ÛÙËÓ ÔÔ›· ¤¯Ô˘Ì ·Ó·ÊÂÚı›, ÛËÌ·ÓÙÈÎfi ¤ÚÁÔ ÁÈ· ÙËÓ fiÏË ‹Ù·Ó
Trade Fair of Thessaloniki – to which specific reference has been
Ë Â¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο Î·È Ë ‰ËÌÈÔ˘ÚÁ›· Ù˘
made – a significant work for the city was the expansion of the
ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ (ÚÒËÓ ∫¤ÓÂÓÙÈ). ™ÙÔÓ È‰ÈˆÙÈÎfi
waterfront eastwards and the opening up of Megalou Alexandrou
ÙÔ̤· ͯˆÚ›˙ÂÈ Ë ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ‰È˘ÏÈÛÙËÚ›Ô˘ Ù˘ Esso.
Avenue (ex Kennedy). In the private sector, the establishment of the Esso refinery stands out.
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ÕÙÈÙÏË
Without Title
∏ Ó¤· ·Ú·Ï›·, 1962
The new waterfront, 1962
∏ ¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο ‹Ù·Ó ·Ï·È¿ ·fiÊ·ÛË
The expansion of the waterfront eastwards had been decided
Ô˘ ¿Ú¯ÈÛ ӷ ÂÎÙÂÏÂ›Ù·È Î·Ù¿ Ù· ÙÂÏÂ˘Ù·›· ÚÔÔÏÂÌÈο ¯ÚfiÓÈ·.
years before, yet it started being realized during the late post-
ªfiÓÔÓ fï˜ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 ¿Ú¯ÈÛÂ Ë ÂÊ·ÚÌÔÁ‹
war years. In the late 1950s it started being applied, though.
Ù˘. ∞fi ¿ÏϘ Û˘Ó·Ê›˜ Ï‹„ÂȘ ÚÔ·ÙÂÈ fiÙÈ Ë Û˘ÁÎÂÎÚÈ̤ÓË ·fi
From other relevant shots, it is evident that this specific
·¤ÚÔ˜ ʈÙÔÁÚ·Ê›· ¯ÚÔÓÔÏÔÁÂ›Ù·È ÙÔ 1962, ¯ÚÔÓÔÏÔÁ›· Ô˘ Û˘Ì-
photomap dates back in 1962; a date which complies with other
ʈÓ› Î·È Ì ¿ÏϘ Ï‹„ÂȘ ¿Óˆ ·fi ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤ÎÙ·ÛË
shots over Thessaloniki, as well. The expansion of the
Ù˘ ·Ú·Ï›·˜ Û˘Óԉ‡ÙËÎÂ Î·È Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜, Ì ·Ô-
waterfront was accompanied by the alleviation of the sea,
Ù¤ÏÂÛÌ· Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤· ÔÈÎfi‰·. Δ· ÔÈÎfi‰· ·˘Ù¿ ›ӷÈ
creating thus new plots. These plots are unbuilt in this photo,
ÎÂÓ¿ ÛÙË ÊˆÙÔÁÚ·Ê›·, ‰Â›¯ÓÔÓÙ·˜ ¤ÙÛÈ ¤ÌÌÂÛ· ÙË Ê˘ÛÈ΋ ÎfiψÛË.
revealing this way indirectly the natural formation of the gulf.
ΔÔ ÚÒÙÔ ÎÙ›ÚÈÔ Ô˘ ͯˆÚ›˙ÂÈ Î·È ÂÊ¿ÙÂÙ·È ÛÙË ÏˆÊfiÚÔ, ·Ó‹ÎÂ
The first building on the avenue that distinguishes belonged to
ÛÙÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Û¯ÔÏ‹˜ Δ˘ÊÏÒÓ, Ë ÔÔ›· ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÂ
the building complex of the School for the Blind, located on a
·ÎÚˆÙ‹ÚÈÔ. ΔÔ ›‰ÈÔ Î·È Ë ÔÌ¿‰· ÔÏ˘Î·ÙÔÈÎÈÒÓ Á‡Úˆ ·fi ÙÔ §·Ô-
cape. The same was the case with the group of blocks of flats
ÁÚ·ÊÈÎfi ªÔ˘Û›Ô. ™Â ÂΛÓÔ ÙÔ ‡„Ô˜ ›¯·Ó ÊÙ¿ÛÂÈ ÔÈ ÂÚÁ·Û›Â˜ ÙÔ
around the Folklore Museum. The works had reached the
1962. √È ˘fiÏÔȘ ·ÎÙ¤˜ Ì·˙ÒıËÎ·Ó ÛÙ·‰È·Î¿ Ù· ÂfiÌÂÓ· ¯Úfi-
specific level in 1962. The rest coasts were gradually filled in
ÓÈ·.
the years to follow.
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ΔÔ ∫·˘Ù·ÓÙ˙fiÁÏÂÈÔÓ ™Ù¿‰ÈÔÓ 31.5.1962
Kaftatzoglio Stadium 31.5.1962
∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ, 1962
Kaftatzoglio Stadium, 1962
∏ ÔÈÎÔÁ¤ÓÂÈ· ∫·ÊÙ·ÓÙ˙fiÁÏÔ˘ ‰È·‰Ú·Ì¿ÙÈÛ ڈÙ‡ÔÓÙ· ÚfiÏÔ ÛÙÔ
Kaftantzoglou family played a very important role in the
¯ÚÈÛÙÈ·ÓÈÎfi ÎfiÛÌÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 18Ô Î·È ÙȘ ·Ú¯¤˜
Christian world of Thessaloniki during the 18th and the early
ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ∂ηÙÚ›ÛÙËΠÛÙË ª·ÛÛ·Ï›· ÙÔ 1822, ÚÔÎÂÈ̤ÓÔ˘
19th century. It was expatriated in Marseille in 1822, in order to
Ó· ÁÏÈÙÒÛÂÈ ÙȘ ÛÊ·Á¤˜ Ô˘ ÂÍ·ÔχıËÎ·Ó Î·Ù¿ ÙˆÓ Â˘fiÚˆÓ £ÂÛ-
avoid the slaughter of the wealthy citizens of Thessaloniki by
Û·ÏÔÓÈΤˆÓ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ·Ú¯¤˜. √È ·fiÁÔÓÔ› Ù˘ ·Ó·‰Â›¯ıË-
the ottoman authorities. Its descendents were made famous in
Î·Ó ÔÈÎÈÏÔÙÚfiˆ˜ ÛÙÔ ‰ËÌfiÛÈÔ ‚›Ô Î·È –ÙÈÌÒÓÙ·˜ ÙËÓ ·ÒÙÂÚË
the public life in several ways and – respecting their ulterior
ηٷÁˆÁ‹ ÙÔ˘˜- ÎÏËÚÔ‰fiÙËÛ·Ó ÛËÌ·ÓÙÈÎfi ÔÛfi ÁÈ· ÙËÓ Î·Ù·Û΢‹
descent – they left a significant amount of money in order a
ËÚÒÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ΔÔ ÔÛfi ·˘Ùfi ¯ÚËÛÈÌÔÔÈ‹ıËΠˆ˜ ‚¿ÛË
hero’s tomb to be constructed in Thessaloniki. This amount was
ÁÈ· ÙËÓ Î·Ù·Û΢‹ ÂıÓÈÎÔ‡ ÛÙ·‰›Ô˘ ÛÙËÓ fiÏË. ∏ ·fi ·¤ÚÔ˜ ʈÙÔ-
the basis for the construction of a national stadium in the city.
ÁÚ¿ÊËÛ‹ ÙÔ˘, ÙÔ 1962, ·Ú¤¯ÂÈ ÌÔÓ·‰È΋ ÂÈÎfiÓ· Ù˘ Á‡Úˆ ÂÚÈÔ-
Its photomap, in 1962, provides a unique representation of the
¯‹˜: ™ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ̤ÚÔ˜, ¿Óˆ ·fi ÙÔ Á‹Â‰Ô, ·ÏÒÓÔÓÙ·È ÔÈ
surrounding area: On the upper left part, above the playground,
ÛÙÚ·ÙȈÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ, Á‡Úˆ ·fi ÙÔ °™¡ 424. ™ÙÔ ¿Óˆ ‰ÂÍÈfi
the military facilities around the 424 General Military Hospital
̤ÚÔ˜, Ë Û˘ÓÔÈΛ· Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜ Î·È ›Ûˆ Ù˘ Ë ¢∂£.
stretch. On the upper right part, there lies the Aghia Photini quarter and behind that the Thessaloniki International Fair.
k 240
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ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜ 20.5.1969
The tourist beach of Aghia Triada 20.5.1969
ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜
The tourist beach of Aghia Triada
ΔÔ 1960 ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ Ë ÔÚÁ·ÓˆÌ¤ÓË Ï·˙ Ù˘ ·ÎÙ‹˜ £ÂÚÌ·˚ÎÔ‡,
In 1960 the organized beach of the Thermaikos coast was
Ì ÙËÓ ÂÏ›‰· fiÙÈ ı· ÚÔÛ‹Ï΢ ÙÔ˘Ú›ÛÙ˜ Ô˘ ‰ÂÓ ¤‚ÚÈÛÎ·Ó ÔÚÁ·-
established, with the hope to attract tourists who could not find
ӈ̤ÓÔ ÙfiÔ ÁÈ· ı·Ï¿ÛÛÈ· ÏÔ˘ÙÚ¿ ÎÔÓÙ¿ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ø˜ ȉ·-
an organized place to swim close to Thessaloniki. As the ideal
ÓÈÎfi˜ ÙfiÔ˜ ÁÈ· ÙËÓ ÂÁηٿÛÙ·Û‹ Ù˘ ÂÈϤ¯ıËΠ¤ÎÙ·ÛË Ô˘ ·Ó‹-
place for such an establishment a public plot was chosen, close
ΠÛÙÔ ‰ËÌfiÛÈÔ, ÎÔÓÙ¿ ÛÙÔ ÚÔÛÊ˘ÁÈÎfi ¯ˆÚÈfi ·ÏȤˆÓ ∞Á›· ΔÚÈ¿‰·,
to the refugees’ fishing village "Aghia Triada", which was
ÙÔ ÔÔ›Ô ‹‰Ë ·ÔÙÂÏÔ‡Û ı¤ÚÂÙÚÔ ÁÈ· ÙÔ˘˜ £ÂÛÛ·ÏÔÓÈΛ˜.
already a holiday resort for the citizens of Thessaloniki.
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£ÂÛÛ·ÏÔÓ›ÎË-¢ÈÒÚ˘Í
Thessaloniki-Canal
∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· ÁÈ· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ Ù˘ ˙¿¯·Ú˘ ÛÙÔ ¶Ï·Ù‡, 1962
An irrigation canal for the water supply of the sugarhouse at Platy, 1962
∏ ∂ÏÏËÓÈ΋ μÈÔÌ˯·Ó›· ∑¿¯·Ú˘ ∞.∂. ȉڇıËΠÙÔ 1960, Ì ÛÙfi¯Ô
The Greek Sugar Industry SA. was established in 1960, in order
ÙËÓ ·Ú·ÁˆÁ‹ ˙¿¯·Ú˘ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÙËÓ ˘ÔηٿÛÙ·ÛË ÙˆÓ
sugar to be produced in Greece and imports to be replaced. In
ÂÈÛ·ÁˆÁÒÓ. ΔÔ 1961 ÏÂÈÙÔ‡ÚÁËÛ ÙÔ ÚÒÙÔ ˙·¯·ÚÔ˘ÚÁÂ›Ô ÛÙË
1961, the first sugar plant operated in Larissa and in 1962 the
§¿ÚÈÛ· Î·È ÙÔ 1962 ÙÔ ‰Â‡ÙÂÚÔ ÛÙÔ ¶Ï·Ù‡. °È· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘
second one in Platy. A special irrigation network from the
ÂÚÁÔÛÙ·Û›Ô˘ ·fi ÙÔÓ ∞ÏÈ¿ÎÌÔÓ· ηٷÛ΢¿ÛÙËΠÂȉÈÎfi ·Ú‰Â˘ÙÈÎfi
Aliakmonas River was constructed for the water supply of the
‰›ÎÙ˘Ô.
plant.
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∞ÂÚÔÏÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢
The Airport of Thessaloniki
∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢, 1965
The Airport of Thessaloniki, 1965
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ·ÂÚÔ‰ÚÔÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ ηٷÛ΢¿ÛÙËΠÙÔ 1965,
The building of the airport of Thessaloniki was constructed in
¤ÙÔ˜ ÛÙÔ ÔÔ›Ô ı· Ú¤ÂÈ Ó· ¯ÚÔÓÔÏÔÁËıÔ‡Ó ÔÈ ‰‡Ô ·˘Ù¤˜ Ï‹„ÂȘ.
1965 – the year in which these two shots should be placed.
∞Ó Î·È Î·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ ¤ÚÁÔ˘ Ë ·ÂÚÔÔÚÈ΋ ΛÓËÛË Ù˘ £ÂÛ-
Although during the planning of the project the air traffic of
Û·ÏÔӛ΢ ‹Ù·Ó ÂÚÈÔÚÈṲ̂ÓË, ÔÈ ‰È·ÛÙ¿ÛÂȘ ÙÔ˘ ·Ô‰Â›¯ıËηÓ
Thessaloniki was limited, its size was soon to be proved less
Û‡ÓÙÔÌ· ÌÈÎÚfiÙÂÚ˜ ·fi ÙȘ ·Ó·Ù˘ÛÛfiÌÂÓ˜ ·Ó¿ÁΘ. ΔÔ 1970
than the ever expanding needs. In 1970 its expansion was
·ÔÊ·Û›ÛÙËÎÂ Ë Â¤ÎÙ·Û‹ ÙÔ˘.
decided.
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31.12.1967
31.12.1967
™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢, ÂÚ› ÙÔ 1962
The railway station of Thessaloniki, at about 1962
Ÿˆ˜ ÚԷӷʤÚıËÎÂ, Ô ÛÙ·ıÌfi˜ ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1962. √ Ù‡Ô˜
As mentioned previously, the railway station was inaugurated in
ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ, Ù· ‰È·ÊËÌÈ˙fiÌÂÓ· ÚÔ˚fiÓÙ· Î·È ÔÈ ·ÌÊȤÛÂȘ
1962. However, the type of the vehicles, the products
‰ËÌÈÔ˘ÚÁÔ‡Ó, ¿ÓÙˆ˜, ÙËÓ ˘Ô„›· fiÙÈ Ë Ï‹„Ë Â›Ó·È Ï›ÁÔ ÚÔÁÂÓ¤-
advertised and the outfits suggest that the shot has been
ÛÙÂÚË ·fi ÙÔ 1967.
taken some time before 1967.
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∫˘‚ÂÚÓ›ÔÓ 23.12.1967
Kivernio (i.e. Government House) 23.12.1967
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢
The palace of Thessaloniki
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ 1955
The palace of Thessaloniki started being built in 1955 on a site
Û ÙÔÔıÂÛ›· ÌÂÁ¿Ï˘ Ê˘ÛÈ΋˜ ˆÚ·ÈfiÙËÙ·˜, ÛÙÔ ∫·Ú·ÌÔ˘ÚÓ¿ÎÈ
of great natural beauty, at Karabournaki (Small Clot), and
(ªÈÎÚfi ŒÌ‚ÔÏÔ), Î·È ÔÏÔÎÏËÚÒıËΠÙÔ 1960.
finished in 1960.
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ΔÔ ¢È¸ÏÈÛÙ‹ÚÈÔÓ £ÂÛÛ·ÏÔӛ΢ ˘fi ·Ó¤ÁÂÚÛÈÓ. ŸÈÛıÂÓ ·È ÂÁηٷÛÙ¿ÛÂȘ ÏÈ·ÛÌ¿ÙˆÓ Ù˘ ∞.∂. ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
The Refinery of Thessaloniki under construction. Behind it, there is the fertilizers plant of the Chemical Industries of Northern Greece SA.
Esso Pappas, 1965 ‹ 1966
Esso Pappas, 1965 ‹ 1966
∏ ۇ̂·ÛË Ù˘ ÂÏÏËÓÈ΋˜ ΢‚¤ÚÓËÛ˘ Ì ÙËÓ ÂÙ·ÈÚ›· Esso (ı˘Á·-
The contract of the Greek government with the Esso Company
ÙÚÈ΋ Ù˘ Exon) Î·È ÙÔÓ ÂȯÂÈÚËÌ·Ù›· ΔÔÌ ¶¿·˜ ÁÈ· ÙË ‰ËÌÈÔ˘Ú-
(a subsidiary of Exon) and the business Tom Pappas for the
Á›· ‰È˘ÏÈÛÙËÚ›Ô˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·Ù·ÚÙ›ÛÙËΠÙÔÓ √ÎÙÒ‚ÚÈÔ ÙÔ˘
establishment of a refinery at Thessaloniki was signed in
1962. ΔÔ Û˘ÁÎÚfiÙËÌ· ıÂÌÂÏÈÒıËΠÛÙȘ 10 ª·˝Ô˘ 1964, ·ÊÔ‡
October 1962. The foundations of the plant were laid on 10 May
ÚÔËÁÔ˘Ì¤Óˆ˜ ÔÈ ÂÂÓ‰˘Ù¤˜ ·ÁfiÚ·Û·Ó 6.000 ÛÙÚ¤ÌÌ·Ù· ·ÁÚÔÙÈ΋˜
1964, after the investors had bought 6.000.000 m2 of rural
Á˘ ÛÙ· ¢È·‚·Ù¿ Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ ÂÙ·ÈÚ›· ÃËÌÈη› μÈÔÌ˯·Ó›·È
land at Diavata of Thessaloniki. The company Chemical
μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ Û˘ÛÙ‹ıËΠÙÔ 1962. ΔÔ ÂÚÁÔÛÙ¿ÛÈÔ ‰ËÌÈÔ˘ÚÁ‹-
Industries of Northern Greece was formed in 1962. The plant
ıËΠÛÙÔ ¯ˆÚÈfi ¢È·‚·Ù¿ (‹‰Ë Û˘ÓÔÈÎÈÛÌfi Ù˘ £ÂÛÛ·ÏÔӛ΢) ηÈ
was established at the village of Diavata (already a quarter of
¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ 1966.
Thessaloniki) and started operating in 1966.
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ESSO PAPPAS PETROLEUM REFINERY. This modern petroleum refinery is a basic unit of the Esso Pappas industrial complex in Thessaloniki. With a capacity to process 2.5 million tones of crude per year, it produces regular and premium gasoline, liquefied petroleum-gas (LPG), naphtha, aviation fuels, diesel oil, heating oils and asphalt
ESSO PAPPAS PETROLEUM REFINERY. This modern petroleum refinery is a basic unit of the Esso Pappas industrial complex i n Thessaloniki. With a capacity to process 2.5 million tones of crude per year, it produces regular and premium gasoline, liquefied petroleum-gas (LPG), naphtha, aviation fuels, diesel oil, heating oils and asphalt
ΔÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Esso Pappas, 1966
The plant of Esso Pappas, 1966 The refinery started operating in May 1966. Immediately after
ΔÔ ‰È˘ÏÈÛÙ‹ÚÈÔ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ ª¿ÈÔ ÙÔ˘ 1966. ∞̤ۈ˜
the start of its operation, the ammonia plant started operating
ÌÂÙ¿ ÙËÓ ¤Ó·ÚÍË ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘, ÍÂΛÓËÛ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ·Ì̈ӛ·˜
as well as the steam catalyst, which used the naphtha from the
Î·È Ô ·ÙÌÔηٷχÙ˘, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Û ÙË Ó¿Êı· ·fi ÙÔ ‰È˘ÏÈ-
refinery to produce ethylene – a product necessary for the
ÛÙ‹ÚÈÔ ÁÈ· ÙËÓ ·Ú·ÁˆÁ‹ ·Èı˘ÏÂÓ›Ô˘, ÚÔ˚fiÓ ·Ó·Áη›Ô ÁÈ· ÙÔ ÂÚÁÔ-
plant of "Ethyl", which was inaugurated the following year in
ÛÙ¿ÛÈÔ Ù˘ «∂ı‡Ï», ÙÔ ÔÔ›Ô ÂÁηÈÓÈ¿ÛÙËΠÙËÓ ÂfiÌÂÓË ¯ÚÔÓÈ¿ ÛÙË
Thessaloniki.
£ÂÛÛ·ÏÔÓ›ÎË.
k 254
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
T H E
T H E S S A L O N I K I
W O R K S
114
255 k
∞∂ƒ√ºøΔ√°ƒ∞ºπ∂™ PHOTOMAPS ™ÙË Û‡Á¯ÚÔÓË ÂÚ›Ô‰Ô ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ·fi ·¤ÚÔ˜ Á›ÓÔÓÙ·È
Nowadays, the photomaps are usually taken in order to
Û˘Ó‹ıˆ˜ ÁÈ· ÙËÓ ·Ó¿‰ÂÈÍË Î·È ÙËÓ ÚÔ‚ÔÏ‹ ÙÔ˘ ·ÂÈÎÔÓÈ˙fiÌÂÓÔ˘
represent and show the site depicted. Previously, they were
ÙfiÔ˘. ¶·Ï·ÈfiÙÂÚ·, Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·Ó ·ÔÎÏÂÈÛÙÈο ÁÈ· ÂÈÛÙËÌÔ-
taken exclusively for scientific and military purposes: for
ÓÈÎÔ‡˜ Î·È ÛÙÚ·ÙȈÙÈÎÔ‡˜ ÛÎÔÔ‡˜: ÁÈ· ÎÙËÌ·ÙÔÏfiÁÈ· (‡„Ô˜ ˆ˜ 1.000
cadastres (up to 1.000 meters altitude), topographic plans (2.000
̤ÙÚ·), ÁÈ· ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù· (‡„Ô˜ 2.000-4.000 ̤ÙÚ·) ηÈ
- 4.000 meters altitude) as well as for topographic maps (over
ÁÈ· ÙÔÔÁÚ·ÊÈÎÔ‡˜ ¯¿ÚÙ˜ (¿Óˆ ÙˆÓ 5.000 ̤ÙÚˆÓ). √È Ï‹„ÂȘ ›ӷÈ
5.000 meters altitude). These shots are either vertical or oblique
›Ù ηٷÎfiÚ˘Ê˜ ›Ù ÎÂÎÏÈ̤Ó˜ (˘fi ÁˆÓ›·), ÔfiÙ ·ÔηχÙÔ˘Ó
(inclination), in which case they reveal the land morphology even
ηχÙÂÚ· ÙË ÌÔÚÊÔÏÔÁ›· ÙÔ˘ ‰¿ÊÔ˘˜.
better.
√È ‰ËÌÔÛÈÂ˘Ì¤Ó˜ ÂÙ¿ ·ÂÚÔʈÙÔÁڷʛ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÂÓÙÔ›-
The seven photomaps of Thessaloniki that are included were
˙ÔÓÙ·È Î·Ù¿ ÚÔÛ¤ÁÁÈÛË ÛÙËÓ ÂÚ›Ô‰Ô 1947-1970, Ì ¤ÌÊ·ÛË Ù·
taken during the period 1947 – 1970; with emphasis on the years
¯ÚfiÓÈ· Á‡Úˆ ÛÙ· 1960, fiÙ·Ó Ë fiÏË ÁÓÒÚÈÛ fi¯È ·ÏÒ˜ ÌÂÁ¿Ï˜,
around the 1960s, when the city underwent not only great, but
·ÏÏ¿ Î·È Ù·¯‡Ù·Ù˜ ÌÂÙ·‚ÔϤ˜.
fast changes as well.
°È· ÙËÓ ·ÎÚÈ‚‹ ¯ÚÔÓÔÏfiÁËÛË ÙˆÓ ÂÈÎfiÓˆÓ ÂÓÙÔ›˙Ô˘Ì ·ÏÏ·Á¤˜ Ô˘
In order to exactly date the photographs, changes concerning
·ÊÔÚÔ‡Ó ÎÙ›ÚÈ·, Ó·Ô‡˜, ÏÈÌÂÓÈΤ˜, ÛȉËÚÔ‰ÚÔÌÈΤ˜ Î·È ·ÓÂÈÛÙËÌÈ·-
buildings, temples, as well as the port, the railway and the
Τ˜ ÂÁηٷÛÙ¿ÛÂȘ.
university facilities are traced.
kkk
1
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
Vue prise de l’air de la ville et de la plaine de Thessalonique
Vue prise de l’air de la ville et de la plaine de Thessalonique
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ Ï‹„Ë ¤ÁÈÓ ÙÔ 1951
Photomap of Thessaloniki. The shot was taken in 1951 On the left: the main tissue of the old city. Its littoral part is built
™Ù· ·ÚÈÛÙÂÚ¿: Ô Î‡ÚÈÔ˜ fiÁÎÔ˜ Ù˘ ·Ï·È¿˜ fiÏ˘. ΔÔ ·Ú·ı·Ï¿ÛÛÈÔ
according to the new urban plan. On the right: the almost
ÙÌ‹Ì· Ù˘ Â›Ó·È ÎÙÈṲ̂ÓÔ Ì ÙÔ Ó¤Ô ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ. ™Ù· ‰ÂÍÈ¿: Ë
unbuilt area between the old city and the eastern quarters.
ۯ‰fiÓ ·‰fiÌËÙË ÂÚÈÔ¯‹ Ô˘ ÌÂÛÔÏ·‚Ô‡Û ÌÂٷ͇ Ù˘ ·Ï·È¿˜
In the centre of the old city, there is Aristotelous Square (in the
fiÏ˘ Î·È ÙˆÓ ·Ó·ÙÔÏÈÎÒÓ Û˘ÓÔÈÎÈÒÓ.
left part of the photograph) with still open sites (where summer
™ÙÔ Î¤ÓÙÚÔ Ù˘ ·Ï·È¿˜ fiÏ˘, Ë Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (ÚÔ˜ ÙÔ
cinemas function). Northern, the Ancient Forum Square remains
·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) ¤¯ÂÈ ·ÎfiÌË ÎÂÓ¿ ÔÈÎfi‰· (fiÔ˘ ÏÂÈ-
open and un-landscaped. Also open, at the level of the port
ÙÔ˘ÚÁÔ‡Ó ıÂÚÈÓÔ› ÎÈÓËÌ·ÙÔÁÚ¿ÊÔÈ). μÔÚÂÈfiÙÂÚ·, Ë Ï·Ù›· Ù˘
wharf, is Eleftherias Square.
∞Ú¯·›·˜ ∞ÁÔÚ¿˜ ·Ú·Ì¤ÓÂÈ ÎÂÓ‹ Î·È ·‰È·ÚÚ‡ıÌÈÛÙË. ∫ÂÓ‹, ›Û˘,
To the right, only the three buildings of the Thessaloniki
ÛÙÔ ‡„Ô˜ Ù˘ ÚÔ‚Ï‹Ù·˜ ÙÔ˘ ÏÈÌ·ÓÈÔ‡, Ê·›ÓÂÙ·È Ë Ï·Ù›· ∂Ï¢ıÂ-
International Fair are traced, along with the AHEPA hospital (a
Ú›·˜.
combination which allows dating). South of the International Fair
¶ÚÔ˜ Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔ Ù· ÙÚ›· ·ÚÈ· ÎÙ›ÚÈ· Ù˘ ¢ÈÂıÓÔ‡˜
(on the right of the White Tower) the Royal Theatre rises.
ŒÎıÂÛ˘ Î·È ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞ (Û˘Ó‰˘·ÛÌfi˜ Ô˘ ÂÈÙÚ¤ÂÈ ÙË ¯ÚÔÓÔÏfiÁËÛË). ¡fiÙÈ· ·fi ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË (‰ÂÍÈ¿ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ) ÚÔ‚¿ÏÂÈ ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ.
k 18
H ·Ú›ıÌËÛË Ì ÌÂÁ¿Ï· ÛÙÔȯ›· ÛÙËÓ ÎÔÚ˘Ê‹ Ù˘ ÛÂÏ›‰·˜ ·ÓÙÈÛÙÔÈ-
Δhe pagination by large type at the top of each page
¯Â› ÛÙÔÓ ·‡ÍÔÓÙ· ·ÚÈıÌfi οı ʈÙÔÁÚ·Ê›·˜ Ù˘ ·ÚÔ‡Û·˜ ¤Î‰Ô-
corresponds to the numbering of each photo in this publication.
Û˘.
The text above the title of each photo is the original caption as
ΔÔ Î›ÌÂÓÔ ¿Óˆ ·fi ÙÔÓ Ù›ÙÏÔ Î¿ı ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Ô ·Ú¯ÈÎfi˜
it appeared in the Photography Archives of the Secretariat
˘ÔÌÓËÌ·ÙÈÛÌfi˜ Ô˘ ˘‹Ú¯Â ÛÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜
General of Communication and the Secretariat General of
°Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘.
Information.
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∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
View of the town of Salonica and its plain
View of the town of Salonica and its plain
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ∞Ó·ÙÔÏÈ΋˜ £ÂÛÛ·ÏÔӛ΢, ÚÈÓ ·fi ÙÔ 1950
A photomap of the eastern Thessaloniki, before 1950 In the foreground, on the right, there stretches Pylaia. Behind
k 20
™Â ÚÒÙÔ Ï¿ÓÔ, ‰ÂÍÈ¿, Ë ¶˘Ï·›·. ¶›Ûˆ Ù˘ Ë Δԇ̷, ·ÚÈÛÙÂÚ¿ Ô
that, there is Toumpa and on the left the Charilaou quarter.
Û˘ÓÔÈÎÈÛÌfi˜ ÷ÚÈÏ¿Ô˘. ¶ÈÔ ·ÚÈÛÙÂÚ¿, ηٿ Ì‹ÎÔ˜ Ù˘ ·ÎÙ‹˜, ÔÈ
Further on the left, along the coast, there are the quarters
Û˘ÓÔÈ˘ ·fi ÙÔ º¿ÏËÚÔ Ì¤¯ÚÈ ÙÔ μ˘˙¿ÓÙÈÔ. ∏ ¯ÚÔÓÔÏfiÁËÛË Û˘Ó¿-
stretching from Faliro to Byzantio. The shape of the breakwater
ÁÂÙ·È ·fi ÙÔ Û¯‹Ì· ÙÔ˘ Î˘Ì·ÙÔıÚ·‡ÛÙË. ™Ù· Ù¤ÏË ÙÔ˘ 1950 ›¯Â
is the basis for dating. In late 1950s, the old breakwater had
·ÔηٷÛÙ·ı› Ô ·Ï·Èfi˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘ (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ)
been restored (550 meters long) and a new section was added
Î·È Â›¯Â ÚÔÛÙÂı› Ó¤Ô ÙÌ‹Ì· (650 ̤ÙÚˆÓ) Û ÁˆÓ›· 120 ÌÔÈÚÒÓ
(650 meters) in an angle of about 120 degrees. That means that
ÂÚ›Ô˘. ÕÚ· Ë Ï‹„Ë ¤ÁÈÓ ÚÔ ÙÔ˘ 1950.
the shot was taken before 1950.
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3
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∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
¶ÚÔÛÊ˘ÁÈΤ˜ ηÙÔÈ˘, 17.1.62 / 9.4.62
Refugees’ dwellings, 17.1.62 / 9.4.62
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÚÔÛÊ˘ÁÈÎÔ‡ Û˘ÓÔÈÎÈÛÌÔ‡ Ù˘ ∫¿Ùˆ Δԇ̷˜, 1962
A photomap of the refugees’ settlement at Kato Toumpa, 1962
™ÙÔ Î¤ÓÙÚÔ Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ £ÂÚ¿ÔÓÙÔ˜ Î·È ÙÔ ‰ËÌÔÙÈÎfi Û¯ÔÏ›Ô.
In the centre, there is the temple of Aghios Therapontas and the
∏ ÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡ Û˘Ó¯È˙fiÙ·Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏
elementary school. The construction of the temple continued in
¯ÚÔÓÔÏÔÁ›· 1962 ÂȂ‚·ÈÒÓÂÙ·È ÂÌ̤ۈ˜ ·fi ÙÔ ÁÂÁÔÓfi˜ fiÙÈ Ô
the 1950s. The date 1962 is indirectly confirmed by the fact
Ó·fi˜ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ÂÚ·Ùˆı›.
that the temple seems finished.
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4
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
ÕÙÈÙÏË
Without Title
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ™È‰ËÚÔ‰ÚÔÌÈÎÔ‡ ™Ù·ıÌÔ‡ £ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘, 1962
A photomap of the Railway Station of Thessaloniki and the surrounding area, 1962 The construction of the railway station started in 1939; it
k 24
∏ ηٷÛ΢‹ ÙÔ˘ ÛÙ·ıÌÔ‡ ÍÂΛÓËÛ ÙÔ 1939, ‰È·ÎfiËΠÏfiÁˆ ÙÔ˘
stopped because of the war and it was resumed in 1949. In
ÔϤÌÔ˘ Î·È Í·Ó¿Ú¯ÈÛ ÙÔ 1949. ΔÔ 1951, ËÌÈÙÂÏ‹˜ ·ÎfiÌË, Ô ÛÙ·ı-
1951, still unfinished, the station started operating. The works
Ìfi˜ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›. √È ÂÚÁ·Û›Â˜ Û˘Ó¯›ÛÙËÎ·Ó Î·È ÂÁηÈÓÈ¿-
continued and it was officially inaugurated on 4.2.1962. On the
ÛÙËΠÂÈۋ̈˜ ÛÙȘ 4.2.1962. ™ÙËÓ Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔ ÛÙ·ıÌfi
square in front of the station, a town bus appears. On the right,
‰È·ÎÚ›ÓÂÙ·È ·ÛÙÈÎfi ψÊÔÚ›Ô. ¢ÂÍÈ¿, Ô ÏÔÍfi˜ ‰ÚfiÌÔ˜ Â›Ó·È Ë Ô‰fi˜
the swerving street is Anageniseos Street, on which there are
∞Ó·ÁÂÓÓ‹Ûˆ˜, Ë ÔÔ›· ‰ÂÓ ¤¯ÂÈ ÛȉËÚÔ‰ÚÔÌÈΤ˜ ÁÚ·Ì̤˜, ¿Ú· Ë
no railways; this means that the shot was taken after 1956.
Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1956. ∏ Ô‰fi˜ ªÔÓ·ÛÙËÚ›Ô˘ ‰ÂÓ ¤¯ÂÈ ‰È·Ï·Ù˘Ó-
Monastiriou Street has not yet been widened; thus, it was taken
ı›, ¿Ú· ›̷ÛÙ ÚÈÓ ·fi ÙÔ 1965. ∂›Û˘, ÔÈ ÎÙËÓÈ·ÙÚÈΤ˜ ÎÏÈÓÈΤ˜
before the year 1965. In addition, the veterinary clinics (right
(¿ÎÚÔ ‰ÂÍÈ¿) ÂÈÎÔÓ›˙ÔÓÙ·È Û ηٿÛÙ·ÛË Ô˘ Ì·˜ Ô‰ËÁ› ¯ÚÔÓÔÏÔÁÈ-
end) are presented in such a condition, which leads the dating
ο ÚÈÓ ·fi ÙÔ 1964. ªÂ ‚¿ÛË ·˘Ù¿ Ù· ‰Â‰Ô̤ӷ Î·È ÙËÓ ÔÌÔÈfiÙË-
to the years before 1964. According to these facts and due to
Ù· ÛÙÔ ‡„Ô˜ Ì ÙËÓ ·ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ Δԇ̷˜, Ë Ï‹„Ë Ú¤ÂÈ
the similarity – as far as the height is concerned – with the
Ó· ¤ÁÈÓ ÙÔ 1962.
photomap of Toumpa, this shot should have been taken in 1962.
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∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
°ÂÓÈ΋ ¿Ô„Ë ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ʈÙÔÁÚ·ÊË̤ÓË ·fi ·ÂÚÔÏ¿ÓÔ, 1959
An overall view of the port taken from an airplane, 1959
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi ∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™·Ï·Ì›ÓÔ˜), 1959
A photomap of the central market of Thessaloniki (from Komninon Street to the contemporary Salaminos Street), 1959
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓfi Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ
The dating corresponds to the content of the photograph. In the
ΤÓÙÚÔ ÙÔ ÎÙ›ÚÈÔ ÙˆÓ ÙÚ·Â˙ÒÓ ∂ıÓÈ΋˜ Î·È ∂ÏÏ¿‰Ô˜ (Ì ٷ ‰‡Ô
centre, there is the building of the National Bank of Greece and
ıÔψٿ ÎÙ›ÛÌ·Ù· ÛÙËÓ ÛÙ¤ÁË). ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Ù· ÎÙ›ÚÈ· ÙˆÓ ÚÒ-
the Hellenic Bank (with the two vaulted constructions on the
ËÓ ÙÚ·Â˙ÒÓ ∞ıËÓÒÓ Î·È μÈÔÌ˯·Ó›·˜ (Ì ÙËÓ Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË).
roof). On its left side, the buildings of the former Bank of Athens
ŒÂÙ·È ÙÔ Ì¤Á·ÚÔ ∫fiÊÊ·. ™ÙÔ ·ÚÈÛÙÂÚfi οو ¿ÎÚÔ Ù˘ ʈÙÔÁÚ·-
and Industrial Bank (extended in height). Then, there follows the
Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘ ÌÂÁ¿ÚÔ˘ «μÈÎÙfiÚÈ·» Î·È ÛÙ· ‰ÂÍÈ¿ ÙÔ˘
Koffa edifice. On the lower left corner of the photograph, one
ÙÔ Ì¤Á·ÚÔ ¢ÚfiÛÔ˘ (∞ÊÔ› §·ÌÚfiÔ˘ÏÔÈ, ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫ÔÌÓË-
can distinguish the roof of the "Victoria" building, on the right
ÓÒÓ). Δ· ÎÙ›ÚÈ· ·˘Ù¿ ÔÚ›˙Ô˘Ó ÙËÓ ÔÚ›· Ù˘ Ô‰Ô‡ ΔÛÈÌÈÛ΋, Ë ÔÔ›·
side of which, there is the Drossos edifice (Lampropouli Bros, at
ÛÙ·Ì·Ù¿ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫·ÙÔ‡ÓË (‰ÂÓ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› ·ÎfiÌË
the level of Komninon Street). These buildings delimit the
Ë ÌÂÙ¤ÂÈÙ· Ô‰fi˜ ¶ÔÏ˘Ù¯Ó›Ԣ). ™ÙÔ ·ÚÈÛÙÂÚfi ̤ÛÔ Ù˘ ʈÙÔÁÚ·-
course of Tsimiski Street, which stops at the level of Katouni
Ê›·˜ Ë ÚÒÙË ÚÔ‚Ï‹Ù· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ Î·È ÛÙÔ Ï¿È Î·È ‰ÂÍÈ¿ Ù˘ Ë
Street (the later Polytechniou Street has not yet been
Ï·Ù›· ∂Ï¢ıÂÚ›·˜, Ì ϛÁ· ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·. ™ÙÔ Ì¤ÛÔ Ù˘
constructed). To the left middle of the photograph, there is the
ÂÈÎfiÓ·˜ ÙÔ ÙÂψÓÂ›Ô ÙÔ˘ 1910 (Ó˘Ó ÂÈ‚·ÙÈÎfi˜ ÂÌÔÚÂ˘Ì·ÙÈÎfi˜
first wharf of the port; while immediately on its right, there is
ÛÙ·ıÌfi˜). ¢È·ÎÚ›ÓÔÓÙ·È Â›Û˘ Ë ‰Â‡ÙÂÚË Î·È Ë ÙÚ›ÙË ÚÔ‚Ï‹Ù·
Eleftherias Square, where a few cars are parked. In the middle
(§·ÓÁηۿÈÚ). ™ÙÔ ‰ÂÍÈfi οو ̤ÚÔ˜ Ë ·Ó·ÙÔÏÈ΋ fi„Ë ÙÔ˘ ∞Á›Ô˘
of the photo, there stands the customs of 1910 (the
ªËÓ¿.
contemporary passenger and mercantile station). The second and the third wharfs can also be seen (Lancashire). On the lower right corner of the photo, there is the eastern facade of Aghios Minas.
k 26
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∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
§ÈÌ¿ÓÈ 24.12.1970
The port 24.12.1970
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ̤¯ÚÈ ÙËÓ Ù¤Ù·ÚÙË ÏÈÌÂÓÈ΋ ÚÔ‚Ï‹Ù·) 1970
A photomap of the central market of Thessaloniki (from Aristotelous Street to the fourth wharf) 1970
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ
fourth wharf has already been constructed in the port (along
ÏÈÌ¿ÓÈ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› Î·È Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· (Ì ÙÔ ÛÈÏfi: ÛÙÔ
with the silo: in the upper middle of the photo); while the
¿Óˆ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) Î·È ¤¯ÂÈ ·Ú¯›ÛÂÈ Ë Î·Ù·Û΢‹ Ù˘
construction of the fifth wharf has already begun. In the
¤ÌÙ˘. ™Â ÚÒÙÔ Ï¿ÓÔ Ë Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (·ÚÈÛÙÂÚ¿ Ë Ù·˘ÙÒ-
foreground, there is Aristotelous Street (on the left, there is the
Ó˘ÌË Ï·Ù›· Ì ÙÔÓ ıÂÚÈÓfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∏χÛÈ·»). ΔÔ ÌÂÛ·›Ô
homonymous square, along with the summer cinema "Ilysia").
ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Û˘ÁÎÚ›ÛÈÌÔ Ì ÙÔ ÌÂÛ·›Ô ÙÌ‹Ì· Ù˘
The middle part of the photograph is comparable to the central
ÚÔËÁÔ‡ÌÂÓ˘: Δ· ÂÚÈÛÛfiÙÂÚ· ÎÙ›ÚÈ· ¤¯Ô˘Ó ηÙ‰·ÊÈÛÙ› Î·È ·ÓÔÈ-
part of the previous photo: Most buildings have been
ÎÔ‰ÔÌËı› ‹ ÂÂÎÙ¿ıËÎ·Ó Î·ı’ ‡„Ô˜.
demolished and rebuilt or extended in height.
The dating corresponds to the content of the photograph. The
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
T H E S S A L O N I K I
6
29 k
7
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™
ÕÙÈÙÏË
Without Title
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢∂£, 1970
A photomap of the university campus and the Thessaloniki International Fair, 1970
∏ Ï‹„Ë Î·Ï‡ÙÂÈ ÙÔ ¯ÒÚÔ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ (οو)
The shot covers the space from Aghiou Dimitriou Street (its
̤¯ÚÈ ÙËÓ ·ÎÙ‹. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ÂÈÎfiÓ·˜ ‰ÂÛfi˙Ô˘Ó Ù· ÎÙ›ÚÈ· ÙˆÓ
lower part) to the waterfront. In the middle of the photograph,
Û¯ÔÏÒÓ Ô˘ Û¯ËÌ·Ù›˙Ô˘Ó ÙÂÙÚ¿ÁˆÓÔ (Û ·Ú¤ÓıÂÛË ÙÔ ¤ÙÔ˜ ÏÂÈ-
the university buildings in a square arrangement predominate
ÙÔ˘ÚÁ›·˜): ¡√∂ (1967 ÙÔ ‰ÂÍÈfi ÙÌ‹Ì·, 1972 ÙÔ Û‡ÓÔÏÔ), ºÈÏÔÛÔÊÈ-
(in a parenthesis the year of operation): School of Law &
΋˜ (1973), £ÂÔÏÔÁÈ΋˜ (1971) Î·È ÙÔ ÎÙ›ÚÈÔ ¢ÈÔÈ΋Ûˆ˜ (1969). ™Ù·
Economics (1967 the right part, 1972 the whole campus), School
·ÚÈÛÙÂÚ¿ Ë ÎÂÓÙÚÈ΋ ·ÓÂÈÛÙËÌȷ΋ ‚È‚ÏÈÔı‹ÎË (1974). ™ÙÔ Ì¤ÛÔ
of Philosophy (1973), School of Theology (1971) and the building
Ù˘ ÂÈÎfiÓ·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÁÏ˘Ùfi ÙÔ˘ °. ∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÛÙËÓ
of the Administration Office (1969). On the left, there is the
‡ÏË Ù˘ ¢∂£ Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘ (ÙÔÔıÂÙ‹ıËΠÙÔ 1966).
Central Library of the University (1974). In the middle of the
∂›Û˘, ¤¯ÂÈ ÔÏÔÎÏËÚˆı› Ë Â¤ÎÙ·ÛË ÙˆÓ ¯ÒÚˆÓ Ù˘ ¢∂£ ÚÔ˜ ÙËÓ
photograph, one can see Mr. G. Zoggolopoulos’s sculpture at
∂ÁÓ·Ù›·, fiˆ˜ Î·È Ë Â¤ÎÙ·ÛË ÙˆÓ ÁÚ·Ê›ˆÓ ‰ÈÔÈ΋Ûˆ˜ (1969).
the Thessaloniki International Fair – Entrance on Sintrivaniou Square – (placed there in 1966). In addition, the expansion of the Thessaloniki International Fair towards Egnatia Street has been completed, as well as the expansion of the Fair Administration Offices (1969).
k 30
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
P H O T O M A P S
T H E S S A L O N I K I
7
31 k
Ã√¡√§√°π∫∏ ∫∞Δ∞Δ∞•∏ ºøΔ√°ƒ∞ºπø¡ CHRONOLOGICAL LISTING OF PHOTOGRAPHS
1890-1917 8, 9, 10, 11, 12, 13, 21, 22, 23, 24, 37, 38, 39, 40, 68, 84, 85, 87, 92, 93, 94, 97.
1918-1939 29, 49, 66, 88, 89, 95, 96, 98, 100, 101.
1940-1949 2, 14, 16, 25, 26, 27, 28, 69, 70, 71, 72, 80.
1950-1959 1, 5, 17, 20, 30, 32, 33, 34, 50, 73, 75, 76, 77, 79, 81, 86, 91, 99, 103, 104.
1960-1969 3, 4, 31, 35, 41, 42, 43, 45, 46, 47, 48, 51, 52, 53, 54, 55, 56, 58, 59, 64, 65, 67, 74, 78, 82, 83, 102, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114.
1970-1980 6, 7, 15, 18, 19, 36, 44, 57, 60, 61, 62, 63, 90.
k 256
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
μπμ§π√°ƒ∞ºπ∞ BIBLIOGRAPHY ;Mats Lieberg, (ÂÈÌ. ÃÂΛÌÔÁÏÔ˘ ∂.), £ÂÛÛ·ÏÔÓ›ÎË 1944: Δ· ʈÙÔÁÚ·ÊÈο ÓÙÔÎÔ˘Ì¤ÓÙ· ÙÔ˘ Jean Lieberg, £ÂÛÛ·ÏÔÓ›ÎË 1999. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ¢ËÌ‹ÙÚÈÔ˜ ¢›Áη˜ (1876-1974): √ ÚÒÙÔ˜ ̷ΉfiÓ·˜ ˘Ô˘ÚÁfi˜, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ∏ "¯·Ì¤ÓË ∂ÁÓ·Ù›·" Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ¶·Ú·Ï›·-§ÈÌ¿ÓÈ·-§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ Ì¿¯Ë Ù˘ ÌÓ‹Ì˘, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., Δ· ÚfiÛˆ· Ù˘ ÌÓ‹Ì˘: ∏ ʈÙÔÁÚ·Ê›· ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ˘ ªÂÛÔÔϤÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;∞Ó·ÛÙ·ÛÈ¿‰Ë˜ °. & ÃÂΛÌÔÁÏÔ˘ ∂., ΔÛÈÌÈÛ΋-∞Á›·˜ ™ÔÊ›·˜-¢È·ÁÒÓÈÔ˜: ∏ ‰È·‰ÚÔÌ‹ Ù˘ ÌÓ‹Ì˘, £ÂÛÛ·ÏÔÓ›ÎË 1997.
;Mats Lieberg, (reviewer: Mr. E. Hekimoglou), Thessaloniki 1944: Jean Lieberg’s photo documents, Thessaloniki 1999 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Mr. Dimitrios Digas (1876 – 1974): The first Macedon minister, Thessaloniki 2002 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, The "lost Egnatia" of Thessaloniki, Thessaloniki 2002 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Waterfront – Ports – The White Tower: The struggle of memory, Thessaloniki 1998 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, The faces of memory: The photograph in interwar Thessaloniki, Thessaloniki 1998 ;Mr. G. Anastasiadis & Mr. E. Hekimoglou, Tsimiski – Aghias Sophias – Diagonios: The path of memory, Thessaloniki 1997
;μÂϤÓ˘ °., Δ· Ù›¯Ë Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 1998.
;Velenis G., The walls of Thessaloniki, Thessaloniki 1998
;°Ô‡Ó·Ú˘ μ., 1884, ÂÓÙfi˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ΔÔ ˙‹ÙËÌ· Ù˘ ÌÂÙÔÓÔ-
;Gounaris μ., 1884, in the White Tower. The issue of the Blood Tower
Ì·Û›·˜ ÙÔ˘ ¶‡ÚÁÔ˘ ÙÔ˘ ∞›Ì·ÙÔ˜, £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ/°Ú·Ê¤˜ ηÈ
renaming, Thessalonikeon Polis/ Scriptures and Sources 6000
¶ËÁ¤˜ 6000 ¯ÚfiÓˆÓ, Ù¯. 1, £ÂÛÛ·ÏÔÓ›ÎË 1997, 100-105
years old, issue 1, Thessaloniki 1997, 100 – 105
;¢ËÌËÙÚÈ¿‰Ë˜ μ., ∏ ÙÔÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙËÓ ÂÔ¯‹ Ù˘ ΔÔ˘ÚÎÔÎÚ·Ù›·˜ 1430-1912, £ÂÛÛ·ÏÔÓ›ÎË 1983.
;Dimitriadis μ., The topography of Thessaloniki during the ottoman occupation 1430 – 1912, Thessaloniki 1983
;¢‹ÌÔ˜ £ÂÛÛ·ÏÔӛ΢ & ∂ıÓÈÎfi ∫¤ÓÙÚÔ Ã·ÚÙÒÓ Î·È Ã·ÚÙÔÁÚ·ÊÈ΋˜
;Municipality of Thessaloniki & National Map & Cartographic
∫ÏËÚÔÓÔÌÈ¿˜ – ∂ıÓÈ΋ ÷ÚÙÔı‹ÎË: ÿÚÙ˜ ÔÏ‡Ê˘ÏÏÔÈ Ù˘ £ÂÛÛ·ÏÔÓ›-
Inheritance Centre – National Map Archive: Multi-leaved maps of
΢, ·ÂÈÎÔÓ›ÛÂȘ Ù˘ fiÏ˘ Û ÌÂÁ¿ÏË Îϛ̷η, Ù¤ÏË 19Ô˘ –·Ú¯¤˜ 20Ô‡
Thessaloniki, large scale representations of the city, late 19th –
·È., £ÂÛÛ·ÏÔÓ›ÎË 2006.
early 20th century, Thessaloniki 2006
;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏
T H E S S A L O N I K I
;National Bank of Greece/ Cultural Centre of Northern Greece,
257 k
μ π μ § π √ ° ƒ ∞ º π ∞
£ÂÛÛ·ÏÔÓ›ÎË ÛÙÔ ÌÂÙ·›¯ÌÈÔ ‰‡Ô ·ÈÒÓˆÓ: ¶ÚÔÛ¤ÁÁÈÛË ÛÙËÓ fiÏË Ì¤Û·
Thessaloniki on the turn of two centuries: An approach of the city
·fi ·ÏȤ˜ ηÚÙÔÛÙ¿Ï (1896-1913) [™˘ÏÏÔÁ‹ μ. ∞. ª·˘ÚÔÌÌ¿ÙË],
through old postcards (1896 – 1913) [Mr. V. A. Mavromatis’s
£ÂÛÛ·ÏÔÓ›ÎË 1990.
collection], Thessaloniki 1990
;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏
;National Bank of Greece/ Cultural Centre of Northern Greece,
£ÂÛÛ·ÏÔÓ›ÎË Ì¤Û· ·fi ÙÔ Ê·Îfi ÙÔ˘ ªÂÁ¿ÏÔ˘ ¶ÔϤÌÔ˘: ºˆÙÔÁڷʛ˜
Thessaloniki through the camera of the Great War: Photographs of
Ù˘ ™ÙÚ·ÙÈ¿˜ Ù˘ ∞Ó·ÙÔÏ‹˜ (1915-1919), £ÂÛÛ·ÏÔÓ›ÎË 1991.
the Army of the East (1915 – 1919), Thessaloniki 1991
;∂Ï¢ı¤Ú· ∑ÒÓË & §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢, √ §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢ 19251960, £ÂÛÛ·ÏÔÓ›ÎË 1960. ;∫·Ú·‰‹ÌÔ˘-°ÂÚfiÏ˘ÌÔ˘ ∞ÏÂÍ¿Ó‰Ú·, ∏ ·ÓÔÈÎÔ‰fiÌËÛË Ù˘ £ÂÛÛ·ÏÔӛ΢ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917, £ÂÛÛ·ÏÔÓ›ÎË 1986. ;∫·Ú·Ì‹ÙÛÔ˜ ¢., ∏ fiÏË Ì·˜ ÎÈ ÂÌ›˜ ¿ÏÏÔÙÂ Î·È ÙÒÚ·: £ÂÛÛ·ÏÔÓ›ÎË 1941-2005, £ÂÛÛ·ÏÔÓ›ÎË 2005. ;∫¤ÓÙÚÔ πÛÙÔÚ›·˜ £ÂÛÛ·ÏÔӛ΢, ¤ÎıÂÛË ÈÛÙÔÚÈÎÒÓ ÓÙÔÎÔ˘Ì¤ÓÙˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 1985. ;∫˘ÚÈ·˙fiÔ˘ÏÔ˜ μ., Δ· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ 1926-1976, £ÂÛÛ·ÏÔÓ›ÎË 1976. ;§¤ÙÛ·˜ ∞., πÛÙÔÚ›· Ù˘ £ÂÛÛ·ÏÔӛ΢, Ù. ∞ã, £ÂÛÛ·ÏÔÓ›ÎË 1961. ;ª·Î‰ÔÓÈÎfi ªÔ˘ÛÂ›Ô ™‡Á¯ÚÔÓ˘ Δ¤¯Ó˘ &ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ & ¢‹ÌÔ˜ £ÂÛÛ·ÏÔӛ΢ [ÂÈÌ. μ. ∫ÔÏÒÓ·˜], £ÂÛÛ·ÏÔÓ›ÎË 1912-1992: 8 ‰ÂηÂٛ˜ ÓÂÔÂÏÏËÓÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜, £ÂÛÛ·ÏÔÓ›ÎË 1993. ;ª·ÎÚ‹˜ º. - ¶··‰ËÌËÙÚ›Ô˘ Ã., «√È ‰È·‰Ô¯ÈΤ˜ Ê¿ÛÂȘ ΢ÚÈfiÙËÙ·˜ ÙÔ˘ ¶·Ï·ÈÔ‡ ∫˘‚ÂÚÓ›Ԣ Ù˘ £ÂÛÛ·ÏÔӛ΢ (1915-1948)», π°ã ¶·ÓÂÏÏ‹ÓÈÔ
;Free Zone & The Port of Thessaloniki, The Port of Thessaloniki 1925 – 1960, Thessaloniki 1960 ;Mrs. Alexandra Karadimou - Gherolympou, The rebuilding of Thessaloniki after the fire of 1917, Thessaloniki 1986 ;Mr. D. Karamitsos, Our city and us formerly and currently: Thessaloniki 1941 – 2005, Thessaloniki 2005 ;Thessaloniki History Centre, Thessaloniki historical documents exhibition, Thessaloniki 1985. ;Mr. V. Kyriazopoulos, The fifty years of the University of Thessaloniki 1926 – 1976, Thessaloniki 1976 ;Mr. A. Letsas, The History of Thessaloniki, volume ∞ã, Thessaloniki 1961 ;Macedonian Museum of Contemporary Art & Ministry of Culture & Municipality of Thessaloniki [reviewer: Mr. V. Kolonas], Thessaloniki 1912 – 1992: 8 decades of modern Greek architecture, Thessaloniki 1993
πÛÙÔÚÈÎfi ™˘Ó¤‰ÚÈÔ (29-31 ª·˝Ô˘ 1992) ¶Ú·ÎÙÈο, £ÂÛÛ·ÏÔÓ›ÎË 1993.
;Nr. F. Makris – Mr. Ch. Papadimitriou, "The Old Government House of
;ª·ÓÙÔÔ‡ÏÔ˘-¶·Ó·ÁȈÙÔÔ‡ÏÔ˘ £. & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂È-
Thessaloniki consecutive phases of ownership (1915 – 1948)", 13th
¯ÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ √ıˆÌ·ÓÈ΋ ¶ÂÚ›Ô‰Ô˜, ∫ÙËÌ·ÙÔ-
Pan-Hellenic Conference of History (29 – 31 May 1992)
ÏÔÁÈΤ˜ ¶ËÁ¤˜. Δ¤ÏË 19Ô˘, ·Ú¯¤˜ 20Ô‡ ·ÈÒÓ·, £ÂÛÛ·ÏÔÓ›ÎË 2004.
Proceedings, Thessaloniki 1993
;√ÚÁ·ÓÈÛÌfi˜ §È̤ÓÔ˜ £ÂÛÛ·ÏÔӛ΢, ∂ÓËÌÂÚˆÙÈÎfi ¢ÂÏÙ›Ô, £ÂÛÛ·ÏÔÓ›ÎË 2004. ;¶··‰ËÌËÙÚ›Ô˘ ¢., «√ Ó¤Ô˜ ÂÈ‚·ÙÈÎfi˜ ÛȉËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ Ù˘ £ÂÛÛ·ÏÔӛ΢», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-ª¿ÚÙÈÔ˜ 2004) 128-143.
k 258
;Mrs. Th. Mantopoulou – Panagiotopoulou & Mr. E. Hekimoglou, The History of Entrepreneurship of Thessaloniki. The Ottoman Period, Cadastral Sources. Late 19th, early 20th century, Thessaloniki 2004 ;Port of Thessaloniki Organization, Bulletin, Thessaloniki 2004
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
B I B L I O G R A P H Y
;¶··‰ËÌËÙÚ›Ô˘ ¢., «ΔÔ ÙÚ·›ÓÔ Ù˘ ª›ÎÚ·˜ ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ªÂÁ¿ÏÔ˘
;Mr. D. Papadimitriou, "The new passenger railway station of
¶ÔϤÌÔ˘ (1915-1918)», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-
Thessaloniki", Thessalonikeon Polis, issue 13 (January – March
ª¿ÚÙÈÔ˜ 2004) 84-95.
2004) 128 – 143
;¶··˙ÒÙÔ˜ £., «ΔÔ „ËÊȉˆÙfi ÙˆÓ ÎÙËÙfiÚˆÓ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ £ÂÛ-
;Mr. D. Papadimitriou, "The train of Mikra during the Great War (1915
Û·ÏÔӛ΢», ª·Î‰ÔÓÈο, ¶·Ú¿ÚÙËÌ· ·Ú. 5, ∞ÊȤڈ̷ ÛÙË ÌÓ‹ÌË ™Ù˘-
– 1918)", Thessalonikeon Polis, issue 13 (January – March 2004) 84
ÏÈ·ÓÔ‡ ¶ÂÏÂηӛ‰Ë, £ÂÛÛ·ÏÔÓ›ÎË 1983 365-376.
– 95
;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ ¯·Ì¤ÓË Â˘Î·ÈÚ›· ÁÈ· ÔÈÎÔÓÔÌÈ΋
;Mr. Th. Papazotos, "The founders’ mosaic of the temple of Aghios
·˘Ù¿ÚÎÂÈ· ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢: ∏ ÂÚÈÔ˘Û›· Ù˘ › ÙÔ˘Ú-
Dimitrios in Thessaloniki», Makedonika, Annex No. 5; To the memory
ÎÔÎÚ·Ù›·˜ ÂÏÏËÓÈ΋˜ ÎÔÈÓfiÙËÙÔ˜», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 7 (ª¿ÚÙÈÔ˜
of Mr. Stylianos Pelekanidis, Thessaloniki 1983 365 – 376
2002) 33-46.
;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "The lost chance for
;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ˘ÚηÁÈ¿˜ 18-
financial self-sufficiency of the university of Thessaloniki: The
19 ∞˘ÁÔ‡ÛÙÔ˘ 1917», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 11, (™Â٤̂ÚÈÔ˜ 2003)
fortune of the Greek Community during the ottoman occupation",
11-77.
Thessalonikeon Polis, issue 7 (March 2002) 33 – 46
;ƒÔ‡· ∂˘ÊÚÔÛ‡ÓË & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜
;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "Thessaloniki during the
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, 1900-1940. √È ÌÂÁ¿Ï˜ ÂȯÂÈÚ‹ÛÂȘ Î·È ÔÈ ÂȯÂÈÚË-
fire 18 – 19 August 1917", Thessalonikeon Polis, issue 11,
Ì·ÙÈΤ˜ ÔÈÎÔÁ¤ÓÂȘ, £ÂÛÛ·ÏÔÓ›ÎË 2004.
(September 2003) 11 – 77
;™·‚‚·˝‰Ë˜ ¶. & ª·Ó٤Ϸ˜ ∞., ¶fiÏȘ ¶·ÓÂÈÛÙËÌ›Ô˘ ¶fiÏȘ: ∏ ÈÛÙÔÚ›·
;Mrs. Efrosyni Roupa & Mr. E. Hekimoglou, The History of
ÙÔ˘ ¯ÒÚÔ˘ Ù˘ ¶·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ÙÔ˘ ∞¶£ ̤۷ ·fi ¯¿ÚÙ˜ ηÈ
Entrepreneurship of Thessaloniki, 1900 – 1940. The big enterprises
ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù·, £ÂÛÛ·ÏÔÓ›ÎË 2000. ;™‡ÏÏÔÁÔ˜ ∞ÁÚÔÓfiÌˆÓ ΔÔÔÁÚ¿ÊˆÓ ªË¯·ÓÈÎÒÓ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜, £ÂÛÛ·ÏÔÓ›ÎË ÛÙÔ˘˜ ¯¿ÚÙ˜, £ÂÛÛ·ÏÔÓ›ÎË 19085. ;Δ˙ÈÔ‡Ù˙È· ∂ϤÓË, ΔÔ ÙÂÓÂΉ¤ÓÈÔ ™¯ÔÏÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢: ΔÔ Û¯ÔÏÂ›Ô ÙˆÓ ÚÔÛʇÁˆÓ, £ÂÛÛ·ÏÔÓ›ÎË 2002. ;ÀÔ˘ÚÁ›ÔÓ ∫ÔÈÓˆÓÈ΋˜ ¶ÚÔÓÔ›·˜ – °ÂÓÈ΋ ¢È‡ı˘ÓÛȘ √ÈÎÈÛÌÔ‡, ÿÚÙ˘ £ÂÛ·ÏÔӛ΢ 1:10.000, £ÂÛÛ·ÏÔÓ›ÎË 1956. ;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡ & Ministère des Affaires Etrangères [ÂÈÌ. μ. ∫ÔÏÒÓ·˜], ∏ £ÂÛÛ·ÏÔÓ›ÎË ÛÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1989. ;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡-4Ë ∂ÊÔÚ›· ¡ÂˆÙ¤ÚˆÓ ªÓËÌ›ˆÓ, ¡ÂÒÙÂÚ· ÌÓËÌ›· Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË, 1985-86. ;ÃÂΛÌÔÁÏÔ˘ ∂. & Danacioglu Esra, ∏ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi 100 ¯Úfi-
T H E S S A L O N I K I
and the business families, Thessaloniki 2004 ;Mr. P. Savaidis & A. Bandelas, Polis Panepistimiou Polis: The history of the Aristotle University of Thessaloniki campus site through maps and topographic plans, Thessaloniki 2000 ;Association of Agronomists Topographer Engineers of Northern Greece, Thessaloniki in maps, Thessaloniki 1985 ;Mrs. Eleni Tzoutzia, The tin school of Thessaloniki: The refugees’ school, Thessaloniki 2002 ;Ministry of Social Welfare – Settlement Office, Map of Thessaloniki 1:10.000, Thessaloniki 1956 ;Ministry of Culture & Ministry of Foreign Affairs [reviewer: Mr. V. Kolonas], Thessaloniki during the First World War, Thessaloniki 1989
259 k
μ π μ § π √ ° ƒ ∞ º π ∞
ÓÈ·: ΔÔ ÌÂÙ¤ˆÚÔ ‚‹Ì· ÚÔ˜ ÙË ¢‡ÛË, £ÂÛÛ·ÏÔÓ›ÎË 1998. ;ÃÂΛÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ 1925-2000, 75 ¯ÚfiÓÈ· ÈÛÙÔÚ›·, £ÂÛÛ·ÏÔÓ›ÎË, 2000. ;ÃÂΛÌÔÁÏÔ˘ ∂. & ƒÔ‡· ∂., ∏ ÔÈÎÔÓÔÌ›· Ù˘ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜ ̤۷ ·fi ÙȘ ÛÂÏ›‰Â˜ Ù˘ «μÈÔÌ˯·ÓÈ΋˜ ∂ÈıÂÒÚËÛ˘», 1955-1984, ∞ı‹Ó· 2004. ;ÃÂΛÌÔÁÏÔ˘ ∂., ∏ ÈÛÙÔÚ›· ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ª·Î‰ÔÓ›·˜-£Ú¿Î˘, £ÂÛÛ·ÏÔÓ›ÎË 2005. ;ÃÂΛÌÔÁÏÔ˘ ∂., £ÂÛÛ·ÏÔÓ›ÎË: ΔÔ˘ÚÎÔÎÚ·Ù›· Î·È ªÂÛÔfiÏÂÌÔ˜. ∫›ÌÂÓ· ÁÈ· ÙËÓ ÈÛÙÔÚ›· Î·È ÙËÓ ÙÔÔÁÚ·Ê›· Ù˘ fiÏ˘, £ÂÛÛ·ÏÔÓ›ÎË 1996. ;ÃÂΛÌÔÁÏÔ˘ ∂., §ÂÍÈÎfi ∂ȯÂÈÚËÌ·ÙÈÒÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, 1900-1940. ∞˘ÙÔÙÂÏ‹˜ ÙfiÌÔ˜ ÛÙË ÛÂÈÚ¿ πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, £ÂÛÛ·ÏÔÓ›ÎË 2004.
;Ministry of Culture – 4th Recent Monuments Curator Office, Recent Monuments of Thessaloniki, Thessaloniki, 1985-86 ;Mr. E. Hekimoglou & Danacioglu Esra, Thessaloniki 100 years ago: The hanging step to the West, Thessaloniki 1998 ;Mr. E. Hekimoglou & Mrs. E. Roupa, International Trade Fair of Thessaloniki 1925 – 2000, 75 years of history, Thessaloniki, 2000 ;Mr. E. Hekimoglou & Mrs. E. Roupa, The economy of Northern Greece through the pages of the "Viomichaniki Epitheorisi" [i.e. Industrial Review], 1955 – 1984, Athens 2004 ;Mr. E. Hekimoglou, The History of the Ministry of Macedonia – Thrace, Thessaloniki 2005 ;Mr. E. Hekimoglou, Thessaloniki: Turkish occupation and Interwar years. Texts on the history and topography of the city, Thessaloniki 1996 ;Mr. E. Hekimoglou, Dictionary of the Businessmen of Thessaloniki, 1900 – 1940. Self-inclusive volume in the series of The History of Entrepreneurship of Thessaloniki, Thessaloniki 2004.
k 260
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
∂Àƒ∂Δ∏ƒπ√ SITE
Δ√¶√£∂™πø¡ INDEX
(∞ӷʤÚÂÙ·È Ô ·ÚÈıÌfi˜ Ù˘ ʈÙÔÁÚ·Ê›·˜. ¢ÂÓ ·Ô‰ÂÏÙÈÒıËÎ·Ó ÔÈ fiÚÔÈ:
(The number of the photograph is cited. The following terms were not
ÚÔÎ˘Ì·›·, ·Ú·Ï›· Î·È «§Â˘Îfi˜ ¶‡ÚÁÔ˜»)
indexed: quay, waterfront and "White Tower")
;∞ÁÁÂÏ¿ÎË, Ô‰fi˜ 43, 51, 54, 55, 56, 58
;Aggelaki, street 43, 51, 54, 55, 56, 58
;∞Á›· ™ÔÊ›·, Ó·fi˜ 47, 69, 98, 100
;Aghia Photini, quarter 51, 65, 106
;∞Á›· ΔÚÈ¿‰·, Û˘ÓÔÈÎÈÛÌfi˜ 30, 107
;Aghia Sophia, temple 47, 69, 98, 100
;∞Á›· ºˆÙÂÈÓ‹, Û˘ÓÔÈÎÈÛÌfi˜ 51,65, 106
;Aghia Sophia, street 95, 96, 97, 99
;∞Á›·˜ ™ÔÊ›·˜, Ô‰fi˜ 95, 96, 97, 99
;Aghia Sophia, square 98, 99
;∞Á›·˜ ™ÔÊ›·˜, Ï·Ù›· 98, 99
;Aghia Triada, quarter 30, 107
;ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, Ó·fi˜ 79, 80, 81, 102. æËÊȉˆÙfi 82
;Aghios Dimitrios, temple 79, 80, 81, 102. Mosaic 82
;ÕÁÈÔ˜ ∂˘ı‡ÌÈÔ˜ 68
;Aghios Efthimios 68
;ÕÁÈÔ˜ £ÂÚ¿ˆÓ, Ó·fi˜ 3
;Aghios Grigorios Palamas, temple 97
;ÕÁÈÔ˜ ªËÓ¿˜, Ó·fi˜ 5
;Aghios Minas, temple 5
;ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜, ı¤ÛË Ó·Ô‡ 80
;Aghios Nestoras, site of temple 80
;ÕÁÈÔ˜ ¶·‡ÏÔ˜, Û˘ÓÔÈÎÈÛÌfi˜ 104
;Aghios Pavlos, quarter 104
;ÕÁÈÔ˜ °ÚËÁfiÚÈÔ˜ ¶·Ï·Ì¿˜, Ó·fi˜ 97
;Aghios Therapon, temple 3
;∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, Ô‰fi˜ 7, 64, 81, 84
;Aghiou Dimitriou, street 7, 64, 81, 84
;∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ó·fi˜ 50
;Aghiou Konstantinou, temple 50
;∞Á›Ô˘ ªËÓ¿, Ô‰fi˜ 97
;Aghiou Mina, street 97
;∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢ 109, 110
;Agricultural Bank of Macedonia, building 97
;∞ÎÚÔfiψ˜, Ô‰fi˜ 66
;AHEPA, Hospital 1, 65
;∞ÎÚfiÔÏË 104
;Airport of Thessaloniki 109, 110
;∞Ï·Ù˙¿ πÌ·Ú¤Ù 79. ºÈ¿ÏË 80
;Akropoleos, street 66
;∞Ï¢ÚÔ¿˙·ÚÔ˘, Ô‰fi˜ 92
;Alatza Imaret 79. Bottle 80
T H E S S A L O N I K I
261 k
E À ƒ ∂ Δ ∏ ƒ π √
Δ √ ¶ √ £ ∂ ™ π ø ¡
;∞ÏÏ·Ù›ÓË, ·Ï¢ÚfiÌ˘ÏÔ˜ 87, 88
;Alevropazarou, street 92
;∞ÏÏ·Ù›ÓË, ÔÈΛ· 88, 89
;Allatini, flourmill 87, 88
;∞Ó·ÁÂÓÓ‹Ûˆ˜, Ô‰fi˜ 4
;Allatini, mansion 88, 89
;∞Ó¿ÎÙÔÚÔ 112
;Anageniseos, street 4
;ÕÓˆ ¶fiÏË 98, 104
;Ano Poli 98, 104
;∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯ÔÏ‹ 97
;Apostolou Pavlou, street 73, 74
;∞Ô‚¿ıÚ·, §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 37
;Aristotelous, square 1, 6, 18, 28, 29, 102
;∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘ Ô‰fi˜ 73, 74
;Aristotelous, street 102
;∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· 108
;Ancient Forum 1
;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ô‰fi˜ 102
;Archaeological Museum 56, 58
;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ï·Ù›· 1, 6, 18, 28, 29, 102
;Army Corps, 3rd 49
;∞Ú¯·›· ∞ÁÔÚ¿ 1
;Astoria, café at the waterfront 30
;∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô 56, 58
;Astoria, café on Tsimiski Street, 95
;∞ÛÙÂÚÔÛÎÔÂ›Ô 65
;Baltadorou, residence 98
;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô Â› Ô‰Ô‡ ΔÛÈÌÈÛ΋, 95
;Bank of Athens, building 5
;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô ·Ú·ÏÈ·Îfi 30
;Bank of Industry, building 5
;∞Ã∂¶∞, ÓÔÛÔÎÔÌÂ›Ô 1, 65
;Bank of Thessaloniki, storehouses 12, 13
;μ·Ï·ÁÈ¿ÓÓË, Û¯ÔÏ‹ 97
;Bey Hamam 78, 93
;μ·Ï·Ô‡ÚË, ̤Á·ÚÔ 103
;Bezesteni 83
;μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Ô‰fi˜ 41, 42, 43, 44, 49
;Byzantium, quarter 2
;μÂÓÈ˙¤ÏÔ˘ Ô‰fi˜ 24, 83, 93, 94, 101
;Chalkeon Mosque 77
;μÈÎÙfiÚÈ·, ̤Á·ÚÔ 5
;Chalkeon, street 77
;μÏ·Ù¿‰ˆÓ, ÌÔÓ‹ 79
;Charilaou, region 2
;μÏ¿¯Ô˜, Ù·‚¤ÚÓ· 47
;Chemical Industry of Northern Greece 113
;μ˘˙¿ÓÙÈÔ, Û˘ÓÔÈÎÈÛÌfi˜ 2
;Chrysostomou Smyrnis, street 21, 31, 32
;°·ÏÂÚ›Ô˘ ·„›‰· 72, 73, 74, 75. 76
;Cinemas: Dionysia 96, Ethnikon 32, 33, Zephyros 28, Ilysia 6, 47,
;°ÂÓ› Δ˙·Ì› 56
Kentriko 32, Palace, 34
;°ÂÓ› Ã·Ì¿Ì 79, 80
;Citadel 104
;°ÂÚÌ·ÓÔ‡ ¡ÈÎÔÏ¿Ô˘, Ô‰fi˜ 58
;Commercial Union, building 83
;°ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜, ÎÙ›ÚÈÔ 97
;Conservatory 42, 44
;°™¡ 106
;Consulate of the U.S.A. 31, 32
k 262
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
;¢∂£ 1, 7, 49, 50, 51, 54, 55,, 56, 58, 59, 60, 61, 62, 63, 65, 106.
I N D E X
;Despere, street 42, 43, 55, 58
∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ 54, 63. §Ô‡Ó· ·ÚÎ 60. ¶ÂÚ›ÙÂÚÔ ∂√∫ 63. ¶ÂÚ›ÙÂ-
;Diagonios, street 103
ÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜ 51, 65. ¶‡ÚÁÔ˜ √Δ∂ 60, 61
;Diavata 113
;¢ÂÛÂÚ¤, Ô‰fi˜ 42, 43, 55, 58
;Diikitirio (i.e. Residency) 84, 85, 86
;¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË, Ô‰fi˜ 34
;Dikastirion, square 78, 102
;¢È·‚·Ù¿ 113
;Dimitriou Gounari, street 34
;¢È·ÁÒÓÈÔ˜, Ô‰fi˜ 103
;Dore, cafe 48, 104
;¢ÈηÛÙËÚ›ˆÓ, ¶Ï·Ù›· 78, 102
;Drossou, building 5
;¢ÈÔÈÎËÙ‹ÚÈÔ 84, 85, 86
;Editors’ Association, offices 96
;¢ÚfiÛÔ˘, ̤Á·ÚÔ 5
;Egnatia, street (in Thessaloniki) 7, 6, 72, 73, 77, 92, 93, 94
;∂ÁÓ·Ù›·, Ô‰fi˜ (£ÂÛÛ·ÏÔӛ΢) 7, 6, 72, 73, 77, 92, 93, 94
;Electric company, 29; Kiosk at the White Tower Garden 40
;∂ıÓÈ΋ ΔÚ¿Â˙·, ÎÂÓÙÚÈÎfi ηٿÛÙËÌ· 5. ÀÔηٿÛÙËÌ· ™ÈÓÙÚÈ‚·Ó›Ô˘ 74.
;Eleftherias, square 1, 5, 24; Torture site 25, 26
¶ÚÔÛˆÚÈÓ‹ ÛÙ¤Á·ÛË 97
;Eptapyrgio 67
;∂ıÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 37, 38, 39, 41, 64, 104
;Ermeion, building 83
;∂ı‡Ï, ‚ÈÔÌ˯·Ó›· 114
;Ermeion, restaurant 34, 35
;∂Ï¢ıÂÚ›·˜, Ï·Ù›· 1, 5, 24. ΔfiÔ˜ Ì·ÚÙ˘Ú›Ô˘ 25, 26
;Ermou, street 83, 98, 100, 101
;∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜, ̤Á·ÚÔ 83
;Esso Pappas 113
;ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ, ÁÚ·Ê›· 96
;Ethnikis Amynis, street 37, 38, 39, 41, 64, 104
;∂ÍÔ¯ÒÓ, ψÊfiÚÔ˜ 39
;Ethyl, Industry 114
;∂Ù·‡ÚÁÈÔ 67
;Evaggelistria, cemetery 65
;∂ÚÌ›ÔÓ, ÂÛÙÈ·ÙfiÚÈÔ 34, 35
;Exohon, avenue 39
;∂ÚÌ›ÔÓ, ̤Á·ÚÔ 83
;Fish market, new, 23
;∂ÚÌÔ‡ Ô‰fi˜ 83, 98, 100, 101
;Folklore & Ethnologic Museum of Macedonia 90, 105
;∂˘·ÁÁÂÏ›ÛÙÚÈ·, ÎÔÈÌËÙ‹ÚÈÔ 65
;Fountain 50
;∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÁÏ˘Ùfi 7
;Francaise, building 31, 34, 36
;∏ÏÂÎÙÚÈ΋ ÂÙ·ÈÚ›·, 29. ¶ÂÚ›ÙÂÚÔ ÛÙÔÓ Î‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 40
;Galerius Arch 72, 73, 74, 75, 76
;£¤·ÙÚ·: μ·ÛÈÏÈÎfi 1, 40, 44. ∫Ú·ÙÈÎfi μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 41. ™ÙÚ·ÙȈÙÈÎfi
;General Army Hospital 106
43
;Germanou Nikolaou, street 58
;πÓÙ·ÓÙÈÁȤ, Û¯ÔÏ‹ 89
;Hamidie, street 38
;π¯ı˘·ÁÔÚ¿ Ó¤·, 23
;Hamza Bey 92, 94
;∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31
;Hellenic Bank, building 5
T H E S S A L O N I K I
263 k
E À ƒ ∂ Δ ∏ ƒ π √
Δ √ ¶ √ £ ∂ ™ π ø ¡
;∫·Ì‚Ô˘Ó›ˆÓ, Ô‰fi˜ 74
;Higher School of Industry 97
;∫¿Ô˘Ê ÃÔÊ, ηٿÛÙËÌ· 83
;Hospital, Kentriko 65
;∫·¿ÓÈ (·Ï¢ڷÁÔÚ¿) 92, 93
;Hotels: ∞μC 74, Majestic 28, 30, Macedonia Palace 44,
;∫·Ú·ÌÔ˘ÚÓ¿ÎÈ 112
Mediterranee 23, Bastazini 34, Splendid palace 23, 39
;∫·ÚfiÏÔ˘ ¡ÙËÏ, Ô‰fi˜ 95
;Hunters’ Café 47
;∫·ÛÛ¿Ó‰ÚÔ˘ Ô‰fi˜ 79, 81
;Idadye, school 89
;∫·ÙÔ‡ÓË, Ô‰fi˜ 5
;International Trade Fair of Thessaloniki 1, 7, 49, 50, 51, 54, 55,, 56,
;∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ 106
58, 59, 60, 61, 62, 63, 65, 106; Commercial Centre 54, 63.
;∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ 47
Entertainment Park 60; E.E.C. kiosk 63; National Output kiosk 51, 65;
;∫ÂÚ·ÌÔÔ‡ÏÔ˘, Ô‰fi˜ 99
Tower of Telecommunications Company 60, 61
;∫‹Ô˜ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 23, 40, 41
;Irrigation canal 108
;∫ÈÓËÌ·ÙÔÁÚ¿ÊÔÈ: ¢ÈÔÓ‡ÛÈ· 96, ∂ıÓÈÎfiÓ 32, 33, ∑¤Ê˘ÚÔ˜ 28, ∏χÛÈ· 6,
;Kaftatzoglio Stadium 106
47, ∫ÂÓÙÚÈÎfi 32, ¶·ÏÏ¿˜, 34
;Kallari, street 22, 31
;∫ÔÌÓËÓÒÓ, Ô‰fi˜ 5, 100
;Kamvounion, street 74
;∫ÔÓÈfiÚ‰Ô˘, ̤Á·ÚÔ 28
;Kapani (flour market) 92, 93
;∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘, Ô‰fi˜ 39
;Karabournaki 112
;∫fiÊÊ·, ̤Á·ÚÔ 5
;Karolou Dil, street 95
;∫˘„¤ÏË, ·ÓÙÔˆÏÂ›Ô 103
;Kassandrou, street 79, 81
;§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ 90, 105
;Katouni, street 5
;§¤Û¯Ë ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔӛ΢ 41, 104
;Kauf Hof, shop 83
;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ∫‹Ô˜ 40
;Keramopoulou, street 99
;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, Ï·Ù›· 39, 41, 44
;Kipseli, grocery 103
;§È̤ӷ˜: ∫ÚË›‰ˆÌ· 14, 19, 20. ∫˘Ì·ÙÔıÚ·‡ÛÙ˘ 2, 16. ¡ËÛ›‰· 17.
;Koffa, building 5
¶ÚÔ‚Ï‹Ù˜ 5, 6, 9, 15, 16, 17, 18, 19, 20. ΔÂψÓÂ›Ô 5, 14, 19
;Komninon, street 5, 100
;§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜ 78
;Koniordou, building 28
;§Ô¯›· ∂ÓÙ¤Ì, Ô‰fi˜ 21
;Kountouriotou, street 39
;ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 80
;Lochia Edem, street 21
;ª·Î‰ÔÓÔÌ¿¯ˆÓ Ï·Ù›· 98
;Macedonian Struggle Museum, building 97
;ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ ψÊfiÚÔ˜, ‚Ï. ¡¤· ¶·Ú·Ï›·
;Makedonikis Amynis, street 80
;ªÂÙˆÚÔÛÎÔÂ›Ô 65
;Makedonomachon, square 98
;ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê, Ô‰fi˜ 21, 31, 32
;Mega Lou Alexandria, avenue, see. New Waterfront
k 264
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
I N D E X
;ª›ÎÚ· 22
;Meteorological station 65
;ªÈÛÈÚÏfiÁÏÔ˘, ÎÏÈÓÈ΋ 98
;Mikra 22
;ªÔ‰È¿ÓÔ π·ÎÒ‚, ηÙÔÈΛ· 90
;Ministry of Macedonia – Thrace, building 84
;ªÔ‰È¿ÓÔ, ·ÁÔÚ¿ 100
;Misirloglou, clinic 98
;ªÔÓ·ÛÙËÚ›Ô˘, Ô‰fi˜ 4
;Mitropolitou Iosif, street 21, 31, 32
;ªÔÚÁÎÂÓÙ¿Ô˘ Ô‰fi˜ 31
;Modiano Jacob, residence 90
;ªÔÛÎÒÊ, ̤Á·ÚÔ 103
;Modiano, market place 100
;ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·, ÎÙ›ÚÈÔ 97
;Monastiriou, street 4
;ª·ÏÙ·‰ÒÚÔ˘, ÔÈΛ· 98
;Morgentau, street 31
;ªÂ˙ÂÛÙ¤ÓÈ 83
;Moscov, building 103
;ª¤Ë Ã·Ì¿Ì 78, 93
;National Bank, central branch 5; Sintrivaniou Square branch 74;
;¡¤· ∞ÁÔÚ¿ 100
Temporary settlement 97
;¡¤· ¶·Ú·Ï›· ‹ ψÊfiÚÔ˜ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ 42, 90, 105
;Nea Agora 100
;¡¤ÔÈ ∂È‚¿Ù˜ 30
;Nei Epivates 30
;¡›Î˘, ψÊfiÚÔ˜ 22
;New Waterfront or Megalou Alexandrou, avenue 42, 90, 105
;¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 44
;Nikis, avenue 22
;¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢, ÎÙ›ÚÈÔ 88
;Nikolaou Germanou, street 44
;¡ÔÛÔÎÔÌ›Ô, ∫ÂÓÙÚÈÎfi 65
;Nurses, school of 65
;¡ÔÛÔÎfïÓ, Û¯ÔÏ‹ 65
;Observatory 65
;¡ÙÔÚ¤ ηÊÂÓÂ›Ô 48, 104
;Palace 112
;•ÂÓԉԯ›·: ∞μC 74, ª·˙¤ÛÙÈÎ 28, 30, ª·Î‰ÔÓ›· ¶·ÏÏ¿˜ 44, ªÂÓÙÈ-
;Palais de Sports 5, 59, 65
ÙÂÚ·Ó¤ 23, ª·ÛÙ·˙›ÓË 34, ™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜ 23, 39
;Paleon Patron Germanou, street 72, 73
;¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘, Ô‰fi˜ 21
;Paleou Alogopazarou, street 21
;¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 72, 73
;Panagia Chalkeon, temple 77, 78, 93
;¶·Ï¤ ÓÙ ™ÔÚ 5, 59, 65
;Panagia Dexia, temple 74
;¶·Ó·Á›· ÷ÏΤˆÓ, Ó·fi˜ 77, 78, 93
;PAOK, playground 65
;¶·Ó·Á›·˜ ¢ÂÍÈ¿˜, Ó·fi˜ 74
;Paradisos Bathes 78
;¶·ÓÂÈÛÙËÌȷ΋ μÈ‚ÏÈÔı‹ÎË 7
;Pavlou Mela, street 41, 47, 48, 103
;¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË 65. °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Û¯ÔÏ‹ 64, 65. £ÂÔÏÔÁÈ΋
;Pedio Areos 49, 56, 87
Û¯ÔÏ‹ 65. π·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈΤ˜ ÎÏÈ-
;Peraia 30
ÓÈΤ˜ 4. ¡√∂, Û¯ÔÏ‹, ÎÙ›ÚÈÔ 7. ¶ÔÏ˘Ù¯ÓÈ΋ Û¯ÔÏ‹ 65. ºÈÏÔÛÔÊÈ΋ Û¯Ô-
;Petit Palais, poolroom 31, 34
T H E S S A L O N I K I
265 k
E À ƒ ∂ Δ ∏ ƒ π √
Ï‹, ÎÙ›ÚÈÔ, 7. º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹ 64, 65
Δ √ ¶ √ £ ∂ ™ π ø ¡
;Phaliro, region2
;¶∞√∫ Á‹Â‰Ô 65
;Philikis Eterias, street 104
;¶·‡ÏÔ˘ ªÂÏ¿, Ô‰fi˜ 41, 47, 48, 103
;Philippou, old street 70, 71
;¶Â‰›Ô ÕÚˆ˜ 49, 56, 87
;Polytechniou, street 5
;¶ÂÚ·›· 30
;Port: Seawall 14, 19, 20, breakwater 2, 16, artificial island 17, wharfs
;¶ÔÏ˘Ù¯Ó›Ԣ, Ô‰fi˜ 5
5, 6, 9, 15, 16, 17, 18, 19, 20, customs 5, 14, 19
;¶ÚÔÍÂÓÂ›Ô ∏¶∞ 31, 32
;Prefecture of Thessaloniki, building 88
;¶ÚÔÊ‹Ù˘ ∏Ï›·˜, Ó·fi˜ 79
;Prophitis Ilias, temple 79
;¶ÙÈ ¶·Ï·›, ÛÊ·ÈÚÈÛÙ‹ÚÈÔ 31, 34
;Pylaia, quarter 2
;¶˘Ï·›·, Û˘ÓÔÈÎÈÛÌfi˜ 2
;Quay, of White Tower 37
;ƒÔÙfiÓÙ·, ›ÛÔ‰Ô˜ 70, 72. ªÈÓ·Ú¤˜ 66
;Railway 4, 22, 24
;™·Ï·Ì›ÓÔ˜, Ô‰fi˜ 5, 10, 11
;Railway Station of Thessaloniki 4, 39, 111
;™·ÌÚ‹ ¶·Û¿, Ô‰fi˜ 24
;Rotonda, entrance 70, 72. Minaret 66
;™·Ú¿ÓÙ· ∂ÎÎÏËÛȤ˜, Û˘ÓÔÈÎÈÛÌfi˜ 64, 104
;Sabri Pasha, street 24
;™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ô‰fi˜ 64
;Salaminos, street 5, 10, 11
;™›ÁÁÂÚ Ì¤Á·ÚÔ 83, 101
;Saranta Eklissies, quarter 64, 104
;™È‰ËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 4, 22, 24
;Saranta Eklission, street 64
;™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ™Ù·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢ 4, 39, 111
;School for the Blind, 105
;™ÈÓÙÚÈ‚¿ÓÈ 50
;School of Chemistry 64, 65
;™ÈÓÙÚÈ‚·Ó›Ô˘ Ï·Ù›· 7, 38, 50, 60, 62, 74
;Singer, building 83, 101
;™Ô˘ÏÂ˚Ì¿Ó, Ù¤ÌÂÓÔ˜ 92
;Sintrivaniou, square 7, 38, 50, 60, 62, 74
;™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31, 34, 35, 36
;Stratigou Kallari, street 22, 31, 34, 35, 36
;™ÙÚ·Ù‹˜, ÂÛÙÈ·ÙfiÚÈÔ 28
;Stratis, restaurant 28
;™ÙÚ·ÙÔ‡ §ÂˆÊfiÚÔ˜ 49, 50, 58
;Stratou, avenue 49, 50, 58
;™¯ÔÏ‹ Δ˘ÊÏÒÓ, 105
;Stream at Aggelaki Street 55
;™ÒÌ· ™ÙÚ·ÙÔ‡ °ã49
;Student hostels 64
;Δ›¯Ë ‚fiÚÂÈ· 66, 67, 71
;Suleiman, mosque 92
;Δԇ̷ 2, 3, 4
;Theatres: Royal 1, 40, 44; National of Northern Greece 41; Military
;ΔÚ¿Â˙· ∞ıËÓÒÓ, ÎÙ›ÚÈÔ 5
43
;ΔÚ¿Â˙· μÈÔÌ˯·Ó›·˜, ÎÙ›ÚÈÔ 5
;Thessaloniki Garrison Service Club 41, 104
;ΔÚ¿Â˙· ∂ÏÏ¿‰Ô˜, ÎÙ›ÚÈÔ 5
;Toumpa 2, 3, 4
k 266
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏
S I T E
I N D E X
;ΔÚ¿Â˙· £ÂÛÛ·ÏÔӛ΢, ·Ôı‹Î˜ 12, 13
;Tramway 22, 24, 72
;ΔÚÈÁÒÓÈÔ 66
;Trigonio 66
;ΔÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 22, 24, 72
;Tsaldari, quarters 64
;Δ۷ω¿ÚË, Û˘ÓÔÈÎÈÛÌfi˜ 64
;Tsimiski, street 5, 58, 95, 96, 102, 103, 104
;ΔÛÈÌÈÛ΋ Ô‰fi 5, 58, 95, 96, 102, 103, 104
;Tsirogianni, camp 42, 43
;ΔÛÈÚÔÁÈ¿ÓÓË ÛÙÚ·ÙfiÂ‰Ô 42, 43
;Tsirogianni, street 47, 48
;ΔÛÈÚÔÁÈ¿ÓÓË, Ô‰fi˜ 47, 48
;Tyroloi, building 28, 30
;Δ˘ÚÔÏfiË, ̤Á·ÚÔ 28, 30
;University campus 65; School of Agronomics & Forestry 64, 65;
;ÀÔ˘ÚÁÂ›Ô ª·Î‰ÔÓ›·˜ – £Ú¿Î˘, ÎÙ›ÚÈÔ 84
School of Theology 65; School of Medicine 64; School of Veterinary
;º¿ÏËÚÔ, ÂÚÈÔ¯‹ 2
Science 64; Veterinary Clinics 4; School of Law & Economics,
;ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, Ô‰fi˜ 104
building 7; School of technology 65; School of Philosophy, building,
;ºÈÏ›Ô˘, Ô‰fi˜ ·Ï·È¿ 70, 71
7; School of Physics & Mathematics 64, 65
;ºÔÈÙËÙÈΤ˜ ÂÛٛ˜ 64
;University library 7
;ºÚ·ÓÛ¤˙ ̤Á·ÚÔ 31, 34, 36
;Valagianni, school 97
;÷ÏΤˆÓ Ô‰fi˜ 77
;Valaouri, building 103
;÷ÏΤˆÓ Δ¤ÌÂÓÔ˜ 77
;Vassileos Gheorgiou, street 41, 42, 43, 44, 49
;ÿÌ˙· ª¤Ë 92, 94
;Venizelou, street 24, 83, 93, 94, 101
;÷ÌÈÓÙȤ, Ô‰fi˜ 38
;Victoria, building 5
;Ã∞¡£, ̤Á·ÚÔ 43, 91
;Vlachos, tavern 47
;Ã∞¡£, Ï·Ù›· 50, 58, 62
;Vlatadon, monastery 79
;÷ÚÈÏ¿Ô˘, ÂÚÈÔ¯‹ 2
;Walls, northern 66, 67, 71
;ÃÂÈÌ¿ÚÚÔ˜ Ô‰Ô‡ ∞ÁÁÂÏ¿ÎË, 55
;White Tower Garden 23, 40, 41
;ÃËÌÂ›Ô 64, 65
;White Tower, square 39, 41, 44
;ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 113
;Yeni Hamam 79, 80
;ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘, Ô‰fi˜ 21, 31, 32
;Yeni Tzami 56
;ø‰Â›Ô 42, 44
;YMCA of Thessaloniki, building 43, 91
;Esso Pappas 113
;YMCA of Thessaloniki, square 50, 58, 62 ;Zoggolopoulos, sculpture of 7
T H E S S A L O N I K I
267 k