Θεσσαλονίκη _Τεκμήρια Φωτογραφικού Αρχείου 1900-1980
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Transcript of Θεσσαλονίκη _Τεκμήρια Φωτογραφικού Αρχείου 1900-1980
T H E S S A L O N I K I 9k
∏ ·ÍÈÔÔ›ËÛË Ù˘ ÙÂÚ¿ÛÙÈ·˜ ÔÏÈÙÈÛÙÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ì·˜ - ·Ú¯·›·˜, ‚˘˙·-
ÓÙÈÓ‹˜, ÓÂfiÙÂÚ˘ Î·È Û‡Á¯ÚÔÓ˘ - Â›Ó·È ÁÈ· ÙËÓ ∂ÏÏ¿‰· Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ Ì›·
·fi ÙȘ ÌÂÁ·Ï‡ÙÂÚ˜ ÚÔÎÏ‹ÛÂȘ Ù˘ Ó¤·˜ ÂÔ¯‹˜.
ªÂ ÙËÓ ÂÔ›ıËÛË fiÙÈ Ë ‰È·‰Èηۛ· ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ‰ÂÓ ÂÚÈÔÚ›˙ÂÙ·È ·ÏÒ˜
ÛÙË Û˘ÓÙËÚËÙÈ΋ ‰È·¯Â›ÚÈÛË ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜, ·ÏÏ¿ ÂÂÎÙ›ÓÂÙ·È ÛÙËÓ ÂÍ·-
ÛÊ¿ÏÈÛË ÙˆÓ fiÚˆÓ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ̤ÏÏÔÓÙÔ˜, Û‹ÌÂÚ·, ÂÚÈÛÛfiÙÂÚÔ
·fi ÔÙ¤ ¿ÏÏÔÙÂ, ¤¯Ô˘Ì ÙË ÌÂÁ¿ÏË Â˘Î·ÈÚ›· Ó· ÂÓÒÛÔ˘Ì ÙȘ ‰˘Ó¿ÌÂȘ Ì·˜
ÛÙËÓ ˘fiıÂÛË ÙÔ˘ ÔÏÈÙÈÛÌÔ‡.
™’ ·˘Ùfi ÙÔ Ó‡̷, Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ë °ÂÓÈ΋ °Ú·ÌÌ·Ù›·
∂ÓË̤ڈÛ˘ ÚÔ¯ÒÚËÛ·Ó ÛÙËÓ ¤Î‰ÔÛË ÙÔ˘ ·ÚfiÓÙÔ˜ ÙfiÌÔ˘ Ô˘ ·ÓıÔÏÔÁ›
ÙÂÎÌ‹ÚÈ· ÙÔ˘ ʈÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘ ÙÔ˘˜ Ì ı¤Ì· ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤Î‰Ô-
ÛË ·˘Ù‹ Â›Ó·È Ì¤ÚÔ˜ ÌfiÓÔ Ù˘ ¢ڇÙÂÚ˘ ÚÔÛ¿ıÂÈ·˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË,
Ù·ÍÈÓfiÌËÛË Î·È ·ÍÈÔÔ›ËÛË ÙÔ˘ ÙÂÚ¿ÛÙÈÔ˘ ÔÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ˘ÏÈÎÔ‡ Ù˘
¯ÒÚ·˜ ˘fi ÙË Û˘ÓÙÔÓÈÛÙÈ΋ ·ÈÁ›‰· ÙÔ˘ ∂ıÓÈÎÔ‡ √ÙÈÎÔ·ÎÔ˘ÛÙÈÎÔ‡ ∞Ú¯Â›Ô˘.
∂ÓÙ·ÛÛfiÌÂÓÔ ÏÔÈfiÓ ÙÔ Ï‡Έ̷ ·˘Ùfi Û ¤Ó· ¢ڇÙÂÚÔ, ÂÍ’ ÔÚÈÛÌÔ‡ ·¯·Ó¤˜
Î·È ·ÓÂÍ¿ÓÙÏËÙÔ ¤ÚÁÔ, ·ÔÎÙ¿ ÌÈ· ͯˆÚÈÛÙ‹ ÛËÌ·Û›·: ·Ô‰ÂÈÎÓ‡ÂÈ fiÙÈ Ë ÚÔ-
Û¿ıÂÈ· Ó· Á›ÓÂÈ Í·Ó¿ ÚÔÛÈÙfi ÛÙȘ ∂ÏÏËÓ›‰Â˜ Î·È ÙÔ˘˜ ã∂ÏÏËÓ˜ ·˘Ùfi ÙÔ
ÎÂÊ¿Ï·ÈÔ ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Î·È Ù˘ ÈÛÙÔÚ›·˜ Ì·˜ ÌÔÚ› Ó· ·Ô‰ÒÛÂÈ ·ÔÙÂϤ-
ÛÌ·Ù· ·ÈÛıËÙÈο ¿ÚÙÈ· Î·È ¯Ú‹ÛÈÌ· Û fiÔÈÔÓ ÂӉȷʤÚÂÙ·È Ó· Ù· ÌÂÏÂÙ‹ÛÂÈ.
ªÂ ·˘Ùfi ÙÔ ·›ÛıËÌ· Ù˘ ·ÈÛÈÔ‰ÔÍ›·˜ ÁÈ· ÙË Û˘Ó¤¯ÂÈ·, Û˘Á¯·›Úˆ ÂÈÏÈÎÚÈÓ¿
fiÏÔ˘˜ fiÛÔÈ ÂÚÁ¿ÛÙËÎ·Ó ÁÈ· ÙËÓ ¤Î‰ÔÛË ·˘Ù‹.
£. ƒƒ√À™√¶√À§√™,
YÔ˘ÚÁfi˜ ∂∂ÈÎÚ·Ù›·˜ ÎÎ·È ∫∫˘‚ÂÚÓËÙÈÎfi˜ ∂∂ÎÚfiÛˆÔ˜
The exploitation of our vast cultural heritage – ancient, Byzantine,
modern and contemporary – constitutes one of the greatest challenges
of the new era not only for Greece but also for the Greek people. It is my
firm belief that the process of civilization does not limit itself to a mere
preservative management of the past; it stretches far beyond this point
and extends to the establishment of the conditions that are necessary
in order to create the future. And it is now, more than ever before, that
we are given the great opportunity to unite our forces for the benefit of
culture. In a similar vein, the Secretariat General of Communication -
Secretariat General of Information proceeded with the publication of the
present volume, which anthologizes a number of records of the
photographic archive regarding Thessaloniki. This publication is only one
part of a wider attempt to gather, classify and exploit the vast
audiovisual material of our country under the auspices of the National
Audiovisual Archive, which plays a coordinating role. Therefore, this
album is of great importance as it is incorporated into a project that is
infinite and inexhaustible by definition. A project that proves that the
attempt to turn culture and history into something feasible and
accessible to all Greeks can bear fruits not only in aesthetic terms but
also in terms of its usefulness to anyone who wishes to study them.
Finally, I would like to express my optimism regarding future
developments and to sincerely congratulate every single person that
contributed to this publication.
THEODOROS RROUSSOPOULOS,
Minister oof SState aand GGovernment SSpokesman
ª ∏ ¡ À ª ∞M E S S A G E
T H E S S A L O N I K I 11k
∂ π ™ ∞ ° ø ° ∏
Δ· ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·Ì-
Ì·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘
Û˘ÓÈÛÙÔ‡Ó ÔχÙÈÌË Û˘Ì‚ÔÏ‹ ÛÙÔ ·fiıÂÌ· ÙˆÓ ÂÈηÛÙÈÎÒÓ ÙÂÎÌË-
Ú›ˆÓ Ô˘ ·ÊÔÚÔ‡Ó ÙË ÓÂfiÙÂÚË Î·È ÙË Û‡Á¯ÚÔÓË £ÂÛÛ·ÏÔÓ›ÎË, Û˘Ì-
‚ÔÏ‹ ·fi ÙËÓ ÔÔ›· ÔÈ ÈÛÙÔÚÈΤ˜ Î·È ·ÓıÚˆÈÛÙÈΤ˜ ¤Ú¢Ó˜ ¤¯Ô˘Ó
ÔÏÏ¿ Ó· ˆÊÂÏËıÔ‡Ó.
ΔÔ ˘ÏÈÎfi Ô˘ ÂÈϤ¯ıËΠˆ˜ ·ÓÙÈÚÔÛˆÂ˘ÙÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ 114
ʈÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ, ·fi ÙȘ Ôԛ˜ 35 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÚÈÓ
Î·È Î·Ù¿ ÙÔ ‰Â‡ÙÂÚÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È 79 ÌÂÙ¿ ·fi ·˘ÙfiÓ. Δ¤Û-
ÛÂÚȘ Ï‹„ÂȘ ·Ó¿ÁÔÓÙ·È ÛÙËÓ ÂÚ›Ô‰Ô ÚÈÓ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË
Ù˘ £ÂÛÛ·ÏÔӛ΢ (1912), 18 ÛÙËÓ ÂÚ›Ô‰Ô ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË
̤¯ÚÈ Î·È ÙË ÌÂÁ¿ÏË ˘ÚηÁÈ¿ ÙÔ˘ 1917, 10 Ï‹„ÂȘ ¤ÁÈÓ·Ó ÛÙËÓ
ÂÚ›Ô‰Ô ÙÔ˘ ªÂÛÔÔϤÌÔ˘ Î·È 3 ÛÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ™Â fi,ÙÈ
·ÊÔÚ¿ ÙË ÌÂÙ·ÔÏÂÌÈ΋ ÂÚ›Ô‰Ô, 9 Ï‹„ÂȘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Î·Ù¿
ÙË ‰ÂηÂÙ›· ÙÔ˘ 1940, 20 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950, 37 ÛÙË ‰ÂηÂÙ›·
ÙÔ˘ 1960 Î·È 13 ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. ∏ ̤ÛË ËÏÈΛ· ÙˆÓ ÊˆÙÔ-
ÁÚ·ÊÈÒÓ Â›Ó·È 60 ÂÙÒÓ. √È ÂÚÈÛÛfiÙÂÚ˜ ‰ÂÓ ¤¯Ô˘Ó ‰ËÌÔÛÈ¢Ù› ÛÂ
ÚÔÛÈÙ¿ ¤ÓÙ˘· ‹ ·Ú¤ÌÂÈÓ·Ó ·Ó¤Î‰ÔÙ˜.
∏ ʈÙÔÁÚ·Ê›·, fiˆ˜ Î·È Î¿ı ÂÈηÛÙÈÎfi ÙÂÎÌ‹ÚÈÔ, ‰ÂÓ ¤¯ÂÈ «Ô˘‰¤-
ÙÂÚÔ» ¯·Ú·ÎÙ‹Ú·. √ ‰ËÌÈÔ˘ÚÁfi˜ Ù˘ ¤¯ÂÈ ÂÈϤÍÂÈ ÙÈ ÂÈı˘Ì› Ó·
··ı·Ó·Ù›ÛÂÈ, ¤¯ÂÈ ‰ËÏ·‰‹ ·ÔÎÏ›ÛÂÈ fi,ÙÈ ‰ÂÓ ÂÈı˘Ì›. ™˘ÓÂÒ˜, Ë
¯Ú‹ÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÁÈ· ÂÈÛÙËÌÔÓÈÎÔ‡˜ ÏfiÁÔ˘˜ ··ÈÙ› ÌÂÁ¿ÏË
ÚÔÛÔ¯‹ Î·È Ë ÂÈÙ˘¯›· Ù˘ ÛÙËÚ›˙ÂÙ·È ÛÙËÓ Â·Ú΋ ·Ó·ÁÓÒÚÈÛË ÙÔ˘
ÛÎÔÔ‡ ÁÈ· ÙÔÓ ÔÔ›Ô ¤ÁÈÓÂ Ë Ï‹„Ë. √‡Ù fï˜ Î·È Ë ·Ó¿ÁÓˆÛË Ù˘
Δhe documents from the Photo Archive of the Secretariat
General of Communication – Secretariat General of
Information contribute greatly to the reserve of the visual art
documents concerning the modern and contemporary
Thessaloniki; a contribution which provides significant
advantages to both historical and humanitarian research.
The representative material chosen consists of 114 photos, 35
of which were taken before and during the Second World War
and 79 after that. Four shots date back to the period before the
liberation of Thessaloniki (1912); 18 to the period between the
liberation and the great fire of 1917; 10 shots were taken during
the Interwar years and 3 of them during the German
Occupation. As far as the post war period is concerned, 9 shots
were taken in the 1940s, 20 in the 1950s, 37 in the 1960s and
13 in the 1970s. These photographs are on average 60 years of
age. Most of them have either not been published in accessible
printed material or remained unpublished.
The photograph, just as any other kind of visual art document,
has not a "neutral" character. Its creator has chosen what he/
she wants to capture, i.e. all that he/ she does not want have
been precluded. Consequently, the usage of the photograph for
scientific purposes entails great caution, while its success is
based upon the adequate acknowledgment of the aim for which
this very shot was taken. However, neither such an
I N T R O D U C T I O N
∂ π ™ ∞ ° ø ° ∏
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏12k
ʈÙÔÁÚ·Ê›·˜ Â›Ó·È «Ô˘‰¤ÙÂÚË» ÏÂÈÙÔ˘ÚÁ›·. ŒÎ·ÛÙÔ˜ ı· ‰È·ÈÛÙÒÛÂÈ
̤۷ ÛÙÔ ÔÙÈÎfi ÙÂÎÌ‹ÚÈÔ fiÛ· Â›Ó·È ÚÔÂÙÔÈÌ·Ṳ̂ÓÔ˜ Ó· ‰ÂÈ ‹ Ó·
·Ó·˙ËÙ‹ÛÂÈ. ∏ Ú‹ÛË fiÙÈ «Ì›· ÂÈÎfiÓ· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ϤÍÂȘ»
¤¯ÂÈ ˆ˜ ÚÔ¸fiıÂÛË fiÙÈ Ô ı·ً˜ Ù˘ ÂÈÎfiÓ·˜ Â›Ó·È Û ı¤ÛË Ó·
ηٷÓÔ‹ÛÂÈ ÙÔ ÂÚȯfiÌÂÓfi Ù˘. Àfi ÙËÓ ¤ÓÓÔÈ· ·˘Ù‹, ›Ûˆ˜ ÌÂÚÈΤ˜
ÊÔÚ¤˜ ÌfiÓÔ ÌÈ· ϤÍË Ó· ·Í›˙ÂÈ fiÛÔ ‰¤Î· ¯ÈÏÈ¿‰Â˜ ÂÈÎfiÓ˜.
°È· Ó· ηٷÓÔËı› ηχÙÂÚ·, ÙÔ ˘ÏÈÎfi ηٷٿ¯ıËΠ۠ÔÎÙÒ ÂÓfiÙË-
Ù˜. ΔÔ ‚·ÛÈÎfi ÎÚÈÙ‹ÚÈÔ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ‹Ù·Ó ÁˆÁÚ·ÊÈÎfi. ŸÌˆ˜,
Ë ÁˆÁÚ·Ê›· Â›Ó·È Â‰›Ô, ·ÈÙ›· Î·È ·ÔÙ¤ÏÂÛÌ· ÈÛÙÔÚÈÎÒÓ ÂÍÂϛ͈Ó.
∏ ·ÚÈ· ÂͤÏÈÍË, Ô˘ ¤Ú ӷ ÈÛÙÔÚËı› ÂÓ ÚÔÎÂÈ̤ӈ, ‹Ù·Ó Ë ›‰È·
Ô˘ ÛËÌÂÈÒıËΠ۠fiϘ ÙȘ fiÏÂȘ ÙÔ˘ ÎfiÛÌÔ˘. ª¤Û· Û ÌÂÚÈΤ˜
‰ÂηÂٛ˜ –Û˘¯Ó¿ ̤۷ ÛÙËÓ ›‰È· ‰ÂηÂÙ›·- ÛÙË £ÂÛÛ·ÏÔÓ›ÎË
ÛËÌÂÈÒıËÎ·Ó ÌÂÙ·‚ÔϤ˜ Ô˘ ¿ÏÏÔÙ ı· ¯ÚÂÈ¿˙ÔÓÙ·Ó ·ÈÒÓ˜ ÁÈ· Ó·
¤ÏıÔ˘Ó. ∞˘Ù‹ Ë ‰È·›ÛÙˆÛË Á›ÓÂÙ·È Î·Ù·Ú¯¿˜ ·ÓÙÈÏËÙ‹ ÛÙÔÓ
ÔÏÏ·Ï·ÛÈ·ÛÌfi ÙÔ˘ ¯ÒÚÔ˘ Ô˘ ηٷϷ̂¿ÓÂÈ Ë fiÏË Î·È ÛÙËÓ
ÂÓÙ˘ˆÛȷ΋ ·‡ÍËÛË ÙÔ˘ ÏËı˘ÛÌÔ‡ Î·È Ù˘ ÔÈÎÈÛÙÈ΋˜ ˘ÎÓfiÙËÙ¿˜
Ù˘. °›ÓÂÙ·È, ›Û˘, Î·È ·ÓÙÈÏËÙ‹ ·fi ÙË ‰ËÌÈÔ˘ÚÁ›· Ó¤ˆÓ ˘Ú‹ÓˆÓ
Î·È ÏÂÈÙÔ˘ÚÁÈÒÓ Ô˘ ·ÓÙÈηıÈÛÙÔ‡Ó ·Ï·ÈfiÙÂÚ˜. ™ËÌ·Û›· ¤¯ÂÈ Ó·
ÂȉÂȯı› Ë ·ÏÏ·Á‹ ÛÙËÓ Îϛ̷η: ∂› ·ÈÒÓ˜, ÙÔ ı·Ï¿ÛÛÈÔ ÂÌfiÚÈÔ
Ù˘ £ÂÛÛ·ÏÔӛ΢ ÁÈÓfiÙ·Ó Ì ÌÈ· ͇ÏÈÓË ÛοϷ. ¢ÂÓ ¤¯ÂÈ Î·Ó›˜
·Ú¿ Ó· ‰È·‚¿ÛÂÈ ÚÔÛÂÎÙÈο ÙȘ ÛËÌÂÈÒÛÂȘ Ù˘ ‰Â‡ÙÂÚ˘ ÂÓfiÙËÙ·˜
ÁÈ· Ó· ‰È·ÈÛÙÒÛÂÈ fiÛÔ ÁÚ‹ÁÔÚ· ¿ÏÏ·ÍÂ Ë £ÂÛÛ·ÏÔÓ›ÎË Ì·˙› Ì ÙÔ
ÏÈÌ¿ÓÈ Ù˘.
√È ÔÎÙÒ ÂÓfiÙËÙ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Î·È Û οÔÈÔ ‚·ıÌfi ·ÏÏËÏÂÈη-
χÙÔÓÙ·È. ∂›Ó·È ÔÈ ·ÎfiÏÔ˘ı˜:
∞ÂÚÔʈÙÔÁڷʛ˜: ∏ ÚÒÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÂÙ¿ ·ÂÚÔʈÙÔ-
Áڷʛ˜, ÔÈ Ôԛ˜ ÚÔÙ¿¯ıËÎ·Ó ‰ÈfiÙÈ ÂÈÙÚ¤Ô˘Ó Ó· Û¯ËÌ·Ù›ÛÂÈ Ô
·Ó·ÁÓÒÛÙ˘ ÁÂÓÈ΋ ÂÈÎfiÓ· ÙÔ˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ Ù˘
£ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ Îϛ̷η˜ ÙˆÓ ÌÂÙ·‚ÔÏÒÓ ÙÔ˘. ΔÔ ÂÈÏÂÁ̤ÓÔ
˘ÏÈÎfi ÂÚÈÏ·Ì‚¿ÓÂÈ Î·È ¿ÏϘ ·ÂÚÔʈÙÔÁڷʛ˜, Ô˘ ηٷٿ¯ıËηÓ
fï˜ Û › ̤ÚÔ˘˜ ÂÓfiÙËÙ˜ ÏfiÁˆ ÙÔ˘ ÂȉÈÎÔ‡ ÂӉȷʤÚÔÓÙfi˜ ÙÔ˘˜.
acknowledgement of the photograph constitutes a "neutral"
function. In each visual document, one discovers all those things
that he/she is ready to see or search for. The dictum "a picture
is worth one thousand words" presupposes that the spectator
of this picture is able to perceive its content. In this sense,
maybe sometimes a single word is worth one thousand
pictures.
In order to be better perceived, the material was divided into
eight units. The basic criterion for such a division has been
geography. However, geography is a field and a cause – as well
as the outcome – of historical changes. The main course that
had to be narrated here was the same one that took place in all
the cities in the world. Within a few decades – often even within
the same decade – Thessaloniki underwent changes which
would otherwise need whole centuries to take place. This notion
is firstly evident in both the spatial expansion of the city and the
impressive increase of its population and residential density. It
is also evident in the establishment of new cadres and functions
which replaced the previous ones. The important thing is the
change in scale to be shown: For centuries, the sea trade of
Thessaloniki was held by means of a wooden wharf. One has
just to pore in the annotations of the second unit to discover
the fast change of Thessaloniki and its port.
These eight units – which are combined and at some extend
overlap – are the following:
Photomaps: The first unit comprises seven photomaps, which
have been included as they enable the reader to get the general
picture of the urban tissue of Thessaloniki and the extent of the
changes it underwent. The material chosen includes some other
photomaps as well, yet placed in other units because of their
special significance.
I N T R O D U C T I O N
T H E S S A L O N I K I 13k
§ÈÌ¿ÓÈ: ∏ ‰Â‡ÙÂÚË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi ÙÔ ÏÈÌ¿ÓÈ Ù˘
£ÂÛÛ·ÏÔӛ΢. ∂ÎÙfi˜ ·fi ÙË ÛËÌ·Û›· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ÁÈ· ÙËÓ ÔÈÎÔÓÔ-
ÌÈ΋ ˙ˆ‹ Ù˘ fiÏ˘ Î·È Ù˘ ÂÚÈʤÚÂÈ¿˜ Ù˘, Ë ÁˆÁÚ·ÊÈ΋ ı¤ÛË ÙÔ˘
‰È¢ÎÔχÓÂÈ ÙË ÊˆÙÔÁÚ·ÊÈ΋ ηٷÁÚ·Ê‹ ÌÂÈ˙fiÓˆÓ ÌÂÙ·‚ÔÏÒÓ ÛÙÔ
¢ڇÙÂÚÔ ÔÏÂÔ‰ÔÌÈÎfi Û˘ÁÎÚfiÙËÌ·.
¶ÚÔÎ˘Ì·›·: ∏ ÙÚ›ÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÙËÓ ÚÔÎ˘Ì·›· Ù˘ £ÂÛ-
Û·ÏÔӛ΢, ·˘Ù‹Ó Ô˘ ·Ï·ÈfiÙÂÚ· ·ÔÙ¤ÏÂÛ ÙÔ ı·Ï·ÛÛÈÓfi ÚfiÛˆ-
Ô Ù˘ fiÏ˘. √È ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ηٷÁÚ¿ÊÔ˘Ó Û˘ÁÎÚ›ÛÈ̘
ÌÂÙ·‚ÔϤ˜ ÛÙÔ ‰ÔÌË̤ÓÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ÛÙÔ˘˜ ·ÓıÚÒÔ˘˜ Ô˘
·ÂÈÎÔÓ›˙ÔÓÙ·È Ì·˙› ÙÔ˘. ΔÔ ÂӉȷʤÚÔÓ Ù˘ ÂÓfiÙËÙ¿˜ ·˘Ù‹˜ ›ӷÈ
΢ڛˆ˜ ·ÈÛıËÙÈÎfi. √È ÌÂÙ·‚ÔϤ˜ ·ÊÔÚÔ‡Ó ÙË ÌÈÎÚ‹ Îϛ̷η ÙÔ˘ ȉȈ-
ÙÈÎÔ‡ ‚›Ô˘.
§Â˘Îfi˜ ¶‡ÚÁÔ˜: ∏ ٤ٷÚÙË ÂÓfiÙËÙ· ¤¯ÂÈ ˆ˜ ›ÎÂÓÙÚÔ ÙÔ §Â˘Îfi
¶‡ÚÁÔ Î·È ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ Ô˘ ›¯·Ó ˆ˜ ·ÓÙÈΛÌÂÓÔ Â›Ù ÙÔ
ÌÓËÌÂ›Ô Î·ı’ ·˘Ùfi ›Ù ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ ÙÔ˘. ÿÛˆ˜ Ë ·ÎÔÏÔ˘-
ı›· ÙˆÓ ÂÈÎfiÓˆÓ ‚ÔËı¿ Ï›ÁÔ Ó· ·ÓÙÈÏËÊıԇ̠ÁÈ· ÔÈÔ ÏfiÁÔ Ô ‡Ú-
ÁÔ˜ ·˘Ùfi˜ ·ÔÙ¤ÏÂÛ ÛÙ·‰È·Î¿ Û‹Ì· ηٷÙÂı¤Ó Ù˘ fiÏ˘, ̤۷
·fi ÙË ÌÂÙ·‚ÔÏ‹ ÙÔ˘ ‰ÔÌË̤ÓÔ˘ ÂÚÈ‚¿ÏÏÔÓÙfi˜ ÙÔ˘.
∞¶£ & ¢∂£: ∏ ¤ÌÙË ÂÓfiÙËÙ· «·ÊËÁ›ٷȻ ÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘ ›
ÙÔ˘ÚÎÔÎÚ·Ù›·˜ ÎÔÈÌËÙËÚÈ·ÎÔ‡ ÙfiÔ˘ Û ·ÓÂÈÛÙËÌÈÔ‡ÔÏË Î·È
fiÏË ÂÎı¤ÛˆÓ. √È ÊˆÙÔÁڷʛ˜ Ù˘ ÂÓfiÙËÙ·˜ ·˘Ù‹˜ ¤¯Ô˘Ó ÂȉÈ΋
ÛËÌ·Û›·, ‰ÈfiÙÈ ‰Â›¯ÓÔ˘Ó Ò˜ ÔÈ ¯Ú‹ÛÂȘ ÙÔ˘ ¯ÒÚÔ˘ ‰È·‰¤¯ÔÓÙ·È Ë Ì›·
ÙËÓ ¿ÏÏË Î·È Ò˜ ¤Ó·˜ «·Î¿Ï˘ÙÔ˜» ÙfiÔ˜ ‰È¤Ê˘Á ÙÔÓ Î›Ó‰˘ÓÔ Ó·
ÌÂÙ·Ùڷ› Û ÚÔÛÊ˘ÁÈÎfi ÔÈÎÈÛÌfi Î·È ÂÓÙ¿¯ıËΠÛÙÔ ·ÛÙÈÎfi
‰›ÎÙ˘Ô.
ªÓËÌ›·: ∏ ¤ÎÙË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÓËÌ›· Ù˘ £ÂÛÛ·ÏÔӛ΢,
·fi ‰È¿ÊÔÚ˜ ÂÚÈfi‰Ô˘˜ Ù˘ ÈÛÙÔÚ›·˜ Ù˘, Î·È ÙÔ˘˜ ÂÚÈ‚¿ÏÏÔÓÙ˜
¯ÒÚÔ˘˜ ÙÔ˘˜. ªÂÚÈΤ˜ ÊÔÚ¤˜ ÔÈ ÌÂÙ·‚ÔϤ˜ ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ Â›Ó·È
ÙfiÛÔ ¤ÓÙÔÓ˜, ÒÛÙ ·ÔÛÔ‡Ó ÙÔ ÂӉȷʤÚÔÓ ·fi Ù· ÌÓËÌ›· ηı’
·˘Ù¿.
∏ ÂÓ‰fiÙÂÚË ÂÚÈÔ¯‹: ∏ ¤‚‰ÔÌË ÂÓfiÙËÙ· ÂÚÈÏ·Ì‚¿ÓÂÈ Ï‹„ÂȘ ·fi
The port: The second unit includes photos of the port of
Thessaloniki. Apart from the significance of the port for the
financial life of the city and its boroughs, the location facilitates
the photographic recording of the wide-range changes that
took place in the greater urban tissue of the city.
The quay: The third unit includes the quay of Thessaloniki; the
one which previously constituted the marine character of the
city. These shots record the comparative changes in both
buildings and people portrayed. This unit is very significant
mainly from an aesthetic point of view. These changes concern
private life in a limited scale.
The White Tower: The fourth unit focuses on the White Tower
and includes photographs having as a theme either the
monument itself or the surrounding area. Maybe the sequence
of these photos facilitates our perception of why this specific
tower gradually became the landmark of the city, through the
changes in its surrounding area.
The Aristotle University of Thessaloniki & The Thessaloniki
International Fair: The fifth unit "narrates" the conversion of the
cemetery – during the Turkish occupation – into a university
campus and a trade fair site. The photographs of this unit are
of special significance, since they present the way in which the
usages of this site followed one another, how an "open" site
escaped the risk of becoming a refugee camp and it was placed
in the urban tissue.
Monuments: The sixth unit includes some monuments of
Thessaloniki, from several historical periods, as well as their
surroundings. Sometimes, the changes in the surrounding areas
are so intense that they actually distract the interest from the
monuments themselves.
The inner area: The seventh unit includes shots of other – inside
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏14k
¿ÏÏ· ÛËÌ›· –ÂÛˆÙÂÚÈο- Ù˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ £ÂÛÛ·ÏÔӛ΢, Ô˘
·Ô‰›‰Ô˘Ó ΢ڛˆ˜ ÙËÓ ÔÚ›· ·Ó·Û¯Â‰È·ÛÌÔ‡ Î·È ·ÓÔÈÎÔ‰fiÌËÛ‹˜
Ù˘ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. √È ÚÒÙ˜ ʈÙÔÁڷʛ˜ ·˘Ù‹˜ Ù˘
ÂÓfiÙËÙ·˜ ·Ú·‰›‰Ô˘Ó ‰Â›ÁÌ·Ù· ÏÈÏÈÔ‡ÙÂÈˆÓ Â·ÁÁÂÏÌ·ÙÈÎÒÓ
¯ÒÚˆÓ, Ô˘ ÌÂÚÈΤ˜ ÊÔÚ¤˜ ÙÔ ÂÌ‚·‰fiÓ ÙÔ˘˜ ‰ÂÓ ÍÂÂÚÓÔ‡Û ٷ
¤ÓÙ ÙÂÙÚ·ÁˆÓÈο ̤ÙÚ·, ·ÏÏ¿ ÔÈ È‰ÈÔÎً٘ ÙÔ˘˜ ‰ÂÓ ‹Ù·Ó ÏÈÁfiÙÂ-
ÚÔÈ ·fi ¤ÓÙÂ.
ŒÚÁ·: Δ¤ÏÔ˜, Ë fiÁ‰ÔË ÂÓfiÙËÙ· ·ÊÔÚ¿ ÌÂÁ¿Ï· ‰ËÌfiÛÈ· ¤ÚÁ· ηÈ
ȉȈÙÈΤ˜ ÂÂÓ‰˘ÙÈΤ˜ ÚˆÙÔ‚Ô˘Ï›Â˜ Ô˘ ÛËÌ¿‰Â„·Ó ÙË ˙ˆ‹ Ù˘
£ÂÛÛ·ÏÔӛ΢ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 Î·È ¤ÂÈÙ·. ∂ȉÈο Ë Â¤Ó‰˘-
ÛË Ù˘ Esso Pappas ·ÔÙ¤ÏÂÛ ηٷχÙË ·Ó¿Ù˘Í˘ ÛÙËÓ Â˘Ú‡ÙÂ-
ÚË ÂÚÈÔ¯‹.
√Û¿ÎȘ ÛÙËÓ ÚˆÙfiÙ˘Ë ÊˆÙÔÁÚ·Ê›· ÙÔ˘ ·Ú¯Â›Ô˘ ˘‹Ú¯Â Û¯ÔÏÈ·-
ÛÌfi˜, Ï‹ÊıËΠ˘fi„Ë ÛÙÔÓ ˘ÔÌÓËÌ·ÙÈÛÌfi Ù˘. Δ· Û¯fiÏÈ· ·˘Ù¿
·Ô‰Â›¯ıËÎ·Ó ÛÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÂÚÈÙÒÛÂȘ ÔχÙÈÌÔ˜ Ô‰ËÁfi˜ ÁÈ·
ÙË ¯ÚÔÓÈ΋ Ù·‡ÙÈÛË ÙˆÓ ÙÂÎÌËÚ›ˆÓ.
™Â ÌÈ· ÁÂÓÈ΋ ·ÔÙ›ÌËÛË Ù˘ Û¯¤Û˘ ·Ó¿ÌÂÛ· ÛÙȘ ÂÓfiÙËÙ˜ Ô˘
ÚԷӷʤÚıËÎ·Ó Î·È ÙË ¯ÚÔÓÈ΋ ÎÏÈ̿ΈÛË ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ,
ÛËÌÂÈÒÓÔ˘Ì fiÙÈ ÔÈ Ï‹„ÂȘ Ô˘ Û¯ÂÙ›˙ÔÓÙ·È Ì ÙË ‰È·ÌfiÚʈÛË Ù˘
«ÂÓ‰Ô¯ÒÚ·˜» Ù˘ fiÏ˘ Â›Ó·È Î·Ù¿ ̤ÛÔ fiÚÔ ·Ï·ÈfiÙÂÚ˜. ∞ÓÙ›ıÂ-
Ù·, ÔÈ Ï‹„ÂȘ Ô˘ ·ÊÔÚÔ‡Ó ‰ËÌfiÛÈ· ¤ÚÁ· Î·È ÙÔ Û¯ËÌ·ÙÈÛÌfi Ù˘
·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ (Ô˘ Î·È ·˘Ù‹ ·ÔÙ¤ÏÂÛÂ, ‚¤‚·È·, ¤Ó· ÌÂÁ¿ÏÔ
‰ËÌfiÛÈÔ ¤ÚÁÔ) ÂÈÎÂÓÙÚÒÓÔ˘Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960.
Δ· ʈÙÔÁÚ·ÊÈο ÙÂÎÌ‹ÚÈ· ·fi ÙÔ ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜
∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ‚ÔËıÔ‡Ó Ó·
ηٷÓÔ‹ÛÔ˘Ì ÙȘ ·ÏÏ·Á¤˜ ÛÙËÓ Ù·˘ÙfiÙËÙ· ÌÈ·˜ fiÏ˘. ∞Ó ‰Â¯ÙÔ‡-
Ì fiÙÈ Ë ·ÏÏ·Á‹ ÛÙËÓ ·ÛÙÈ΋ Ù·˘ÙfiÙËÙ· ·ÔÙÂÏ› Û˘Ó¿ÚıÚˆÛË Áˆ-
ÁÚ·ÊÈÎÒÓ ÌÂÙ·‚ÔÏÒÓ Î·È ÌÂÙ·‚ÔÏÒÓ Ù˘ ÓÔÔÙÚÔ›·˜, ÔÈ ÊˆÙÔÁÚ·-
ʛ˜ Ì·˜ ı· ‰Â›ÍÔ˘Ó Î˘Ú›ˆ˜ ÙȘ ÚÒÙ˜. ™Â fi,ÙÈ ·ÊÔÚ¿ ÙȘ ÓÔÔÙÚÔ-
›Â˜, Ô ·Ï·ÈfiÙÂÚÔ˜ ·Ó·ÁÓÒÛÙ˘ ‰È·ı¤ÙÂÈ ÚÔÛˆÈο ‚ÈÒÌ·Ù·. ¶Ú¤-
ÂÈ ·ÏÒ˜ Ó· ·ÔʇÁÂÈ ÙȘ ·Á›‰Â˜ Ù˘ ÓÔÛÙ·ÏÁ›·˜. √ ÓÂfiÙÂÚÔ˜
the walls – sites of Thessaloniki, which mainly represent the
course of recasting and rebuilding after the great fire of 1917.
The first photos of this unit represent tiny shops; the surface
areas of these sites have rarely been more than five square
meters, yet no less than five persons were their owners.
Works: Finally, the eighth unit concerns big public works as well
as private investments, which have marked the life of
Thessaloniki since the 1960s and on. Especially, the investment
of Esso Pappas has been a catalyst to the development of the
greater area of the city.
In the annotation of the photographs, under consideration were
taken their original comments. The latter have often been
proved a valuable guide in the time identification of the
documents.
On an attempt to generally assess the relation between the
above mentioned units and the time scale of the photographs,
it should be noted that the shots concerning the topology of the
"inner" city are – on average – older. On the contrary, the shots
concerning the public works and the landscaping of the
university campus (which, of course, was also a significant
public work as well) mainly focus in the 1960s.
The photographic documents from the archive of the
Secretariat General of Communication – Secretariat General of
Information contribute help us understand the changing identity
of the city. If we accept that the change of the urban identity is
due to the combination of geographic changes as well as
changes in attitude, these photographs will represent mainly
the former. As far as attitudes are concerned, the elder readers
have a personal experience. They just have to avoid the trap of
nostalgia. The younger readers – through the micro-historic
observations – will get an idea of the changes in attitudes and
∂ π ™ ∞ ° ø ° ∏
T H E S S A L O N I K I 15k
·Ó·ÁÓÒÛÙ˘ ̤۷ ·fi ÙȘ ÌÈÎÚÔ˚ÛÙÔÚÈΤ˜ ·Ú·ÙËÚ‹ÛÂȘ ı· ˘Ô„È·-
ÛÙ› ÙȘ ÌÂÙ·‚ÔϤ˜ ÛÙȘ ÓÔÔÙÚԛ˜ Î·È ÙȘ Û˘ÌÂÚÈÊÔÚ¤˜. £· ‰ÂÈ
ˆ˜ –fi¯È ÚÈÓ Ôχ ηÈÚfi- ˘‹Ú¯·Ó ‡η ¿Óˆ ÛÙËÓ ∂ÁÓ·Ù›· ηÈ
ÔÈ ¿ÓıÚˆÔÈ ÂÚ·ÙÔ‡Û·Ó ¯ˆÚ›˜ Ó· ÙÚ¤¯Ô˘Ó, ÌÈÏÒÓÙ·˜ Î·È ÎÔÈÙ¿˙Ô-
ÓÙ·˜ Á‡Úˆ ÙÔ˘˜. £· ‰ÂÈ ‰ÚfiÌÔ˘˜ Ô˘ ı· ÙÔ˘˜ ·Ó·ÁÓˆÚ›ÛÂÈ, ·ÏÏ¿
̤۷ ·fi ÌÈ· ·›ÛıËÛË –ۯ‰fiÓ ÔÓÂÈÚÈ΋. £· ‰ÂÈ ÛÙÔȯ›· ÁÓˆÛÙ¿
Î·È Ù·˘ÙÔ¯ÚfiÓˆ˜ ·Î·Ù·ÓfiËÙ·.
À¿Ú¯ÂÈ ¤Ó· ÎÂÓfi ·Ó¿ÌÂÛ· ÛÙËÓ ÈÛÙÔÚÈÔÁÚ·Ê›· Î·È ÙËÓ ·›ÛıËÛË Ô˘
·Ê‹ÓÔ˘Ó ÔÈ ÊˆÙÔÁڷʛ˜. °È· Ó· ηχ„ÂÈ ·˘Ùfi ÙÔ ÎÂÓfi, Ô ·Ó·ÁÓÒ-
ÛÙ˘ ‰ÂÓ ı· ¯ÚÂÈ·ÛÙ› ÌfiÓÔÓ ÙËÓ ·Ú·ÙËÚËÙÈÎfiÙËÙ¿ ÙÔ˘. £· Ú¤ÂÈ
Ó· ÂÈÛÙÚ·Ù‡ÛÂÈ ÙË Ê·ÓÙ·Û›· ÙÔ˘. ∏ Ì·Á›· ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ
Â›Ó·È ·ÎÚÈ‚Ò˜ ·˘Ù‹: fi¯È ÌfiÓÔÓ ‰ÂÓ ÂÍÔ‚ÂÏ›˙Ô˘Ó ÙËÓ Ê·ÓÙ·Û›·, ·ÏÏ¿
ÙËÓ ÂÈ˙ËÙÔ‡Ó. ªÂÚÈΤ˜ ÊÔÚ¤˜, ÙËÓ ··ÈÙÔ‡Ó.
behaviours. They will see that – not long ago – there were pines
on both sides of Egnatia Street and people were walking – not
running – talking to each other and looking around them; they
will see familiar streets, yet they will recognize them through
an almost oneiric sense; they will see familiar – but at the same
time unperceivable – features.
There is a gap between historiography and the feeling created
by the photographs. In order this gap to be bridged, the reader
will need more than his/ her perceptiveness; imagination will
also be necessary. This is exactly the charm of the visual
documents: they actually need imagination – rather than
eliminate it; sometimes they even demand it.
I N T R O D U C T I O N
kkk
Δ √ § π ª ∞ ¡ πΔ H E P O R T
ΔÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢ ·ÔÙÂÏ› ÙÔ ÙÌ‹Ì· Ù˘ fiÏ˘ Ì ÙË ÌÂÁ·-
χÙÂÚË ‰È·¯ÚÔÓÈ΋ Û˘¯ÓfiÙËÙ· ÂÈηÛÙÈ΋˜ Î·È ÂȉÈÎÒ˜ ʈÙÔÁÚ·ÊÈ΋˜
·ÂÈÎfiÓÈÛ˘. ∏ ˘„ËÏ‹ Û˘¯ÓfiÙËÙ· ÂÚÌËÓ‡ÂÙ·È ·ÊÂÓfi˜ ·fi ÙË Û·ÁË-
Ó¢ÙÈ΋ ·›ÛıËÛË Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÛÂ Ë fiÏË ÛÙÔÓ ÂÈÛΤÙË -fiÙ·Ó
¤ÊÙ·Ó ·fi ÙË ı¿Ï·ÛÛ·- ·ÊÂÙ¤ÚÔ˘ ·fi ÙȘ ÌÂÁ¿Ï˜ ÌÂÙ·ÌÔÚÊÒÛÂȘ
Ô˘ ÁÓÒÚÈÛ ÙÔ ›‰ÈÔ ÙÔ ÏÈÌ¿ÓÈ Î·Ù¿ ÙËÓ ÂÚ›Ô‰Ô ·fi ÙÔ 1870 ̤¯ÚÈ Î·È
ÙȘ ̤Ú˜ Ì·˜. ∏ ·ÏÏËÏÔ˘¯›· Ù¯ÓÈÎÒÓ ¤ÚÁˆÓ ÚÔÛ‰›‰ÂÈ ÛÙȘ ÏÈÌÂÓÈΤ˜
ÂÁηٷÛÙ¿ÛÂȘ ·˘ÙÔÙÂϤ˜ ʈÙÔÁÚ·ÊÈÎfi ÂӉȷʤÚÔÓ.
¶ÚÈÓ ·fi ÙÔ 1870 ÙÔ ÏÈÌ¿ÓÈ ‹Ù·Ó Ê˘ÛÈÎfi. ™ÙȘ ˘ÔÙ˘Ò‰ÂȘ ÂÁηٷ-
ÛÙ¿ÛÂȘ Ô˘ ÔÈÎÔ‰ÔÌ‹ıËÎ·Ó ÙÔ 1870, ÚÔÛÙ¤ıËÎ·Ó ÙÔ 1900 ‰‡Ô
ÚÔ‚Ï‹Ù˜ Î·È ÙÔ ÎÂÓÙÚÈÎfi ÎÚË›‰ˆÌ· - Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜-
ηıÒ˜ Î·È ¿ÏϘ ÂÁηٷÛÙ¿ÛÂȘ ̤¯ÚÈ ÙÔ 1910. ΔÔ 1944 ·Ô¯ˆÚÒ-
ÓÙ·˜ Ù· Ó·˙ÈÛÙÈο ÛÙÚ·Ù‡̷ٷ ·Ó·Ù›Ó·Í·Ó Ù· ÎÙ›ÚÈ· Î·È ˘ÔÓfiÌ¢-
Û·Ó ÙÔÓ ˘ı̤ӷ. ø˜ ÙÔ 1950 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÔÈ Î˘ÚÈfiÙÂÚ˜ ÂÈ-
Û΢¤˜ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÍÂΛÓËÛÂ Ë Ï‹Ú˘ ·ÔηٿÛÙ·ÛË Î·È Â¤-
ÎÙ·ÛË ÙÔ˘ ÏÈÌ·ÓÈÔ‡.
√È ÂÈÏÂÁ̤Ó˜ Û˘Ó·Ê›˜ ·ÂÈÎÔÓ›ÛÂȘ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜
°Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ÍÂÎÈ-
ÓÔ‡Ó ·fi ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ Î·È ÊÙ¿ÓÔ˘Ó ˆ˜ ÙÔ 1970. √È
·Ï·ÈfiÙÂÚ˜ Ï‹„ÂȘ ÚÔÛı¤ÙÔ˘Ó ÛÙÔÓ ÙÔ̤· Ù˘ ÈÛÙÔÚ›·˜ ÌÈÎÚ‹˜ ÎÏ›-
̷η˜, ÂÓÒ ÔÈ ÌÂÙ·ÁÂÓ¤ÛÙÂÚ˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÈÛ¯˘ÚfiÙÂÚÔ ÂӉȷʤÚÔÓ
ˆ˜ ÚÔ˜ ÙË ‰Ú·ÛÙËÚÈfiÙËÙ· ÁÈ· ÙËÓ Â¤ÎÙ·ÛË Î·È Û˘ÌÏ‹ÚˆÛË ÙˆÓ
ÏÈÌÂÓÈÎÒÓ ÂÁηٷÛÙ¿ÛˆÓ.
The port of Thessaloniki constitutes the part of the city most
frequently represented in visual and – more specifically –
photographic documents, throughout its history. This frequency
is due, on the one hand, to the fascination that the city exerted
to the visitor – arriving from the sea – and on the other, to the
great transformations that the same port experienced from 1870
up to nowadays. The sequence of the technical works lends to
the port facilities an individual interest for the photographer.
Before 1870, the port had been natural. To the substandard
facilities constructed in 1870, two wharfs were added as well as
the central seawall – by alluviation of the sea – along with other
facilities, too, up to 1910. In 1944, on their withdrawal the Nazi
army blew the buildings and sabotaged the seafloor. The main
repairs lasted until 1950, and there followed the full restoration
and expansion of the port.
The relevant photographs chosen from the collection of the
Secretariat General of Communication – Secretariat General of
Information cover the period from the First World War to the year
1970. The older shots add to the small scale history field, while
the more recent ones are significant as far as the expansion and
completion works on the port facilities are concerned.
T O § π ª ∞ ¡ π8
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏34k
™ÙȘ 23 ™ÂÙÂÌ‚Ú›Ô˘ 1915 ·fi Ù· Á·ÏÏÈο Î·È ·ÁÁÏÈο ÔÏÂÌÈο
ÏÔ›·, Ô˘ ›¯·Ó ·Ú¯›ÛÂÈ Ó· Û˘ÁÎÂÓÙÚÒÓÔÓÙ·È ÛÙÔ ÏÈÌ¿ÓÈ ·fi ÙȘ 17
ÙÔ˘ ›‰ÈÔ˘ Ì‹Ó·, ¿Ú¯ÈÛ·Ó Ó· ·Ô‚È‚¿˙ÔÓÙ·È ÛÙÚ·ÙÈÒÙ˜. ™ÎÔfi˜ Ù˘
·Ô‚›‚·Û˘ Î·È Ù˘ Û˘ÁΤÓÙÚˆÛ‹˜ ÙÔ˘˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó Ó·
ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘Ó ·ÔÙÚÂÙÈο ÁÈ· ÂӉ¯fiÌÂÓË Â›ıÂÛË Ù˘ μÔ˘ÏÁ·-
Ú›·˜ ηٿ Ù˘ ™ÂÚ‚›·˜. ΔÔ ›‰ÈÔ ·fiÁÂ˘Ì· ›¯Â ÛËÌÂȈı› Ì›· ·ÎfiÌË
Û‡ÁÎÚÔ˘ÛË ÌÂٷ͇ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã Î·È ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ηÈ
Ô ÙÂÏÂ˘Ù·›Ô˜ ›¯Â ·Ú·ÈÙËı›.
°·ÏÏÈο ÏÔ›· ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢, 1915
ÕÙÈÙÏË
On 23 September 1915, from the French and English war ships,
that had started swarming in the port since the 17th of the
same month, soldiers started disembarking. Their gathering in
Thessaloniki aimed to the deterioration of an eventual attack by
Bulgaria and Serbia. In the same afternoon, one more conflict
had taken place between the king Konstantinos the 1st and the
Prime Minister Mr. Eleftherios Venizelos – the latter being
released.
French ships in the port of Thessaloniki, 1915
Without Title
T H E P O R T 8
T H E S S A L O N I K I 35k
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏36k
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˘˜
‰ÂÓ ¤¯ÂÈ ‰È·ÈÛÙˆı› ·Ú¿ ÌfiÓÔÓ Î·Ù¿ ÚÔÛ¤ÁÁÈÛË, ‹Ù·Ó fï˜
·ÈÛıËÙ¿ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·fi ÙÔ ÌfiÓÈÌÔ ÏËı˘ÛÌfi Ù˘ fiÏ˘. ∏ ·ÚÔ˘-
Û›· ÙÔ˘˜ Û˘Ó‰¤ıËΠ̠ÏÔ˘ÙÈÛÌfi ÁÈ· ÔÚÈṲ̂ÓÔ˘˜ ÂÌfiÚÔ˘˜ ·ÏÏ¿
Î·È Ì ÛÙÂÓfiÙËÙ· ÙÚÔÊ›ÌˆÓ ÁÈ· ÙËÓ ÏÂÈÔÓfiÙËÙ· ÙÔ˘ ÏËı˘ÛÌÔ‡. Ÿ¯È
ÌfiÓÔ Ù· ‚·ÛÈο ÙÚfiÊÈÌ· ‰›ÓÔÓÙ·Ó Ì ‰ÂÏÙ›Ô, ·ÏÏ¿ ÙÔ 1917 ÌfiÓÔÓ ÛÂ
ÈÛÙÔÔÈË̤ÓÔ˘˜ ·ÛıÂÓ›˜ ·Ú¤¯ÔÓÙ·Ó Ì·Î·ÚfiÓÈ·.
∞fi‚·ÛË Á·ÏÏÈÎÔ‡ ÈÈÎÔ‡ ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢,Ì¿ÏÏÔÓ ÛÙË ‰Â‡ÙÂÚË ÚÔ‚Ï‹Ù·(™Â٤̂ÚÈÔ˜ ‹ √ÎÙÒ‚ÚÈÔ˜ 1915)
ÕÙÈÙÏË
The allied armies remained in Thessaloniki until the First World
War was over. Their total number has only approximately been
established – yet they outnumbered the population settled in
the city. Their presence was related to getting rich – for some
merchants – but also to lack of food for the greatest part of the
population. Not only the essential provisions were offered on
coupons, but in 1917 only those certified as patients were
provided with spaghetti.
Disembarking of the Frenchcavalry at the port ofThessaloniki, by all probability on the second wharf (September or October 1915)
Without Title
T O § π ª ∞ ¡ π9
T H E S S A L O N I K I 37k
T H E P O R T 9
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏38k
°¿ÏÏÔÈ ÛÙÚ·ÙÈÒÙ˜ ÌÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ Û˘ÌÌ·¯È΋˜ ÛÙÚ·ÙȈÙÈ΋˜
‰ÈÔ›ÎËÛ˘, ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜. ∏ ÛÎËÓ‹ ‹Ù·Ó Û˘Ó‹ı˘ ÛÙ· Ù¤ÏË
ÙÔ˘ 1915 Î·È ÙÔ 1916. ∏ Ô‰fi˜ ™·Ï·Ì›ÓÔ˜, Ô˘ ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ
ÙÌ‹Ì· ›¯Â ‰È·Ï·Ù˘Óı›, Ô‰ËÁÔ‡Û ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, Ô˘
ÛÙȘ ̤Ú˜ Ì·˜ ÏÂÈÙÔ˘ÚÁ› ˆ˜ ÂÈ‚·ÙÈÎfi˜ ÛÙ·ıÌfi˜.
∏ Û˘ÌÌ·¯È΋ ¤‰Ú· ÛÙËÓ Ô‰fi ™·Ï·Ì›ÓÔ˜, 1915
ÕÙÈÙÏË
French soldiers in front of the building of the allied military
commandership, at Salaminos Street. Such scenes were
common at late 1915 and in 1916. Salaminos Street – which had
been widened at that part – led to the customs building, which
nowadays operates as the passenger station.
The headquarters of the allies at Salaminos Street, 1915
Without Title
T O § π ª ∞ ¡ π10
T H E S S A L O N I K I 39k
T H E P O R T 10
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏40k
∏ ›‰È· ÂÚÈÔ¯‹ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·. ∂ÈÎÔÓ›˙ÂÙ·È, ÙËÓ
›‰È· ÂÔ¯‹ ÙÔ ÚÔ˜ ‚ÔÚÚ¿ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ ™·Ï·Ì›ÓÔ˜. ∏ ·ÚÔ˘Û›·
ÙˆÓ Û˘ÌÌ·¯ÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ Û˘Ó‰¤ıËΠ̠ÙËÓ Î˘ÎÏÔÊÔÚ›· ·˘-
ÙÔÎÈÓ‹ÙˆÓ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, Ë ÔÔ›· ‰È¤ıÂÙ ÂÏ¿¯ÈÛÙ·.
√‰fi˜ ™·Ï·Ì›ÓÔ˜, 1915
√‰fi˜ ™·Ï·Ì›ÓÔ˜
The same area as in the previous photo. Here, during the same
period, the northern part of Salaminos Street is presented. The
absence of allied armies was related to the circulation of the –
very few – cars that existed at that time in Thessaloniki.
Salaminos Street, 1915
Salaminos Street
T O § π ª ∞ ¡ π11
T H E S S A L O N I K I 41k
T H E P O R T 11
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏42k
∏ ˘ÚηÁÈ¿ Ù˘ 5˘ Î·È 6˘ ∞˘ÁÔ‡ÛÙÔ˘ 1918 ·ÔÙ¤ÏÂÛ -ÏfiÁˆ Ù˘
¤ÎÙ·Û˘ ÙˆÓ Î·Ù·ÛÙÚÔÊÒÓ Ù˘- ÔÚfiÛËÌÔ ÛÙËÓ Û‡Á¯ÚÔÓË ÈÛÙÔÚ›·
Ù˘ £ÂÛÛ·ÏÔӛ΢. ŒıÈÍÂ, fï˜, ÙÔ ÏÈÌ¿ÓÈ ÏÈÁfiÙÂÚÔ ·fi ¿ÏÏ· ÛËÌ›·
Ù˘ fiÏ˘. ™ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· Á¿ÏÏÔÈ Ó·˘ÙÈÎÔ› ηÈ
ÛÙÚ·ÙÈÒÙ˜ ÂÚÈÂÚÁ¿˙ÔÓÙ·È fi,ÙÈ ¿ÊËÛÂ Ë ÊˆÙÈ¿ ÌÚÔÛÙ¿ ÛÙȘ ·Ô-
ı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔӛ΢, ÛÙÔ ÏÈÌ¿ÓÈ. √ ÙfiÔ˜ ‹Ù·Ó ·ÚÎÂ-
Ù¿ ¢ڇ¯ˆÚÔ˜, ·Ó Ï¿‚Ô˘Ì ˘fi„Ë fiÙÈ ÂΛ ÂͤıÂÛ·Ó ÔÈ °¿ÏÏÔÈ ÁÂÚ-
Ì·ÓÈÎfi ·ÂÚÔÏ¿ÓÔ Ô˘ ›¯Â ¤ÛÂÈ ÛÙ· ¯¤ÚÈ· ÙÔ˘˜.
¶˘ÚηÁÈ¿ ÛÙÔ ÏÈÌ¿ÓÈ
¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
The fire of the 5th and 6th August 1917 constitutes – because
of the extent of the damages caused – a landmark in the
contemporary history of Thessaloniki. Yet, this fire harmed the
port less than other parts of the city. On this photograph,
French sailors and soldiers peer at the remains of fire in front of
the storehouses of the Bank of Thessaloniki. The site was
spacious enough, taking under consideration that the French
exhibited there a German airplane that had played into their
hands.
Fire at the port
The fire of Thessaloniki 5.8.1917
T O § π ª ∞ ¡ π12
T H E S S A L O N I K I 43k
T H E P O R T 12
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏44k
ª›· ·ÎfiÌË Ï‹„Ë ÌÚÔÛÙ¿ ÛÙȘ ·Ôı‹Î˜ Ù˘ ΔÚ¿Â˙·˜ £ÂÛÛ·ÏÔ-
ӛ΢. ∞Ó ÎÚ›ÓÔ˘Ì ·fi ÙË ¯ÂÈÌÂÚÈÓ‹ ÂÓ‰˘Ì·Û›· ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂ-
ÓˆÓ Ó·˘ÙÈÎÒÓ Î·È ÛÙÚ·ÙȈÙÈÎÒÓ, Ë Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËΠ·ÚÎÂ-
ÙÔ‡˜ Ì‹Ó˜ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ ∞˘ÁÔ‡ÛÙÔ˘. ¶Èı·ÓÒ˜ ÚfiÎÂÈÙ·È
ÁÈ· Û˘ÓÂÚÁÂ›Ô Î·Ù‰¿ÊÈÛ˘. ∏ ÌÂÙ·ÏÏÈ΋ ÈӷΛ‰· «∂ıÓÈ΋» ˘Ô‰Ë-
ÏÒÓÂÈ ›Ûˆ˜ ÙËÓ ·ÛÊ·ÏÈÛÙÈ΋ ÂÙ·ÈÚ›·. ∞fi ÙÔ 1908 Ë ΔÚ¿Â˙· £ÂÛ-
Û·ÏÔӛ΢ ›¯Â ¤‰Ú· ÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ΔÔ ˘ÔηٿÛÙËÌ¿ Ù˘
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÏÂÈÙÔ‡ÚÁËÛ ̤¯ÚÈ ÙÔ 1950 ÂÚ›Ô˘.
ªÈ· ·Ú¿ÍÂÓË ¯ÚÔÓÈ΋ ˘ÛÙ¤ÚËÛË
¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔÓ›ÎË 5.8.1917
One more shot in front of the storehouses of the Bank of
Thessaloniki. Judging from the winter-weight outfit of the
sailors and soldiers represented, the shot was taken many
months after the August fire. It is probably a demolition squad.
The metal sign "Ethniki" (i.e. National) probably signifies the
insurance company. Since 1908, the Bank of Thessaloniki was
based in Constantinople. Its branch in Thessaloniki operated
until about 1950.
A strange time lag
The fire of Thessaloniki 5.8.1917
T O § π ª ∞ ¡ π13
T H E S S A L O N I K I 45k
T H E P O R T 13
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏46k
ΔÔ ÙÂψÓÂ›Ô (ÎÙ›ÛÌ· ÙÔ˘ 1910) ‹Ù·Ó ηÙÂÛÙÚ·Ì̤ÓÔ «Î·Ù¿ ÙÔ ‹ÌÈ-
Û˘» ÌÂÙ¿ ÙËÓ ·Ô¯ÒÚËÛË ÙˆÓ Ó·˙ÈÛÙÈÎÒÓ ÛÙÚ·ÙÂ˘Ì¿ÙˆÓ ·fi ÙË
£ÂÛÛ·ÏÔÓ›ÎË (30.10.1944). ™‡Ìʈӷ Ì ›ÛËÌË ¤ÎıÂÛË Ù˘ ÂÔ-
¯‹˜, ÙÔ 80% ÙˆÓ ÂÁηٷÛÙ¿ÛÂˆÓ ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ηٷÛÙÚ¿ÊËηÓ
ηٿ ÙËÓ ÂÚ›Ô‰Ô Ù˘ ∫·ÙÔ¯‹˜. ΔÔÓ πÔ‡ÓÈÔ ÙÔ˘ 1948 ÔÏÔÎÏËÚÒıË-
ÎÂ Ë Î·Ù·Û΢‹ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ÌÚÔÛÙ¿ ÛÙÔ ÙÂψÓ›Ô. ΔÔ ›‰ÈÔ ÙÔ
ÙÂψÓÂ›Ô ÂȉÈÔÚıÒıËΠ̤¯ÚÈ Ù· Ù¤ÏË ÙÔ˘ 1950.
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ, ÂÚ›Ô˘ 1948-1950
ÕÙÈÙÏË
The customs (a building of 1910) was "half" destroyed after the
withdrawal of the Nazi army from Thessaloniki (30.10.1944).
According to a contemporary official statement, 80% of the
port facilities were destroyed during the German Occupation. In
June 1948, the construction of the seawall in front of the
customs was completed. The customs itself was restored by
the end of 1950.
The building of the customs, at about 1948-1950
Without Title
T O § π ª ∞ ¡ π14
T H E S S A L O N I K I 47k
T H E P O R T 14
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏48k
∞fi ‰ÂÍÈ¿ ÚÔ˜ Ù· ·ÚÈÛÙÂÚ¿: Ë ÙÚ›ÙË, Ë Ù¤Ù·ÚÙË Î·È Ë Î·Ù·Û΢·˙fi-
ÌÂÓË ¤ÌÙË ÚÔ‚Ï‹Ù·. ªÚÔÛÙ¿ ·ÏÒÓÂÙ·È Ô Î˘Ì·ÙÔıÚ·‡ÛÙ˘. ∏
ÙÚ›ÙË ÚÔ‚Ï‹Ù· ÔÈÎÔ‰ÔÌ‹ıËΠ·fi ÙÔ ‚ÚÂÙ·ÓÈÎfi Ù¿ÁÌ· Ì˯·ÓÈÎÔ‡
Lancashire ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ Î·È ·Ï·ÈfiÙÂÚ· ·ÔηÏÔ‡ÓÙ·Ó Ì ÙÔ
fiÓÔÌ· ÙÔ˘ Ù¿ÁÌ·ÙÔ˜. ∏ ٤ٷÚÙË ÚÔ‚Ï‹Ù· ۯ‰ȿÛÙËΠÙÔ 1960 ηÈ
ÂÚÈÏ·Ì‚¿ÓÂÈ ÌÂÁ¿ÏÔ ÛÈÏfi. ΔÔ 1975 ÍÂΛÓËÛÂ Ë ‰È·‰Èηۛ· ÁÈ· ÙËÓ
ηٷÛ΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜, ·ÊÔ‡ ÛÙÔ ÌÂٷ͇ ›¯Â ÔÏÔÎÏËÚˆ-
ı› Ë Ù¤Ù·ÚÙË Î·È Â›¯Â ηٷÛ΢·ÛÙ› Ë ¤ÌÙË.
§ÈÌ¿ÓÈ £ÂÛÛ·ÏÔӛ΢, Á‡Úˆ ÛÙ· 1970
ÕÙÈÙÏË
From right to left: the third, the fourth and the – under
construction – fifth wharf. In the foreground, there is the
breakwater. The third wharf was constructed by the British
Battalion of Corps of Engineers – Lancashire – after the war
and was previously named after this Battalion. The fourth wharf
was engineered in 1960 and includes a big silo. In 1975, the
construction of the sixth wharf was streamlined, since in the
meanwhile the fourth one had already been completed and the
fifth had been constructed, as well.
The port of Thessaloniki, about 1970
Without Title
T O § π ª ∞ ¡ π15
T H E S S A L O N I K I 49k
T H E P O R T 15
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏50k
√ Ó¤Ô˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘, Ì‹ÎÔ˘˜ 650 ̤ÙÚˆÓ, Û˘ÌÏ‹ÚˆÛ ÙÔÓ
·Ï·Èfi (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ). ∫·Ù·Û΢¿ÛÙËΠ·fi ÙÔ Ù¿ÁÌ· Ì˯·-
ÓÈÎÔ‡ ÙÔ˘ Lancashire ÛÙËÓ ÂÚ›Ô‰Ô 1945-1948.
∫˘Ì·ÙÔıÚ·‡ÛÙ˘, ÂÚ›Ô˘ 1945-1948
New break water
The new breakwater, 650 meters long, completed the old one
(550 meter long). It was constructed by the Battalion of the
Lancashire Corps of Engineers during 1945 – 1948.
Breakwater, about 1945-1948
The new breakwater
T O § π ª ∞ ¡ π16
T H E S S A L O N I K I 51k
T H E P O R T 16
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏52k
T O § π ª ∞ ¡ π17
∏ ·Ó·ÊÂÚfiÌÂÓË «ÓËÛ›‰·», Ô˘ Ë Î·Ù·Û΢‹ Ù˘ ÙÔÔıÂÙÂ›Ù·È ÛÙ·
Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950, ‰ÂÓ Â›Ó·È ÁÓˆÛÙ‹ ·fi ¿ÏÏË ËÁ‹. ∏
·Ó¿ÁÎË Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ Ù˘ ÚÔÂÚ¯fiÙ·Ó ÚÔÊ·ÓÒ˜ ·fi ÙËÓ ¤ÏÏÂÈ-
„Ë Î·Ù¿ÏÏËÏˆÓ ÎÚËȉˆÌ¿ÙˆÓ. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ÛÙÔ ¿ÎÚÔ Ù˘ ٤ٷÚ-
Ù˘ ÚÔ‚Ï‹Ù·˜ ÙÔ ‚¿ıÔ˜ ·Ó¤Ú¯ÂÙ·È Û 12 ̤ÙÚ· Î·È fiÙÈ Ë ÚÔ‚Ï‹Ù·
·˘Ù‹ ›¯Â ·Ú¯›ÛÂÈ Ó· ηٷÛ΢¿˙ÂÙ·È ÙÔ 1960 (Û ̋ÎÔ˜ 130
̤ÙÚˆÓ), Ë «Ù¯ÓËÙ‹ ÓËÛ›˜» (Ô˘ ›¯Â ·˘Ù¿ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο) ı·
ÌÔÚÔ‡Û ӷ ‹Ù·Ó Úfi‰ÚÔÌË ÌÔÚÊ‹ Ù˘ ÚÔ‚Ï‹Ù·˜.
∏ ¿ÁÓˆÛÙË «ÓËÛ›‰·»
∏ Ù¯ÓËÙ‹ ÓËÛ›˜ ÂÓÙfi˜ ÙÔ˘ ∫fiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ÂȘ ·fiÛÙ·ÛÈÓ 800 ̤ÙÚˆÓ·fi Ù˘ ·ÎÙ‹˜ Î·È ÂȘ ‚¿ıÔ˜ ı·Ï¿ÛÛ˘ 12̤ÙÚˆÓ. ∂Ș Ù·‡ÙËÓ ı· ÂÎÊÔÚÙÒÓÔ˘Ó Î·È ı·ÊÔÚÙÒÓÔ˘Ó ÏÔ›· ̤¯ÚÈ Î·È 17.000 ÙfiÓˆÓ
This "island", the construction of which is set in late 1950s, is
not acknowledged by any other source. The need for the
construction of such an "island’ was obviously due to the lack of
appropriate seawalls. Since at the end of the fourth wharf the
depth was 12 meters and this wharf had started being
constructed in 1960 (130 meters in length), the "artificial island"
(which shared these very characteristics) might have been the
forerunner of this wharf.
The unknown «island»
The artificial island in the Gulf ofThessaloniki, some 800 meters off the coastand at a 12-meter deep sea. There, ships upto 17.000 tons are to be loaded and unloaded
T H E S S A L O N I K I 53k
T H E P O R T 17
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏54k
™Â ÚÒÙÔ Ï¿ÓÔ Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· Ì ÙÔ ÛÈÏfi. ™Ù· ·ÚÈÛÙÂÚ¿ Ù˘ Ë
ÙÚ›ÙË ÚÔ‚Ï‹Ù· (Lancashire). Δ· ÎÂÓ¿ ÔÈÎfi‰· Ù˘ Ï·Ù›·˜ ∞ÚÈ-
ÛÙÔÙ¤ÏÔ˘˜ ¤¯Ô˘Ó ·ÓÔÈÎÔ‰ÔÌËı›, fiˆ˜ Î·È Ù· ·Ï·È¿ ‰ÈÒÚÔÊ· ÎÙ›-
ÛÌ·Ù· › Ù˘ ·Ú·Ïȷ΋˜ Ô‰Ô‡ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ.
ΔÔ ÏÈÌ¿ÓÈ Î·È Ë ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ‚ÔÚÂÈÔ‰˘ÙÈ΋ ηÙ‡ı˘ÓÛË,Á‡Úˆ ÛÙ· 1970
ÕÙÈÙÏË
In the foreground, the fourth wharf with the silo. On its left,
there is the third wharf (Lancashire). The formerly unbuilt plots
of Aristotelous Square have now been built, as well as the old
two-storey buildings on the corniche towards the White Tower.
The port and the waterfront of Thessaloniki, north-westwards, about 1970
Without Title
T O § π ª ∞ ¡ π18
T H E S S A L O N I K I 55k
T H E P O R T 18
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏56k
∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ÎÚËȉÒÌ·ÙÔ˜ ¤¯ÂÈ ÙÔÔıÂÙËı› ÛȉËÚÔ‰ÚÔÌÈ΋
ÁÚ·ÌÌ‹, ¿Óˆ ÛÙËÓ ÔÔ›· ÎÈÓÂ›Ù·È Ô ÁÂÚ·Ófi˜. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ ÎÙ›-
ÚÈÔ ÙÔ˘ ÙÂψÓ›Ԣ.
ΔÔ ÎÚË›‰ˆÌ· Á‡Úˆ ·fi ÙËÓ ÚÔ‚Ï‹Ù· Lancashire,ÂÚ› ÙÔ 1970
ÕÙÈÙÏË
Along the seawall, a railway has been constructed, over which
the crane moves. On the left end, there is the customs building.
The seawall around theLancashire wharf, around 1970
Without Title
T O § π ª ∞ ¡ π19
T H E S S A L O N I K I 57k
T H E P O R T 19
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏58k
∏ ηٷÛ΢‹ Ù˘ ¤ÎÙ˘ ÚÔ‚Ï‹Ù·˜ ·ÔÙ¤ÏÂÛ ‰È·¯ÚÔÓÈÎfi ÛÙfi¯Ô,
ÒÛÙ ӷ ÌË ‰ËÌÈÔ˘ÚÁÂ›Ù·È Û˘ÌÊfiÚËÛË ÛÙÔ ÏÈÌ¿ÓÈ Ù˘ £ÂÛÛ·ÏÔӛ΢,
ÚÒÙÔ ·fi ¿Ô„Ë ÂÍ·ÁˆÁÈÎÔ‡ fiÁÎÔ˘ ÛÙËÓ ∂ÏÏ¿‰·.
¶ÏÔ›· ¯ˆÚ›˜ ÎÚËȉÒÌ·Ù·
ÕÙÈÙÏË
The construction of the sixth wharf was actually a long-term
project, so as not to cause traffic at the port of Thessaloniki –
the first port of Greece as far as the volume of exports is
concerned.
Ships without seawalls
Without Title
T O § π ª ∞ ¡ π20
T H E S S A L O N I K I 59k
T H E P O R T 20
kkk
¶ ∞ ƒ ∞ § π ∞Δ H E W A T E R F R O N T
™ÙË ıÂÌ·ÙÈ΋ ÙˆÓ ÔÙÈÎÒÓ ÙÂÎÌËÚ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ë ·Ú·Ï›·
·ÔÙÂÏ› ı¤Ì· ÓÂfiÙÂÚÔ ·fi ÙÔ ÏÈÌ¿ÓÈ ‰ÈfiÙÈ Û˘ÓÈÛÙ¿ Î·È Û¯ÂÙÈο Úfi-
ÛÊ·ÙÔ ÛÙÔÈ¯Â›Ô Ù˘ fiÏ˘. ª¤¯ÚÈ ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1870
‰ÂÓ ˘‹Ú¯Â ·Ú·Ï›·. ™ÙË ı¤ÛË Ù˘ ÛËÌÂÚÈÓ‹˜ Ô‰Ô‡ ¶ÚÔͤÓÔ˘ ∫ÔÚÔ-
ÌËÏ¿ ˘„ˆÓfiÙ·Ó ·Ì˘ÓÙÈÎfi ı·Ï¿ÛÛÈÔ Ù›¯Ô˜. ΔÔ Ù›¯Ô˜ ÂΛÓÔ Î·Ù‰·-
Ê›ÛÙËÎÂ Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜ ‰Âο‰Â˜ Ó¤·
ÔÈÎfi‰· Î·È ÌÈ· ÚÔÎ˘Ì·›·, Ì‹ÎÔ˘˜ 1.100 ̤ÙÚˆÓ, ·fi ÙÔ ÏÈÌ¿ÓÈ ˆ˜
ÙÔÓ §Â˘Îfi ¶‡ÚÁÔ ÛÙÂÓfiÙÂÚË ·fi ÙË ÛËÌÂÚÈÓ‹. ™ÙËÓ ÂÚ›Ô‰Ô 1903-
1907 Ú·ÁÌ·ÙÔÔÈ‹ıËΠ‰È·Ï¿Ù˘ÓÛË Ù˘ ÚÔÎ˘Ì·›·˜ ηٿ ÔÎÙÒ
̤ÙÚ·, Ì ·ÚÈÔ ÛÎÔfi ÙËÓ ÂÓ›Û¯˘ÛË Ù˘ ÛÙÂÚÂfiÙËÙ¿˜ Ù˘.
ΔËÓ ›‰È· ÂÚ›Ô‰Ô ÔÈ ÂÚÈÛÛfiÙÂÚ˜ Úfi¯ÂÈÚ˜ ÎÙÈÚȷΤ˜ ηٷÛ΢¤˜ Ù˘
·Ú·Ï›·˜ ·Ú·¯ÒÚËÛ·Ó ÙË ı¤ÛË ÙÔ˘˜ Û ‰ÈÒÚÔÊ· ‹ ÙÚÈÒÚÔÊ· ÎÙ›ÚÈ·.
∏ ˘ÚηÁÈ¿ ÙÔ˘ 1917 η٤ÛÙÚ„ ٷ ÂÚÈÛÛfiÙÂÚ· ·fi ·˘Ù¿. ∞fi ÙÔ
1920 ̤¯ÚÈ ÙÔ 1970, ÂÚ›Ô˘, Ù· ·Ú·Ïȷο ÔÈÎfi‰· ÎÙ›ÛıËηÓ
¿ÏϘ ‰‡Ô ÊÔÚ¤˜: ΔËÓ ÚÒÙË, Ì ÙÚÈÒÚÔÊ· ‹ ÙÂÙÚ·ÒÚÔÊ· ÎÙ›ÚÈ·. ΔË
‰Â‡ÙÂÚË, Ì ÔÎÙ·fiÚÔʘ ÔÈÎÔ‰Ô̤˜.
√È 16 ʈÙÔÁڷʛ˜ ·fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈ-
ÓˆÓ›·˜ - °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó, ÂÓÙÔ›-
˙Ô˘Ó ÙȘ ÌÂÙ·‚ÔϤ˜ ÙÔ˘ ¯ÒÚÔ˘, ȉȷ›ÙÂÚ· ÛÙËÓ ÂӉȷʤÚÔ˘Û· ÂÚ›Ô‰Ô
1950-1970. √È ÂÚÈÛÛfiÙÂÚ˜ ‹Ù·Ó ˆ˜ ÙÒÚ· ·Ó¤Î‰ÔÙ˜.
Among the themes of the visual documents concerning
Thessaloniki, the waterfront constitutes a more recent theme
than the port, since it is actually one of the recent features of the
city. Until the early 1870s there was no waterfront at all. On the
site where nowadays Proxenou Koromila Street lies, a defensive
sea wall was erected. That wall was demolished and – after the
alluviation of the sea – many new plots and a quay, 1.100 meters
long – from the port to the White Tower – narrower than the
present one – were created. During 1903 – 1907, the quay was
widened eight meters further, aiming mainly to the support of its
stability underneath.
During the same period, most of the temporary constructions at
the corniche were replaced by two- or three-storey buildings.
The fire of 1917 destroyed most of them. From 1920 to about
1970, the coastal plots were built twice: the first time with three-
or four-storey buildings; and the second one with eight-storey
blocks of flats.
The 16 photographs, from the collection of the Secretariat
General of Communication – Secretariat General of Information,
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.
¶ ∞ ƒ ∞ § π ∞21
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏62k
ΔÌ‹Ì· ·ÚıÚˆÙ‹˜ ʈÙÔÁÚ·Ê›·˜, Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÙËÓ ·Ï·È¿ ·Ú·-
Ï›· ·Ó¿ÌÂÛ· ÛÙȘ (ÛËÌÂÚÈÓ¤˜) Ô‰Ô‡˜ ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘ (‰ÂÍÈ¿)
Î·È ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê (·ÚÈÛÙÂÚ¿). √È Â›ÛË̘ ÔÓÔ̷ۛ˜ ÙˆÓ
‰ÚfiÌˆÓ ·˘ÙÒÓ ÛÙËÓ ÙÔ˘ÚÎÈ΋ ‹Ù·Ó Ô‰fi˜ §Ô¯›· ∂ÓÙ¤Ì Î·È Ô‰fi˜
¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘. ∏ ·Ú·Ï›· ›¯Â ÙÔ fiÓÔÌ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡Ú-
ÁÔ˘ (ªÂÁÈ¿˙ ∫Ô˘Ï¤). √È ¤ÏÏËÓ˜ ÙËÓ ÔÓfiÌ·˙·Ó ·ÏÒ˜ «ÚÔ΢-
Ì·›·».
∏ Ï‹„Ë ¯ÚËÛÈÌÔÔÈ‹ıËΠ۠ÌÂÙ·ÁÂÓ¤ÛÙÂÚË Î·ÚÙÔÛÙ¿Ï Î·È ‰ÂÓ
¤¯ÂÈ Ô˘ÛÈ·ÛÙÈΤ˜ ‰È·ÊÔÚ¤˜ ·fi ÁÓˆÛÙ¤˜ ʈÙÔÁÚ·Ê‹ÛÂȘ, ¯ÚÔÓÔÏÔ-
ÁË̤Ó˜ ÛÙËÓ ÂÚ›Ô‰Ô 1893-1902. Δ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÛÌ·Ù· ÙÔ˘
1870 ›¯·Ó ·ÓÙÈηٷÛÙ·ı› ̤¯ÚÈ ÙÔ 1917.
¶·Ú·Ï›·, Ù¤ÏÔ˜ 19Ô˘ ·ÈÒÓ·
ÕÙÈÙÏË
Part of an unfolding photograph, representing the old
waterfront between the (contemporary) Chrysostomou
Smyrnis Street (on the right) and Mitropolitou Iosif Street (on
the left). The official names of these streets in the Turkish
language were Lochia (i.e. Sergeant) Edem Street and Paleou
Alogopazarou (i.e. Old Horseshow) Street, respectively. The
waterfront bared the name of the White Tower (Beyaz Koule).
The Greeks called it just "quay".
This shot was used in a posterior postcard and presents no
significant differences than other known shots dated during
1893 – 1902. The buildings represented – dated back in 1870 –
had been replaced until 1917.
Waterfront, late 19th century
Without Title
T H E W A T E R F R O N T 21
T H E S S A L O N I K I 63k
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏64k
§‹„Ë ·fi Ù· ·Ó·ÙÔÏÈο ÂÚ›Ô˘ ÛÙÔ ‡„Ô˜ Ù˘ (ÛËÌÂÚÈÓ‹˜) Ô‰Ô‡
∫·ÏÏ¿ÚË. ∞fi ÙËÓ Î·Ù·Û΢‹ Ù˘ Î·È Ì¤¯ÚÈ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950,
ÛÙËÓ ÚÔÎ˘Ì·›· ¿Ú·˙·Ó Ù· ÈÛÙÈÔÊfiÚ· Ô˘ ÚÔÌ‹ı¢·Ó ÙË £ÂÛÛ·-
ÏÔÓ›ÎË Ì ÙÚfiÊÈÌ· ·fi ÙȘ Á‡Úˆ ÂÚÈÔ¯¤˜ Î·È Ù· ÓËÛÈ¿ ÙÔ˘ μÔÚ›Ԣ
∞ÈÁ·›Ô˘. ∂›Û˘, ·fi ÙËÓ ·Ú·Ï›· ÂÚÓÔ‡Û ÙÔ ÙÚ·Ì ·fi ÙÔ 1893
̤¯ÚÈ ÙÔ 1926. ΔÔ 1916 ‰›Ï· ÛÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ù· Û˘Ì-
Ì·¯Èο ÛÙÚ·Ù‡̷ٷ ÂÁη٤ÛÙËÛ·Ó Î·È ÌÈ· ÛȉËÚÔ‰ÚÔÌÈ΋, Ô˘
Ô‰ËÁÔ‡Û ·fi ÙÔ ÏÈÌ¿ÓÈ ÛÙË ª›ÎÚ· (ÂÚ›Ô˘ 15 ¯ÈÏÈfiÌÂÙÚ·).
§ÂˆÊfiÚÔ˜ ¡›Î˘, 1915 ‹ 1916
ÕÙÈÙÏË
A shot from the east, at about the level of the (contemporary)
Kallari Street. Ever since its construction, and until the 1950s,
the sailboats that supplied Thessaloniki with food from the
surrounding areas and the islands of the Northern Aegean Sea
docked at the quay. In addition, the tram passed along the
waterfront from 1893 to 1926. In 1916, by the tram way, the
allied armies constructed a railway as well, which connected
the port with Mikra (about 15 kilometres long).
Nikis Avenue, 1915 or 1916
Without Title
¶ ∞ ƒ ∞ § π ∞22
T H E S S A L O N I K I 65k
T H E W A T E R F R O N T 22
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏66k
∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜». √ÈÎÔ‰ÔÌ‹ıËΠÙÔ
1908, ÛÙÔ ¯ÒÚÔ fiÔ˘ ÚÔËÁÔ˘Ì¤Óˆ˜ ‚ÚÈÛÎfiÙ·Ó Ë «Ó¤· ȯı˘·ÁÔ-
Ú¿», Î·È Î¿ËΠÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. ™ÙË ı¤ÛË ÙÔ˘ ·ÓÂÁ¤ÚıËÎÂ
ÙÔ 1925 ÙÔ ÍÂÓÔ‰Ô¯Â›Ô «ªÂÓÙÈÙÂÚ·Ó¤». ™‡Ìʈӷ Ì ‰È·Ê‹ÌÈÛË Ô˘
‰ËÌÔÛȇÙËΠfiÙ·Ó ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›, ‰È¤ıÂÙ «ΔÂÛÛ·Ú¿ÎÔÓÙ·
‰ˆÌ¿ÙÈ·, ·Ó·ÁÓˆÛÙ‹ÚÈÔÓ, ÎÏÂȉÔ·̂·ÏÔÓ Î·È ÏÔ˘ÙÚÒÓ·… ∂›Û˘
Û˘ÛÛ›ÙÈÔÓ (Table d’Ote) Ì ¢ÚfiÛÈÙÔ˘˜ ÙÈÌ¿˜. Δ¤ÏÔ˜ ¤¯ÂÈ ÙÔÓ ÚÒ-
ÙÔÓ ‰È¿ ÙËÓ £ÂÛÛ·ÏÔÓ›ÎËÓ ÓˆÙÂÚÈÛÌfiÓ: ·›ıÔ˘Û·Ó ÂÓ Ë Û˘Ó¤Ú¯ÔÓÙ·È
·È ÔÈÎÔÁ¤ÓÂÈ·È ÚÔ˜ ¢¯¿ÚÈÛÙÔÓ Û˘Ó·Ó·ÛÙÚÔÊ‹Ó». π‰ÈÔÎÙ‹Ù˘ Ù˘
Âȯ›ÚËÛ˘ ‹Ù·Ó Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ƒÒÌ··˜, Ô ÔÔ›Ô˜ ˘‹ÚÍ ηÈ
ÂÎÌÈÛıˆÙ‹˜ ÙÔ˘ ΋Ԣ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ¢ÈÂÙ¤ÏÂÛ Úfi‰ÚÔ˜
ÙˆÓ ÂÏÏËÓÈÎÒÓ Û˘ÓÙ¯ÓÈÒÓ (1916), ˘Ô„‹ÊÈÔ˜ ‚Ô˘ÏÂ˘Ù‹˜ (1915) ηÈ
̤ÏÔ˜ ÙÔ˘ ‰ËÌÔÙÈÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘ (1917-1920). ™ÙË ‰ÂηÂÙ›· ÙÔ˘
1930 ‹Ù·Ó ϤÔÓ Î¿ÙÔÈÎÔ˜ ∞ıËÓÒÓ Î·È Û˘ÌÌÂÙ›¯Â ˆ˜ ̤ÙÔ¯Ô˜ ÛÂ
‚ÈÔÌ˯·Ó›· Á·ÓÙÔÔÈ›·˜.
∫·ÚÙÔÛÙ¿Ï 1915 ‹ 1916
ÕÙÈÙÏË
The Hotel "Splendid Palace" is represented. It was built in 1908,
on the site of the previous "new fish market", and was burnt in
the fire of 1917. In its place in 1925 the hotel "Mediterranee"
was erected. According to an advertisement published on its
opening, it had "Forty rooms, a reading room, a piano and a
bathe… It also provided Table d’Ote in reasonable prices. Finally,
it also features something unique for Thessaloniki: a room for
the gathering and entertainment of families". Owner of this
enterprise was Mr. Konstantinos Rompapas, who had also been
the lessor of the White Tower garden. He had been the
Chairman of the Greek craft guilds (1916), a candidate Member
of Parliament (1915) and a member of the Town Council (1917 –
1920). During the 1930s he was a resident of Athens and a
stockholder of a glove industry.
Postcard, 1915 or 1916
Without Title
¶ ∞ ƒ ∞ § π ∞23
T H E S S A L O N I K I 67k
T H E W A T E R F R O N T 23
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏68k
∏ Ï·Ù›· ∂Ï¢ıÂÚ›·˜ –Ô˘ÛÈ·ÛÙÈο ÙÔ ÓfiÙÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡ μÂÓÈ˙¤-
ÏÔ˘ (ÙfiÙ ԉfi˜ ™·ÌÚ‹ ¶·Û¿) Î·È Ë Û˘Ì‚ÔÏ‹ Ù˘ Ì ÙËÓ ÚÔÎ˘Ì·›·-
‰È·ÓÔ›¯ÙËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ¤Ï·‚ ÙËÓ ÔÓÔÌ·Û›· Ù˘ ÙÔ
1908, ·fi ÙÔ Î›ÓËÌ· Ù˘ ∂Ï¢ıÂÚ›·˜ Î·È ¶ÚÔfi‰Ô˘ (ÙˆÓ ¡ÂfiÙÔ˘Ú-
ΈÓ). ŒÙÛÈ, Â›Ó·È Ë ÌÔÓ·‰È΋ Ï·Ù›· Ù˘ £ÂÛÛ·ÏÔӛ΢ Ô˘ ‰È·ÙË-
Ú› ÙËÓ ›‰È· ÔÓÔÌ·Û›· › ¤Ó· ·ÈÒÓ·.
∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1916 (ÔfiÙ ÙÔÔıÂÙ‹ıËΠË
ÛȉËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ Ô˘ Û˘Ó¯›˙ÂÈ ÛÙÔ ÏÈÌ¿ÓÈ Î·È Â›Ó·È ‰È·ÊÔÚÂ-
ÙÈ΋ ·fi ÙËÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ Ô˘ ·ÓËÊÔÚ›˙ÂÈ ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘),
·ÏÏ¿ ÔˆÛ‰‹ÔÙ fi¯È ÚÈÓ ·fi ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1917, ÔfiÙ ηÈ
Ù· ÂÚÈÛÛfiÙÂÚ· ÂÈÎÔÓÈ˙fiÌÂÓ· ÎÙ›ÚÈ· ηٷÛÙÚ¿ÊËÎ·Ó ·fi ÙËÓ ˘Ú-
ηÁÈ¿.
√È ÂÓ‰˘Ì·Û›Â˜ ÙˆÓ ·ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ¯ÂÈ-
ÌÒÓ·. ÕÏψÛÙÂ, Ë Ì¤Ú· Ú¤ÂÈ Ó· ‹Ù·Ó „˘¯Ú‹, ‰È·ÊÔÚÂÙÈο Ë Ï·-
Ù›· ı· ‹Ù·Ó ÁÂÌ¿ÙË ÙÚ·Â˙¿ÎÈ· ·fi Ù· ·Ú·Î›ÌÂÓ· ˙·¯·ÚÔÏ·-
ÛÙ›· (fiˆ˜ Û ÔÏϤ˜ ¿ÏϘ ʈÙÔÁڷʛ˜).
¶Ï·Ù›· ∂Ï¢ıÂÚ›·˜, 1916-1917
ÕÙÈÙÏË
Eleftherias Square – actually the southern part of Venizelou
Street (then Sabri Pasha Street) and the spot where it crossed
with the quay – was opened in late 19th century and was
named in 1908, after the Neoturks’ Eleftherias ke Proodou (i.e.
Freedom and Progress) movement. Thus, it is the only square
in Thessaloniki which maintains the same name for a whole
century now.
The shot was taken after February 1916 (when the railway
leading to the port – other than the tram going up Venizelou
Street – was constructed), but surely not before August 1917,
when most of the buildings represented were destroyed by the
fire.
The outfits of the persons represented reveal that the shots
were taken in winter time. Anyway, the day must have been
cold; otherwise the square would be full of tables from the
nearby patisseries (as it is the case in many other
photographs).
Eleftherias Square, 1916-1917
Without Title
¶ ∞ ƒ ∞ § π ∞24
T H E S S A L O N I K I 69k
T H E W A T E R F R O N T 24
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏70k
ΔÔ ÚÒÙÔ ÛÔ‚·Úfi ·Óı‚ڷ˚Îfi ̤ÙÚÔ Â› ∫·ÙÔ¯‹˜ ÛËÌÂÈÒıËΠÛÙËÓ
Ï·Ù›· ∂Ï¢ıÂÚ›·˜ ÙÔ ™¿‚‚·ÙÔ 11.7.1942, fiÙ·Ó ÔÈ Ó·˙ÈÛÙÈΤ˜ ·Ú¯¤˜
οÏÂÛ·Ó 9.000 ¿ÚÚÂÓ˜ ∂‚Ú·›Ô˘˜ Ù˘ £ÂÛÛ·ÏÔӛ΢, ËÏÈΛ·˜ 18-
45 ÂÙÒÓ, ÁÈ· Ó· ÙÔ˘˜ ηٷÁÚ¿„Ô˘Ó, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÙÔ˘˜ ÂÈÛÙÚ·-
Ù‡ÛÔ˘Ó ÁÈ· ηٷӷÁηÛÙÈ΋ ÂÚÁ·Û›· Û ϷÙÔÌ›· Î·È ¿ÏÏ· ÂÚÁÔÙ¿-
ÍÈ· ÂÎÙfi˜ £ÂÛÛ·ÏÔӛ΢. ŸÛÔÈ ÚÔÛ‹Ïı·Ó ˘Ô¯ÚÂÒıËÎ·Ó Ó· ·Ú·-
Ì›ÓÔ˘Ó Ì¤¯ÚÈ ÙȘ ‰‡Ô ÙÔ ÌÂÛË̤ÚÈ ¯ˆÚ›˜ η¤ÏÔ, οو ·fi ÙÔÓ
ηÏÔηÈÚÈÓfi ‹ÏÈÔ, ÂÓÒ ÔÏÏÔ› ¯Ù˘‹ıËÎ·Ó ·ÓËÏÂÒ˜ ‹ ˘Ô¯ÚÂÒıË-
Î·Ó Û ÂÍ¢ÙÂÏÈÛÙÈΤ˜ ÎÈÓ‹ÛÂȘ.
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (1)
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‡˜
The first grave anti-Jew measure during the German
Occupation took place at Eleftherias Square on Saturday
11.7.1942, when the Nazi authorities called 9.000 male Jews of
Thessaloniki, aged between 18 – 45, in order to record them, so
as to mobilize them for hard labour in quarries and other
worksites outside Thessaloniki. Those who appeared were
obliged to remain there until two o’clock in the afternoon
uncapped, under the burning summer sun, while many of them
had been ruthlessly beaten or compelled to make humiliating
moves.
The humiliation of Greek citizens (1)
11 July 1942. The German authorities havegathered the male Jews of the city in orderto record them. They hit and humiliate them
¶ ∞ ƒ ∞ § π ∞25
T H E S S A L O N I K I 71k
T H E W A T E R F R O N T 25
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏72k
∏ ÛÎÏËÚfiÙËÙ· Ù˘ ÌÂÙ·¯Â›ÚÈÛ˘ ‹Ù·Ó ÚÔÌÂÏÂÙË̤ÓË. ∂·ÎÔÏÔ‡ıË-
Û ·ÎfiÌË ÛÎÏËÚfiÙÂÚË ÌÂÙ·¯Â›ÚÈÛË ÛÙ· ÂÚÁÔÙ¿ÍÈ·, ÌÂÙ¿ ÙËÓ ÂÈÛÙÚ¿-
Ù¢ÛË πÛÚ·ËÏÈÙÒÓ ·Î·Ù¿ÏÏËÏˆÓ ÁÈ· ‚·ÚÈ¿ ۈ̷ÙÈ΋ ÂÚÁ·Û›·, Ô˘
Ô‰‹ÁËÛ Û ·ıÚfiÔ˘˜ ı·Ó¿ÙÔ˘˜ ÙˆÓ ÂÈÛÙÚ·ÙÂ˘Ì¤ÓˆÓ. ŒÙÛÈ, Ë
πÛÚ·ËÏÈÙÈ΋ ∫ÔÈÓfiÙËÙ· ˘Ô¯ÚÂÒıËΠӷ ÂÍ·ÁÔÚ¿ÛÂÈ ÙËÓ Î·Ù·Ó·Áη-
ÛÙÈ΋ ÂÚÁ·Û›· ·ÓÙ› ÌÂÁ¿ÏÔ˘ ÔÛÔ‡, Ô˘ η٤‚·Ï ÛÙË Ó·˙ÈÛÙÈ΋
‰ÈÔ›ÎËÛË. ∏ ›ÛÚ·ÍË ·˘ÙÒÓ ÙˆÓ Ï‡ÙÚˆÓ ¤ÁÈÓ Ì οı ÂÈÛËÌfiÙË-
Ù·: ÌÂ Û˘Ì‚¿ÛÂȘ, ¯·ÚÙfiÛËÌ· Î·È ÙÚ·Â˙ÈΤ˜ ÂÈÙ·Á¤˜.
√ ÂÍ¢ÙÂÏÈÛÌfi˜ ÂÏÏ‹ÓˆÓ ÔÏÈÙÒÓ (2)
[™˘Ó¤¯ÂÈ· ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË]
The cruelty with which they were treated had been wilful. They
were even more cruelly treated at the worksites, after the
mobilization of the Jews incapable to do hard physical labour;
something that led to numerous deaths of the mobilized Jews.
Thus, the Jewish Community was compelled to buy off this hard
labour paying a rather high price to the Nazi Commandership.
The collection of this ransom was held officially: under
contracts, stamps and cashier’s checks.
The humiliation of Greek citizens (2)
[Continued from the previous photo]
¶ ∞ ƒ ∞ § π ∞26
T H E S S A L O N I K I 73k
T H E W A T E R F R O N T 26
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏74k
¶¤Ú· ·fi Ù· ‰ÂÈÓ¿ Ô˘ ˘¤ÛÙËÛ·Ó fiϘ ÔÈ ¿ÏϘ ÂÏÏËÓÈΤ˜ fiÏÂȘ,
Ë ∫·ÙÔ¯‹ ·ÔÛÙ¤ÚËÛ ÙË £ÂÛÛ·ÏÔÓ›ÎË ·fi ÙÔ ¤Ó· ¤ÌÙÔ ÙˆÓ
ηÙÔ›ÎˆÓ Ù˘, ‰ËÏ·‰‹ ÙÔ Û‡ÓÔÏÔ Û¯Â‰fiÓ ÙÔ˘ ‚ڷ˚ÎÔ‡ ÏËı˘ÛÌÔ‡
Ù˘. ∂› ϤÔÓ Ë fiÏË ·ÔÙ¤ÏÂÛ ¤‰Ú· Ù˘ ÁÂÚÌ·ÓÈ΋˜ ∞ÓÒÙ·Ù˘
¢ÈÔ›ÎËÛ˘ μÔÚ›Ԣ ∞ÈÁ·›Ô˘. ∏ ∫ÂÓÙÚÈ΋ ª·Î‰ÔÓ›· ÌÂÙ·ÙÚ¿ËΠ·fi
ÙÔ 1943 Û ·گ›· ÙÔ˘ ƒ¿È¯. μ›ˆÓ ÙË ÌfiÓÈÌË ·ÂÈÏ‹ ÙˆÓ ÁÂÚÌ·-
ÓÈÎÒÓ ·Ú¯ÒÓ fiÙÈ ı· ÙËÓ ·Ú¤‰È‰·Ó ÛÙË μÔ˘ÏÁ·Ú›·, fiˆ˜ ›¯Â ‹‰Ë
Û˘Ì‚Â› Ì ÙËÓ ∞Ó·ÙÔÏÈ΋ ª·Î‰ÔÓ›·.
Δ·ÓΘ Ù˘ μ¤ÚÌ·¯Ù ÛÙËÓ ·Ú·Ï›·
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
Apart from the misfortunes that all the other Greek cities
underwent, the German Occupation deprived Thessaloniki of
the one fifth of its citizens; i.e. almost all of its Jewish
population. In addition, the city became the headquarters of the
German Supreme Commandership of the Northern Aegean Sea.
Central Macedonia was transformed into a borough of the 3rd
Reich. It experienced the permanent menace of the German
authorities that they would give it to Bulgaria, as it had already
been the case with Eastern Macedonia.
The tanks of Wermacht at the waterfront
9 April 1941. The tanks of List’s armyentered Thessaloniki and head to the White Tower
¶ ∞ ƒ ∞ § π ∞27
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏76k
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÛοÊÔ˜, ÛÙÔ Ù¤ÏÔ˜ Ù˘ ∫·ÙÔ¯‹˜ ‹ Ï›ÁÔ ·ÚÁfiÙÂÚ·.
√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ··ÏÏ·Á› ·fi ÙÔ ¯ÚˆÌ·ÙÈ-
Îfi ηÌÔ˘ÊÏ¿˙ Ô˘ ÙÔÓ ÂÚȤ‚·Ï ÏfiÁˆ ÙˆÓ ‚ÔÌ‚·Ú‰ÈÛÌÒÓ. ªfiÓÔÓ
Ë ·ÚÔ˘Û›· ÏÔ›ˆÓ ÌÂÁ·Ï‡ÙÂÚˆÓ ·fi ÂΛӷ Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È ÛÙȘ
ηÙÔ¯ÈΤ˜ ʈÙÔÁڷʛ˜ ‰Â›¯ÓÂÈ fiÙÈ Ë Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1944. ™ÙÔ
¿ÎÚÔ ·ÚÈÛÙÂÚ¿, ‰È·ÎÚ›ÓÂÙ·È Ô ¯ÒÚÔ˜ Ô˘ ÏÂÈÙÔ‡ÚÁËÛ (ÙÔ˘Ï¿¯ÈÛÙÔÓ
·fi ÙÔ 1947) Ô ıÂÚÈÓfi˜ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜», ÛÙËÓ Ï·Ù›·
∞ÚÈÛÙÔÙ¤ÏÔ˘˜. ∞ÎÔÏÔ˘ı› ÙÔ Ì¤Á·ÚÔ ∫ÔÓÈfiÚ‰Ô˘ (·ÓÂÁ¤ÚıËΠÙÔ
1934). ΔËÓ ›‰È· ÂÚ›Ô˘ ÂÔ¯‹ ÎÙ›ÛıËÎÂ Î·È ÙÔ ÂfiÌÂÓÔ «˘„ËÏfi ÎÙ›-
ÚÈÔ», ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫. ¡ÙËÏ, fiÔ˘ ·ÚÁfiÙÂÚ· ÏÂÈÙÔ‡ÚÁËÛ ÙÔ
ÂÛÙÈ·ÙfiÚÈÔ «™ÙÚ·Ù‹˜» (ηÙ‰·Ê›ÛÙËΠÙÔ 2005). ™ÙË Û˘Ó¤¯ÂÈ·, ÛÙË
Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∞Á›·˜ ™ÔÊ›·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ‰ÈÒÚÔÊÔ ÍÂÓÔ‰Ô-
¯Â›Ô «ª·˙¤ÛÙÈλ (·ÓÂÁ¤ÚıËΠÙÔ 1924 Î·È ÛÙËÓ ∫·ÙÔ¯‹ ÂÈÙ¿¯ıËÎÂ
·fi ÁÂÚÌ·ÓÈΤ˜ ˘ËÚÂۛ˜) Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË».
∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙÔ §Â˘Îfi¶‡ÚÁÔ, ‰ÂηÂÙ›· 1940
ÕÙÈÙÏË
The shot was taken from a boat at the end of the German
Occupation, or even later. The White Tower does not seem to
be unloaded from its coloured camouflage during the bombings.
Only the presence of ships bigger than those appearing in the
photographs taken during the German Occupation proves that
the shot was taken after 1944. On the left end, there is the site
where the summer cinema "Zephyros" had been (at least since
1947), at Aristotelous Square. Then, there stands the Koniordos
building (built in 1934). During about the same period, the next
"high building" had also been built, on the corner of Karolou Dil,
where later the restaurant "Stratis" was established
(demolished in 2005). Then, on the crossroads of Aghias
Sophias Street, the two-storey hotel "Majestic" distinguishes,
(built in 1924; during the German Occupation it had been
requested by the German services) as well as the multi-storey
building "Tyroloi".
The waterfront from AristotelousSquare to the White Tower,1940s
Without Title
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∏ Ï‹„Ë ¤ÁÈÓ ·fi η˝ÎÈ, ·Ú·Á̤ÓÔ ÌÚÔÛÙ¿ ÛÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤-
ÏÔ˘˜. ™ÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ (‰›Ï· ·fi ÙÔ ‰›¯Ù˘)
‰È·ÎÚ›ÓÂÙ·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∑¤Ê˘ÚÔ˜» Î·È Ù· ÙÚ·¤˙È· ÙÔ˘ ÔÌÒ-
Ó˘ÌÔ˘ ÂÛÙÈ·ÙÔÚ›Ô˘. ¢ÂÍÈ¿ ·fi ÙÔ ÎÙ›ÚÈÔ ∫ÔÓÈfiÚ‰Ô˘ Ô˘ ·ÎÔÏÔ˘ı›
¤¯ÂÈ ·ÓÂÁÂÚı› (Ú‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·) Ó¤Ô ÎÙ›ÚÈÔ. √
§Â˘Îfi˜ ¶‡ÚÁÔ˜ ʤÚÂÈ ÂÌÊ·Ó‹ ηٿÏÔÈ· ·fi ÙÔ Î·ÙÔ¯ÈÎfi ηÌÔ˘-
ÊÏ¿˙ ÙÔ˘, ÂÓÒ ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ (·Ó·ÙÔÏÈÎÒ˜ ÙÔ˘ ¶‡ÚÁÔ˘) ‰È·ÎÚ›ÓÔ-
ÓÙ·È ÔÈ ÙÚÂȘ ηÌÈÓ¿‰Â˜ Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜.
∏ ·Ú·Ï›· ·fi ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ˆ˜ ÙËÓ ·Ï·È¿ ∏ÏÂÎÙÚÈ΋ ∂Ù·ÈÚ›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
ÕÙÈÙÏË
The shot was taken from a caique, moored in front of the
Aristotelous Square. On the left part of the photograph (by the
net) the summer cinema "Zephyros" can be discerned, as well
as the tables of the homonym restaurant. On the right of the
Koniordos building, that comes right after, a new building has
been built (see previous photo). The White Tower has clear
remainders of its camouflage during the German Occupation,
while on the right end (east of the Tower) the three chimneys
and the building of the Electric Company are clearly shown.
The waterfront from AristotelousSquare to the old ElectricCompany, early 1950s
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏80k
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ·Ú·ı·Ï¿ÛÛÈÔ Â˙Ô‰ÚfiÌÈÔ. ∞ÚÈÛÙÂÚ¿ ·fi ÙÔ
ÍÂÓÔ‰Ô¯Â›Ô «ª·˙¤ÛÙÈλ ¤¯ÂÈ ÚÔÛÙÂı› ¤Ó· ·ÎfiÌË ÔÏ˘ÒÚÔÊÔ ÎÙ›-
ÚÈÔ. ΔÔ ÈÛfiÁÂÈÔ ÛÙÔ ÎÙ›ÚÈÔ «Δ˘ÚÔÏfiË» (ÌÂ ÙËÓ ¿ÛÚË Ù¤ÓÙ·) ÛÙÂÁ¿-
˙ÂÈ ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·». Δ· ·˘ÙÔΛÓËÙ· Â›Ó·È ·ÎfiÌË Û·ÓÈfiٷٷ.
¢ÂÍÈ¿, Ù· ÏÔÈ¿ÚÈ· Ô˘ ÂÎÙÂÏÔ‡Û·Ó ÙË Û˘ÁÎÔÈÓˆÓ›· Ì ٷ ¯ˆÚÈ¿ ÙÔ˘
£ÂÚÌ·˚ÎÔ‡ (¶ÂÚ·›·, ¡¤ÔÈ ∂È‚¿Ù˜, ∞Á›· ΔÚÈ¿‰·), fiÔ˘ ·Ú·ı¤ÚÈ˙·Ó
ÔÈ £ÂÛÛ·ÏÔÓÈΛ˜.
∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢,Ù¤ÏË ‰ÂηÂÙ›·˜ 1950
ÕÙÈÙÏË
The shot was taken from a littoral pavement. On the left of the
"Majestic" hotel one more multi-storey building has been
erected. The ground floor of the "Tyroloi" building (with the
white awning) accommodates the "Astoria" café. The cars are
still scarce. On the right, there are the small crafts – the
transport means of the villages of the Thermaikos Gulf (Peraia,
Nei Epivates, Aghia Triada), where the citizens of Thessaloniki
spent the summer.
The waterfront of Thessaloniki,late 1950s
Without Title
¶ ∞ ƒ ∞ § π ∞30
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏82k
∞fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë ¤¯Ô˘Ó ÂÚ¿ÛÂÈ ÌÂÚÈο ¯ÚfiÓÈ·. ∏ ʈÙÔ-
ÁÚ·Ê›· ηχÙÂÈ ÙÔ ÙÌ‹Ì· Ù˘ ÚÔÎ˘Ì·›·˜ ·Ó¿ÌÂÛ· ÛÙËÓ Ô‰fi
ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê Î·È ÙÔ §Â˘Îfi ¶‡ÚÁÔ. ∏ ÂfiÌÂÓË ‰È·ÎÚÈÓfiÌÂÓË
ÁˆÓ›· (ÛÙÔ ÛËÌÂ›Ô Ô˘ ηχÙÂÈ Ô ÛÙ‡ÏÔ˜) Â›Ó·È Ë Ô‰fi˜ ÃÚ˘ÛÔÛÙfi-
ÌÔ˘ ™Ì‡ÚÓ˘, fiÔ˘ ÛÙÂÁ·˙fiÙ·Ó (̤¯ÚÈ ÚÈÓ ·fi Ï›Á· ¯ÚfiÓÈ·) ÙÔ
ÚÔÍÂÓÂ›Ô ÙˆÓ ∏¶∞. ™ÙËÓ ÂfiÌÂÓË ÁˆÓ›· ·fi ÙÔ ÚÔÍÂÓÂ›Ô –Ô‰fi˜
ªÔÚÁÎÂÓÙ¿Ô˘- ¤¯ÂÈ ·ÓÂÁÂÚı› Ë ÚÒÙË ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ Ô˘
Û˘Ó·ÓÙ‹Û·Ì ÛÙȘ ̤¯ÚÈ ÙÒÚ· ·ÂÈÎÔÓ›ÛÂȘ Ù˘ ·Ú·Ï›·˜. ™ÙËÓ Âfi-
ÌÂÓË ÁˆÓ›· (ÛÙÔ ‰ÈÒÚÔÊÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙) ÛÙÂÁ·˙fiÙ·Ó ÙÔ Î·ÊÂ-
ÓÂ›Ô Î·È ÛÊ·ÈÚÈÛÙ‹ÚÈÔ «¶ÙÈ ¶·Ï·›», ÛÙË ÁˆÓ›· Ù˘ Ô‰Ô‡ ∫·ÏÏ¿ÚË.
∞˘ÙÔΛÓËÙ· ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ÂÏ¿¯ÈÛÙ·. ∏ Ë̤ڷ ›ӷÈ
ËÏÈfiÏÔ˘ÛÙË Î·È ¤Ó· ÌÈÎÚfi ÛοÊÔ˜ ÂÚÈ̤ÓÂÈ ÂÈ‚¿Ù˜ ÁÈ· ÙÔ Á‡ÚÔ
ÙÔ˘ ÎfiÏÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢.
∏ ·Ú·Ï›· Ù˘ £ÂÛÛ·ÏÔӛ΢,·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1960
1.3.1963.ΔÌ‹Ì· ·Ú·Ïȷ΋˜ Ô‰Ô‡ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘ Ì ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ ÂȘ ÙÔ ‚¿ıÔ˜
A few years have past since the previous shot. The photograph
covers the part of the quay between Mitropolitou Iosif Street
and the White Tower. The next corner that is discerned
(covered by the column) is Chrysostomou Smyrnis Street,
where the consulate of the U.S.A had been housed (until
recently). On the next corner after the consulate –Morgentau
Street – a multi-storey block of flats has been built (the first
one represented in the photos of the waterfront up to now). On
the next corner, (at the two-storey building "Francaise") the
café and poolroom "Petit Palais" was housed (on the corner of
Kallari Street). The cars are still scarce. The day had been sunny
and a small craft was waiting for passengers to sail them
around in the Gulf of Thessaloniki.
The waterfront of Thessaloniki,early 1960s
1.3.1963. Part of the corniche of the Greek second largest city with the White Tower in the background
¶ ∞ ƒ ∞ § π ∞31
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏84k
∞fi ÙËÓ ÔÓÔÌ·Û›· ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ‰‡Ô ÚÒÙ·
ÁÚ¿ÌÌ·Ù·. ªÂÙÔÓÔÌ¿ÛÙËΠ۠«∫ÂÓÙÚÈÎfiÓ» ÛÙË Û·È˙fiÓ 1954-1955.
™˘ÓÂÒ˜, Ë Ï‹„Ë ¤ÁÈÓ ÚÈÓ ·fi ÙÔ ™Â٤̂ÚÈÔ ÙÔ˘ 1954. ∞ÚÈÛÙÂÚ¿
·fi ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ·ÌÂÚÈηÓÈÎfi ÚÔÍÂÓÂ›Ô (Ì ÙË
ÛËÌ·›·), ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘. ™ÙË Ì¤ÛË ÙÔ˘
‰ÚfiÌÔ˘, ¤Ó· ·È‰› οÓÂÈ ·Ù›ÓÈ. °Ú¿ÊÂÈ £ÂÛÛ·ÏÔÓÈΤ·˜ Ô˘ ¤˙ËÛÂ
ÛÙËÓ ÂÚÈÔ¯‹ ˆ˜ ·È‰› ·ÎÚÈ‚Ò˜ ÂΛÓË ÙËÓ ÂÔ¯‹: «ΔÔ ÙÈ ıfiÚ˘‚Ô
¤Î·Ó·Ó Ù· ·Ù›ÓÈ· ¿Óˆ ÛÙȘ ÌÈÎÚ¤˜ ÙÂÙÚ¿ÁˆÓ˜ ϷΛÙÛ˜ ÙÔ˘
Â˙Ô‰ÚÔÌ›Ô˘, ‰ÂÓ Ï¤ÁÂÙ·È. (…) Δ· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ ¤Î·Ó·Ó ÙȘ
‚fiÏÙ˜ Ì ÙÔ ·Ù›ÓÈ ÙÔ˘˜ ÛÙÔÓ ‰ÚfiÌÔ Ù˘ ·Ú·Ï›·˜ ‹ ÛÙÔÓ ·Ú·ÏÈ·-
Îfi Â˙fi‰ÚÔÌÔ Ô˘ ‰ÂÓ Â›¯Â ϿΘ. ŸÌˆ˜ ÂÂȉ‹ ÔÏÏÔ› Á›ÙÔÓ˜
‰È·Ì·ÚÙ˘Ú‹ıËÎ·Ó ÁÈ· ÙÔ ıfiÚ˘‚Ô, ¿Ú¯ÈÛ·Ó ÔÈ ¯ˆÚÔʇϷΘ Ó·
΢ÓËÁÔ‡Ó (…) ÙȘ ̿Ϙ Î·È Ù· ·Ù›ÓÈ·» (¢. ∫·Ú·Ì‹ÙÛÔ˜).
¶·Ú·Ï›· £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ Ô‰fi ªËÙÚÔÔÏ›ÙÔ˘πˆÛ‹Ê ̤¯ÚÈ ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ«∂ıÓÈÎfiÓ», ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
ÕÙÈÙÏË
One can distinguish only the first two letters from the name of
the cinema. It was renamed into "Kentrikon" during 1954 –
1955. Thus, the shot was taken before September 1954. On the
left of the cinema, there is the American consulate (with the
flag), on the corner of Chrysostomou Smyrnis Street. In the
middle of the street, a child is skating. A citizen of Thessaloniki,
who was a child during that very period, cites: "The noise of the
skates on the small square flagstones of the pavements is
indescribable. (…) The older children were skating on the
corniche or on the pavement that was not covered with
flagstones. However, as many neighbours made complaints
about the noise, the policemen started turning away (…) the
balls and the skates" (Mr. D. Karamitsos).
The waterfront of Thessaloniki,from Mitropolitou Iosif Street to the "Ethnikon" cinema, early 1950s
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏86k
√ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ ÔÓÔÌ¿˙ÂÙ·È Î·È ¿ÏÈ «∂ıÓÈÎfiÓ», ÂÓÒ ‰ÂÓ ‰È·ÎÚ›-
ÓÂÙ·È Î¿ÔÈ· Ô˘ÛÈ·ÛÙÈ΋ ‰È·ÊÔÚ¿ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Ï‹„Ë.
∂ÓÙ˘ˆÛÈ¿˙ÂÈ ÙÔ Ï‹ıÔ˜ Ô˘ ¤Û¢Û ӷ ·Ú·ÎÔÏÔ˘ı‹ÛÂÈ ÙË ÛÙÚ·-
ÙȈÙÈ΋ ·Ú¤Ï·ÛË, ȉȷ›ÙÂÚ· ÂÏ΢ÛÙÈÎfi ı¤·Ì· ÛÙËÓ ÚÔÙËÏÂÔÙÈ΋
ÂÔ¯‹.
¶·Ú¤Ï·ÛË ÛÙËÓ ·Ú·Ï›·, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1950
∞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˘
The cinema is called "Ethnikon", while no significant difference is
evident in comparison to the previous shot. Impressive is the
crowd that rushed to watch the military parade – an especially
attractive event in the pre-television era.
A parade at the waterfront, early 1950s
From the festivities of the nationalanniversary of 25th March in Thessaloniki. In the photograph, the parade of an anti air artillery along the corniche
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏88k
ΔÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‰ÂÓ Î·Ù·ÛÙÚ¿ÊËÎÂ
ÛÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917. Δ· ‰‡Ô ÚÒÙ· ÎÙ›ÚÈ· ÛÙ· ‰ÂÍÈ¿ (ÙÔ ÁˆÓÈ·-
Îfi Â›Ó·È ÙÔ ÂÛÙÈ·ÙfiÚÈÔ «∂ÚÌ›ÔÓ») ‰È·ÎÚ›ÓÔÓÙ·È Î·È Û ϋ„ÂȘ ÙˆÓ
·Ú¯ÒÓ ÙÔ˘ ÂÈÎÔÛÙÔ‡ ·ÈÒÓ·. Δ· ÂfiÌÂÓ· ‰‡Ô ¯·ÌËÏfiÙÂÚ· ÎÙ›ÚÈ·
˘‹Ú¯·Ó ÛÙ· Ù¤ÏË ÙÔ˘ ‰¤Î·ÙÔ˘ ¤Ó·ÙÔ˘. ªÂÛÔÏ·‚› Ë Ô‰fi˜ ¢ËÌËÙÚ›-
Ô˘ °Ô‡Ó·ÚË (Ô˘ ‰ÂÓ Â›¯Â ·ÎfiÌË ‰È·ÓÔÈÁ› Ï‹Úˆ˜). ΔÔ ¤ÌÙÔ (ηÈ
˘„ËÏfiÙÂÚÔ) ÎÙ›ÚÈÔ ·fi ‰ÂÍÈ¿ ‹Ù·Ó ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ª·ÛÙ·˙›ÓË Î·È
˘‹Ú¯Â ηٿ ÙÔÓ ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ΔÔ ¤ÎÙÔ (ÌÔÓfiÚÔÊÔ)
ÎÙ›ÚÈÔ ‹Ù·Ó Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¶·ÏÏ¿˜», ÛÙÔ ›‰ÈÔ ÛËÌÂ›Ô ·fi ÙÔÓ
ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ «¶·ÏÏ¿˜» ‚Ï¤Ô˘ÌÂ
¤Ó· ·ÎfiÌË ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ, Ô˘ ÂÌÊ·Ó›˙ÂÙ·È Î·È Û ϋ„ÂȘ ÙÔ˘
1915. Δ¤ÏÔ˜, ÙÔ ÂfiÌÂÓÔ (ÁˆÓÈ·Îfi) ÎÙ›ÚÈÔ Â›Ó·È ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙,
(Ì ÙÔ Î·ÊÂÓÂ›Ô ¶ÙÈ ¶·Ï·› ÛÙÔ ÈÛfiÁÂÈÔ, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ™ÙÚ·-
ÙËÁÔ‡ ∫·ÏÏ¿ÚË). ∞fi Ù· ÛÙÔȯ›· ·˘Ù¿, ÙÔÓ Ù‡Ô ÙˆÓ ÛÙ‡ÏˆÓ ÙÔ˘
‰ËÌÔÙÈÎÔ‡ ʈÙÈÛÌÔ‡, ÙË Û˘Ó¤¯ÈÛË Ù˘ ·Ì·ÍÈÙ‹˜ Ô‰Ô‡ (·ÓÙ› Â˙Ô-
‰ÚÔÌ›Ô˘) ÚÔ˜ ÙÔ ÙÌ‹Ì· Ù˘ ·Ú·Ï›·˜ ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ,
ÙËÓ ÏËıÒÚ· ÙˆÓ ÈÛÙÈÔÊfiÚˆÓ, ÚÔ·ÙÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ Ú¤ÂÈ Ó·
¤ÁÈÓ Ôχ ÌÂÙ¿ ÙÔ 1950. ª¤Ú· ÂÔÚÙ¿ÛÈÌË, ÔˆÛ‰‹ÔÙÂ, ·Ó ÎÚ›ÓÂÈ
ηÓ›˜ ·fi ÙÔ ÛËÌ·ÈÔÛÙÔÏÈÛÌfi ·fi ÙËÓ ÔÌ‹ Ô˘ Ê·›ÓÂÙ·È Ó·
¤Ú¯ÂÙ·È ·fi Ì·ÎÚÈ¿.
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1950
ÕÙÈÙÏÔ
The part of the waterfront towards the White Tower was not
destroyed by the fire of 1917. The first two buildings on the
right (the one on the corner is the "Ermeion" restaurant) are also
present in shots taken in early 20th century. The next two
lower buildings stood still in late 19th century. Dimitriou Gounari
Street comes in between (not fully opened up yet). The fifth
(and the highest) building from the right was "Bastazini" Hotel,
which has been standing there ever since the First World War.
The sixth (one-storey) building was the "Palace" cinema, on the
same spot since the First World War. On the left of the "Palace"
cinema, one can see one more three-storey building, also
present in shots of 1915. Finally, the next building (on the corner)
is the "Francaise" edifice, (with the "Petit Palais" café on the
corner of Kallari Street). From these evidence, the style of the
columns of municipal lightings, the continuation of the carriage
way (instead of the pavement) towards the part of the
waterfront in front of the White Tower and the great number of
sail boats, it is assumed that the photo should be taken many
years after 1950. Surely, it had been a national anniversary
since the city is decorated with flags and a procession is
coming from afar.
The waterfront shot from the top of the White Tower, in about 1950
Without Title
¶ ∞ ƒ ∞ § π ∞34
T H E S S A L O N I K I 89k
T H E W A T E R F R O N T 34
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏90k
™Ù· ¯ÚfiÓÈ· Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó ·Ó¿ÌÂÛ· Û ·˘Ù‹Ó Î·È ÙËÓ ÚÔËÁÔ‡-
ÌÂÓË Ï‹„Ë (·fi ÙÔ ›‰ÈÔ ÛËÌ›Ô), Ô ·ÛÙÈÎfi˜ ÈÛÙfi˜ ˘¤ÛÙË ‚·ÚÈ¿ Ï‹Á-
Ì·Ù·. ¶·Ú¿ ÙÔ ÁÂÁÔÓfi˜ fiÙÈ ‰È·ÙËÚÔ‡ÓÙ·È ·ÎfiÌË Ù· ÌÈÛ¿ ·fi Ù· ÎÙ›-
ÚÈ· Ô˘ ÂÓÙÔ›ÛÙËÎ·Ó ÛÙËÓ ÚÔËÁÔ‡ÌÂÓË ÂÈÎfiÓ·, ¤¯ÂÈ ‹‰Ë ÎÙÈÛÙ›
ÌÈ· ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹, ÌÈ· ¿ÏÏË ·ÓÂÁ›ÚÂÙ·È (ÁˆÓ›· Ì ÙËÓ Ô‰fi
™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË), ÂÓÒ Î·Ù‰·Ê›˙ÂÙ·È ÙÔ ·Ï·Èfi «∂ÚÌ›ÔÓ». ∞fi
ÙËÓ ÚÔÎ˘Ì·›· ÏÂ›Ô˘Ó Ï¤ÔÓ Ù· ÈÛÙÈÔÊfiÚ·. ∏ ‰È·‰ÚÔÌ‹ Ù˘ ·Ú¤-
Ï·Û˘ ·fi ÙËÓ ·Ú·Ï›· Â›Ó·È ÌÈ· ·fi ÙȘ ÔÏϤ˜ Ô˘ ‰ÔÎÈÌ¿ÛÙËηÓ
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ·ÏÏ¿˙ÔÓÙ·˜ Ì·˙› Ì ÙËÓ fiÏË.
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1960
29.10.1960. ™ÙÈÁÌÈfiÙ˘ÔÓ ·fi ÙËÓ ·Ú¤Ï·ÛÈÓÙ˘ Ì·ıËÙÈÒÛ˘ ÓÂÔÏ·›·˜ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ› ÙË ÂÂÙ›ˆ ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ √Ãπ
In the years between this photo and the previous one (from the
same spot), the urban tissue had been greatly damaged.
Despite the fact that half of the buildings traced in the previous
photograph still remain, a multi-storey block of flats has been
erected, another one is also being under construction (on the
corner of Stratigou Kallari Street), while old "Ermeion" is being
demolished. The sail boats are no more in the quay. The parade
path along the waterfront has been one of the many things that
have changed in Thessaloniki, along with the city itself.
The waterfront shot from the topof the White Tower, 1960
29.10.1960. A snapshot of the students;parade in Thessaloniki, on the occasion ofthe historical √Ãπ ("Ochi", i.e. "No" to theItalian invaders)
¶ ∞ ƒ ∞ § π ∞35
T H E S S A L O N I K I 91k
T H E W A T E R F R O N T 35
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏92k
∫·Ù¿ ÙË ‰ÂηÂÙ›· Ô˘ ÌÂÛÔÏ¿‚ËÛ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·-
Ê›·, Î·È Ì ÂÍ·›ÚÂÛË ÙÔ Ì¤Á·ÚÔ ºÚ·ÓÛ¤˙ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·Ï-
Ï¿ÚË (Ô˘ ·ÎÔÏÔ‡ıËÛ ÙËÓ ÎÔÈÓ‹ ÌÔ›Ú· ÌÂÚÈο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·),
fiÏ· Ù· ¿ÏÏ· ÎÙ›ÛÌ·Ù· ¤¯Ô˘Ó ·Ú·¯ˆÚ‹ÛÂÈ ÙȘ ı¤ÛÂȘ ÙÔ˘˜ ÛÂ
ÔÏ˘ÒÚÔʘ ÔÈÎÔ‰Ô̤˜. ∏ ·Ó·ÙÚÔ‹ Ù˘ Îϛ̷η˜ Ù˘ ·Ú·Ïȷ΋˜
ψÊfiÚÔ˘ ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ∏ ΢ÎÏÔÊÔÚ›· ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ Â›Ó·È
ÂÚÈÔÚÈṲ̂ÓË ·ÎfiÌË, ·ÏÏ¿ Ë ·ÚÔ˘Û›· ÙÔ˘˜ ¤ÓÙÔÓË.
∏ ·Ú·Ï›· ʈÙÔÁÚ·ÊË̤ÓË ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1970
ÕԄȘ £ÂÛÛ·ÏÔӛ΢
During the decade that came in between since the previous
photograph, and with the exception of the "Francaise" edifice,
on the corner of Kallari Street (which had the common fate
some years later), all the other buildings have been replaced by
multi-storey blocks of flats. The corniche scale has been
completely overbalanced. The traffic is still limited, yet the
presence of cars is intense.
The waterfront shot from the topof the White Tower, early 1970s
A view of Thessaloniki
¶ ∞ ƒ ∞ § π ∞36
T H E S S A L O N I K I 93k
T H E W A T E R F R O N T 36
kkk
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™Δ H E W H I T E T O W E R
√ ΢ÎÏÈÎfi˜ «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Ù˘ £ÂÛÛ·ÏÔӛ΢ ¤¯ÂÈ ÙÔ ›‰ÈÔ Û¯‹Ì·
Î·È ·Ú·Ï‹ÛȘ ·Ó·ÏÔÁ›Â˜ Ì ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ» , ÁÓˆÛÙfi ¤ÚÁÔ ÙÔ˘
·Ú¯ÈÙ¤ÎÙÔÓ· ™ÈÓ¿Ó, Ô ÔÔ›Ô˜ ˘„ÒÓÂÙ·È ÛÙÔ «∫¿ÛÙÚÔ Ù˘ ƒÔ‡ÌÂÏ˘»,
ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡ÔÏË. ∞ÓÙ›ıÂÙ·, fï˜ ÚÔ˜ ÙÔÓ «ª·‡ÚÔ ¶‡ÚÁÔ»
(∫·Ú¿ ∫Ô˘Ï¤), Ë ÔÓÔÌ·Û›· «§Â˘Îfi˜ ¶‡ÚÁÔ˜» Â›Ó·È ÓÂfiÙÂÚË. ª¤¯ÚÈ ÙÔ
1883 ··ÓÙ¿ Ë ÔÓÔÌ·Û›· «¶‡ÚÁÔ˜ ÙÔ˘ ∞›Ì·ÙÔ˜», ÂÓÒ Ì¤¯ÚÈ ÙËÓ Âfi-
ÌÂÓË ‰ÂηÂÙ›· ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ˆ˜ Ê˘Ï·Î‹ Ì ÂηÙÔÓÙ¿‰Â˜ ÎÚ·ÙÔ‡-
ÌÂÓÔ˘˜. ™ÙȘ ÚÒÙ˜ ·ÁÁÂÏÌ·ÙÈΤ˜ ʈÙÔÁÚ·Ê‹ÛÂȘ Ù˘ £ÂÛÛ·ÏÔÓ›-
΢ -Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó Á‡Úˆ ÛÙ· 1890 ÁÈ· ÏÔÁ·ÚÈ·ÛÌfi ÙÔ˘
ÛÔ˘ÏÙ¿ÓÔ˘ ∞ÌÓÙÔ‡Ï Ã·Ì›ÓÙ- Ô §Â˘Îfi˜ ¶‡ÚÁÔ˜ ‰ÂÓ ¤¯ÂÈ Î·Ì›· ÚÔ-
ÓÔÌȷ΋ ÌÂÙ·¯Â›ÚÈÛË Î·È ÊˆÙÔÁÚ·Ê›˙ÂÙ·È ÌfiÓÔÓ Û˘Ìو̷ÙÈο. ∞ÏÏ¿
ÛÙȘ ÚÔ‰ÚÔÌÈΤ˜ ¯ÚˆÌÔÏÈıÔÁÚ·ÊÈΤ˜ ηÚÙÔÛÙ¿Ï Ô˘ ÂÎÙ˘ÒÓÔÓÙ·È
ÛÙË °ÂÚÌ·Ó›· ‹ ÙËÓ ∞˘ÛÙÚ›· ÛÙ· 1896 Î·È 1897, ηٷϷ̂¿ÓÂÈ Âͤ-
¯Ô˘Û· ı¤ÛË ·Ó¿ÌÂÛ· ÛÙ· ÌÓËÌ›· Ô˘ ÂÈϤÁÔ˘Ó ÔÈ ÂΉfiÙ˜ Ù˘ £ÂÛ-
Û·ÏÔӛ΢.
√ ‡ÚÁÔ˜ ÂÚÈ‚·ÏÏfiÙ·Ó ·fi ÂÚÈÙ›¯ÈÛÌ· Ô˘ ›¯Â ÔÎÙ·ÁˆÓÈÎfi Û¯‹Ì·
Ì ¯·ÌËÏfi ‡„Ô˜ (ÂÚ›Ô˘ ¤ÓÙ ̤ÙÚ·). ™Â ÙÚÂȘ ·fi ÙȘ ·È¯Ì¤˜ ÙÔ˘
ÂÚÈÙÂȯ›ÛÌ·ÙÔ˜ ˘‹Ú¯·Ó ÈÛ¿ÚÈıÌÔÈ ÔÎÙ·ÁˆÓÈÎÔ› ˘ÚÁ›ÛÎÔÈ, ÂÓÒ ¤Ó·˜
٤ٷÚÙÔ˜ Î·È ÌÂÁ·Ï‡ÙÂÚÔ˜ ˘ÚÁ›ÛÎÔ˜ ˘‹Ú¯Â ̤۷ ÛÙÔÓ ÂÚ›‚ÔÏÔ. ΔÔ
ÂÚÈÙ›¯ÈÛÌ· ηÙ‰·Ê›ÛÙËΠÙÔ 1911. √ ‡ÚÁÔ˜ ÎËÚ‡¯ıËΠÂıÓÈÎfi
·Ú¯·ÈÔÏÔÁÈÎfi ÌÓËÌÂ›Ô ÛÙȘ 23.8.1913. √È 12 ʈÙÔÁڷʛ˜ Ù˘ ÂÓfi-
ÙËÙ·˜ ·˘Ù‹˜ ηχÙÔ˘Ó ÙËÓ ÂÚ›Ô‰Ô 1907-1970, Ù·˘Ù›˙ÔÓÙ·È ‰ËÏ·‰‹
Ì ÙË ¯ÚÔÓÈ΋ ÂÚ›Ô‰Ô Î·Ù¿ ÙËÓ ÔÔ›· Ô ‡ÚÁÔ˜ ÌÂÙ·‚Ï‹ıËΠ·fi
«ÌÓËÌ›Ի (fiˆ˜ ÔÏÏ¿ ¿ÏÏ·) Û ۋ̷ ηٷÙÂı¤Ó Ù˘ £ÂÛÛ·ÏÔӛ΢.
The circular "White Tower" of Thessaloniki has the same shape
and similar proportions with the "Black Tower", the famous work
of the architect Sinan, standing at the "Castle of Roumeli", in
Constantinople. Yet, contrary to the "Black Tower" (Kara Koule),
the name "White Tower" is more recent. Until 1883, it was known
as "Blood Tower", while until the decade that followed it had been
used as a jail, where hundreds of prisoners were held. In the first
professional photographs of Thessaloniki – which the Sultan
Abdul Hamid had them taken around 1890 – the White Tower is
not treated with any preference, being shot only occasionally.
However, on the first chromolithographic postcards printed in
Germany or Austria in 1896 and 1897, it occupies a prominent
position among the monuments chosen by the publishers of
Thessaloniki.
The tower was surrounded with octagonal low walls (about five
meters in height). On three of the peaks of this wall, there were
an equal number of octagonal turrets, while a fourth and bigger
one stood within the ring. This wall was demolished in 1911. The
tower was declared a national archeological monument on the
23.8.1913. The 12 photographs of this unit cover the period
during 1907-1970, i.e. they coincide with the period during which
the tower was transformed from a "monument" (as many others)
into the landmark of Thessaloniki.
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™37
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏96k
√ ¯ÒÚÔ˜ Á‡Úˆ ·fi ÙÔÓ ‡ÚÁÔ ‰È·ÌÔÚÊÒıËΠÛÙȘ ·Ú¯¤˜ ÙÔ˘ ÂÈÎÔ-
ÛÙÔ‡ ·ÈÒÓ·. ΔÔ 1907 ÔÈÎÔ‰ÔÌ‹ıËΠ͇ÏÈÓË ·Ô‚¿ıÚ·, ÚÔÎÂÈ̤ÓÔ˘
Ó· Â͢ËÚÂÙ‹ÛÂÈ ÙË Ó·˘ÛÈÏÔ˝· ÙÔ˘ £ÂÚÌ·˚ÎÔ‡ ∫fiÏÔ˘. ∏ ¯Ú‹ÛË
·˘Ù‹ Ì·˜ ÂÈÙÚ¤ÂÈ Ó· ·ÓÙÈÏËÊıԇ̠ÙË ÛÎÔÈÌfiÙËÙ· Ù˘ ·„›‰·˜ ηÈ
Ù˘ ÂÚ›Êڷ͢, Ô˘ ·¤ÎÏÂÈ ÙËÓ ·Ô‚¿ıÚ· ·fi ÙÔ ¯ÒÚÔ Ù˘ ÚÔ-
Î˘Ì·›·˜. ∞Ó Î·È Ë ÂÙ·ÈÚ›· Ó·˘ÛÈÏÔ˝·˜ £ÂÚÌ·˚ÎÔ‡ ÙÒ¯Â˘Û ÁÚ‹-
ÁÔÚ·, Ë ·Ô‚¿ıÚ· ‰È·ÙËÚ‹ıËΠÁÈ· ÌÂÚÈΤ˜ ‰ÂηÂٛ˜. ™ÙÔ ‚¿ıÔ˜,
̤۷ ·fi ÙËÓ ·„›‰·, Ê·›ÓÂÙ·È Ë Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘.
√ §Â˘Îfi˜ ¶‡ÚÁÔ˜ Î·È Ë Í‡ÏÈÓË ·Ô‚¿ıÚ· ÙÔ˘, 1907
Débarcadère de la Tour Blanche
The area around the tower was landscaped in early 20th
century. In 1907, the wooden dock was constructed in order to
serve the navigation within Thermaikos Gulf. This usage
explains the utility of both the arch and the fencing, which
separated the dock from the quay. Although the shipping
company of Thermaikos soon went bankrupt, the dock was
maintained for some decades. In the background, through the
arch, Ethnikis Amynis Street appears.
The White Tower with itswooden dock, 1907
Débarcadère de la Tour Blanche
T H E W H I T E T O W E R 37
T H E S S A L O N I K I 97k
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏98k
∏ ÂÈÎfiÓ· ÚÔ¤Ú¯ÂÙ·È ·fi ηÚÙÔÛÙ¿Ï ÙˆÓ Matarasso, Saragoussi
& Rousso, Ô˘ ÂΉfiıËΠÛÙË £ÂÛÛ·ÏÔÓ›ÎË ÙÔ 1908. √ ·ÂÈÎÔÓÈ˙fi-
ÌÂÓÔ˜ ËÏÂÎÙÚÈÎfi˜ ÙÚÔ¯Èfi‰ÚÔÌÔ˜ ·ÔÙÂÏÔ‡Û ÚfiÛÊ·ÙÔ ·fiÎÙËÌ·
Ù˘ £ÂÛÛ·ÏÔӛ΢, ‰Â‰Ô̤ÓÔ˘ fiÙÈ ÙÔ ¤ÙÔ˜ ÂΛÓÔ ÔÈ ÈÔΛÓËÙÔÈ ÙÚÔ-
¯Èfi‰ÚÔÌÔÈ ·ÓÙÈηٷÛÙ¿ıËÎ·Ó Ì ËÏÂÎÙÚÔΛÓËÙÔ˘˜.
∏ Ô‰fi˜ ∂ıÓÈ΋˜ ∞̇Ó˘ (÷ÌÈÓÙȤ) ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ
1889, Û ¤‰·ÊÔ˜ Ô˘ ·Ï·ÈfiÙÂÚ· ·Ó‹Î Û ıÚËÛ΢ÙÈο ȉڇ̷ٷ
·ÏÏ¿ ›¯Â ÂÚȤÏıÂÈ ÛÙÔ ·˘ÙÔÎÚ·ÙÔÚÈÎfi Ù·Ì›Ô. ΔÔ ÛÈÓÙÚÈ‚¿ÓÈ ·ÓÂ-
Á¤ÚıËΠÙËÓ ›‰È· ÂÔ¯‹ ·fi ÙÔ ÛÔ˘ÏÙ¿ÓÔ Ã·Ì›ÓÙ. ™‡Ìʈӷ Ì ÙÔÓ
·ÔÏÔÁÈÛÌfi ÙÔ˘ ‚ÈÏ·ÂÙ›Ô˘ £ÂÛÛ·ÏÔӛ΢, Ë ˘‰ÚÔ‰fiÙËÛ‹ ÙÔ˘ ı·
ÁÈÓfiÙ·Ó ·fi ÙÔÈ΋ ˘fiÁÂÈ· ÚÔ‹ ηÈ, Û‡Ìʈӷ Ì ÙÔÓ ·Ú¯ÈÎfi Û¯Â-
‰È·ÛÌfi, ÙÔ ‡„Ô˜ ÙÔ˘ ı· ‹Ù·Ó ÔÎÙÒ Ì¤ÙÚ· (‰ÂÓ ¤ÊÙ·Û ԇÙ ٷ ÌÈÛ¿).
ΔÔ ÎfiÛÙÔ˜ ÙÔ˘, Ô˘ ÚÔ¸ÔÏÔÁ›ÛıËΠ۠600 ϛژ, ı· ¯ÚˆÓfiÙ·Ó
ÛÙÔ «ÚÔÛˆÈÎfi Ù·ÌÂ›Ô ÙÔ˘ ™Ô˘ÏÙ¿ÓÔ˘, fiˆ˜ Î·È ¿ÏϘ ¢ÏÔÁË̤-
Ó˜ ÊÈÏ·ÓıÚˆ›Â˜ Ù˘ ∞.ª.».
ΔÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ÙÔ ÛÈÓÙÚÈ‚¿ÓÈ (ÛÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘), 1908
Souvenir de Salonique - Fontaine Hamidie
The photograph is part of a postcard by Matarasso, Saragoussi
& Rousso, published in Thessaloniki in 1908. The represented
electric tram was a comparatively recent feature of
Thessaloniki, since in that year the horse drawn trams were
replaced by electric ones.
The construction of Ethnikis Amynis Street (Hamidie) started in
1889, on land formerly belonging to religious institutes and then
came to the imperial fund. The fountain was constructed during
the same period by Sultan Hamid. According to the report of the
vilaeti (county) of Thessaloniki, a local underground stream
would supply it with water and, according to the initial plan, it
would be eight meters in height (finally, it was less than the
half). The budget was 600 liras; while it would burden the
"Sultan’s personal fund, as well as other blessed charities of His
Majesty".
The upper part of EthnikisAmynis Street and the fountain(in the present SintrivaniouSquare), 1908
Souvenir de Salonique - Fontaine Hamidie
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™38
T H E S S A L O N I K I 99k
T H E W H I T E T O W E R 38
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏100k
∏ ÚÒÙË ÊÔÚ¿ Ô˘ Ô ∂Ï¢ı¤ÚÈÔ˜ μÂÓÈ˙¤ÏÔ˜ ÂÈÛΤÊÙËΠÙËÓ ·Â-
Ï¢ıÂڈ̤ÓË ·fi ÙÔÓ ÂÏÏËÓÈÎfi ÛÙÚ·Ùfi £ÂÛÛ·ÏÔÓ›ÎË ‹Ù·Ó ηٿ ÙËÓ
ÂÈÛÙÚÔÊ‹ ÙÔ˘ ·fi ÙË Û˘Ó‰È¿ÛÎÂ„Ë ÙÔ˘ §ÔÓ‰›ÓÔ˘, ÙÔÓ π·ÓÔ˘¿ÚÈÔ
ÙÔ˘ 1913. ™‡Ìʈӷ Ì ÙËÓ ÂÊËÌÂÚ›‰· «¡¤· ∞Ï‹ıÂÈ·» (26.1.1913):
«Ôχ ÚÔ Ù˘ ÌÂÛËÌ‚Ú›·˜ ·ÎfiÌË ÙÔ Ï‹ıÔ˜ ‹Ú¯ÈÛÂ Û˘ÁÎÂÓÙÚÔ‡ÌÂ-
ÓÔÓ ÂȘ ÙËÓ ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Ï·Ù›·Ó, fiÔ˘ ›Û˘ ÚÔ-
Û‹ÏıÔÓ Ù· ̤ÏË ·ÛÒÓ ÙˆÓ Û˘ÓÙ¯ÓÈÒÓ, ÔÈ ÂÌÔÚÔ¸¿ÏÏËÏÔÈ (…)
Î·È Ï‹ıÔ˜ Ôχ, Ô‡Ùˆ˜ ÒÛÙÂ Ë Û˘ÁΤÓÙÚˆÛȘ η٤ÛÙË ÔÏ˘ÏË-
ı‹˜».
√ ∂. μÂÓÈ˙¤ÏÔ˜ ¤ÊÙ·Û ÛÙȘ 3 ÙÔ ·fiÁÂ˘Ì· ÛÙÔ ÛȉËÚÔ‰ÚÔÌÈÎfi
ÛÙ·ıÌfi. ™ÙË ÊˆÙÔÁÚ·Ê›·, Ô ÎfiÛÌÔ˜ ¤¯ÂÈ ÛÙÚ·Ì̤ÓÔ ÙÔ ‚ϤÌÌ· ÚÔ˜
ÙÔ ¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘, ÂÚÈ̤ÓÔÓÙ·˜ fiÙÈ Ô Úˆ-
ı˘Ô˘ÚÁfi˜ ı· ‰È¤Û¯È˙ ÙËÓ ∂ÁÓ·Ù›· (fiÔ˘ ›Û˘ ÙÔÓ ÂÚ›ÌÂÓ·Ó
ÔÏÏÔ›), ı· η٤‚·ÈÓ ÙËÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ı· Û˘Ó¤¯È˙ ÚÔ˜ ÙË
ψÊfiÚÔ ÙˆÓ ∂ÍÔ¯ÒÓ ÁÈ· Ó· ÂÈÛÎÂÊÙ› ÙÔ ÚÔÛˆÚÈÓfi ·Ó¿ÎÙÔÚÔ
(ÛÙË ÛËÌÂÚÈÓ‹ ÛÙ¿ÛË °ÂˆÚÁ›Ô˘). ŸÌˆ˜ Ô μÂÓÈ˙¤ÏÔ˜ ‹Á ·Â˘ı›·˜
-̤ۈ Ù˘ Ô‰Ô‡ ∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘- ÛÙÔ ·Ú·ÏÈ·Îfi ÍÂÓÔ‰Ô¯Â›Ô «™Ï¤-
ÓÙÈÙ» ÁÈ· Ó· ·Ó··˘Ù›. «√‡Ùˆ˜, ÔÈ ¯ÈÏÈ¿‰Â˜ ÙÔ˘ ÎfiÛÌÔ˘ (…) ¤ÌÂÈÓ·Ó
Ì ÙËÓ ·ÔÁÔ‹Ù¢ÛÈÓ».
∞Ó·ÌÔÓ‹ ÁÈ· ÙËÓ ¤Ï¢ÛË ÙÔ˘ ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ ÛÙËÓ Ï·Ù›· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 25.1.1913
ÕÊÈÍË ÙÔ˘ μÂÓÈ˙¤ÏÔ˘. ΔÂÏÂ˘Ù·›Â˜ ÚÔÂÙÔÈ̷ۛ˜ ÁÈ· ÙË ‰È·ÎfiÛÌËÛË ÙˆÓ ‰ÚfiÌˆÓ ÚÈÓ ·fi ÙËÓ ·Ú¤Ï·ÛË
The first time Eleftherios Venizelos visited the liberated – by the
Greek Army – city of Thessaloniki was during his return from
the London Conference, in January 1913. According to the
newspaper "Nea Alithia" (26.1.1913): "long before noon, the
crowd started gathering at the White Tower Square, where
members of all crafts also swarm, along with the shop
assistants (…) and much crowd; Thus, a great number of people
was gathered".
Eleftherios Venizelos arrived at 3 o’clock in the afternoon at the
railway station. In the photograph, the crowd is looking at the
upper part of Ethnikis Amynis Street, expecting the Prime
Minister to cross Egnatia Street (where also a big crowd was
waiting for him); he would walk down Ethnikis Amynis Street
towards the Exohon Avenue in order to visit the temporary
palace (at the current "Gheorgiou" bus station). However,
Venizelos went directly – via Kountourioti Street – to the
"Splendid" Hotel, by the seaside, in order to have some rest.
"Thus, thousand of people (…) were disappointed".
Waiting for EleftheriosVenizelos’s arrival at the WhiteTower Square, 25.1.1913
Venizelos’s arrival. The last preparations for the decoration of the streets before the parade
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™39
T H E S S A L O N I K I 101k
T H E W H I T E T O W E R 39
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏102k
√ ΋Ԙ ·˘Ùfi˜ ‚ÚÈÛÎfiÙ·Ó ·Ó¿ÌÂÛ· ÛÙÔÓ ‡ÚÁÔ Î·È ÙÔ ÛËÌÂÚÈÓfi
μ·ÛÈÏÈÎfi £¤·ÙÚÔ. ∏ ·ÚÔ˘Û›· ¿ÁÁÏˆÓ Î·È Á¿ÏÏˆÓ ·ÍȈ̷ÙÈÎÒÓ
ηıÈÛÙ¿ ‚¤‚·ÈË ÙË ¯ÚÔÓÔÏfiÁËÛË ÛÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔ-
ÛÌ›Ô˘ ÔϤÌÔ˘. √È Û˘ÁÎÂÓÙÚÒÛÂȘ Ô˘ ÁÓˆÚ›˙Ô˘Ì ·fi ÙËÓ ÂÔ¯‹
ÂΛÓË (‰ÂÓ ÂÈÙÚ¿ËÎ·Ó ÔÏϤ˜) Û˘Ó‰¤ÔÓÙ·È Ì ÙËÓ ÂͤÏÈÍË ÙÔ˘
ÂıÓÈÎÔ‡ ‰È¯·ÛÌÔ‡. ¶Èı·Ó‹ ÂÚ›ÛÙ·ÛË Â›Ó·È Ë Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ™˘Ï-
ÏfiÁÔ˘ ºÈÏÂÏ¢ı¤ÚˆÓ, ÛÙȘ 17.4.1916, Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢ËÌ‹ÙÚÈÔ
¢›Áη. ¢ÂÓ ·ÔÎÏ›ÂÙ·È, fï˜, Ó· ÚfiÎÂÈÙ·È ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ‰È·-
Ì·ÚÙ˘Ú›·˜ Ù˘ 8˘ ∞˘ÁÔ‡ÛÙÔ˘ 1916, ·fi ÙËÓ ÔÔ›· ÍÂΛÓËÛÂ Î·È ÙÔ
∫›ÓËÌ· Ù˘ ∂ıÓÈ΋˜ ÕÌ˘Ó·˜ (¿ÏÈ Ì ÔÌÈÏËÙ‹ ÙÔÓ ¢. ¢›Áη). ∫·È ÔÈ
‰‡Ô ËÌÂÚÔÌËӛ˜ (Ì ÙÔ ·Ï·Èfi ËÌÂÚÔÏfiÁÈÔ) Â›Ó·È Û˘Ì‚·Ù¤˜ Ì ÙÔ
„¿ıÈÓÔ Î·¤ÏÔ «·Ó·Ì¿», Ô˘ ÊÔÚÔ‡Ó ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ˘˜
ÂÈÎÔÓÈ˙fiÌÂÓÔ˘˜. ™ÙËÓ ÚÒÙË ÂÚ›ÙˆÛË, Ë ÔÌÈÏ›· ¤ÁÈÓ ̤۷ ÛÙÔ
΢ڛˆ˜ (ÌË ÂÈÎÔÓÈ˙fiÌÂÓÔ) ÎÙ›ÚÈÔ ÙÔ˘ ΋Ԣ. ™ÙË ‰Â‡ÙÂÚË, ÔÈ ÔÌÈÏËÙ¤˜
·Ó¤‚ËÎ·Ó Â¿Óˆ ÛÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ÂÚ›ÙÂÚÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·È-
Ú›·˜.
™˘ÁΤÓÙÚˆÛË ÛÙÔÓ ∫‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1916
™˘ÁΤÓÙÚˆÛË ‰È·Ì·ÚÙ˘Ú›·˜
This garden was stretching between the White Tower and the
current Royal Theatre. The presence of British and French
officers securely dates the photograph during the First World
War. The known gatherings of the time known (anyway, only a
few were allowed to take place) are related to the course of the
"national split". A possible occasion might have been the
gathering of the Liberals Association, on 17.4.1916, where Mr.
Dimitrios Digas was the speaker. Yet, it is not impossible to be
the protestation of 8th August 1916, from which the National
Defence Movement started (where Mr. Dimitrios Digas was the
speaker, once more). Both these dates (according to the old
calendar) are compatible with the "panama" leghorns that most
of the men represented wear. In the first case, the speech was
held in the main (non- represented) building of the garden; in the
second case, the speakers climbed on the represented kiosk of
the electric company.
Gathering at the White TowerGarden, 1916
Protestation
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™40
T H E S S A L O N I K I 103k
T H E W H I T E T O W E R 40
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏104k
™Ù· ÂÓ‹ÓÙ· ¯ÚfiÓÈ· Ô˘ ·ÎÔÏÔ‡ıËÛ·Ó, Ë Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔÓ
‡ÚÁÔ ˘¤ÛÙË ÔÈΛϘ ÌÂÙ·‚ÔϤ˜. ª›· ·fi ·˘Ù¤˜ ‹Ù·Ó Ë Î·Ù‰¿ÊÈ-
ÛË ÙÔ˘ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ ÙÔ˘ Ù·˘ÙÒÓ˘ÌÔ˘ ΋Ԣ (1958) Î·È Ë ·Ó¤-
ÁÂÚÛË ‰‡Ô ‰ËÌÔÛ›ˆÓ ÎÙÈÚ›ˆÓ ÛÙË Û˘Ì‚ÔÏ‹ Ì ÙËÓ Ô‰fi ∂ıÓÈ΋˜ ∞̇-
Ó˘, Ô˘ ηıfiÚÈÛ·Ó ÙÔÓ ·ÈÛıËÙÈÎfi ¯·Ú·ÎÙ‹Ú· Ù˘ ÂÚÈÔ¯‹˜ (ÛÙÔ
‰ÂÍÈfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜): Ù· ÎÙ›ÚÈ· ÙÔ˘ ∫Ú·ÙÈÎÔ‡ £Â¿ÙÚÔ˘
μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ (1952-1962) Î·È Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔ-
ӛ΢ (1952). ∏ ΢ÎÏÔÊÔÚȷ΋ Ú‡ıÌÈÛË Ù˘ Ï·Ù›·˜, Ì ÙËÓ ˘Ô-
¯ÚˆÙÈ΋ ΢ÎÏÈ΋ ÔÚ›·, ÂÚfiÎÂÈÙÔ Ó· ηٷÚÁËı› ÌÂÙ¿ ·fi ÌÂÚÈο
¯ÚfiÓÈ·, fiÙ·Ó ÌÔÓÔ‰ÚÔÌ‹ıËÎ·Ó Ë Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ (Ô˘ ηÙ‚·›-
ÓÂÈ ·fi ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜) Î·È Ë Ô‰fi˜ μ·ÛÈ-
Ϥˆ˜ °ÂˆÚÁ›Ô˘ (Ô˘ ·fi ÙËÓ Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ Û˘Ó¯›˙ÂÈ
ÚÔ˜ Ù· ·Ó·ÙÔÏÈο). ™ÙÔ Î¿Ùˆ ‰ÂÍÈfi ̤ÚÔ˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘
μ·ÛÈÏÈÎÔ‡ £Â¿ÙÚÔ˘. ∏ 7Ë πÔ˘Ó›Ô˘ 1962 ‹Ù·Ó Ë̤ڷ ¶¤ÌÙË. Ÿˆ˜
‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜, Ë Ï‹„Ë ¤ÁÈÓ ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·. ∏ ΛÓËÛË Ô¯Ë-
Ì¿ÙˆÓ Â›Ó·È ÂÏ¿¯ÈÛÙË ÛÙËÓ ÂÚÈÔ¯‹, ·ÏÏ¿ ·ÚÎÂÙÔ› Â˙Ô› ‚Ú›ÛÎÔÓÙ·È
ÌÚÔÛÙ¿ ÛÙÔÓ ‡ÚÁÔ.
¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, 1962
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
In the following half century, the square in front of the tower
underwent many changes. One of these changes was the
demolition of the homonymous garden (1958) and the
construction of two public buildings at the crossroads of
Ethnikis Amynis Street, which shaped the aesthetic character of
the area (on the right part of the photograph): these are the
buildings of the National Theatre of Northern Greece (1952 –
1962) and the Thessaloniki Garrison Service Club (1952). The
traffic control around the square, with the compulsory circular
direction, was to be revoked a few years later, when Pavlou
Mela Street (which runs down the upper left part pf the
photograph) and Vassileos Gheorgiou Street (which continues
eastwards from the White Tower Square) became one way
streets. On the lower right part of the photograph, one can
distinguish the roof of the Royal Theatre. The 7th June 1962
was Thursday. Judging from the shadows, the shot was taken
in the afternoon. The traffic in the area is scarce, yet many
pedestrians are in front of the tower.
The White Tower Square, 1962
The building of the National Theatre of the city, in front of the White TowerSquare and on one of the most central roadsof the city, 7.6.1962
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™41
T H E S S A L O N I K I 105k
T H E W H I T E T O W E R 41
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏106k
∏ 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
‰È·ÛÙ·‡ÚˆÛË ·˘Ù‹ ¤¯ÂÈ Î·Ù·ÚÁËı› ÚÔ ÂÙÒÓ, ÂÓÒ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘
ø‰Â›Ô˘ (ÛÙ· ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, Ì fi„Ë ÚÔ˜ ÙÔ Ê·Îfi) ¤¯ÂÈ Î·Ù‰·-
ÊÈÛÙ›, fiˆ˜ Î·È Ù· ¿ÏÏ· ÎÙ›ÚÈ· ›Ûˆ ÙÔ˘. ŒÙÛÈ, ÙÔ ÙÔ›Ô ¿ÏÏ·Í ÚÈ˙È-
ο. ™Ù· ‰ÂÍÈ¿ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÛÙÚ·ÙfiÂ‰Ô ΔÛÈÚÔ-
ÁÈ¿ÓÓË (fiÔ˘ ÙÒÚ· ·ÓÂÁ›ÚÂÙ·È ‰Ë̷گȷÎfi ̤Á·ÚÔ), ÂÓÒ ÛÙ· ·ÚÈ-
ÛÙÂÚ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ Ù˘ ËÏÂÎÙÚÈ΋˜ ÂÙ·ÈÚ›·˜ (ÙÒÚ· ÙÔ ¯ÒÚÔ Î·Ù·-
Ï·Ì‚¿ÓÂÈ Ï˘fiÌÂÓÔ Û¯ÔÏ›Ô). ¶ÈÔ ·ÚÈÛÙÂÚ¿, ‚Ú›ÛÎÂÙ·È Ë Ó¤· ·Ú·Ï›·.
™‡Ìʈӷ Ì ÙË ÛËÌ›ˆÛË, Ë Ï‹„Ë ¤ÁÈÓ ΔÂÙ¿ÚÙË ÌÂÛË̤ÚÈ, ÂÚÁ¿ÛÈ-
ÌË Ë̤ڷ. ∂ÈÎÚ·Ù› Î·È Â‰Ò Ë ·›ÛıËÛË Ù˘ ÎÂÓ‹˜ fiÏ˘.
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜°ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (·)
™˘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›·ÓÙ˘ fiψ˜, 24.10.1962
The shot was taken towards Vassileos Gheorgiou Street. This
photograph seems awkward to the modern citizen of
Thessaloniki, since the compulsory circular direction on this
crossroads has been revoked years ago; also, building of the
Conservatory (on the right part of the photograph, facing the
camera) has been demolished, as well as the other buildings
behind it. Thus, the landscape has completely changed. On the
photographer’s right side, the Tsirogiannis camp was located
(where now the new City Hall is being constructed), while on his
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.
The crossroads of VassileosGheorgiou and Despere streets,1962 (a)
An interchange of the Macedonian capital,where Nikis Avenue leads to the WhiteTower Square, passing in front of the towerand running the whole waterfront of the city,24.10.1962
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™42
T H E S S A L O N I K I 107k
T H E W H I T E T O W E R 42
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏108k
∏ 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
Ô‰fi ¢ÂÛÂÚ¤. ∞ÔηχÙÂÈ ¤ÙÛÈ ÙÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ (Ì ÙÔ Î·Ì·-
Ó·ÚÈfi Ì ÙÔÓ ÙÚÔ‡ÏÔ), ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË Î·È ÙË ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛ-
Û·ÏÔӛ΢. ™Ù· ‰ÂÍÈ¿, Û ÚÒÙÔ Ï¿ÓÔ, ÙÔ ÂÚÈÙ›¯ÈÛÌ· ÙÔ˘ ÛÙÚ·ÙÔ-
¤‰Ô˘ ΔÛÈÚÔÁÈ¿ÓÓË Î·È ÙÔ «™ÙÚ·ÙȈÙÈÎfi £¤·ÙÚÔ» (¤¯ÂÈ Î·Ù‰·ÊÈ-
ÛÙ›). √˘ÛÈ·ÛÙÈο, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤¯ÂÈ Û˘ÏÏ¿‚ÂÈ ÛÙÔ Ê·Îfi ÙÔ˘ ÙËÓ
·Ï·È¿ fiÏË (ÛÙÔ˘˜ ÏfiÊÔ˘˜) Î·È ÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘ ÓÂfiÙÂÚ˘
fiÏ˘.
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ μ·ÛÈϤˆ˜°ÂˆÚÁ›Ô˘ Î·È ¢ÂÛÂÚ¤, 1962 (‚)
11.1.1962. ∫˘ÎÏÔÊÔÚÈ·Îfi˜ ÎfiÌ‚Ô˜
The shot was taken from about the same spot, representing the
same compulsory circular direction; however, the camera has
been turned towards Despere Street. Thus, the building of
YMCA of Thessaloniki is revealed (with the campanile and the
dome), along with Aggelaki Street and the International Trade
Fair of Thessaloniki. On the right and in the foreground, there
are the fencing of Tsirogiannis camp and the "Military Theatre"
(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.
The crossroads of VassileosGheorgiou and Despere streets,1962 (b)
11.1.1962. An interchange
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™43
T H E S S A L O N I K I 109k
T H E W H I T E T O W E R 43
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏110k
∞fi ÙËÓ ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ Ê·›ÓÂÙ·È fiÙÈ Ë Ï‹„Ë ¤¯ÂÈ Ú·Á-
Ì·ÙÔÔÈËı› ηÏÔη›ÚÈ. ™ÙÔ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ Ï·Ù›·˜ Á›ÓÔÓÙ·È ¤ÚÁ·
Î·È ¤¯ÂÈ ÌfiÏȘ ·Ó·Óˆı› Ô ·ÛÊ·ÏÙÔÙ¿ËÙ·˜ Ù˘ Ô‰Ô‡ μ·ÛÈϤˆ˜
°ÂˆÚÁ›Ô˘, ÌÚÔÛÙ¿ ·fi ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ (‰ÂÍÈ¿). ŒÙÛÈ, Ë ÌÈÎÚ‹
΢ÎÏÔÊÔÚ›· ‰ÈÔ¯ÂÙ‡ÂÙ·È –Ì ··ÁÔÚ¢ÙÈÎfi Û‹Ì· Î·È ÙÚÔ¯ÔÓfiÌÔ˘˜-
ÚÔ˜ ÙËÓ Ô‰fi ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡ (·ÚÈÛÙÂÚ¿). ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ø‰Â›Ô˘
(ÛÙÔ Î¤ÓÙÚÔ Î·È ÚÔ˜ Ù· ¿Óˆ ·ÚÈÛÙÂÚ¿) ‰ÂÓ ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ› ·Îfi-
ÌË, Ô‡Ù fï˜ Î·È ÙÔ ÔÏ˘ÒÚÔÊÔ ÍÂÓÔ‰Ô¯Â›Ô ÛÙÔ ‚¿ıÔ˜ (Ó˘Ó
«ª·Î‰ÔÓ›· ¶·ÏÏ¿˜») ¤¯ÂÈ ÔÏÔÎÏËÚˆı›. ™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ ‡ÚÁÔ˘
ÏÂÈÙÔ˘ÚÁ› ·Ó·„˘ÎÙ‹ÚÈÔ. ™Â Û˘Ó‰˘·ÛÌfi Ì ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ Ô¯ËÌ¿-
ÙˆÓ, Ë Ï‹„Ë ÌÔÚ› Ó· ¯ÚÔÓÔÏÔÁËı› Á‡Úˆ ÛÙ· 1970 ‹ 1971.
¶Ï·Ù›· §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÂÚ› ÙÔ 1970
ÕÙÈÙÏË
Judging from the outfits of the people represented, it seems
that the shot was taken during summer. At the right part of the
square, public works are made, while the blacktop of Vassileos
Gheorgiou Street has just been repaved, in front of the Royal
Theatre (on the right). Thus, the limited traffic is channelled – by
means of a no entry sign and traffic policemen – to Nikolaou
Germanou Street (on the left). The building of the Conservatory
(in the middle and towards the upper left part of the
photograph) has not yet been demolished; neither the multi-
storey hotel in the background (the present "Macedonia
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.
The White Tower Square, around 1970
Without Title
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™44
T H E S S A L O N I K I 111k
T H E W H I T E T O W E R 44
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏112k
√È ÌÂÁ¿Ï˜ ÔÌÔÈfiÙËÙ˜ –·ÎfiÌË Î·È ÛÙË ‚Ï¿ÛÙËÛË-Ì ÙËÓ ÂfiÌÂÓË
ʈÙÔÁÚ·Ê›·, ÚÔÛ‰ÈÔÚ›˙Ô˘Ó ¯ÚÔÓÔÏÔÁÈο ÙË Ï‹„Ë. √È Ó·˘ÙÈΤ˜
ÛÙÔϤ˜ Â›Ó·È ıÂÚÈÓ¤˜. ¢ÂÓ Ê·›ÓÂÙ·È Ó· ˘¿Ú¯Ô˘Ó ·Ú·ÙËÚËÙ¤˜,
Ú¿ÁÌ· ÂÚ›ÂÚÁÔ ÁÈ· Ó·˘ÙÈ΋ ·Ú¤Ï·ÛË, ·ÎfiÌË Î·È ÁÈ· ‰È¤Ï¢ÛË
Ì¿ÓÙ·˜, ηٿ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960.
¡·˘ÙÈ΋ Ì¿ÓÙ· ÛÙÔ §Â˘Îfi¶‡ÚÁÔ, ‰ÂηÂÙ›· 1960
¶·Ú¤Ï·ÛȘ ÙÌËÌ¿ÙˆÓ μ.¡. ÚÔ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÂȘ £ÂÛÛ·ÏÔÓ›ÎËÓ
The great similarities – even in vegetation – with the following
photo, determine the time when this shot was taken. The navy
uniforms are summer-weight. There seem to be no spectators,
something strange in the case of a navy parade – even for a
band procession – during the 1960s.
The Navy band at the WhiteTower, 1960s
A parade of the Navy in front of the White Tower, at Thessaloniki
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™45
T H E S S A L O N I K I 113k
T H E W H I T E T O W E R 45
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏114k
∏ Û˘Ó‹ı˘ fi„Ë Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘
1960. √È ÂÓ‰˘Ì·Û›Â˜ (Î·È Ë ·Ú¤· Ô˘ „·Ú‡ÂÈ ÛÙ· ‰ÂÍÈ¿) Ì·ÚÙ˘-
ÚÔ‡Ó Î¿ˆ˜ ÚÔÁÂÓ¤ÛÙÂÚË ¯ÚÔÓÔÏÔÁ›· Î·È ÔˆÛ‰‹ÔÙ (fiÏÔÈ
ÊÔÚ¿ÓÂ Ô˘Î¿ÌÈÛÔ) ÈÔ Î·ÏÔηÈÚÈÓfi ηÈÚfi. ∫¿Ùˆ ·fi ÙÔÓ ‡ÚÁÔ
Â›Ó·È Û˘ÁÎÂÓÙڈ̤ÓÔÈ ÔÈ ˘·›ıÚÈÔÈ ÊˆÙÔÁÚ¿ÊÔÈ ÙÔ˘. ™ÙË ‰ÂηÂÙ›·
ÙÔ˘ 1950 ›¯·Ó ÊÙ¿ÛÂÈ ÙÔ˘˜ 17 (ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›-
˙ÔÓÙ·È Ù¤ÛÛÂÚȘ, ·ÏÏ¿ ‰ÂÓ Ê·›ÓÔÓÙ·Ó fiÛÔÈ Â›Ó·È Ì¤Û· ÛÙÔ ¿ÚÎÔ).
√ ÂÚ›·ÙÔ˜ ÚÔ˜ ÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ù˘È΋ Û˘Ó‹ıÂÈ· ÙˆÓ £ÂÛ-
Û·ÏÔÓÈΤˆÓ ̤¯ÚÈ ·ÎfiÌË ÙË ‰ÂηÂÙ›· ÙÔ˘ 1970. Ÿˆ˜ ‰Â›¯ÓÂÈ Ô
fiÁÎÔ˜ ÙˆÓ È‰ÈˆÙÈÎÒÓ ÊˆÙÔÁÚ·ÊÈÒÓ Ô˘ ηٷϋÁÔ˘Ó ÛÙ· ·Ï·ÈÔˆ-
Ï›·, Ë ÊˆÙÔÁÚ¿ÊËÛË ÌÚÔÛÙ¿ ÛÙÔ §Â˘Îfi ¶‡ÚÁÔ ‹Ù·Ó Ôχ Û˘ÓË-
ıÈṲ̂ÓË ·fi ÙËÓ ÂÔ¯‹ ÙÔ˘ ÌÂÛÔÔϤÌÔ˘ ̤¯ÚÈ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ
ÂÚÈ¿ÙˆÓ.
§Â˘Îfi˜ ¶‡ÚÁÔ˜, 1969 (;)
13 ª·ÚÙ›Ô˘ 1969
The usual view of the White Tower area during the 1960s. The
outfits (and the men fishing on the right) proclaim an earlier
date and of course (they are all wearing shirts) a hot summer
weather. Under the tower, the outdoor photographers of the
area are gathered. During the 1950s they were 17 (in this
photograph four of them are represented, yet those in the park
are not shown in the photograph).
Walking towards the White Tower was a typical habit of the
citizens of Thessaloniki until the 1970s. As it is evident from the
volume of the private photographs ending up to antique shops,
taking photographs in front of the White Tower has been a very
common habit ever since the interwar period and until walking
was abandoned.
The White Tower, 1969 (;)
13 March 1969
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™46
T H E S S A L O N I K I 115k
T H E W H I T E T O W E R 46
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏116k
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ∏ ÁˆÓȷ΋ (ÛÙ·
‰ÂÍÈ¿) ÔÈÎÔ‰ÔÌ‹ (Ô˘ ·ÓÙÈη٤ÛÙËÛ ÙÔ 1960 ÎÙ›ÛÌ· Ù˘ ÙÔ˘ÚÎÔ-
ÎÚ·Ù›·˜) ÙÂÏÂÈÒÓÂÈ. ¢›Ï· Ù˘, ÛÙÔ ÈÛfiÁÂÈÔ, Ë Ù·‚¤ÚÓ· «μÏ¿¯Ô˜».
™ÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›·, ÙÔ «∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ». ™ÙÔ ‚¿ıÔ˜, Ô
ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «∏χÛÈ·» (› Ù˘ ¶·‡ÏÔ˘ ªÂÏ¿). ∏ Ô‰fi˜ ·˘Ù‹
ۯ‰ȿÛÙËΠˆ˜ Ì›· ·fi ÙȘ «‰È·ÁˆÓ›Ô˘˜» ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡
ۯ‰›Ô˘. ™˘Ó¤‰ÂÛ ÙÔ §Â˘Îfi ¶‡ÚÁÔ Ì ÙËÓ ∞Á›· ™ÔÊ›· (‰‡Ô ‚·ÛÈο
ÌÓËÌ›· Ù˘ fiÏ˘) Î·È ‰ËÌÈÔ‡ÚÁËÛ ÌÈ· ‰˘Ó·ÙfiÙËÙ· ΢ÎÏÔÊÔÚȷ΋˜
·Ó·ÎÔ‡ÊÈÛ˘ ÙˆÓ ·Ú¿ÏÏËÏˆÓ ÚÔ˜ ÙË ı¿Ï·ÛÛ· ·ÚÙËÚÈÒÓ.
∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963
∏ ·Ú¿ ÙÔÓ §Â˘ÎfiÓ ¶‡ÚÁÔÓ Ï·Ù›· Ù˘ fiψ˜, ÚˆÙ¢ԇÛ˘ ÙÔ˘ μÔÚ›Ԣ ÂÏÏËÓÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜, 1.3.1963
The shot has been taken from the top of the White Tower. The
block of flats (on the right) on the corner (which replaced, in
1960, a building dated back in the Turkish occupation) is almost
finished. By that, on the ground floor, there is the "Vlachos"
tavern. On the opposite corner, there is the "Hunters’ Café"; in
the background, the "Ilysia" cinema (on Pavlou Mela Street).
This street had been planned as one of the "diagonals" of the
urban plan. It connected the White Tower with the temple of
Aghia Sophia (two significant monuments of the city) and it
helped the traffic of the roads parallel to the sea.
The crossroads of Pavlou Melaand Tsirogianni streets, 1963
The Square located by the White Tower, atthe capital city of Northern Greece, 1.3.1963
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™47
T H E S S A L O N I K I 117k
T H E W H I T E T O W E R 47
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏118k
∏ Ï‹„Ë Â›Ó·È Û¯Â‰fiÓ ›‰È· Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË. ∞ÏÏ¿ ÛÙÚ¤ÊÔÓÙ·˜ ÙÔ
Ê·Îfi ÂÚ›Ô˘ 10 ÌÔ›Ú˜ ÚÔ˜ Ù· ‰ÂÍÈ¿ ÙÔ˘, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ·ÔÙ‡-
ˆÛ ÙȘ ÔÈÎÔ‰Ô̤˜ ·¤Ó·ÓÙÈ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, Ì ›ÎÂÓÙÚÔ ÙÔ
ηʤ «¡ÙÔÚ¤» (ÛÙË ÁˆÓ›· ‰ÂÍÈ¿). ∏ Ô‰fi˜ ¶·‡ÏÔ˘ ªÂÏ¿ ‰È·ÎÚ›ÓÂÙ·È
Û ÌÂÁ·Ï‡ÙÂÚÔ ‚¿ıÔ˜. ∏ ÌfiÓË ‰È·ÊÔÚ¿ Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔ-
ÁÚ·Ê›· (ÂÎÙfi˜ ·fi ÙÔ ¿ÛÚÔ ·˘ÙÔΛÓËÙÔ ÌÚÔÛÙ¿ ÛÙËÓ Ù·‚¤ÚÓ· Ô˘
¤¯ÂÈ ÌÂÙ·ÎÈÓËı›) Â›Ó·È ÙÔ Ì¤ÁÂıÔ˜ ÙÔ˘ ı¿ÌÓÔ˘, ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì·
Ù˘ ʈÙÔÁÚ·Ê›·. ∏ ‰È·ÊÔÚ¿ ·˘Ù‹ ÚÔ‰›‰ÂÈ fiÙÈ Ë Ï‹„Ë ‰ÂÓ ¤ÁÈÓ ÙËÓ
›‰È· ̤ڷ, ·ÏÏ¿ ·ÚÁfiÙÂÚ·.
∏ Û˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ¶·‡ÏÔ˘ªÂÏ¿ Î·È ΔÛÈÚÔÁÈ¿ÓÓË, 1963 (;)
ÕÙÈÙÏË
The shot is almost the same as the previous one. However, by
turning the camera at about 10 degrees to the right, the
photographer captured the blocks of flats opposite the White
Tower, focusing on the café "Dore" (on the right corner). Pavlou
Mela Street is even further in the background. The only
difference compared to the previous photograph (apart from
the white car in front of the tavern that has been removed) is
the size of the bush, on the left part of the photograph. This
difference means that the shot has not been taken on the same
day, but some time later.
The crossroads of Pavlou Melaand Tsirogianni streets, 1963 (;)
Without Title
§ ∂ À ∫ √ ™ ¶ À ƒ ° √ ™48
T H E S S A L O N I K I 119k
T H E W H I T E T O W E R 48
∞ ¶ £ & ¢ ∂ £U N I V E R S I T Y & T I F
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‰fi-
ÓÙ· ¯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›ÛÎÔ-
ÓÙ·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‰ÂÛ̇ÙË-
Î·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·-
΋ 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 (ηÈ
¯·ÚÙÔÁÚ·ÊÈÎfi) ˘ÏÈÎfi Ô˘ Û˘ÛÛˆÚ‡ÙËÎÂ Â›Ó·È ÔÁÎ҉˜. √È 17 ʈÙÔ-
Áڷʛ˜ ·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΢.
kkk
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.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏122k
√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
‰˘Ó¿ÌÂȘ (ÂΛ ÙÒÚ· Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È ÔÈ «·ÓıÔÂÎı¤ÛÂȘ»). √
¯ÒÚÔ˜ ‹Ù·Ó 38 ÛÙÚ¤ÌÌ·Ù· ÂÚ›Ô˘, ÏÈÁfiÙÂÚÔ ·fi ÙÔ ¤Ó· ٤ٷÚÙÔ
Ù˘ ÛËÌÂÚÈÓ‹˜ ¤ÎÙ·Û˘ Ù˘ ¢∂£. ∞ÚıÚˆÓfiÙ·Ó Á‡Úˆ ·fi ¤Ó·
ÎÂÓÙÚÈÎfi ‰È¿‰ÚÔÌÔ, Ë Â›ÛÔ‰Ô˜ ÙÔ˘ ÔÔ›Ô˘ ‚ÚÈÛÎfiÙ·Ó ÛÙË ÛËÌÂÚÈÓ‹
Ô‰fi μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Î·È Ë ¤ÍÔ‰Ô˜ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ (ÛÙÔ
‚¿ıÔ˜ Ê·›ÓÂÙ·È ÙÔ °ã ™ÒÌ· ™ÙÚ·ÙÔ‡). ∞fi ÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿
·ÏÒÓÔÓÙ·Ó Ù· ȉȈÙÈο ÂÚ›ÙÂÚ· Î·È ·fi ÙË ‰ÂÍÈ¿ Ù· ‰ËÌfiÛÈ·.
ªÂÙ¿ ÙËÓ ·ÁÎfiÛÌÈ· ÔÈÎÔÓÔÌÈ΋ ÎÚ›ÛË (1929) Ô ‰ÈÂıÓ‹˜ ¯·Ú·ÎÙ‹-
Ú·˜ Ù˘ ¢∂£ ‰ÔÎÈÌ¿ÛÙËÎÂ, ·ÏÏ¿ Ô ıÂÛÌfi˜ ÂÈ‚›ˆÛÂ.
∏ ·Ï·È¿ ¢∂£ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜ (1931)
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (1931)
For the first 14 years, the Thessaloniki International Fair (1926
– 1939) was organized at Pedio tou Areos, given by the army
(where nowadays the "flower shows" take place). The area
extended to about 38.000 m2; less than one quarter of its
present surface area. It was organized around a central
passageway, the entrance of which was at the present
Vassileos Gheorgiou Street and the exit at Stratou Avenue (in
the background there is the 3rd Army Corps). On the left side of
this passageway there were the private stands, while on the
right the public ones. After the international crash (1929), the
international character of the Trade Fair of Thessaloniki
suffered, yet the institution survived.
The old Thessaloniki InternationalFair at Pedio tou Areos (i.e. Mars’s field) (1931)
The Thessaloniki International Fair (1931)
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £49
T H E S S A L O N I K I 123k
U N I V E R S I T Y A N D T I F 49
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏124k
ΔÔ 1940 Ë ¢∂£ η٤Ϸ‚ ÙÌ‹Ì· ÙÔ˘ ÛËÌÂÚÈÓÔ‡ ¯ÒÚÔ˘ Ù˘ ÎÈ ÂΛ
ÏÂÈÙÔ‡ÚÁËÛÂ. ∏ 15Ë ¢∂£ ‰È·ÎfiËΠ·fi ÙËÓ ÂÈÛ‚ÔÏ‹ ÙˆÓ πÙ·ÏÒÓ.
∞ÎÔÏÔ‡ıËÛÂ Ô fiÏÂÌÔ˜, Ë Î·ÙÔ¯‹ Î·È Ë ‰‡ÛÎÔÏË ÂÚ›Ô‰Ô˜ ÌÂÙ¿ ÙÔÓ
fiÏÂÌÔ. ∏ ŒÎıÂÛË Â·Ó·ÏÂÈÙÔ‡ÚÁËÛ ÙÔ 1951. ∏ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ-
‰Ô˜ ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÙË §ÂˆÊfiÚÔ ™ÙÚ·ÙÔ‡ Î·È Û˘ÁÎÂÎÚÈ̤ӷ ÛÙÔ
ηٷÚÁËı¤Ó ÙÌ‹Ì· Ù˘ ·fi ÙÔ ÛÙÚ·ÙȈÙÈÎfi Ó·fi ÙÔ˘ ∞Á›Ô˘ ∫ˆÓÛÙ·-
ÓÙ›ÓÔ˘ ̤¯ÚÈ ÙÔ ™ÈÓÙÚÈ‚¿ÓÈ. ΔÔ ÙÌ‹Ì· ·˘Ùfi ÙÔ˘ ‰ÚfiÌÔ˘ ÂÓۈ̷ÙÒ-
ıËΠÛÙÔ ¯ÒÚÔ Ù˘ ¢∂£ ÙÔ 1960, Ì·˙› Ì ÌÈ· ψڛ‰· Á˘ ÛÙ· ÓfiÙÈ·
ÙÔ˘. ∞Ó¿ÌÂÛ· ÛÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË Â›ÛÔ‰Ô Î·È ÙË ÛËÌÂÚÈÓ‹ Ï·Ù›· Ù˘
Ã∞¡£ ˘‹Ú¯Â ÎÂÓ‹ ¤ÎÙ·ÛË, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ù·Ó ÁÈ· ÙË ÛÙ¿ıÌ¢-
ÛË ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ ÙˆÓ ÂÈÛÎÂÙÒÓ.
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢(1951)
∏ ÓfiÙÈ· ‡ÏË Ù˘ ¢∂£
In 1940, the Thessaloniki International Fair occupied a part of its
present area and it was held there. The 15th Thessaloniki
International Fair was interrupted by Italy’s invasion. Then,
there came the War, the German Occupation and the hard post-
war times. The Trade Fair started operating again in 1951. The
entrance represented was on the Stratou Avenue and more
specifically on the part later rescinded from the military temple
of Aghios Konstantinos up to the Fountain. That part of the
street was incorporated in the area of the Thessaloniki
International Fair in 1960, along with a stripe of land on its south
part. Between the entrance represented and the present
Square of YMCA of Thessaloniki, there was an unbuilt site, used
as visitors’ parking area.
The Thessaloniki InternationalFair (1951)
The south entrance of the Thessaloniki International Fair
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £50
T H E S S A L O N I K I 125k
U N I V E R S I T Y A N D T I F 50
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏126k
™ÙÔ ÎÂÓÙÚÈÎfi ÂÚ›ÙÂÚÔ Ù˘ ¢∂£, ÙÔ ¶ÂÚ›ÙÂÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜,
Ô˘ ηÙ‰·Ê›ÛÙËΠÙÔ 1960 ÁÈ· Ó· ·ÓÂÁÂÚı› ÙÔ ÎÏÂÈÛÙfi Á‹Â‰Ô
(¶·Ï¤ ÓÙ ™ÔÚ), ·ÚÔ˘ÛÈ¿˙ÔÓÙ·Ó Î·Ù¿ ·Ú¿‰ÔÛË Ë ÁˆÚÁÈ΋
·Ú·ÁˆÁ‹. ◊‰Ë, fï˜, ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 Ë ·Ó¿ÁÎË
ÁÈ· ÙËÓ ÚÔ‚ÔÏ‹ ÙˆÓ ·ÁÚÔÙÈÎÒÓ ÚÔ˚fiÓÙˆÓ Ù˘ ÂÚÈʤÚÂÈ·˜ ›¯Â
ϤÔÓ ·Ì‚Ï˘Óı›. ŒÙÛÈ, ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘, Ô˘ ·ÔÙÂÏÔ‡-
Û «ÙËÓ ÙÂÏÂ˘Ù·›·Ó ϤÍÈÓ ·fi ·fi„ˆ˜ Ù¯ÓÈ΋˜», ÚÔ‚Ï‹ıËÎÂ
–ηٿ ÙÔ ÙÂÏÂ˘Ù·›Ô ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘- ÙÔ Î˘‚ÂÚÓËÙÈÎfi ¤ÚÁÔ
Ù˘ ÂÚÈfi‰Ô˘ 1955-1960. «∏ ÚÔ‚ÔÏ‹ ·˘Ù‹ ÂÈÙ˘Á¯¿ÓÂÙ·È Î·Ù¿
Ì›·Ó ‰È·ÎÚÈÙÈÎ‹Ó Î·È ÔÚıÔÏÔÁÈÎ‹Ó ÛÂÈÚ¿Ó Ì ·ÚÈÔÓ ¯·Ú·ÎÙËÚÈÛÙÈÎfiÓ:
∏ ∂ÏÏ¿˜ Ù˘ Ãı˜, Ë ∂ÏÏ¿˜ Ù˘ ™‹ÌÂÚÔÓ, Ë ∂ÏÏ¿˜ Ù˘ ∞‡ÚÈÔÓ»,
ÛËÌÂÈÒÓÂÈ Ô‰ËÁfi˜ Ù˘ ÂÔ¯‹˜. ∏ ̤ıÔ‰Ô˜ Ù˘ «ÚÔ‚ÔÏ‹˜ ÙˆÓ ¿Û˘
ʇÛˆ˜ ÂÎıÂÌ¿ÙˆÓ» ‹Ù·Ó «Ó¤·»: «…Û˘ÌÏËÚÔ‡Ù·È ÌÂ Û˘Á¯ÚÔÓÈ-
ÛÌfiÓ Î·È ÂÓ·ÚÌfiÓÈÛÈÓ ‹¯Ô˘». Δ· ÛηÏÔ¿ÙÈ· ›¯·Ó ·Ê·ÈÚÂı› ηÈ
ÙÔÔıÂÙ‹ıËÎ·Ó Ú¿Ì˜, ÂÓÒ ÌÂÁ¿Ï˜ ÂÈÙÔ›¯È˜ ˙ˆÁÚ·ÊÈΤ˜ Û˘Óı¤-
ÛÂȘ Î¿Ï˘Ù·Ó ÙÔ ÂÛˆÙÂÚÈÎfi ÙËÓ ÚfiÛÔ„‹ ÙÔ˘ ÎÙÈÚ›Ô˘, Ô˘ ÌÂÙ¿ ·fi
ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ ηÙ‰·Ê›ÛÙËÎÂ. √È ‰‡Ô ʈÙÔÁڷʛ˜ ÂÌÊ·Ó›˙Ô˘Ó
ÙÔÓ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó Ù· ÂÈÙ‡ÁÌ·Ù· ÛÙË Ú·‰ÈÔ-
ʈӛ· Î·È ÙËÓ Âη›‰Â˘ÛË.
¶ÚÔ‚ÔÏ‹ ΢‚ÂÚÓËÙÈÎÔ‡ ¤ÚÁÔ˘ (1960)
ÕÙÈÙÏË
In the central kiosk of the Thessaloniki International Fair, the
Kiosk of National Output, demolished in 1960 in order Palais de
Sports to be constructed, the produce has been traditionally
exhibited. However, in late 1950s, the need to promote the
agricultural products of the country was limited. Thus, on the
ground floor of the kiosk, which actually was "state-of-the-art,
from a technical point of view", there was displayed – during
the last quarter of its operation – the government’s acts of the
period 1955 – 1960. "This display is achieved in a discreet and
rational sequence around a common characteristic: The Greece
of yesterday; the Greece of Today; the Greece of Tomorrow" –
as a contemporary guide states. The method of "displaying all
kinds of exhibits had been "a new one": "…it is accompanied by
modernization as well as sound harmonization". The staircases
had been removed and ramps had been placed, while vast wall
paintings covered the internal part of the façade. This building
was demolished a few months later. The two photographs
present the way in which the advances in radio broadcasting
and education had been brought forward.
Presentation of thegovernment’s acts (1960)
Without Title
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £51 & 52
T H E S S A L O N I K I 127k
U N I V E R S I T Y A N D T I F 51 & 52
51
52
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏128k
∞Ó¿ÌÂÛ· ÛÙË Ó¤· Ô‰fi ∞ÁÁÂÏ¿ÎË (Ì Ӥ· ÙfiÙ ÔÏ˘ÒÚÔÊ· ÎÙ›ÚÈ·:
¿Óˆ ·ÚÈÛÙÂÚ¿) Î·È ÙÔÓ ÚÔÛÊ˘ÁÈÎfi Û˘ÓÔÈÎÈÛÌfi Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜
(ÌÔÓÒÚÔÊ· Ì ·˘Ï¤˜ Î·È ‰¤ÓÙÚ·, ¿Óˆ ‰ÂÍÈ¿), Ë ¢∂£ ÛËÌ›ˆÓ ÌÂÁ¿-
ÏË ÂÈÙ˘¯›·, ·Ó ÎÚ›ÓÂÈ Î·Ó›˜ ·fi ÙÔÓ ·ÚÈıÌfi ÙˆÓ ÂÈÛÎÂÙÒÓ Ù˘. ΔÔ
1965 ¤ÊÙ·Û ÙÔ ˙ÂÓ›ı ÛÙËÓ ÈÛÙÔÚ›· Ù˘: 1.623.488 ¿ÙÔÌ· Ï‹Úˆ-
Û·Ó ÂÈÛÈÙ‹ÚÈÔ ÁÈ· Ó· ÂÚ¿ÛÔ˘Ó ÙȘ ‡Ï˜ Ù˘. √ ·ÚÈÔ˜ ÂÎıÂÛÈ·Îfi˜
fiÁÎÔ˜ ÚÔ¤Ú¯ÔÓÙ·Ó ·fi ÔÏ˘ÏËı›˜ ȉȈÙÈÎÔ‡˜ ÂÎıÂÛÈ·ÎÔ›
¯ÒÚÔ˘˜, Ô˘ ηÙ›¯·Ó –fiˆ˜ Ê·›ÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›·- ÙÔ ÎÂÓÙÚÈ-
Îfi ÙÌ‹Ì· Ù˘. ªÂ ‚¿ÛË ÙÔ˘˜ ¯ÒÚÔ˘˜ ·˘ÙÔ‡˜ ÂȯÂÈÚÂ›Ù·È Î·È Ë ¯ÚÔ-
ÓÔÏfiÁËÛË Ù˘ ʈÙÔÁÚ·Ê›·˜ ÙÔ ¤ÙÔ˜ 1964.
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢,1964
ÕÙÈÙÏÔ
Between the new Aggelaki Street (featuring contemporary new
multi-storey buildings: at the upper left part) and the refugees’
settlement of Aghia Photini (one-storey houses with yards and
trees, at the upper right part), the Thessaloniki International Fair
was more than successful, judging from the number of visitors.
In 1965 it reached its zenith: 1.623.488 visitors paid ticket to
enter the Fair. The main volume of the exhibits came from
numerous private exhibitions, which occupied – as shown in the
photograph – the central part of the Fair. The dating of the
present photograph is being attempted on this basis; it was
taken around 1964.
The Thessaloniki InternationalFair, 1964
Without Title
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £53
T H E S S A L O N I K I 129k
U N I V E R S I T Y A N D T I F 53
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏130k
ΔÔ 1968, ÂÎÙfi˜ ·fi ¤ÓÙ Ӥ· ȉȈÙÈο ÂÚ›ÙÂÚ·, ·ÔÂÚ·ÙÒıËÎÂ
Î·È ÙÔ «∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ» Ù˘ ¢∂£ (Ó˘Ó ÂÚ›ÙÂÚÔ 8). ∞ÚÈÛÙÂÚ¿, Ë
Ô‰fi˜ ∞ÁÁÂÏ¿ÎË. ™ÙÔ ¿Óˆ ̤ÚÔ˜ ÙÔ˘ ÂÎıÂÛÈ·ÎÔ‡ ¯ÒÚÔ˘ Ù· ÁÚ·Ê›·
‰ÈÔÈ΋Ûˆ˜ Î·È ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÂÚ›ÙÂÚÔ 1. μÔÚÂÈfiÙÂÚ·, Ë ·ÓÂÈÛÙË-
ÌÈÔ‡ÔÏË. ΔÔ ÂfiÌÂÓÔ ¤ÙÔ˜ Ô ÂÎıÂÛÈ·Îfi˜ ¯ÒÚÔ˜ ı· ¤·ÈÚÓ ۯ‰fiÓ
ÙËÓ ÔÚÈÛÙÈ΋ ÌÔÚÊ‹ ÙÔ˘.
¢ÈÂıÓ‹˜ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢,1969
°ÂÓÈ΋ ¿Ô„Ș Ù˘ ∂Îı¤Ûˆ˜, 19.9.1968
In 1968, apart from five new privately owned kiosks, the
"Shopping Centre" (currently Kiosk 8) of the Thessaloniki
International Fair was completed. On the left, there is Aggelaki
Street. At the upper part of the Fair, there are the
Administration Offices and on their right, Kiosk 1. Further in the
north, there is the university campus. In the year that followed,
the Fair would take its final shape.
The Thessaloniki InternationalFair, 1969
An overall view of the International TradeFair, 19.9.1968
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £54
T H E S S A L O N I K I 131k
U N I V E R S I T Y A N D T I F 54
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏132k
∞Ó Î·È ¯·ÚÙÔÁÚ·ÊÈο Ô ‰ÚfiÌÔ˜ ÂÌÊ·Ó›˙ÂÙ·È ·fi ÙÔ 1898, Ë Ô‰fi˜
∞ÁÁÂÏ¿ÎË ‰È·ÌÔÚÊÒıËΠÌfiÏȘ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1960. ª¤¯ÚÈ Ù·
Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÙËÓ ÂÚÈÔ¯‹ ‰È¤Û¯È˙ ¯Â›Ì·ÚÚÔ˜, Ô˘ η٤‚·È-
Ó ·fi ÙÔ ‚ÔÚÚ¿ Î·È Û˘Ó¤¯È˙ ÚÔ˜ ÙË ı¿Ï·ÛÛ·. ∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘
¯ÂÈÌ¿ÚÚÔ˘ ˘‹Ú¯·Ó Ï·Ù¿ÓÈ·, ÛÙ· ÔÔ›· Á›ÓÔÓÙ·Ó ı·Ó·ÙÈΤ˜ ÂÎÙÂ-
ϤÛÂȘ. ™ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÚÒÙÔ˘ ·ÁÎÔÛÌ›Ô˘ ÔϤÌÔ˘, Ô ¯ÒÚÔ˜
¯ÚËÛÈÌÔÔÈ‹ıËΠÁÈ· ·Ôı‹Î¢ÛË Î·È ÛÙÚ·ÙˆÓÈÛÌfi. ™ÙÔ ‰˘ÙÈÎfi
¿ÎÚÔ Ù˘ ÛËÌÂÚÈÓ‹˜ ¢∂£, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË, ηٷÛ΢¿ÛıË-
Î·Ó Í‡ÏÈÓ˜ ·Ú¿ÁΘ ÁÈ· Ó· ÛÙÂÁ·ÛÙÔ‡Ó ˘ÚÔ·ı›˜. ªfiÏȘ ÛÙË
‰ÂηÂÙ›· ÙÔ˘ 1950 ¯·Ú¿¯ıËΠÙÔ ‚fiÚÂÈÔ ÙÌ‹Ì· Ù˘ Ô‰Ô‡. ºˆÙÔÁÚ·-
ʛ˜ Ù˘ ÂÔ¯‹˜ Ì·˜ ‰Â›¯ÓÔ˘Ó fiÙÈ Á›ÓÔÓÙ·Ó ÂΛ ¯ˆÌ·ÙÔ˘ÚÁÈΤ˜
ÂÚÁ·Û›Â˜ ÁÈ· ÙË ‰È·ÌfiÚʈÛË ÙÔ˘ ‰¿ÊÔ˘˜ Î·È ÙË ‰È¢ı¤ÙËÛË ÙÔ˘
¯ÂÈÌ¿ÚÚÔ˘, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÊ·ÚÌÔÛÙ› ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ
(1959). ∏ ʈÙÔÁÚ·Ê›· ÙÔ˘ 1965 Ì·˜ ‰Â›¯ÓÂÈ ¤Ó·Ó ÂÓÙÂÏÒ˜ Ó¤Ô ‰Úfi-
ÌÔ, Ì ηÈÓÔ‡ÚÁÈ· ÎÙ›ÚÈ·. ∏ Ô‰fi˜ ¢ÂÛÂÚ¤ (ÙÔ ·Ó·ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘
ÔÔ›·˜ Û˘Ó·ÓÙ‹Û·Ì Û ÚÔËÁÔ‡ÌÂÓ˜ Ï‹„ÂȘ) Û˘Ó¯›˙ÂÙ·È Û¯Â‰fiÓ
·Ú¿ÏÏËÏ· Ì ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË (›Ûˆ ·fi ÙȘ ÔÏ˘Î·ÙÔÈ˘).
√‰fi˜ ∞ÁÁÂÏ¿ÎË, 1965
11.1.1965. ∏ Ô‰fi˜ ∞ÁÁÂÏ¿ÎË ¢ÂÛÂÚ¤, Ì›· ·fi Ù·˜ ˆÚ·›·˜ ψÊfiÚÔ˘˜ Ù˘ ÂÏÏËÓÈ΋˜ Û˘ÌÚˆÙ¢ԇÛ˘
Although the street is represented in cartography as early as
1898, Aggelaki Street was shaped in the 1960s. Until late 19th
century, the area was crossed by a stream, flowing from the
north down to the sea. Along this stream there were
sycamores, where death penalties were executed. During the
First World War, this area had been used for storage and
camping. At the left end of the current Thessaloniki
International Fair, towards Aggelaki Street, wooden sheds had
been constructed in order the fire victims to be accommodated.
It was in the 1950s that the northern part of the street was
planned. Contemporary photographs show that landscaping
works were held there in order to shape the area and to bank
up the stream, so as the urban plan to be applied (1959). The
photograph of 1965 reveals a completely different street with
new buildings. Despere Street (the eastern part of which has
been represented in many of the previous photos) continues
almost in parallel with Aggelaki Street (behind the blocks of
flats).
Aggelaki Street, 1965
11.1.1965. Aggelaki Despere Street, one of the beautiful avenues of the second largest city of Greece
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £55
T H E S S A L O N I K I 133k
U N I V E R S I T Y A N D T I F 55
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏134k
ΔÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ ȉڇıËΠÙÔ 1925 ηÈ
ÛÙÂÁ¿ÛÙËΠ«ÚÔÛˆÚÈÓ¿» ÛÙÔ «Ó¤Ô Ù¤ÌÂÓÔ˜» (°ÂÓ› Δ˙·Ì›). ŒÎÙÔÙÂ
ÍÂΛÓËÛÂ Ë ·Ó·˙‹ÙËÛË ÙÔ˘ ηٿÏÏËÏÔ˘ ¯ÒÚÔ˘ ÁÈ· ÙËÓ ÔÚÈÛÙÈ΋ ÛÙ¤-
Á·Û‹ ÙÔ˘. ΔÔ 1949 ·Ú·¯ˆÚ‹ıËΠÔÈÎfiÂ‰Ô 35 ÛÙÚÂÌÌ¿ÙˆÓ, ·fi
ÙËÓ ·ÓÙ·ÏÏ¿ÍÈÌË ÂÚÈÔ˘Û›·, ÚÔ˜ ÙËÓ Ô‰fi ∞ÁÁÂÏ¿ÎË. ΔÔ ¯ÒÚÔ ·˘ÙfiÓ
fï˜ ‰ÈÂΉÈÎÔ‡ÛÂ Î·È Ë ¢∂£, ÚÔÎÂÈ̤ÓÔ˘ Ó· ÂÂÎÙ›ÓÂÈ ÙȘ ÂÁηٷ-
ÛÙ¿ÛÂȘ Ù˘. ∂ΉËÏÒıËÎÂ, ¤ÙÛÈ, ÈÛ¯˘Ú‹ ÙÔÈ΋ ‰È¤ÓÂÍË, Ë ÔÔ›· ÍÂÂ-
Ú¿ÛÙËΠÙÔ 1956, fiÙ·Ó ÙÔ ÀÔ˘ÚÁÂ›Ô ∂ıÓÈ΋˜ ∞̇Ó˘ ·Ú·¯ÒÚËÛÂ
ÙÌ‹Ì· ÙÔ˘ ¶Â‰›Ô˘ ÙÔ˘ ÕÚˆ˜ (12 ÛÙÚ¤ÌÌ·Ù·) ÁÈ· Ó· ÔÈÎÔ‰ÔÌËı› ÙÔ
·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô. ∏ ·Ó¤ÁÂÚÛË Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ 1961 ηÈ
ÔÏÔÎÏËÚÒıËΠÙÔ 1962. Δ· Û¯¤‰È· ÂÎfiÓËÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¶¿ÙÚÔ-
ÎÏÔ˜ ∫·Ú·ÓÙÈÓfi˜, Ì ¿ÌÂÛ˜ ·Ó·ÊÔÚ¤˜ ÛÙÔ ·Ú¯·›Ô ÂÏÏËÓÈÎfi Û›ÙÈ,
Ì ٷ ÂÛˆÙÂÚÈο ·›ıÚÈ·. √ ÂÁηÈÓÈ·ÛÌfi˜ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÚÂȘ
̤Ú˜ ÌÂÙ¿ ·fi ÙË ÊˆÙÔÁÚ·ÊÈ΋ Ï‹„Ë, ÛÙȘ 27.10.1962, Ì ·ÊÔÚ-
Ì‹ ÙËÓ ÂÓÙËÎÔÛÙ‹ ¤ÙÂÈÔ ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Ù˘ £ÂÛÛ·ÏÔÓ›-
΢.
∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, ·Ó·ÙÔÏÈ΋ Ù¤Ú˘Á·, 1962
ΔÔ Ó¤ÔÓ ·Ú¯·ÈÔÏÔÁÈÎfiÓ ÌÔ˘ÛÂ›Ô Ù˘ fiψ˜ 24.10.1962
The archaeological museum of Thessaloniki was founded in
1925 and had been "temporarily" accommodated in "Yeni
Tzami" (the New Mosque). Ever since, the research for a place
appropriate to permanently house the museum begun. In 1949,
a plot of 35.000 m2 surface area – of the estates exchanged –
towards Aggelaki Street was found. However, this area had
been claimed by the Thessaloniki International Fair, in order to
expand its facilities. Thus, an intense local controversy
emerged, which was overcome in 1956, when the Ministry of
National Defence gave a part of Pedio tou Areos (12.000 m2) in
order the archaeological museum to be constructed. The
construction started in 1961 and was completed in 1962. The
architect Mr. Patroklos Karantinos produced the blueprints,
which resembled an ancient Greek residence, featuring interior
atriums. The inauguration was held three days after this
photograph was taken, on 27.10.1962, on the anniversary of the
liberation of Thessaloniki.
Archaeological museum, eastern wing, 1962
The new archaeological museum of the city 24.10.1962
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £56
T H E S S A L O N I K I 135k
U N I V E R S I T Y A N D T I F 56
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏136k
™ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ Ê˘Ï¿ÛÛÂÙ·È Ë ÂÚ›ÊË-
ÌË Ï¿Úӷη Ô˘ ‚Ú‹ÎÂ Ô ·Ú¯·ÈÔÏfiÁÔ˜ ª. ∞Ó‰ÚfiÓÈÎÔ˜ ÛÙÔÓ ı·˘Ì¿-
ÛÈÔ Ù¿ÊÔ μã ÙÔ˘ ªÂÁ¿ÏÔ˘ Δ‡Ì‚Ô˘, ÙÔÓ ÔÔ›Ô ÔÏÏÔ› ıˆÚÔ‡Ó ˆ˜
ÓÂÎÚÈÎfi Ù¿ÊÔ ÙÔ˘ ‚·ÛÈÏÈ¿ ºÈÏ›Ô˘. ∏ Ï¿Úӷη ÎfiÛÌËÛ ÙÔ ÂÍÒ-
Ê˘ÏÏÔ ÙÔ˘ Ô‰ËÁÔ‡ ÙÔ˘ ·Ú¯·ÈÔÏÔÁÈÎÔ‡ ÌÔ˘Û›Ԣ, ÙÔÓ ÔÔ›Ô Âͤ‰ˆÛÂ
ÙÔ 1981 Ô ·Â›ÌÓËÛÙÔ˜ ª·ÓfiÏ˘ ∞Ó‰ÚfiÓÈÎÔ˜.
∏ Ï¿Úӷη
§¿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.)
The famous reliquary excavated by the archaeologist Mr.
Manolis Andronikos, in the prominent tomb Bã of the Great Tomb
– believed to be King Philippos’s burial site – is kept in the
archaeological museum of Thessaloniki. The reliquary was
illustrated on the cover of the archaeological museum guide,
published in 1981 by the ever memorable Mr. Manolis
Andronikos.
The reliquary
A reliquary made of gold, containing the deceased king’s relics. The gold wreathshown 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.)
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £57
T H E S S A L O N I K I 137k
U N I V E R S I T Y A N D T I F 57
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏138k
∏ 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-
΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·. ŒÙÛÈ, ¤Ú ӷ ηٷÚÁËıÔ‡Ó ÙÌ‹Ì·Ù· ‰ÚfïÓ
Î·È Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤·, Ì ·ÔÙ¤ÏÂÛÌ· ÛÙÔÓ ¿ÏÏÔÙ ·Î¿Ï˘ÙÔ
¯ÒÚÔ Ô˘ ˘‹Ú¯Â ÌÚÔÛÙ¿ ÛÙË Ã∞¡£ Ó· ‰È·ÌÔÚʈı› ÌÈ· Ï·Ù›·,
Ô˘ ÚÔ‚¿ÏÂÈ ÙËÓ ÎÂÓÙÚÈ΋ ›ÛÔ‰Ô Ù˘ ¢∂£ Î·È ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi
ÌÔ˘Û›Ô. ™’ ·˘Ù‹Ó Û˘Ì‚¿ÏÏÔ˘Ó ÔÈ Ô‰Ô›: ΔÛÈÌÈÛ΋, ∞ÁÁÂÏ¿ÎË, §ÂˆÊfi-
ÚÔ˜ ™ÙÚ·ÙÔ‡, ¢ÂÛÂÚ¤ Î·È ¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡.
∏ Ï·Ù›· Ù˘ Ã∞¡£ Ì ÙÔ ·Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘Û›Ô, 1967
∫fiÌ‚Ô˜, 23.12.1967
The completion of the archaeological museum, as well as the
expansion of the Thessaloniki International Fair eastwards,
produced a new street layout. Thus, certain parts of streets
had to be abolished, while some new parts should be created;
this contributed to the formation of a square on the unbuilt site
in front of the YMCA of Thessaloniki, spotlighting the central
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.
The Square of YMCA of Thessaloniki with thearchaeological museum, 1967
An interchange, 23.12.1967
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £58
T H E S S A L O N I K I 139k
U N I V E R S I T Y A N D T I F 58
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏140k
∏ ‰ËÌÈÔ˘ÚÁ›· ÎÏÂÈÛÙÔ‡ Áˤ‰Ô˘ Ì¿ÛÎÂÙ ‹Ù·Ó ¤Ó· ·fi ·ÈÙ‹Ì·Ù· Ù˘
ÌÂÙ·ÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔӛ΢. ∏ ÔÈÎÔ‰fiÌËÛ‹ ÙÔ˘ ÛÙÔ ¯ÒÚÔ Ù˘
¢∂£, Ì ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚÈÒÓ ·Ï·ÈÔÙ¤ÚˆÓ ÂÚÈÙ¤ÚˆÓ Ù˘,
‰È‹ÚÎÂÛ ·fi ÙÔ 1960 ˆ˜ ÙÔ 1964. ΔÔ 1964 ‰ÈÔÚÁ·ÓÒıËΠ–ÁÈ·
ÚÒÙË ÊÔÚ¿ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ- ÙÔ ÙÚ›ÙÔ ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏË-
ÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡, Ì 25.000 ·ÎÚÔ·Ù¤˜. ΔÔ 1966, Ï›Á˜ ̤Ú˜ ÌÂÙ¿
·fi ÙË Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜, Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔ ¤ÌÙÔ
ºÂÛÙÈ‚¿Ï ∂Ï·ÊÚÔ‡ ∂ÏÏËÓÈÎÔ‡ ΔÚ·ÁÔ˘‰ÈÔ‡. ¢È·ÁˆÓ›ÛıËÎ·Ó 149
Û˘Óı¤ÛÂȘ. √ °. ª·˘ÚÔÌÔ˘ÛÙ¿Î˘ ¤Ï·‚ ÙÔ ÚÒÙÔ ‚Ú·‚›Ô, Ì ÙÔ
ÙÚ·ÁÔ‡‰È «ΔÔ ·ÓËÁ‡ÚÈ». ΔÔ ‰Â‡ÙÂÚÔ ‚Ú·‚Â›Ô ¤Ï·‚Â Ô ∑·Î π·Îˆ‚›-
‰Ë˜ («¢ÒÛ ÌÔ˘») Î·È ÙÔ ÙÚ›ÙÔ Ô ¶. ∫·„Ôη‚¿‰Ë˜ («ΔÔ ÔÙ¿ÌÈ»).
ΔÔ ÎÏÂÈÛÙfi Á‹Â‰Ô ÂÙÔÈÌ¿˙ÂÙ·È ÁÈ· ÙÔ ÊÂÛÙÈ‚¿Ï ÙÚ·ÁÔ˘‰ÈÔ‡, 1966
¶·Ï·› ¡Ù ™ÔÚ £ÂÛÛ·ÏÔӛ΢, 5.9.1966
The construction of a basketball sports hall had been a demand
of post-war Thessaloniki. Its construction within the Fair,
replacing three of its older kiosks, took from 1960 to 1964. In
1964, the third Greek Pop Song Festival was organized – for the
first time in Palais de Sports – attended by an audience of
25.000 people. In 1966 – a few days after this photograph was
taken – the fifth Greek Pop Song Festival was organized. 149
songs participated. Mr. G. Mavromoustakis won the first prize
with his song "To panigyri" (i.e. "The celebration"). The second
prize went to Mr. Jacques Iakovidis ["Dose mou" (i.e. "Give me")]
and the third one to Mr. Kapsokavadis ["To Potami" (i.e. "The
river")].
The sports hall is being prepared for the Song Festival, 1966
The Palais de Sports of Thessaloniki,5.9.1966
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £59
T H E S S A L O N I K I 141k
U N I V E R S I T Y A N D T I F 59
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏142k
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˘
ÂÌÊ·Ó›˙ÂÙ·È ÛÙÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ Ï‹„˘ ÙÔ˘ 1964). ŒÎÙÔÙÂ, Ô
‡ÚÁÔ˜ ·ÔÙ¤ÏÂÛ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÓÒÚÈÛÌ· Ù˘ ¢∂£. ™ÙÔÓ ¤ÌÙÔ
fiÚÔÊÔ ÙÔ˘ ‡ÚÁÔ˘, Ô √Δ∂ Î·È Ë ¢∂£ ›¯·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÂÈ ÎÔÈÓfi
ÙËÏÂÔÙÈÎfi ÛÙ·ıÌfi, Ô ÔÔ›Ô˜ ÂͤÂÌ ηı’ fiÏË Ù˘ ‰È¿ÚÎÂÈ· Ù˘
‰ÈÔÚÁ¿ÓˆÛ˘. ΔÔ ÎÔÈÓfi ·Ú·ÎÔÏÔ˘ıÔ‡Û ·fi ‰¤ÎÙ˜, Ô˘ ‹Ù·Ó
·Ó·ÚÙË̤ÓÔÈ ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ Ù˘ ¤ÎıÂÛ˘. ∏ ÂÏÏËÓÈ΋ ‚ÈÔÙ¯ӛ·, ÌÂ
΢ÚÈfiÙÂÚ· ÂÎı¤Ì·Ù· Ù· ¤ÈÏ·, Ù· ¯·ÏÈ¿ Î·È Ù· ·È¯Ó›‰È·, ·ÚÔ˘ÛÈ¿-
ÛıËΠηٿ ÙÔÌ›˜ ÛÙÔ Ó¤Ô ÎÙ›ÚÈÔ °ã (·ÚÈÛÙÂÚ¿).
¢∂£, 1970
™Â٤̂ÚÈÔ˜ 1970, 35Ë ¢ÈÂıÓ‹˜ ŒÎıÂÛȘ £ÂÛÛ·ÏÔӛ΢. ∂Ș ÙÔ Î¤ÓÙÚÔÓ Ô ‡ÚÁÔ˜ ÙÔ˘ √Δ∂
In 1970, the Telecommunications Company tower – the
architect’s Mr. A. D. Anastasiadis project – was fully operated.
It occupied the site where previously the entertainment park
(appearing on the left part of the 1964 shot) stood. Ever since,
the tower has been a characteristic feature of the International
Fair. On the fifth floor of the tower, the Telecommunications
Company had established a common TV station, which
broadcasted during the Fair. The audience had been watching
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).
The Thessaloniki InternationalFair, 1970
September 1970, 35th ThessalonikiInternational Fair. The TelecommunicationsCompany tower rises in the middle
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £60
T H E S S A L O N I K I 143k
U N I V E R S I T Y A N D T I F 60
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏144k
∏ 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 –ÛÂ
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‹ıËΠÌÂÚÈ-
ο ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·. Ÿˆ˜ Î·È ÔÈ ¿ÏϘ Ï·Ù›˜ Ô˘ ‰È·ÌÔÚÊÒıË-
Î·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.
¢∂£ 1972
ÕԄȘ 37˘ ŒÎıÂÛ˘ £ÂÛÛ·ÏÔӛ΢
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.
The Thessaloniki InternationalFair 1972
A view of the 37th Fair of Thessaloniki
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £61
T H E S S A L O N I K I 145k
U N I V E R S I T Y A N D T I F 61
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏146k
∞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
ÙË ¯ÚÔÓÈ¿ Ì ›ÛËÌÔ ÎÚ·ÙÈÎfi ÂÚ›ÙÂÚÔ (‰ÈfiÙÈ ÔÏϤ˜ ͤÓ˜ Û˘ÌÌÂ-
ÙÔ¯¤˜ ‹Ù·Ó ·Ó›ÛË̘ ) ¤¯Ô˘Ó ÙÔÔıÂÙËı› › Ù˘ Ï·Ù›·˜ Ù˘
Ã∞¡£. ΔÔ 1975 Ë ‰È¿ÚÎÂÈ· Ù˘ ¤ÎıÂÛ˘ ÂÚÈÔÚ›ÛÙËΠ۠‰‡Ô ‚‰Ô-
Ì¿‰Â˜, ·fi ÙȘ ÙÚÂȘ Ô˘ ‰È·ÚÎÔ‡ÛÂ. ∏ Ï‹„Ë Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ
Ë̤ڷ ™¿‚‚·ÙÔ Î·È- fiˆ˜ ‰Â›¯ÓÔ˘Ó ÔÈ ÛÎȤ˜- ·ÔÁÂ˘Ì·ÙÈÓ‹ ÒÚ·.
¢∂£, 1975
™ÙÈÁÌÈfiÙ˘ÔÓ ·fi Ù· ÂÁη›ÓÈ· Ù˘ 40‹˜ ¢ÈÂıÓÔ‡˜ ∂Îı¤Ûˆ˜ £ÂÛÛ·ÏÔӛ΢, 30.8.1975
The outer view of the Fair from the Sintivaniou Square is
represented. The flags of the 21 countries that participated
that year, each in an official state kiosk (since many foreign
participants were unofficial) have been hoisted at the Square of
YMCA of Thessaloniki. In 1975, the duration of the Fair was
limited to a fortnight, in contrast to the previous three-week
period. The shot was taken on a Saturday afternoon – judging
from the shadows.
The Thessaloniki InternationalFair, 1975
A snapshot from the opening day of the 40thThessaloniki International Fair, 30.8.1975
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £62
T H E S S A L O N I K I 147k
U N I V E R S I T Y A N D T I F 62
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏148k
ΔÔ 1980, ÂÓ fi„ÂÈ Ù˘ ›ÛËÌ˘ ¤ÓÙ·Í˘ Ù˘ ∂ÏÏ¿‰·˜ ÛÙËÓ ∂˘Úˆ-
·˚΋ ∫ÔÈÓfiÙËÙ·, fiˆ˜ ÔÓÔÌ·˙fiÙ·Ó ÙfiÙÂ Ë ∂˘Úˆ·˚΋ ŒÓˆÛË, ÙÔ
ÁÚ·ÊÂ›Ô ÏËÚÔÊÔÚÈÒÓ Ô˘ ‰È·ÙËÚÔ‡ÛÂ Ë ∫ÔÈÓfiÙËÙ· ÛÙȘ ÂÙ‹ÛȘ
¢∂£ ·Ó·‚·ıÌ›ÛÙËÎÂ. ∏ ∫ÔÈÓfiÙËÙ· ·ÚÔ˘ÛÈ¿ÛÙËΠ۠¤Ó·Ó ÔÏfiÎÏË-
ÚÔ fiÚÔÊÔ ÙÔ˘ ÂÚÈÙ¤ÚÔ˘ 8. ∞˜ ÛËÌÂȈı› fiÙÈ Î·È Ù· ÂÓÓ¤· ÏÔÈ¿
̤ÏË Ù˘ ÎÔÈÓfiÙËÙ·˜ ¤Ï·‚·Ó ̤ÚÔ˜ ÛÙË ¢∂£ ÙÔ˘ 1980.
ΔÔ ÂÚ›ÙÂÚÔ 8 ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1968 Û ۯ¤‰È· ÙÂÛÛ¿ÚˆÓ Î·ıË-
ÁËÙÒÓ ÙÔ˘ ÔÏ˘Ù¯Ó›Ԣ ÙÔ˘ ∞¶£, Î·È ÔÓÔÌ¿ÛÙËΠ·Ú¯ÈÎÒ˜ «∂ÌÔ-
ÚÈÎfi ∫¤ÓÙÚÔ».
¶ÂÚ›ÙÂÚÔ 8, 1980
¶ÂÚ›ÙÂÚÔÓ ∂√∫- ∫Ú¿ÙË Ì¤ÏË Ù˘ ∂˘Úˆ·˚΋˜ ∫ÔÈÓfiÙËÙ·˜ 1980
In 1980, in view of the official accession of Greece in the
European Community – as the European Union was called at the
time – the Community information office of the annual Fairs was
upgraded. The Community occupied a whole floor of Kiosk 8. It
should be noted that the remaining nine member-states of the
Community also participated in the Fair of 1980.
Kiosk 8 was constructed in 1968 based on the blueprints of four
professors of the School of Technology of the Aristotle
University of Thessaloniki, and it had been initially called
"Commercial Centre".
Kiosk 8, 1980
The Kiosk of the E.E.C. – Member States of the European Community 1980
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £63
T H E S S A L O N I K I 149k
U N I V E R S I T Y A N D T I F 63
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏150k
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ‰È·Û¯›˙ÂÈ ÙËÓ
ÂÈÎfiÓ· ·fi ·ÚÈÛÙÂÚ¿ ÚÔ˜ Ù· ‰ÂÍÈ¿, Ì ÁˆÓ›· 45 ÌÔÈÚÒÓ ÂÚ›Ô˘.
¶¿Óˆ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ·ÏÒÓÂÙ·È Ë Û˘ÓÔÈΛ· ÙˆÓ
™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ë ÔÔ›· ηÙ‚·›ÓÂÈ ÚÔ˜ Ù· ‰˘ÙÈο ÛÙÔ Û˘ÓÔÈ-
ÎÈÛÌfi Δ۷ω¿ÚË, fiÔ˘ Î·È ÔÈ ÊÔÈÙËÙÈΤ˜ ÂÛٛ˜. ∫¿Ùˆ ·fi ÙËÓ Ô‰fi
∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ( Û ÚÒÙÔ Ï¿ÓÔ) Ë º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹.
¶›Ûˆ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ·ÎÔÏÔ˘ı› -˘fi ·Ó¤ÁÂÚÛË- Ë
∫ÙËÓÈ·ÙÚÈ΋. ŒÂÙ·È, ÚÔ˜ ÙÔ ‚¿ıÔ˜ (Î·È ˘fi ·Ó¤ÁÂÚÛË Â›Û˘) Ë
π·ÙÚÈ΋. ¶ÏËÓ Ù˘ ÚÒÙ˘, fiϘ ÔÈ ÏÔȤ˜ Û¯ÔϤ˜ ‹Ù·Ó Ó¤· ÎÙ›ÛÌ·-
Ù·. ™Ù· ‰ÂÍÈ¿ Ù˘ º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋˜, ÙÔ ÃËÌ›Ô, ›Û˘ Ó¤Ô ÎÙ›ÛÌ·.
∞Ó Î·È Ë ÊˆÙÔÁÚ·Ê›· ‰›ÓÂÈ ÙËÓ ·›ÛıËÛË ÓÂÎÚ‹˜ fiÏ˘ ‹ ̷Τٷ˜, Ë
Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ Ë̤ڷ ΔÂÙ¿ÚÙË, ÂÚÁ¿ÛÈÌË, ÓˆÚ›˜ ÙÔ ·fiÁÂ˘Ì·.
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘, ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ηÈÔ‰Ô‡ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, 1962
¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢24.10.1962
An oblique photomap: Aghiou Dimitriou Street crosses the photo
from left to right, in an angle of about 45 degrees. Above Aghiou
Dimitriou Street, there stretches the Saranta Ekklisies quarter,
which runs down westwards the Tsaldari quarter, where the
student hostels are located. Below Aghiou Dimitriou Street (in
the foreground), there is the School of Physics and
Mathematics. Right behind it, there is the School of Agronomics
and Forestry; there follows the – under construction – School of
Veterinarians. Further towards the background (also under
construction) there is the School of Medicine. Apart from the
first one, all the other Schools were accommodated in new
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.
The crossroads of EthinkisAmynis, Aghiou Dimitriou andSaranta Ekklision streets, 1962
The University campus of Thessaloniki24.10.1962
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £64
T H E S S A L O N I K I 151k
U N I V E R S I T Y A N D T I F 64
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏152k
∫ÂÎÏÈ̤ÓË Ï‹„Ë ·fi ·¤ÚÔ˜. Œ¯ÂÈ Ú·ÁÌ·ÙÔÔÈËı› Ï›ÁË ÒÚ· ÌÂÙ¿
ÙËÓ ÚÔËÁÔ‡ÌÂÓË, ÙËÓ ÔÔ›· Û˘ÌÏËÚÒÓÂÈ. ¢È·ÎÚ›ÓÂÙ·È Ë º˘ÛÈÎÔÌ·-
ıËÌ·ÙÈ΋, ÛÙ· ·ÚÈÛÙÂÚ¿ Ù˘ Ë °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Î·È ›Ûˆ Ù˘
ÔÏfiÎÏËÚÔ ÙÔ ÃËÌ›Ô, ÛÙÔ Î¤ÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™Â ÚÒÙÔ Ï¿-
ÓÔ, ÙÔ ÎÔÈÌËÙ‹ÚÈÔ Ù˘ ∂˘·ÁÁÂÏ›ÛÙÚÈ·˜. ∫¿Ùˆ ‰ÂÍÈ¿, ÙÔ ∫ÂÓÙÚÈÎfi
¡ÔÛÔÎÔÌÂ›Ô (Ó˘Ó «°. °ÂÓÓËÌ·Ù¿˜»). ¢ÂÍÈ¿ Î·È ›Ûˆ ÙÔ˘, Ë Û¯ÔÏ‹
ÓÔÛÔÎfïÓ. ¶›Ûˆ Ù˘, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿, ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ÙÔ˘ ·ÓÂÈ-
ÛÙËÌ›Ô˘. ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ¤¯ÂÈ ¤Ó· ÚfiÛÎÙÈÛÌ·, ÙÔ ÔÔ›Ô ·ÚÁfiÙÂÚ·
ηÙ‰·Ê›ÛÙËÎÂ. ¶›Ûˆ ·fi ÙÔ ·Ï·Èfi ÎÙ›ÚÈÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ Ì¤¯ÚÈ ÙfiÙÂ
Á‹Â‰Ô ÙÔ˘ ¶∞√∫, ÛÙÔ ÔÔ›Ô ˘¿Ú¯Ô˘Ó ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·.
™ÙÔ ¯ÒÚÔ ÂΛÓÔ ·ÓÂÁ¤ÚıËΠ·ÚÁfiÙÂÚ· Ë £ÂÔÏÔÁÈ΋ Û¯ÔÏ‹. ™ÙÔ
ΤÓÙÚÔ Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ‰ÂÓ ¤¯Ô˘Ó ηٷÛ΢·ÛÙ› ·ÎfiÌË
ÎÙ›ÚÈ·. ¢È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔÓ: ÙÔ ªÂÙˆÚÔÛÎÔÂ›Ô (΢ÎÏÈÎfi ÎÙ›ÛÌ· ÛÙÔ
ΤÓÙÚÔ), ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ ∞ÛÙÂÚÔÛÎÔÂ›Ô Î·È, ·ÎfiÌË ÈÔ ·ÚÈÛÙÂ-
Ú¿, ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ã∂¶∞. ¶ÈÔ ¿Óˆ ·fi ÙÔ ∞Ã∂¶∞, Ë ¶ÔÏ˘Ù¯ÓÈ΋
Û¯ÔÏ‹. √È ¯ÒÚÔÈ ÚÔ˜ ÙÔ ¿Óˆ ‰ÂÍÈfi ̤ÚÔ˜ Ù˘ ʈÙÔÁÚ·Ê›·˜ ›ӷÈ
Ù˘ ¢∂£, Ì ›ÎÂÓÙÚÔ ÙÔ ÎÏ·ÛÈ΋˜ Ù¯ÓÔÙÚÔ›·˜ ÎÙ›ÚÈÔ Ù˘ ∂ıÓÈ΋˜
¶·Ú·ÁˆÁ‹˜, Ô˘ ·Ú·¯ÒÚËÛ ÙË ı¤ÛË ÙÔ˘ ÛÙÔ ¶·Ï¤ ÓÙ ™ÔÚ.
∞Ó¿ÌÂÛ· ÛÙËÓ ¶ÔÏ˘Ù¯ÓÈ΋, ÙË ¢∂£ Î·È ÙÔ Á‹Â‰Ô ÙÔ˘ ¶∞√∫,
·ÏÒÓÂÙ·È fi,ÙÈ Â›¯Â ·ÔÌ›ÓÂÈ ·fi ÙËÓ ÚÔÛÊ˘ÁÈ΋ ÔÏÈÙ›· Ù˘
∞Á›·˜ ºˆÙÂÈÓ‹˜.
¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË, Á‹Â‰Ô¶∞√∫, ∞Á›· ºˆÙÂÈÓ‹, 1962
¶·ÓÂÈÛÙËÌÈÔ‡ÔÏȘ £ÂÛÛ·ÏÔӛ΢24.10.1962
An oblique photomap: It has been taken a few minutes after the
previous one, supplementing it. There is the School of Physics
and Mathematics; on its left, there is the School of Agronomics
and Forestry and behind it the entire building of the School of
Chemistry, in the middle of the photograph. In the foreground,
there is the Evaggelistria cemetery. On the lower right corner,
there is the Kentriko Hospital (currently "G. Genimatas"). On the
right and behind the hospital there is the School of Nurses;
behind the latter, at the right end, the old University building. On
its left it features an outbuilding, which later was demolished.
Behind the old building, the – up to then – PAOK playground
appears, in which some cars are parked. On that site, the
building of the School of Theology was later constructed. In the
middle of the University campus no buildings have yet been
constructed. There are only the Meteorological Station (the
circular building in the middle), on its left the Observatory and,
even further on the left, the AHEPA Hospital. Above AHEPA,
there is the School of Technology. The site towards the upper
right part of the photograph belongs to the Thessaloniki
International Fair, extending around the classical building of
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.
University campus, the PAOKplayground, Aghia Photini, 1962
The University campus of Thessaloniki24.10.1962
¶ ∞ ¡ ∂ ¶ π ™ Δ ∏ ª π √ & ¢ ∂ £65
T H E S S A L O N I K I 153k
U N I V E R S I T Y A N D T I F 65
ª ¡ ∏ ª ∂ π ∞T H E M O N U M E N T S
∞fi ÙË Û˘ÏÏÔÁ‹ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Î·È Ù˘ °ÂÓÈ-
΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ¤¯Ô˘Ó ÂÈÏÂÁ› 26 Ï‹„ÂȘ ‚˘˙·ÓÙÈÓÒÓ
Î·È ÓÂfiÙÂÚˆÓ ÌÓËÌ›ˆÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËηÓ
Û ‰È¿ÊÔÚ˜ ¯ÚÔÓÈΤ˜ ÂÚÈfi‰Ô˘˜ ·fi ÙÔ 1900 ˆ˜ ÙÔ 1970. π‰È·›ÙÂÚ·
ÔχÙÈ̘ Â›Ó·È ÔÈ Ï‹„ÂȘ ÙˆÓ ‰ÂηÂÙÈÒÓ ÙÔ˘ 1950 Î·È 1960, fiÙ·Ó
·ÎfiÌË Ë £ÂÛÛ·ÏÔÓ›ÎË ‰È·ÙËÚÔ‡Û ›¯ÓË ÙÔ˘ ‚˘˙·ÓÙÈÓÔ‡ ÈÛÙÔ‡ Ù˘
–̤۷ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ÂÈ‚ÈÒÛÂȘ ÙÔ˘- ÁÂÁÔÓfi˜ Ô˘ ¤ÙÚ ÙËÓ
ηχÙÂÚË Î·Ù·ÓfiËÛË ÙÔ˘ ·ÛÙÈÎÔ‡ ÙÔ›Ô˘.
√È ÊˆÙÔÁÚ·Ê‹ÛÂȘ ·˘Ù¤˜ ¤¯Ô˘Ó Û‹ÌÂÚ· ȉȷ›ÙÂÚË ·Í›· ÁÈ· fiÔÈÔÓ
·Û¯ÔÏÂ›Ù·È Ì ÙËÓ fiÏË –ÈÛÙÔÚÈο, ÁˆÁÚ·ÊÈο Î·È ÔÏÂÔ‰ÔÌÈο-
‰ÈfiÙÈ ¤¯Ô˘Ó Á›ÓÂÈ Ì ÙË Û˘Ó›‰ËÛË Ù˘ ··ı·Ó¿ÙÈÛ˘ ÂÓfi˜ ·ÍÈÔı¤·ÙÔ˘,
¯ˆÚ›˜ ‚¤‚·È· –ʈÙÔÁÚ¿ÊÔÈ Î·È Û˘ÏϤÎÙ˜- Ó· ˘ÔÙ‡ÔÓÙ·Ó fiÙÈ,
Ôχ Û‡ÓÙÔÌ·, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ı· ÌÂÙ·‚·ÏÏfiÙ·Ó Û ٤ÙÔÈÔ ‚·ıÌfi, ÒÛÙÂ
Ë ÊˆÙÔÁÚ·Ê›· ı· ›¯Â ÌÂÁ·Ï‡ÙÂÚË ›Ûˆ˜ ·Í›· ÁÈ· ÙËÓ ·ÂÈÎfiÓÈÛË ÙˆÓ
¤ÚÈÍ, ·Ú¿ ÙÔ˘ ›‰ÈÔ˘ ÙÔ˘ ÌÓËÌ›Ԣ.
[°È· ÙË Û‡ÓÙ·ÍË ÙˆÓ ˘ÔÌÓËÌ¿ÙˆÓ ÛÙȘ ÂÈÎfiÓ˜ 67 Î·È 68 ¢¯·ÚÈÛٛ˜
ÔÊ›ÏÔÓÙ·È ÛÙËÓ Î˘Ú›· ŒÏÏË °ÂˆÚÁÈÏ¿].
kkk
From the collection of the Secretariat General of Communication
– Secretariat General of Information there have been chosen 26
shots of Byzantine and more recent monuments of Thessaloniki,
taken during several periods from 1900 to 1970. Of special
significance are the shots taken in the 1950s and 1960s, when
Thessaloniki still preserved some traces of its Byzantine tissue –
surviving through the ottoman features – something that
allowed the better perception of the urban landscape.
These shootings are of special significance nowadays to those
who try to approach the city – from an historical, geographical
and urban-planning point of view – since the former have been
taken with a view to capture a sight; without of course – both
photographers and collectors – suspecting that, soon enough,
the landscape would be transformed to such an extend, that the
photograph might be more important, as far as the
representation of the surroundings are concerned, than the
monument itself.
[Mrs. Elli Gheogila should be thanked for her contribution in
annotating Photographs No. 67 and 68].
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏156k
√ ʈÙÔÁÚ¿ÊÔ˜ Ú¤ÂÈ Ó· ·Ó¤‚ËΠ۠ԛÎËÌ· ÛÙË ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘
Ô‰Ô‡ ∞ÎÚÔfiψ˜ Î·È Ó· ·ÍÈÔÔ›ËÛ ÙËÓ ˘„ÔÌÂÙÚÈ΋ ‰È·ÊÔÚ¿ ÁÈ·
Ó· ÚÔ‚¿ÏÂÈ Ù· ‚fiÚÂÈ· Ù›¯Ë Ù˘ fiÏ˘ Î·È ÙÔÓ ÛÙÚÔÁÁ˘Ïfi ‡ÚÁÔ
ÛÙÔ ΔÚÈÁÒÓÈÔ. ∞Ó¤‰ÂÈÍ ¤ÙÛÈ ÙȘ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ ¶fiÏ˘. ∏ ¯ÚÔÓÔ-
ÏfiÁËÛË Ù˘ Ï‹„˘ Â›Ó·È ÚÔ‚ÏËÌ·ÙÈ΋. ¢ÂÓ ‰È·ÎÚ›ÓÂÙ·È Î·Ó¤Ó·
ÛËÌÂ›Ô ÓˆÙÂÚÈÛÌÔ‡ Ô‡Ù ›¯ÓÔ˜ ÌÂÙ·ÊÔÚÈÎÔ‡ ̤ÛÔ˘. ∂Í ¿ÏÏÔ˘, ‰ÂÓ
‰È·ÎÚ›ÓÂÙ·È Ë ·ÌÊ›ÂÛË ÙˆÓ ÂÈÎÔÓÈ˙fiÌÂÓˆÓ ÌÔÚÊÒÓ ∏ ·Ô˘Û›· ÌÈÓ·-
Ú¤‰ˆÓ ‰Â›¯ÓÂÈ ˆ˜ terminus ante quem ÙÔ ¤ÙÔ˜ 1925 (ÔfiÙ ηÈ
ηÙ‰·Ê›ÛÙËÎ·Ó fiÏÔÈ, ÏËÓ Ù˘ ƒÔÙfiÓÙ·˜).
∏ ÕÓˆ ¶fiÏË Ù˘ £ÂÛÛ·ÏÔӛ΢,›Ûˆ˜ Ù¤ÏË ‰ÂηÂÙ›·˜ 1920
ÕÙÈÙÏË
The photographer should have climbed on a building on the
west side of Akropoleos Street, taking advantage of the
different levelling in order to show the northern walls of the city
and the round tower of Trigonio. Thus, the quarters of the Old
City have been presented. The dating of the photograph has
been somehow problematic. Neither any innovation element nor
any transportation means is presented; neither of the persons’
represented outfits are evident. The absence of minarets
shows as terminus ante quem the year 1925 (when they all had
been demolished, except the one at Rotonda).
Ano Poli (the Old City) ofThessaloniki, probably late 1920s
Without Title
ª ¡ ∏ ª ∂ π ∞66
T H E S S A L O N I K I 157k
T H E M O N U M E N T S 66
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏158k
∏ Â͈ÙÂÚÈ΋ ÏÂ˘Ú¿ ÙˆÓ ‚fiÚÂÈˆÓ ÙÂȯÒÓ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙËÓ
ÏÂ˘Ú¿ ÙÔ˘ ∂Ù·˘ÚÁ›Ô˘: fi,ÙÈ ‚ϤÂÈ Î·Ó›˜ ÌfiÏȘ ÂÚ¿ÛÂÈ ÙËÓ fiÏË
Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó Ù· ψÊÔÚ›· ÁÈ· Ó· ÂÈÛ¤ÏıÔ˘Ó ÛÙÔ ∂Ù·‡ÚÁÈÔ.
∏ ÂÈÎfiÓ· Â›Ó·È ÂÓÙÂÏÒ˜ ›‰È· Î·È Û‹ÌÂÚ·.
Δ· Ù›¯Ë, 1963
£ÂÛÛ·ÏÔÓ›ÎË. Δ· ‚˘˙·ÓÙÈÓ¿ Ù›¯Ë Ù˘ fiψ˜ «∂Ù·‡ÚÁÈÔÓ», 6.3.1963
The outer part of the north walls of Thessaloniki, on the side of
Eptapyrgio: what the visitor sees on passing from the gate
used by buses to enter Eptapyrgio. The picture is exactly the
same even nowadays.
The walls, 1963
Thessaloniki. The Byzantine walls of the city«Eptapyrgio», 6.3.1963
ª ¡ ∏ ª ∂ π ∞67
T H E S S A L O N I K I 159k
T H E M O N U M E N T S 67
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏160k
∏ ˘ÚηÁÈ¿, ÂÎÙfi˜ ·fi ÙÔ˘˜ ÙÚÂȘ ÁÓˆÛÙÔ‡˜ ÌÂÁ¿ÏÔ˘˜ Ó·Ô‡˜ (ÕÁÈÔ
¢ËÌ‹ÙÚÈÔ, ÕÁÈÔ ¡ÈÎfiÏ·Ô, ∞Á›· £ÂÔ‰ÒÚ·) Î·È ÙÔÓ Ó·˝ÛÎÔ Ù˘ ¶·Ó·-
Á›·˜ ∂ÏÂÔ‡Û·˜ (ÎÔÓÙ¿ ÛÙË ªËÙÚfiÔÏË) η٤η˘Û ӷ˝ÛÎÔ˘˜ ηÈ
·ÁÈ¿ÛÌ·Ù·, ÔÈ ÔÓÔ̷ۛ˜ ÙˆÓ ÔÔ›ˆÓ Ì·˜ Â›Ó·È ÁÓˆÛÙ¿ ÌfiÓÔÓ ·fi
·Ú¯ÂȷΤ˜ ËÁ¤˜. ∂›Û˘ η٤ÛÙÚ„ ÈÛÏ·ÌÈο ıÚËÛ΢ÙÈο ȉڇ̷-
Ù· Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó Û ·Ï·ÈÔ‡˜ ¯ÚÈÛÙÈ·ÓÈÎÔ‡˜ Ó·Ô‡˜.
√ ÂÈÎÔÓÈ˙fiÌÂÓÔ˜ Ó·fi˜ ‹Ù·Ó ÌÈÎÚfi˜. ∏ ‰Â‡ÙÂÚË ÛÂÈÚ¿ Ù˘ ÂÈÎÔÓÔÁÚ¿-
ÊËÛ˘ Ù˘ ·„›‰·˜ ÙÔ˘ ÈÂÚÔ‡ ·Ó··ÚÈÛÙ¿ ÙË ªÂÙ¿ÏË„Ë ÙÔ˘ √›ÓÔ˘
·fi ÙË ˙ˆ‹ ÙÔ˘ ÃÚÈÛÙÔ‡ (·ÓÙ›ÛÙÔÈ¯Ë ÙÔȯÔÁÚ·Ê›· ˘¿Ú¯ÂÈ ÛÙÔ
·ÚÂÎÎÏ‹ÛÈ ÙÔ˘ ∞Á›Ô˘ ∂˘ı˘Ì›Ô˘, ÛÙÔÓ ÕÁÈÔ ¢ËÌ‹ÙÚÈÔ Ù˘ £ÂÛÛ·ÏÔ-
ӛ΢). Δ· ¯Ù˘‹Ì·Ù· ÛÙÔ˘˜ ÙÔ›¯Ô˘˜ Î·È Ù· ˘ÔÏ›ÌÌ·Ù· ÙÔ˘ ÛÔ‚¿
Ì·ÚÙ˘ÚÔ‡Ó fiÙÈ Ô Ó·fi˜ ›¯Â ÌÂÙ·Ùڷ› Û ٤ÌÂÓÔ˜. Δ¤ÏÔ˜, ÙÔ Â›Â-
‰Ô ÙˆÓ Ì¿˙ˆÓ ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÂÚÔ‡, ÙÔ ÔÔ›Ô ··Ú·›ÙËÙ· ÛÙÂÁ¿˙Â-
Ù·È Ì ¯ÙÈÛÙ‹ ÛÙ¤ÁË, ‚Ú›ÛÎÂÙ·È ÂÌÊ·ÓÒ˜ ˘„ËÏfiÙÂÚ· ·fi Ù· Ì¿˙·
ÛÙÔÓ Î˘Ú›ˆ˜ Ó·fi. ÕÚ·, Ë ÛÙ¤ÁË ÙÔ˘ ΢ڛˆ˜ Ó·Ô‡ οËÎÂ Î·È Î·Ù¤Ú-
Ú¢ÛÂ, ·Ê‹ÓÔÓÙ·˜ Ôχ ÏÈÁfiÙÂÚ· ˘ÔÏ›ÌÌ·Ù·. ŒÙÛÈ, Ì¿ÏÏÔÓ, Úfi-
ÎÂÈÙ·È ÁÈ· ÌÈÎÚ‹ ͢ÏfiÛÙÂÁË ‚·ÛÈÏÈ΋, Ô˘ ›¯Â ÌÂÙ·Ùڷ› -ÁÈ· Ôχ
‹ Ï›ÁÔ- Û ٤ÌÂÓÔ˜ Î·È Î¿ËΠÙÔ 1917.
∂Ú›ȷ ·Ù·‡ÙÈÛÙÔ˘ Ó·Ô‡ ÌÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1917
¶˘ÚηÁÈ¿ £ÂÛÛ·ÏÔӛ΢ 5.8.1917
The fire, apart from the three famous temples (Aghios Dimitrios,
Aghios Nikolaos and Aghia Theodora) as well as the chapel of
Panagia Eleousa (near the Cathedral), burned down chapels and
small temples, the names of which are known to us only from
the records. In addition, it ruined certain Islamic religious
foundations housed in old Christian temples.
The temple represented was a small one. The second line on the
apse of the temple represents the Wine Communion from the
life of Jesus (a corresponding wall painting is found in the chapel
of Aghios Efthimios, at the Aghios Dimitrios Temple of
Thessaloniki). The cracks on the walls and the remains of
plaster reveal that the temple had been turned into a mosque.
Finally, the level of debris in the built-roofed chancel is
obviously higher than the debris in the main temple. That means
that the roof of the main temple burnt down leaving behind
much less debris. Thus, probably, it is a small wooden-roofed
basilica, converted – for a short time – into a mosque and burnt
down in 1917.
Ruins of an unidentified templeafter the fire of 1917
The fire of Thessaloniki 5.8.1917
ª ¡ ∏ ª ∂ π ∞68
T H E S S A L O N I K I 161k
T H E M O N U M E N T S 68
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏162k
∫·Ù¿ ÙË ÌÂÁ¿ÏË ÈÙ·ÏÈ΋ ·ÂÚÔÔÚÈ΋ ÂȉÚÔÌ‹ Ù˘ 9˘ ºÂ‚ÚÔ˘·Ú›Ô˘
1941, «Â‚Ï‹ıË ÌÓËÌ›ÔÓ ∞Á›·˜ ™ÔÊ›·˜ ÂÓ μ¢ ÁˆÓ›· ÙÂÙÚ·ÁÒÓÔ˘
‚¿Ûˆ˜ Ù˘Ì¿ÓÔ˘ ÙÚÔ‡ÏÏÔ˘ ηٷÛÙÚ·Ê›ÛË Â͈ÙÂÚÈÎÒ˜, Ù·
μ[fiÚÂÈ·] Î·È ¢[˘ÙÈο] ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ÌÂÁ¿Ï· ÙfiÍ· Î·È Ù· ÌÈÎÚfiÙÂÚ·
ÙÔ˘ Ù˘Ì¿ÓÔ˘ ÙˆÓ ÂÚÚ¿ÁËÛ·Ó, Ë μ[ÔÚ›·˜] ÏÂ˘Ú¿˜ ÛÙ¤ÁË Á˘Ó·ÈΈ-
Ó›ÙÔ˘, ÙÔ ‹ÌÈÛ˘ ‰˘ÙÈ΋˜ Î·È ÛÙ¤ÁË ÙÚÔ˘ÏˆÙ‹ Έ‰ˆÓÔÛÙ·Û›Ô˘ ηÙÂ-
ÛÙÚ¿ÊË», Û‡Ìʈӷ Ì ÙËÏÂÁÚ·ÊÈ΋ ¤ÎıÂÛË ÙÔ˘ ÂÊfiÚÔ˘ ·Ú¯·ÈÔÙ‹-
ÙˆÓ ª·Î‰ÔÓ›·˜, Ô˘ ˘Ô‚Ï‹ıËΠÙËÓ Â·‡ÚÈÔÓ. ∏ ¤ÎıÂÛË ·Ó¤ÊÂÚÂ
·ÎfiÌË fiÙÈ ¿ÏÏÔ ‚Ï‹Ì· η٤ÛÙÚ„ ÙË ÛÙ¤ÁË ÙÔ˘ ÚÔÛÙÒÔ˘, fiÏ· Ù·
˘·ÏÔÈÓ¿ÎÈ· Î·È ÔÚÈṲ̂Ó˜ ÊÔÚËÙ¤˜ ÂÈÎfiÓ˜. Δ· ̈۷˚ο ‰ÂÓ ¤·-
ı·Ó Ù›ÔÙÂ. ΔÔ ÎfiÛÙÔ˜ ÙˆÓ ÂȉÈÔÚıÒÛÂˆÓ ·Ó¤Ï·‚Â Ë ÂÓÔÚȷ΋ ÂÈ-
ÙÚÔ‹.
∏ ˙ËÌ›· Ô˘ ÚÔÎÏ‹ıËΠÛÙËÓ ∞Á›· ™ÔÊ›· ·fi ÈÙ·ÏÈÎfi ‚ÔÌ‚·Ú‰ÈÛÌfi, 1941
∞Á›· ™ÔÊ›·
During the extended Italian blitz of 9th February 1941, "the
monument of Aghia Sophia was hit; the exterior part of the
north-west corner of the vault’s square base was destroyed;
the internal north and west high arches, as well as the smaller
ones of the drum, exhibited fissures; the north part of the loft
roof along with half the west one, as well as the vaulted roof of
the bell tower were destroyed", according to a telegraphic
report of the curator of Macedonian antiquities, submitted on
the following day. The report also mentioned that another shell
destroyed the roof of the porch, all the glasses and some of the
portable icons. The mosaics remained untouched. The cost of
the repairs was undertaken by the parish council.
The damage caused to AghiaSophia by the Italian bombing,1941
Aghia Sophia
ª ¡ ∏ ª ∂ π ∞69
T H E S S A L O N I K I 163k
T H E M O N U M E N T S 69
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏164k
√ ʈÙÔÁÚ¿ÊÔ˜ ·ÂÈÎfiÓÈÛ ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ Ù˘ ƒÔÙfiÓÙ·˜,
·fi ÙËÓ ÛÙ¤ÁË ÚÔÊ·ÓÒ˜ ÙÔ˘ ÌÓËÌ›Ԣ. ¢ÂÓ ·Ê‹ÓÂÈ ·ÌÊÈ‚Ôϛ˜ ÁÈ’
·˘Ùfi Ë ¯·Ú·ÎÙËÚÈÛÙÈ΋ ›ÛÔ‰Ô˜ Î·È Ù· Ì·ÚÌ¿ÚÈÓ· ıÚ·‡ÛÌ·Ù· Ô˘
Â›Ó·È ·ÎÔ˘ÌÈṲ̂ӷ Á‡Úˆ Ù˘. ∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ÌÔÓ·‰È΋ ·ÊÂ-
Ófi˜ ·fi ÙËÓ ¿Ô„Ë Ù˘ ·ÔÙ‡ˆÛ˘ ÙˆÓ ·Ï·ÈÒÓ Î·ÙÔÈÎÈÒÓ Î·È Ù˘
·˘ıÂÓÙÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘˜ ·ÊÂÙ¤ÚÔ˘ ·fi ÙËÓ ÂÌÊ¿ÓÈÛË Ù˘
·Ï·È¿˜ Ô‰Ô‡ ºÈÏ›Ô˘, Û ·ÓÙÈ·Ú·‚ÔÏ‹ ÚÔ˜ ÙË Ó¤· (Î·È ˘ÊÈÛÙ¿-
ÌÂÓË) Ù·˘ÙÒÓ˘ÌË Ô‰fi, Ë ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹ Ù˘ ÔÔ›·˜ ‰È·ÎÚ›ÓÂÙ·È
ÛÙ· ˘„ËÏfiÙÂÚ· (Î·È ÓÂfiÙÂÚ·) ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿. ∏ ‰È·Ûˆ˙fiÌÂ-
ÓË ¯ÚÔÓÔÏfiÁËÛË (1947) ‰ÂÓ ·ÓÙÈÊ¿ÛÎÂÈ ÚÔ˜ Ù· ÂÛˆÙÂÚÈο ¯·Ú·-
ÎÙËÚÈÛÙÈο Ù˘ ʈÙÔÁÚ·Ê›·˜.
∏ ›ÛÔ‰Ô˜ Ù˘ ƒÔÙfiÓÙ·˜ Î·È Ë ·Ï·È¿ Ô‰fi˜ ºÈÏ›Ô˘, 1947
ºÂ‚ÚÔ˘¿ÚÈÔ˜ 1947[ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
The photographer represented the surrounding area of
Rotonda, probably from the roof of the monument. The
characteristic entrance and the marble fragments around it
leave no doubt. The photograph is unique because of the
representation of both the old houses of the individually original
architecture, and the old Philippou Street, as compared to the
new one (and still existing) homonymous street – the crest of
which is represented by the higher (and more recent) buildings
on the left. The date saved (1947) is not contrary to the internal
features of the photograph.
The entrance of Rotonda and theold Philippou Street, 1947
February 1947[Stamped as: D. A. Charisiadis]
ª ¡ ∏ ª ∂ π ∞70
T H E S S A L O N I K I 165k
T H E M O N U M E N T S 70
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏166k
ŒÂÈÙ·, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ÛÙÚ¿ÊËΠÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ··ı·Ó¿ÙÈÛÂ
ÙËÓ ÂÚÈÔ¯‹ ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘. ª·˜ ÎÏËÚÔ‰fiÙËÛÂ, ¤ÙÛÈ, ÙË
ÌÔÓ·‰È΋, ›Ûˆ˜, ‰È·ı¤ÛÈÌË ÌÂÙ·ÔÏÂÌÈ΋ ·ÂÈÎfiÓÈÛË ÙÔ˘ ‚ÔÚÂÈÔ·Ó·-
ÙÔÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ Ù˘ fiÏ˘ ÂÓÙfi˜ ÙˆÓ ÙÂȯÒÓ Î·È Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ-
΋˜ ÙÔ˘.
∏ £ÂÛÛ·ÏÔÓ›ÎË ‚ÔÚ›ˆ˜ Ù˘ Ô‰Ô‡ ºÈÏ›Ô˘, 1947
ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
Then, the photographer turned to the right and captured the
area at the north of Philippou Street. Thus, he left us the unique,
perhaps, available post-war representation of the north-
eastern part of the city – within the walls –and its architecture.
Thessaloniki at the north of Philippou Street, 1947
Without Title [Stamped as: D. A. Charisiadis]
ª ¡ ∏ ª ∂ π ∞71
T H E S S A L O N I K I 167k
T H E M O N U M E N T S 71
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏168k
ΔÔ ·ÓÙÈΛÌÂÓÔ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‹Ù·Ó ›Ûˆ˜ Ë ∫·Ì¿Ú·, ‰ËÏ·‰‹ Ë
·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘. ∞ÏÏ¿ ÙÔ ÁˆÁÚ·ÊÈÎfi Î·È ÎÔÈÓˆÓÈÎfi ÂÚÈ‚¿ÏÏÔÓ
Ô˘ ·ÔηχÙÂÈ Ë ÂÈÎfiÓ· Â›Ó·È ÈÔ ÂӉȷʤÚÔÓ, ÂÓ ÚÔÎÂÈ̤ӈ, ·fi
ÙÔ ÔÏ˘ÊˆÙÔÁÚ·ÊË̤ÓÔ Î·È ‰È·Ûˆ˙ÒÌÂÓÔ ÌÓËÌ›Ô. ∏ Ï‹„Ë ¤¯ÂÈ ˆ˜
¯ÚÔÓÈο fiÚÈ· ÙÔ 1938 (ÔfiÙÂ Î·È ·ÓÂÁ¤ÚıËΠÙÔ ÂÓÙ·fiÚÔÊÔ ÎÙ›ÚÈÔ
ÛÙ· ·ÚÈÛÙÂÚ¿) Î·È ÙÔ 1952, ÔfiÙ ڷÁÌ·ÙÔÔÈ‹ıËÎÂ Ë ‰È·Ï¿Ù˘Ó-
ÛË Ù˘ Ô‰Ô‡ ÚÔ˜ Ù· ‰ÂÍÈ¿ Î·È ÎfiËÎ·Ó Ù· ‡η (Ù˘ Ô‰Ô‡ ∂ÁÓ·-
Ù›·˜!). √È ÛÙÚ·ÙÈÒÙ˜ Ô˘ ÚÔ¯ˆÚÔ‡Ó ‚Ú›ÛÎÔÓÙ·È ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡
¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡. ∏ ÙÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ ÂÍ·ÎÔÏÔ˘ı›
Ó· ‰È¤Ú¯ÂÙ·È (̤¯ÚÈ ÙÔ 1952) οو ·fi ÙËÓ ·„›‰·. ∏ ÁÂÓÈ΋ ·›ÛıË-
ÛË –Ï·Ì‚¿ÓÔÓÙ·˜ ˘fi„Ë ÙȘ ÂÓ‰˘Ì·Û›Â˜- Â›Ó·È fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ù·
Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1940. ¢ÂÓ ·ÔÎÏ›ÂÙ·È Ë Ï‹„Ë Ó· ¤ÁÈÓ ·fi
ÙÔ ›‰ÈÔ ÚfiÛˆÔ Ô˘ ··ı·Ó¿ÙÈÛ ÙËÓ ÂÚÈÔ¯‹ Á‡Úˆ ·fi ÙË ƒÔÙfi-
ÓÙ· ÙÔ 1947 (‚Ï. ÚÔËÁÔ‡ÌÂÓ˜ ʈÙÔÁڷʛ˜).
√‰fi˜ ∂ÁÓ·Ù›·, Ù¤ÏË ‰ÂηÂÙ›·˜ 1940
ÕÙÈÙÏË [ʤÚÂÈ ÛÊÚ·Á›‰· ¢. A. X·ÚÈÛÈ¿‰Ë˜]
The photographer’s theme might have been Kamara, i.e. the
Galerious Arch. However, the geographic and social
environment revealed by the photo is more interesting – in the
present case – than the much photographed and preserved
monument. The time limits of the shot are the years 1938 (when
the five-storey building on the left was constructed) and 1952,
when the street was widened to the right and the pines were
cut down (on Egnatia Street!). The soldiers walking are at the
level of Paleon Patron Germanou Street. The tram still passes
(until 1952) under the Arch. Taking under consideration the
outfits, the impression made is that the shot was taken in late
1940s; probably by the same person who captured the
surrounding area of Rotonda in 1947 (see previous photos).
Egnatia Street, late 1940s
Without Title [Stamped as: D. A. Charisiadis]
ª ¡ ∏ ª ∂ π ∞72
T H E S S A L O N I K I 169k
T H E M O N U M E N T S 72
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏170k
∏ ‰È¿ÓÔÈÍË Ù˘ ∂ÁÓ·Ù›·˜ Î·È Ô Î·ı·ÚÈÛÌfi˜ Ù˘ ·„›‰·˜, Ô˘ Ú·Á-
Ì·ÙÔÔÈ‹ıËÎ·Ó ÛÙ· Ù¤ÏË ÙÔ˘ 1952 Î·È ÙȘ ·Ú¯¤˜ ÙÔ˘ 1953, ›¯·Ó
ÔÏÔÎÏËÚˆı› fiÙ·Ó ¤ÁÈÓÂ Ë Ï‹„Ë. ΔÔ 1955 Ô ÊˆÙÔÁÚ¿ÊÔ˜ °. §˘Î›-
‰Ë˜ ›¯Â ʈÙÔÁÚ·Ê‹ÛÂÈ ÙÔ ÌÓËÌÂ›Ô Î·È Â›¯Â Ï¿‚ÂÈ ÙËÓ ¤ÁÎÚÈÛË ·fi
ÙËÓ ·ÚÌfi‰È· ˘ËÚÂÛ›· ÁÈ· Ó· ΢ÎÏÔÊÔÚ‹ÛÂÈ Î·ÚÙÔÛÙ¿Ï. ∏ ÂÈÎfiÓ·
Ô˘ ‚Ï¤Ô˘Ì ı˘Ì›˙ÂÈ ¤ÓÙÔÓ· ÙȘ Ï‹„ÂȘ ÙÔ˘ §˘Î›‰Ë ÙÔ˘ ¤ÙÔ˘˜ ÂΛ-
ÓÔ˘. ª¤Û· ·fi ÙËÓ ·„›‰· ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ ÛÙË ÁˆÓ›·
Ì ÙËÓ Ô‰fi ¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, ÂÓÒ ÛÙ· ‰ÂÍÈ¿ (ÛÙË ÁˆÓ›· ÌÂ
ÙËÓ ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘), ÙÔ Ê·ÚÌ·ÎÂ›Ô ¢ËÌ¿‰Ë.
∞„›‰· °·ÏÂÚ›Ô˘, 1955
¶‡ÏË °·ÏÂÚ›Ô˘ [ʤÚÂÈ ÛÊÚ·Á›‰· ¶·‡ÏÔ˜ M˘ÏÒÊ]
The widening of Egnatia Street and the cleanup of the arch, held
in late 1952 and early 1953, had been completed when the shot
was taken. In 1955, the photographer Mr. G. Lykidis has
photographed the monument and got an approval by the
competent authority to publish postcards. The picture we see
reminds us of Mr. Lykidis’s shots on the same year. Through the
arch, a three-storey building is shown on the corner of Paleon
Patron Germanou Street, while on the right (on the corner of
Apostolou Pavlou Street), there is the "Dimadis" Apothecary.
Galerious Arch, 1955
Galerious Entrance [Stamped as: Pavlos Mylov]
ª ¡ ∏ ª ∂ π ∞73
T H E S S A L O N I K I 171k
T H E M O N U M E N T S 73
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏172k
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ∞μC, ÛÙËÓ Ï·Ù›· ™ÈÓÙÚÈ‚·Ó›Ô˘.
ÃÚÔÓÔÏÔÁÂ›Ù·È ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1961 (ÔfiÙ ÎÙ›ÛıËÎÂ Ë ÔÏ˘ÒÚÔ-
ÊË ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘, ÛÙË ı¤ÛË
ÙÔ˘ Ê·Ú̷ΛԢ ¢ËÌ¿‰Ë: ‚Ï. ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·), ηÈ
ÛÙÔ 1968, ÔfiÙ ÔÏÔÎÏËÚÒıËÎÂ Ô ÛÎÂÏÂÙfi˜ Ù˘ ÔÈÎÔ‰ÔÌ‹˜ ÙÔ˘ ÎÙÈ-
Ú›Ô˘ Ù˘ ∂Δ∂, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ∫·Ì‚Ô˘Ó›ˆÓ (·ÚÈÛÙÂÚ¿: ÛÙÔ
ÎÂÓfi, ·fi ÙÔ ÔÔ›Ô ·Ê‹ÓÂÙ·È Ó· ‰È·ÎÚÈı› Ë ‰È·ÊËÌÈÛÙÈ΋ ÈӷΛ‰·
Ù˘ TWA). Δ· ·Ï·È¿ ÎÙ›ÛÌ·Ù· ÛÙ· ·ÚÈÛÙÂÚ¿ –Ô˘ Û‡ÓÙÔÌ· ÂÚfi-
ÎÂÈÙÔ Ó· ηÙ‰·ÊÈÛÙÔ‡Ó- ‰Â›¯ÓÔ˘Ó ÙËÓ ·Ï·È¿ ÔÈÎÔ‰ÔÌÈ΋ ÁÚ·ÌÌ‹
(Û ÓÔËÙ‹ ¢ı›· Ì ÙËÓ ·„›‰· ÙÔ˘ °·ÏÂÚ›Ô˘). ∞ÎÚÈ‚Ò˜ ·¤Ó·ÓÙÈ ·fi
ÙËÓ ·„›‰·, ‰È·ÎÚ›ÓÂÙ·È ¤Ó· ÙÌ‹Ì· ÙÔ˘ Ó·Ô‡ Ù˘ ¶·Ó·Á›·˜ ¢ÂÍÈ¿˜.
∞„›‰· °·ÏÂÚ›Ô˘, ̤۷ ‰ÂηÂÙ›·˜ 1960
ÕÙÈÙÏÔ
The shot was taken from the ∞μC Hotel, at the Sintrivaniou
Square. It is dated between 1961 (when the multi-storey block
of flats was built on the corned of Apostolou Pavlou Street, at
the place where "Dimadis" Apothecary once stood: see the
previous photo), and 1968, when the frame of the building of the
National Bank of Greece was completed, on the corner of
Kamvounion Street (on the left: in the gap, through which one
can see the advertisement of TWA). The old buildings on the left
– which would soon be demolished – reveal the old crest of
buildings (in true line with Galerious Arch). Exactly opposite the
arch, a part of the temple of Panagia Dexia is shown.
Galerious Arch, mid 1960s
Without Title
ª ¡ ∏ ª ∂ π ∞74
T H E S S A L O N I K I 173k
T H E M O N U M E N T S 74
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏174k
∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤ÁÈÓ ÌÂÙ¿ ÙÔÓ Î·ı·ÚÈÛÌfi ÙÔ˘ ÌÓËÌ›Ԣ (1953).
◊‰Ë, ‚¤‚·È·, ÂÚÈÁÚ·Ê‹ ÙÔ˘ ›¯Â ÂȯÂÈÚËı› ·fi ÙÔÓ 19Ô ·ÈÒÓ·.
™ÙËÓ ÎÔÚ˘Ê‹ ‚Ú›ÛÎÔÓÙ·È ˙ÒÓ˜ Ì ‰È·ÎÔÛÌËÙÈο ·Ó¿ÁÏ˘Ê·, ʇÏÏ·
Î·È ·ÛÙÚ·Á¿ÏÔ˘˜. Δ· ·Ó¿ÁÏ˘Ê· Ô˘ ·ÎÔÏÔ˘ıÔ‡Ó Ì¤¯ÚÈ ÙË Ì·ÚÌ¿ÚÈ-
ÓË ‚¿ÛË Ù˘ ·„›‰·˜, Â›Ó·È ‰È·Ù·Á̤ӷ Û ˙ÒÓ˜, Ô˘ ¯ˆÚ›˙ÔÓÙ·È ÌÂ
·Ó¿ÁÏ˘Ê· ÎÔÛÌ‹Ì·Ù·. ™ÙËÓ ·ÓÒÙÂÚË ˙ÒÓË È›˜ ÂÈÙ›ıÂÓÙ·È ÂÓ·-
ÓÙ›ÔÓ fiψ˜ Î·È ÂÈÛ¤Ú¯ÔÓÙ·È ·fi Ù· Ù›¯Ë. ™ÙË ‰Â‡ÙÂÚË ˙ÒÓË ·Ó·-
·Ú›ÛÙ·Ù·È Ì¿¯Ë ÌÂٷ͇ ȤˆÓ. ™ÙËÓ ÙÚ›ÙË ˙ÒÓË ‚·ÛÈÏÈ¿˜ οıÂÙ·È
·Ó¿ÌÂÛ· Û ·ÍȈ̷ÙÔ‡¯Ô˘˜. Δ¤ÏÔ˜, Ë Î·ÙÒÙÂÚË ˙ÒÓË ÂÚÈÏ·Ì‚¿ÓÂÈ
ӛΘ Ô˘ ʤÚÔ˘Ó ÙÚfi·È·.
¶ÂÚÈÁÚ·Ê‹ ÙÔ˘ ÌÓËÌ›Ԣ
¶‡ÏË °·ÏÂÚ›Ô˘
The shot must have been taken after the cleanup of the
monument (1953). Of course, the attempt to be described has
been as early as 19th century. At the upper part, there are
zones of brocatelle, leaves and astragaluses (knobs). The
glyphs down to the marble basis of the arch are arranged in
zones, divided by brocatelle. On the upper zone, horsemen are
attacking the city and invade the walls. On the second zone, the
battle among the horsemen is represented. On the third zone, a
king is seated among officers. Finally, the lower zone includes
victories bringing trophies.
Description of the monument
Galerious Entrance
ª ¡ ∏ ª ∂ π ∞75
T H E S S A L O N I K I 175k
T H E M O N U M E N T S 75
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏176k
∞fi Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÔÈ ÂȉÈÎÔ› ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ·„›‰· ·ÊÈÂ-
ÚÒıËΠÛÙÔÓ °·Ï¤ÚÈÔ ÏfiÁˆ Ù˘ ӛ΢ ÙÔ˘ › ÙˆÓ ¶ÂÚÛÒÓ. Èڛ˜ Ó·
·ÔÎÏ›ÔÓÙ·È ¿ÏϘ ÂΉԯ¤˜, Ë ‰Â‡ÙÂÚË ÂÎ ÙˆÓ ¿Óˆ ˙ÒÓË Ô˘ ·ÂÈ-
ÎÔÓ›˙ÂÙ·È ÛÙË Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë, Ë Ì¿¯Ë ÌÂٷ͇ ȤˆÓ, ÌÔÚ› Ó·
ÂÎÏËÊı› ˆ˜ ·Ó·Ì¤ÙÚËÛË ÌÂٷ͇ ƒˆÌ·›ˆÓ Î·È ¶ÂÚÛÒÓ.
°·Ï¤ÚÈÔ˜ ÂÓ·ÓÙ›ÔÓ ÙˆÓ ¶ÂÚÛÒÓ
¶‡ÏË °·ÏÂÚ›Ô˘
Ever since the late 19th century, experts believe that the arch
was dedicated to Galerius on the occasion of his victory over
the Persians. Without the exclusion of other interpretations, the
second upper zone, represented in this shot – i.e. the battle
among horsemen – might be considered as the encounter of
Romans and Persians.
Galerius against the Persians
Galerious Entrance
ª ¡ ∏ ª ∂ π ∞76
T H E S S A L O N I K I 177k
T H E M O N U M E N T S 76
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏178k
ÕÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜, Ô˘ › Ù˘ ÔıˆÌ·ÓÈ΋˜ ÂÚÈfi‰Ô˘
ÌÂÙ·ÙÚ¿ËΠ۠٤ÌÂÓÔ˜. μÚ›ÛÎÂÙ·È ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ ∂ÁÓ·Ù›·˜
Î·È Ã·ÏΤˆÓ. ∫·Ù¿ Ì›· ¿Ô„Ë, ÔÈ ÙÔȯÔÁڷʛ˜ Ô˘ ·ÔηχÊıËηÓ
˘Ô‰ËÏÒÓÔ˘Ó fiÙÈ ‹Ù·Ó Ó·fi˜ Ù˘ ¶·Ó·Á›·˜ Î·È ÂÓ‰¤¯ÂÙ·È Ó· ‹Ù·Ó
ηıÔÏÈÎfi ÌÔÓ‹˜. ªÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, Ô Ó·fi˜ ηı·ÁÈ¿ÛÙËÎÂ
ÙÈÌÒÌÂÓÔ˜ ÛÙÔ fiÓÔÌ· Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ (Ë ÔÓÔÌ·Û›· ÙÔ˘
ÙÂ̤ÓÔ˘˜ ‹Ù·Ó «Δ¤ÌÂÓÔ˜ ÙˆÓ Ã·ÏΤˆÓ»). ∏ È‰Ú˘ÙÈ΋ ÂÈÁÚ·Ê‹ ÙÔ˘
ÛÙÔ ˘¤Úı˘ÚÔ Ù˘ ÂÈÛfi‰Ô˘ ‰Â›¯ÓÂÈ fiÙÈ ·ÓÂÁ¤ÚıËΠÛÙ· 1028 ÛÂ
«ÚÈÓ ‚¤‚ËÏÔÓ ÙfiÔÓ». ∏ ‰È·ÊÔÚ¿ Ù˘ ÛÙ¿ıÌ˘ ÙÔ˘ ÂȤ‰Ô˘ ÙÔ˘
Ó·Ô‡ ·fi ÙÔ ÛËÌÂÚÈÓfi Â›Â‰Ô ÙÔ˘ ‰ÚfiÌÔ˘ Ì·ÚÙ˘Ú› ÙȘ ÌÂÙ·‚ÔϤ˜
Ô˘ ˘¤ÛÙË ÙÔ ·Ó¿ÁÏ˘ÊÔ Ù˘ fiÏ˘, ÂȉÈο ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi. ∏ Ï‹„Ë
–·Ó ÎÚ›ÓÔ˘Ì ·fi ÙËÓ Â˘¯¤ÚÂÈ· Ì ÙËÓ ÔÔ›· ΢ÎÏÔÊÔÚÔ‡Ó Î¿Ú·,
Ô‰‹Ï·Ù· Î·È Î·ÚfiÙÛÈ·, ηıÒ˜ Î·È ·fi ÙË ÁÚ·ÌÌ‹ ÙÔ˘ ÙÚ·Ì, ·fi
ÙÔ˘˜ Ù‡Ô˘˜ ÙˆÓ ÙÚÔ¯ÔÊfiÚˆÓ, ·fi ÙË ÛÙÔÏ‹ ÙÔ˘ ÌÈÎÚÔˆÏËÙ‹
(›Ûˆ ·fi ÙÔÓ Ô‰ËÏ¿ÙË) Î·È ·fi Ù· ÏÔÈ¿ ÛÙÔȯ›· Ù˘ ʈÙÔÁÚ·-
Ê›·˜, Â›Ó·È ÙˆÓ Ì¤ÛˆÓ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950.
¶·Ó·Á›· ÷ÏΤˆÓ, ‰ÂηÂÙ›· 1950
ÕÙÈÙÏË
Unknown Byzantine temple which, during the ottoman period,
was converted into a mosque. It is located on the corner of
Egnatia and Chalkeon Street. From a point of view, the wall
paintings revealed proclaim that it was a temple dedicated to
Virgin Mary (Panagia) while it might have been the catholicon of
a monastery. After the liberation, the temple was hallowed
after the name of Panagia Chalkeon (the name of the mosque
had been "Chalkeon Mosque"). The establishing tablet on the
entrance lintel indicates that it has been built in 1028 on a
"formerly unholy site". The level difference between the temple
and the current street shows the changes that the city terrene
– especially this specific part – underwent. The shot must have
been taken in mid 1959s – judging from the facility in which
carts, bicycles and wagons move around as well as from the
tram and the types of vehicles, the peddler’s outfit (behind the
cyclist) and the other features of the photograph.
Panagia Chalkeon, 1950s
Without Title
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ª¿ÏÏÔÓ ·fi ÛηψÛÈ¿ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ, Ô ÊˆÙÔÁÚ¿ÊÔ˜
·ÂÈÎfiÓÈÛ ÙÔÓ ÂÈÌÂÏË̤ÓÔ Î‹Ô ÙÔ˘ Ó·Ô‡, ÙÔ Î¿Ùˆ ̤ÚÔ˜ Ù˘ ¶Ï·-
Ù›·˜ ¢ÈηÛÙËÚ›ˆÓ Î·È ÙÔ ª¤Ë Ã·Ì¿Ì (ÁÓˆÛÙfi ÛÙÔ˘˜ ÓÂfiÙÂÚÔ˘˜
£ÂÛÛ·ÏÔÓÈΛ˜ ˆ˜ «§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜»), ÎÙ›ÛÌ· ÙÔ˘ 15Ô˘ ·ÈÒÓ·.
¢ÂÍÈ¿ Ë Ô‰fi˜ ∂ÁÓ·Ù›·. ∏ ·Ô‰È‰fiÌÂÓË ¯ÚÔÓÔÏÔÁ›· Û˘Ì‚·‰›˙ÂÈ Ì ÙÔ
ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. [™ÙÔ ÏÔ˘ÙÚfi Ô Î·ı·ÚÈÛÌfi˜ Á›ÓÂÙ·È ÌÂ
ÓÂÚfi, ÛÙÔ ¯·Ì¿Ì ÌÂ ·ÙÌfi].
ΔÔ ÚÔ·‡ÏÈÔ Ù˘ ¶·Ó·Á›·˜ ÙˆÓ Ã·ÏΤˆÓ Î·È ÙÔ ª¤Ë ÷̿Ì, 1963
£ÂÛÛ·ÏÔÓ›ÎË, ÁÂÓÈ΋ ¿Ô„Ș 1.3.1963
It has been probably taken from a scaffold at Panagia Chalkeon.
The photographer captured the landscaped temple’s yard, the
lower part of Dikastirion Square and Bey Hamam (known to the
younger citizens of Thessaloniki as "Loutra Paradisos" [i.e.
Paradise Baths]), a building of the 15th century. On the right,
there stretches Egnatia Street. The date attributed conforms
to the content of the photograph [In a bath, water is the
cleaning means, while in a hamam, vapour].
The courtyard of PanagiaChalkeon and Bey Hamam, 1963
Thessaloniki, a general view 1.3.1963
ª ¡ ∏ ª ∂ π ∞78
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£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏182k
ª›· Ï‹„Ë ·fi ÙËÓ ¿Óˆ fiÏË, ›Ûˆ˜ ÙË ÌÔÓ‹ μÏ·Ù¿‰ˆÓ, Û˘ÏÏ·Ì‚¿-
ÓÂÈ Ì¤Û· ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi Ù¤ÛÛÂÚ· ÌÓËÌ›· Î·È Î·Ù·ÁÚ¿ÊÂÈ ÙË Û¯¤-
ÛË ÙÔ˘˜ Ì ÙÔÓ ÂÚÈ‚¿ÏÏÔÓÙ· ¯ÒÚÔ. ∫ÂÓÙÚÈ΋ ı¤ÛË ¤¯ÂÈ Ô ÕÁÈÔ˜
¢ËÌ‹ÙÚÈÔ˜. ¶Ôχ ÎÔÓÙ¿ ÙÔ˘, ÙÔ °ÂÓ› [¡¤Ô] ÷̿Ì, › Ù˘ Ô‰Ô‡ ∫·Û-
Û¿Ó‰ÚÔ˘, Î·È Ï›ÁÔ ÈÔ ·ÚÈÛÙÂÚ¿ ÙÔ ∞Ï·Ù˙¿ πÌ·Ú¤Ù, ÎÙ›ÛÌ·Ù· ÙÔ˘
15Ô˘/16Ô˘ ·ÈÒÓ· Ô˘ ‰È·ÎÚ›ÓÔÓÙ·È ·fi ÙÔ˘˜ ÙÚÔ‡ÏÔ˘˜ ÙÔ˘˜. ™ÙÔ
‰ÂÍÈfi ̤ÚÔ˜ ÙË ÊˆÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ô ¿ÁÓˆÛÙÔ˜ ‚˘˙·ÓÙÈÓfi˜
Ó·fi˜ Ô˘ ÙÈÌ¿Ù·È ÛÙÔ fiÓÔÌ· ÙÔ˘ ¶ÚÔÊ‹ÙË ∏Ï›·. μÔÚ›ˆ˜ ÙÔ˘ ∞Á›Ô˘
¢ËÌËÙÚ›Ô˘ ‰È·ÙËÚÔ‡ÓÙ·È Ù· ·Ï·È¿ Û›ÙÈ· Î·È Ë Ú˘ÌÔÙÔÌ›· ÙÔ˘ 19Ô˘
·ÈÒÓ·. ™ÙË ÊˆÙÔÁÚ·Ê›· Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ÌÂÓ ·ÔηٷÛÙ·ı›
·fi ÙȘ ˙Ë̛˜ Ù˘ ˘ÚηÁÈ¿˜ ÙÔ˘ 1917, ·ÏÏ¿ ÛÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘
‰ÂÓ ¤¯Ô˘Ó ·ÓÂÁÂÚı› ÔÏ˘Î·ÙÔÈ˘, ÛÙÔȯ›· Ô˘ ÙÔÔıÂÙÔ‡Ó ¯ÚÔ-
ÓÈο ÙË Ï‹„Ë ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950.
ªÓËÌ›· Ù˘ fiÏ˘ ̤۷ ÛÙÔÓ ·ÛÙÈÎfi ÈÛÙfi, ‰ÂηÂÙ›· 1950
ÕԄȘ £ÂÛÛ·ÏÔӛ΢
A shot taken from the upper city – maybe from the Vlatadon
Monastery – captures four monuments within the urban tissue
and records their interrelation with their surroundings. In the
centre, there is Aghios Dimitrios. Very close to it, there is Yeni
(New) Hamam, on Kassandrou Street; further on the left, there
is the Alatza Imaret, a building of the 15th/ 16th century,
distinguished by its vaults. On the left part of the photograph,
an unknown Byzantine temple stands named after Prophet Elias
(Profitis Ilias). On the north of Aghios Dimitrios, the old houses
as well as the 19th century street layout are preserved. In the
photograph, Aghios Dimitrios has – of course – been repaired
from the damages caused by the fire of 1917, yet Kassandrou
Street does not feature any blocks of flats, thus dating the shot
in the 1950s.
Monuments of the city within the urban tissue, 1950s
A view of Thessaloniki
ª ¡ ∏ ª ∂ π ∞79
T H E S S A L O N I K I 183k
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√ ‚˘˙·ÓÙÈÓfi˜ Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ηٷÛÙÚ¿ÊËΠηٿ ÙËÓ
˘ÚηÁÈ¿ ÙÔ˘ 1917. ∏ ·ÔηٿÛÙ·Û‹ ÙÔ˘ Û˘Ó‰¤ıËΠ̠ÏËıÒÚ·
ÚÔ‚ÏËÌ¿ÙˆÓ. ∏ ÚÒÙË ·Ó·ÛÙËψÙÈ΋ Ê¿ÛË ‰È‹ÚÎÂÛ ˆ˜ ÙÔ 1937.
™ÙË Û˘Ó¤¯ÂÈ· Ë ·ÔηٿÛÙ·ÛË ‰È·ÎfiËΠÏfiÁˆ ÙˆÓ ‰ÂÈÓÒÓ ÂÚÈ-
ÛÙ¿ÛÂˆÓ Î·È Â·Ó·Ï‹ÊıËΠÙÔ 1946, fiÙ·Ó Û˘ÛÙ‹ıËΠȉȷ›ÙÂÚÔ˜
ÔÚÁ·ÓÈÛÌfi˜ ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙˆÓ ·Ó·Áη›ˆÓ fiÚˆÓ. ŒÚ·ÓÔÈ Î·È
Û˘ÛÙËÌ·ÙÈ΋ ÚÔÛ¤Ï΢ÛË ÂÈÛÊÔÚÒÓ, ηıÒ˜ Î·È Ë ÂÓ›Û¯˘ÛË ÙÔ˘
¢‹ÌÔ˘ £ÂÛÛ·ÏÔӛ΢ Î·È ÙÔ˘ ∂ÌÔÚÈÎÔ‡ Î·È μÈÔÌ˯·ÓÈÎÔ‡ ∂ÈÌÂÏË-
ÙËÚ›Ô˘, ‰ÂÓ Â¿ÚÎÂÛ·Ó ÁÈ· ÙË Û˘ÁΤÓÙÚˆÛË ÙÔ˘ ÔÛÔ‡. ΔÔ ÔÈÎÔÓÔ-
ÌÈÎfi Úfi‚ÏËÌ· χıËΠfiÙ·Ó Ù· Δ·¯˘‰ÚÔÌ›· ΢ÎÏÔÊfiÚËÛ·Ó ÂȉÈÎfi
ÁÚ·ÌÌ·ÙfiÛËÌÔ ÁÈ· ÙËÓ ·Ó·ÛًψÛË ÙÔ˘ Ó·Ô‡, ÛÙÔÓ ÔÔ›ÔÓ ÂÚÈ‹Ï-
ı ÔÛÔÛÙfi 45% ÙˆÓ ÂÛfi‰ˆÓ. ŒÙÛÈ, Ì ÌÂÁ·ÏÔÚ¤ÂÈ· ¤ÁÈÓ·Ó Ù·
ÂÁη›ÓÈ· ÙÔ˘ Ó·Ô‡ ÙÔ 1948, Ì ÙËÓ ·ÚÔ˘Û›· Ù˘ ÔÏÈÙÈ΋˜ ËÁÂÛ›·˜
Ù˘ ¯ÒÚ·˜. ∏ Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ ¤¯ÂÈ ˆ˜ terminus ante quem
·˘Ù‹ ÙË ¯ÚÔÓÔÏÔÁ›·, ‰ÈfiÙÈ fi¯È ÌfiÓÔÓ Ë ÛÙ¤ÁË Â›Ó·È ÔÏÔÎÏËڈ̤ÓË
(·ÔÚÚfiÊËÛ ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ Ù˘ ÚÔÛ¿ıÂÈ·˜ ηٿ ÙË ‰Â‡ÙÂÚË ·Ó·-
ÛÙËψÙÈ΋ Ê¿ÛË), ·ÏÏ¿ Î·È Ô ÂÚÈ‚¿ÏÏˆÓ ¯ÒÚÔ˜ Â›Ó·È ‰È·ÌÔÚʈ̤-
ÓÔ˜. Δ· Ì¿ÚÌ·Ú·, Ô˘ ‚Ú›ÛÎÔÓÙ·È Û˘ÁÎÂÓÙڈ̤ӷ ·ÚÈÛÙÂÚ¿ ÛÙËÓ
·˘Ï‹, ÚÔ¤Ú¯ÔÓÙ·È ·fi ÙÔ Î·ÙÂÛÙÚ·Ì̤ÓÔ Â‚Ú·˚Îfi ÎÔÈÌËÙ‹ÚÈÔ. ™ÙËÓ
·˘Ï‹, ·ÎfiÌË, ‰È·ÎÚ›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ Ó·Ô‡. μÔÚÂÈÔ·Ó·ÙÔÏÈο, ͯˆ-
Ú›˙Ô˘Ó ÔÈ ÙÚÔ‡ÏÔÈ ÙÔ˘ °ÂÓ› ÷̿Ì. Δ¤ÏÔ˜, ÛÙÔ ‰ÂÍÈfi ¿Óˆ ¿ÎÚÔ Ù˘
ʈÙÔÁÚ·Ê›·˜ Ê·›ÓÂÙ·È Ë ÊÈ¿ÏË ÙÔ˘ ∞Ï·Ù˙¿ πÌ·Ú¤Ù (‰ÂÓ ˘Ê›ÛٷٷÈ
ϤÔÓ). ™Â ÚÒÙÔ Ï¿ÓÔ: ‰ÂÍÈ¿ Ë Ô‰fi˜ ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘ Î·È ·ÚÈ-
ÛÙÂÚ¿ –·‰È·ÌfiÚʈÙÔ˜ ·ÎfiÌË- Ô ¯ÒÚÔ˜ ÙÔ˘ ÌÈÎÚÔ‡ ¿ÚÎÔ˘, fiÔ˘
¿ÏÏÔÙ ‚ÚÈÛÎfiÙ·Ó Ô ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜.
√ ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ÌÂÙ¿ ÙÔ 1948
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, 1940
The Byzantine temple of Aghios Dimitrios was destroyed in the
fire of 1917. A lot of problems arose from its repair. The first
erection phase lasted until 1937. Then, it stopped because of
the ordeal of war and was resumed in 1946, when a special
organization was established for the collection of the necessary
resources. The fund raisings and the systematic contributions,
as well as the aid from the Municipality of Thessaloniki and the
Chamber of Commerce and Industry, were not enough to
accumulate the whole amount needed. The financial trouble
was solved when the Post Offices issued a special stamp for
the erection of the temple, to which 45% of the receipts came.
Thus, the encaenia of the temple were held in all grandeur in
1948, with the presence of the political leadership of the
country. The shot has as terminus ante quem the same date,
since not only the roof is completed (it absorbed much effort
during the second phase of erection), but also the surroundings
are landscaped as well. The marbles, gathered on the left within
the yard, come from the destroyed Jew cemetery. In the yard,
the basin of the temple is still featured. On the north-east, the
vaults of Yeni Hamam are shown. Finally, on the right upper end
of the photograph the basin of Alatza Imaret (no longer existing)
is also shown. In the foreground: on the right there stretches
Makedonikis Amynis Street and on the left – not landscaped yet
– there lies the site of the small park, where once Aghios
Nestoras stood.
Aghios Dimitrios after 1948
Aghios Dimitrios, 1940
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∏ ‰˘ÙÈ΋ ÏÂ˘Ú¿ ÙÔ˘ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘. ∏ ÂÈÎfiÓ· Û˘ÌÏË-
ÚÒÓÂÈ ÙËÓ ÚÔËÁÔ‡ÌÂÓË ˆ˜ ÚÔ˜ ÙËÓ ·›ÛıËÛË Ù˘ «ÎÂÓ‹˜ fiÏ˘». √
ÔÓËÏ¿Ù˘, ›Ûˆ˜ Ï·Ófi‰ÈÔ˜ ¤ÌÔÚÔ˜, ‚·‰›˙ÂÈ ÛÙÔ Â˙Ô‰ÚfiÌÈÔ. ÿÛˆ˜
ÚÔÂÙÔÈÌ¿˙ÂÙ·È Ó· ·ÓËÊÔÚ›ÛÂÈ ÁÈ· ÙËÓ Ô‰fi ∫·ÛÛ¿Ó‰ÚÔ˘ ·fi Ù·
ÛηÏÔ¿ÙÈ· Ô˘ ÂÚÓÔ‡Ó ÛÙ· ‰˘ÙÈο ÙÔ˘ Ó·Ô‡. ∏ Ô‰fi˜ ∞Á›Ô˘ ¢ËÌË-
ÙÚ›Ô˘ Â›Ó·È ÏÈıfiÛÙÚˆÙË, fiˆ˜ ‹Ù·Ó Î·È Ë ·Ú¿ÏÏËÏfi˜ Ù˘ Ô‰fi˜ ∫·Û-
Û¿Ó‰ÚÔ˘.
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, ‰ÂηÂÙ›· 1950
∏ 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˘ÙÈÎfiÓÙˆÓ ¤ÚÁˆÓ ·˘ÙÒÓ Â›Ó·È Î·È Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÔÏÈÔ‡¯Ô˘
The west side of the temple of Aghios Dimitrios. This
photograph is complementary to the previous one, as far as the
"empty city" feeling is concerned. The donkey driver – maybe a
vendor – walks towards the pavement. He might be ready to
walk up the Kassandrou Street from the stairs on the west side
of the temple. Aghiou Dimitriou Street is paved, just like its
parallel Kassandrou Street.
Aghios Dimitrios, 1950s
The city was a prosperous centre of theByzantine era. Thus, nowadays it preservesmost of its works of Byzantine art.Representative of these works is the templeof Aghios Dimitrios, patron saint of the city
ª ¡ ∏ ª ∂ π ∞81
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£ÂˆÚÂ›Ù·È ˆ˜ ¤Ó· ·fi Ù· ·Ï·ÈfiÙÂÚ· Ô˘ ‰È·ÛÒ˙ÔÓÙ·È ÛÙÔÓ Ó·fi. √
ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜ ¤¯ÂÈ ‰ÂÍÈ¿ ÙÔ˘ ÙÔÓ ·Ú¯È›ÛÎÔÔ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ˘
ÙÔÓ ¤·Ú¯Ô Ù˘ £ÂÛÛ·ÏÔӛ΢. √È ‰‡Ô ·˘Ù¤˜ ÌÔÚʤ˜ ÂÎÊÚ¿˙Ô˘Ó
ÂΛÓÔ˘˜ Ô˘ ÊÚfiÓÙÈÛ·Ó ÁÈ· ÙËÓ ·ÓÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡, ÌÂÙ¿ ÙËÓ
ηٷÛÙÚÔÊ‹ ÙÔ˘ ηٿ ÙÔÓ ¤‚‰ÔÌÔ ·ÈÒÓ·. √ ¿ÁÈÔ˜ ·ÎÔ˘Ì¿ Ù· ¯¤ÚÈ·
ÙÔ˘ ÛÙÔ˘˜ ÒÌÔ˘˜ ÙÔ˘˜. ∏ ÂÈÁÚ·Ê‹ ÙÔ˘ ÁÏ˘ÙÔ‡ ¤¯ÂÈ ˆ˜ ÂÍ‹˜: «∫Ù›-
ÛÙ·˜ ıˆÚ›˜ ÙÔ˘˜ ·ÓÂÓ‰fiÍÔ˘ ‰fiÌÔ˘ ÂΛıÂÓ ¤ÓıÂÓ Ì¿ÚÙ˘ÚÔ˜
¢ËÌËÙÚ›Ô˘/ ÙÔÓ ‚¿Ú‚·ÚÔÓ Îχ‰ˆÓ· ‚·Ú‚¿ÚˆÓ ÛÙfiÏˆÓ ÌÂÙ·ÙÚ¤Ô-
ÓÙÔ˜ Î·È fiÏÈÓ Ï˘ÙÚÔ˘Ì¤ÓÔ˘»
ΔÔ „ËÊȉˆÙfi ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ Ì ÙÔ˘˜ ÎÙ›ÛÙ˜ (Ï‹„Ë 1963)
æËÊȉˆÙfi Ó·Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ ÔÏÈÔ‡¯Ô˘, 20.3.1963
It is considered to be one of the earliest mosaics saved in the
temple. Saint Dimitrios has the archbishop on his right and the
tetrarch of Thessaloniki on his left. These two figures reflect
those who undertook the restoration of the temple, after its
destruction in the 7th century. The saint puts his hands on their
shoulders. The inscription on the sculpture goes: "You should
consider them founders of the glorious house of the martyr
Dimitrios/ who defeated the barbarian’s fleets and saved the
city".
The mosaic of Aghios Dimitrios featuring the founders (shot in 1963)
A mosaic from the temple of AghiosDimitrios, patron saint of the city, 20.3.1963
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T H E M O N U M E N T S 82
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏190k
ΔÔ ÌÂ˙ÂÛÙ¤ÓÈ (Ù˘È΋ ÎÏÂÈÛÙ‹ ·ÁÔÚ¿ ÔÏ˘Ù›ÌˆÓ ÂȉÒÓ) Ù˘ £ÂÛÛ·-
ÏÔӛ΢ ·ÓÂÁ¤ÚıËΠÛÙȘ ÚÒÙ˜ ‰ÂηÂٛ˜ ÌÂÙ¿ ÙËÓ ÔıˆÌ·ÓÈ΋
ηٿÎÙËÛË Ù˘ fiÏ˘ (1430), ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi μÂÓÈ˙¤ÏÔ˘, Ï›ÁÔ
‚ÔÚÂÈfiÙÂÚ· ·fi ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ∂ÚÌÔ‡. ∂Í·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔ-
ÔÈÂ›Ù·È (Ì ÔÏϤ˜ ÌÂÙ·ÙÚÔ¤˜) ·ÎfiÌË Î·È Û‹ÌÂÚ·. ∏ ÔÈÎÔ‰ÔÌ‹ ÌÂ
ÙÔ˘˜ ÚÔÂͤ¯ÔÓÙ˜ ˘·ÏÔÊÚ¿ÎÙ˜, ÛÙ· ‰ÂÍÈ¿ (̤Á·ÚÔ «∂ÚÌ›ÔÓ»:
ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ 1925), ÂÍ·ÎÔÏÔ˘ı› Ó· ˘Ê›ÛٷٷÈ, ÙÔ ›‰ÈÔ Î·È Ë
ÔÈÎÔ‰ÔÌ‹ ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÚÌÔ‡ (ª¤Á·ÚÔ ™›ÁÁÂÚ: ‚Ï. ÛÙËÓ ÂfiÌÂ-
ÓË ÂÓfiÙËÙ·). ¢ÂÓ ˘Ê›ÛÙ·ÓÙ·È Ï¤ÔÓ Ù· ‰‡Ô ÎÙ›ÚÈ· ÛÙ· ·ÚÈÛÙÂÚ¿, ·¤-
Ó·ÓÙÈ ·fi ÙÔ ÌÂ˙ÂÛÙ¤ÓÈ, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÌÂÛ·›Ô («∫¿Ô˘Ê ÃÔÊ»)
‹Ù·Ó ÙÔ Ì¤Á·ÚÔ Ù˘ ∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜. ∏ ∂ÌÔÚÈ΋ ŒÓˆÛË ¤·„Â
Ó· ÏÂÈÙÔ˘ÚÁ› ÙÔ 1959 Î·È ÙÔ «∫¿Ô˘Ê ÃÔÊ» ÂÁηٷÛÙ¿ıËΠÛÙÔ ÎÙ›-
ÚÈÔ ÙÔ 1961. √È ÏËÚÔÊÔڛ˜ ·˘Ù¤˜ Ì·˜ ‚ÔËıÔ‡Ó Ó· ¯ÚÔÓÔÏÔÁ‹-
ÛÔ˘Ì ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1961.
∏ Û΋ ÙÔ˘ ÌÂ˙ÂÛÙÂÓ›Ô˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1960)
Δ· ‰ËÌfiÛÈ· ÏÔ˘ÙÚ¿ Ù˘ fiψ˜ ¯ÚÔÓÔÏÔÁÔ‡ÓÙ·È ·fi ÙË ‚˘˙·ÓÙÈÓ‹ ÂÚ›Ô‰Ô Î·È ·ÔÙÂÏÔ‡Ó ·ÍÈfiÏÔÁ· ¤ÚÁ· Ù˘ Ù¤¯Ó˘
Bezesteni (the typical roofed shopping area of valuables) of
Thessaloniki was constructed during the first decades after the
ottoman occupation of the city (1430), on the current Venizelou
Street, a bit further in the north from the present Ermou Street.
It continues to be used (having undergone many changes,
though) even nowadays. The building with the projecting
glasses on the right ("Ermeion" building: constructed in 1925), is
still there, as well as the building on the corner of Ermou Street
(Singer building: see the following unit). The two buildings on the
left, opposite Bezesteni, are not there any more; the one in the
middle ("Kauf Hof") had been the Commercial Union building. The
Commercial Union stopped operating in 1959 and "Kauf Hof"
was accommodated in the building on 1961. This information
helps us date the shot after 1961.
The roof of Bezesteni ofThessaloniki (shot in 1960s)
The public baths of the city date back to the Byzantine era and constituteremarkable works of art
ª ¡ ∏ ª ∂ π ∞83
T H E S S A L O N I K I 191k
T H E M O N U M E N T S 83
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏192k
ΔÔ ÛËÌÂÚÈÓfi ÎÙ›ÚÈÔ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ª·Î‰ÔÓ›·˜ - £Ú¿Î˘, › Ù˘
Ô‰Ô‡ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, ÁÓˆÛÙfi ˆ˜ «¢ÈÔÈÎËÙ‹ÚÈÔ», ¿Ú¯ÈÛ ӷ ¯Ù›˙Â-
Ù·È ÙÔ 1891 –ÛÙË ı¤ÛË ÚÔËÁÔ‡ÌÂÓÔ˘ ‰ÈÔÈÎËÙËÚ›Ô˘- Î·È ÔÏÔÎÏËÚÒ-
ıËΠÙÔ ¤ÙÔ˜ 1895. ΔÔ ·Ú¯ÈÎfi ÎÙ‹ÚÈÔ ‹Ù·Ó ηٿ ¤Ó· fiÚÔÊÔ ¯·ÌË-
ÏfiÙÂÚÔ ·fi ÙË ÛËÌÂÚÈÓ‹ ÌÔÚÊ‹ ÙÔ˘. ™ÙÔ ÈÛfiÁÂÈÔ ‚Ú›ÛÎÔÓÙ·Ó Ù·
‰ËÌÔÙÔÏfiÁÈ·, Ù· ·Ó·ÎÚÈÙÈο ÁÚ·Ê›· Î·È ÙÔ ÏËÌÌÂÏÂÈÔ‰ÈΛÔ, Ë
ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÏÔÁÈÛÙËÚ›Ô˘ Î·È ÙÔ ÁÚ·ÊÂ›Ô ÙÔ˘ ÔÈÎÔÓÔÌÈÎÔ‡
ÂÊfiÚÔ˘. ∂›Û˘, ÙÔ ÎÙËÌ·ÙÔÏfiÁÈÔ, ÙÔ ˘ÔıËÎÔÊ˘Ï·ÎÂ›Ô Î·È ÙËÓ
˘ËÚÂÛ›· ‰È·¯Â›ÚÈÛ˘ ÙˆÓ ‚·ÎÔ˘Ê›ˆÓ. ™ÙÔ ·ÓÒÁÂÈÔ ‚ÚÈÛÎfiÙ·Ó Ë
ÌÂÁ¿ÏË ·›ıÔ˘Û· ÙÔ˘ ÓÔ̷گȷÎÔ‡ Û˘Ì‚Ô˘Ï›Ô˘, Ë ¢È‡ı˘ÓÛË ∂͈ÙÂ-
ÚÈÎÒÓ ÀÔı¤ÛˆÓ, Ë ‰È‡ı˘ÓÛË Ù˘ ·ÛÙ˘ÓÔÌ›·˜, ÙÔ ÚˆÙÔ‰ÈÎÂ›Ô Î·È
ÙÔ ÂÌÔÚÔ‰ÈΛÔ. Δ¤ÏÔ˜, ÛÙÔ ‰Â‡ÙÂÚÔ ¿ÙˆÌ· ÛÙÂÁ·˙fiÙ·Ó ÙÔ ÈÂÚÔ‰È-
ÎÂ›Ô Î·È ÙÔ Û˘Ì‚ÔÏ·ÈÔÁÚ·Ê›Ô.
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ Ù˘ £ÂÛÛ·ÏÔӛ΢, Ï‹„Ë ÚÈÓ ·fi ÙÔ 1912
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ˘Ô˘ÚÁ›Ԣ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
The current building of the Ministry of Macedonia – Thrace, on
Aghiou Dimitriou Street, known as "Diikitirio", started being
constructed in 1891 – in the place of the previous residency –
and was completed in the year 1895. Initially, the building was
one storey lower than the present one. On the ground floor,
there were the municipal rolls, the interrogation offices and the
magistrate’s court, along with the counting house and the
revenue servant’s office. In addition, there were also the
cadastre, the land registry and the competent service for the
"vakoufia". On the upper storey, there was the grand hall of the
prefecture committee, the Foreign Affairs Service, the police
headquarters, the first instance court and the mercantile court.
Finally, on the second floor there was the ecclesiastical court
and the notary’s office.
"Diikitirio" (i.e. Residency) ofThessaloniki, shot before 1912
The building of the Ministry of Northern Greece
ª ¡ ∏ ª ∂ π ∞84
T H E S S A L O N I K I 193k
T H E M O N U M E N T S 84
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏194k
∏ ÛÎËÓ‹ ‰È·‰Ú·Ì·Ù›˙ÂÙ·È ÛÙËÓ ¤ÍÔ‰Ô ÙÔ˘ ÚÔ·˘Ï›Ô˘ ÙÔ˘ ‰ÈÔÈÎËÙË-
Ú›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΋ÛÂ-
ˆ˜ ª·Î‰ÔÓ›·˜, Ù˘ ¡ÔÌ·Ú¯›·˜ £ÂÛÛ·ÏÔӛ΢ Î·È ¿ÏÏˆÓ ‰ËÌfiÛȈÓ
˘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΋ ‰ÂÔ-
ÓÙÔÏÔÁ›·.
™ÙËÓ Â›ÛÔ‰Ô ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘
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
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.
At entrance gate of “Diikitirio”(i.e. Residency)
21 May 1916, The Chief of the "Entente"army, the French General Saralle, imposes a martial law
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T H E S S A L O N I K I 195k
T H E M O N U M E N T S 85
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏196k
™ÙȘ ·Ú¯¤˜ ÙÔ˘ 1954, ÚÔÎÂÈ̤ÓÔ˘ Ó· Û˘ÁÎÂÓÙÚˆıÔ‡Ó ÔÈ ‰ËÌfiÛȘ
˘ËÚÂۛ˜ Û ¤Ó· ¯ÒÚÔ, ·ÔÊ·Û›ÛÙËÎÂ Ë Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË ÙÔ˘
¢ÈÔÈÎËÙËÚ›Ô˘ ηٿ ¤Ó·Ó fiÚÔÊÔ. ΔÔ ¤ÚÁÔ ÔÏÔÎÏËÚÒıËΠ۠‰È¿ÛÙË-
Ì· ÌfiÓÔ ÔÎÙÒ ÌËÓÒÓ. «[ΔÔ ¤ÚÁÔ Ô˘ ¿Ú¯ÈÛÂ] ÚÔ ÔÎÙ·Ì‹ÓÔ˘»,
ÛËÌÂÈÒÓÂÈ ‰ËÌÔÛÈÔÁÚ·ÊÈ΋ ·ÓÙ·fiÎÚÈÛË ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1955,
«ÂÂÚ·ÙÒıË ÙËÓ Ï‹Í·Û· ‚‰ÔÌ¿‰·. ÀÔÏ›ÂÙ·È Ó· ÚÔÛÙÂıÔ‡Ó
ÂÏ·Èԯڈ̷ÙÈÛÌÔ› ÙÈÓ¤˜ Î·È ¿ÏÏ·È ÏÂÙÔ̤ÚÂÈ·È Î·› ÂÛˆÙÂÚÈη› ηٷ-
Û΢·›. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜ fiÚÔÊÔ˜ ʤÚÂÈ Â› ÙÔ˘ ·ÂÙÒÌ·Ùfi˜ ÙÔ˘
ÙÔ ‚·ÛÈÏÈÎfiÓ ÛÙ¤ÌÌ·. ∂Ș ÙÔÓ ‰Â‡ÙÂÚÔÓ fiÚÔÊÔÓ Ì ÙÔ˘˜ ÂÍÒÛÙ·˜ ı·
Â›Ó·È Ù· ˘Ô˘ÚÁÈο ÁÚ·Ê›· Î·È ·È ·›ıÔ˘Û·È ‰ÂÍÈÒÛÂˆÓ Î·È ‰È·ÛΤ-
„ˆÓ, ÔÏ˘ÙÂϤÛÙÂÚ· ÂÍ fiψÓ. ¶ÂÓÙ·ÒÚÔÊÔÓ, fiˆ˜ η٤ÛÙË Ì ÙËÓ
ÚÔÛı‹ÎËÓ ÂÓfi˜ ·ÎfiÌË ÔÚfiÊÔ˘, ¤¯ÂÈ ·Ó·Î·ÈÓÈÛı‹ ÚÈ˙ÈÎÒ˜ ÂȘ ÙÔ
ÂÛˆÙÂÚÈÎfiÓ ÙÔ˘ Î·È ‹ÏÏ·Í·Ó fi„ÈÓ Ù· ·Ï·È¿ ·Ó·ÙÔÏ›ÙÈη ‰È·ÌÂÚ›-
ÛÌ·Ù¿ ÙÔ˘. Œ¯ÂÈ Û˘ÓÔÏÈÎÒ˜ 177 ‰ˆÌ¿ÙÈ·. √ ÚÔÛÙÂı›˜ ¤ÌÙÔ˜
fiÚÔÊÔ˜ ÂÚÈÏ·Ì‚¿ÓÂÈ 48 ‰ˆÌ¿ÙÈ·».
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ ÌÂÙ¿ ÙËÓ Î·ı’‡„Ô˜ ¤ÎÙ·ÛË (1955-1960)
ΔÔ ¢ÈÔÈÎËÙ‹ÚÈÔ
In early 1954, in order all public services to be housed under the
same roof, the expansion of the building of residency on one
more floor was decided. The project was completed within
eight months. "[The project that started] eight month ago",
cites a journal report in February 1955, "was completed the
previous week. There remain some of the painting as well as
some other details and interior constructions. The fifth floor
which has been adder features the royal crown on its pediment.
On the second floor, which featured balconies, the ministerial
offices and the luxurious ball and conference rooms will be
housed. The building was expanded in one further floor and has
been fully renovated in the interior, while its eastern part has
been totally changed. It features 177 rooms in total. The added
fifth floor includes 48 rooms".
"Diikitirio" (i.e. Residency) after its expansion in height (1955-1960)
Diikitirio
ª ¡ ∏ ª ∂ π ∞86
T H E S S A L O N I K I 197k
T H E M O N U M E N T S 86
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏198k
∏ ÂȯÂÈÚËÌ·ÙÈÎfiÙËÙ· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 19Ô ·ÈÒÓ· Û˘Ó-
‰¤ıËΠ̠ÙËÓ ÔÈÎÔÁ¤ÓÂÈ· ∞ÏÏ·Ù›ÓË, Ë ÔÔ›· ‰È¤Ú„ Û fiÏÔ˘˜ ÙÔ˘˜
ÔÈÎÔÓÔÌÈÎÔ‡˜ ÎÏ¿‰Ô˘˜, ·ÏÏ¿ Î·È ÛÙËÓ ÎÔÈÓˆÓÈ΋ ˙ˆ‹ Ù˘ fiÏ˘.
ÿ‰Ú˘Û·Ó ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ·Ï¢ÚfiÌ˘ÏÔ ÛÙÔ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi Ù·
̤۷ ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ÎÔÓÙ¿ ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜. ™ÙË ‰ÂηÂÙ›· ÙÔ˘
1880 ‰ËÌÈÔ˘ÚÁ‹ıËΠӤԘ ÂÙ·fiÚÔÊÔ˜ ·Ú·ı·Ï¿ÛÛÈÔ˜ ·Ï¢ÚfiÌ˘-
ÏÔ˜ ÛÙË ÛËÌÂÚÈÓ‹ ı¤ÛË, Ô˘ ÔÓÔÌ·ÙÔ‰fiÙËÛÂ Î·È ÙËÓ ÂÚÈÔ¯‹ (∞ÏÏ·-
Ù›ÓË). √ ̇ÏÔ˜ ·˘Ùfi˜ οËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Î·È ·ÓÔÈÎÔ‰Ô-
Ì‹ıËΠÛÙËÓ ›‰È· ı¤ÛË ÙÔ 1900. ¶ËÁ‹ Ù˘ ÚÒÙ˘ ÂÏÏËÓÈ΋˜ ‰ÈÔ›ÎË-
Û˘ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË ÛËÌÂÈÒÓÂÈ: «∂›Ó·È Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢-
ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜ ηٿ Ù ÙËÓ ¤ÎÙ·ÛÈÓ Î·È ·ÂÈÚ›·Ó ÙˆÓ Ì˯·-
ÓËÌ¿ÙˆÓ ·˘ÙÔ‡ ˆ˜ Î·È ÙËÓ ÌÂÁ¿ÏËÓ ·˘ÙÔ‡ ·Ú·ÁˆÁ‹Ó. ∏ fiÏË ·˘ÙÔ‡
¤ÎÙ·ÛȘ Â›Ó·È 15.000 Ù.Ì. ÂÚ›Ô˘, ÂÎ ÙˆÓ ÔÔ›ˆÓ ÙÔ ÂÓ ‰Â‡ÙÂÚÔÓ
ÂÚ›Ô˘ η٤¯Ô˘ÛÈ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔÓ, Ì˯·ÓÔÛÙ¿ÛÈÔÓ Î·È ‚ÔËıËÙÈο
Û˘ÓÂÚÁ›·. ∫ÈÓÂ›Ù·È ‰È’ ·ÙÌÔ‡ Î·È ··Û¯ÔÏ› ‰‡Ó·ÌÈÓ 850 ›ˆÓ».
™Ù· 1926 ÔÈ ∞ÏÏ·Ù›ÓË ·ÔÍÂÓÒıËÎ·Ó Ï‹Úˆ˜ ·fi ÙËÓ È‰ÈÔÎÙ‹ÙÚÈ·
∞ÓÒÓ˘ÌÔ μÈÔÌ˯·ÓÈ΋ Î·È ∂ÌÔÚÈ΋ ∂Ù·ÈÚ›·, Ë ÔÔ›· ÂÚÈ‹Ïı ÛÂ
ÎÂÊ·Ï·ÈÔ‡¯Ô˘˜ ·fi ÙË ¡fiÙÈ· ∂ÏÏ¿‰·. √ ̇ÏÔ˜ ¤¯ÂÈ ¿„ÂÈ Ó· ÏÂÈ-
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.
√ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·Ï¢ÚfiÌ˘ÏÔ˜ Ù˘ ∞Ó·ÙÔÏ‹˜!
∞Ï¢ÚfiÌ˘ÏÔ˜ ∞ÏÏ·Ù›ÓË, £ÂÛÛ·ÏÔÓ›ÎË 1914
The entrepreneurship in Thessaloniki during the 19th century
has been associated with the Allatini family, which shone in all
financial fields, as well as in the social life of the city. They
founded the biggest flourmill in Thessaloniki before the mid 19th
century, close to Pedio tou Areos. In 1880s, the new seven-
storey flourmill by the sea was established on its current
location, which gave its name to the whole area (Allatini). This
mill burned down in late 19th century and was rebuilt on the
same location in 1900. A source of the first Greek
commandership after the liberation notes: "It is the biggest
flourmill in the East, as far as its range, innovation of machinery
and large output are concerned. Its total surface area is about
15.000 m2, around half of which is occupied by the plant, the
engine house and the auxiliary workshops. It operated by steam
supply of 850 horses". In 1926, the Allatini family was fully
drawn away by the ownership – the Commercial and Industrial
Company SA. – which came to fund holders from Southern
Greece. The mill had stopped operating and the site – which for
many years now is within the urban tissue – is to be reformed.
The biggest flourmill in the East!
Flourmill Allatini, Thessaloniki 1914
ª ¡ ∏ ª ∂ π ∞87
T H E S S A L O N I K I 199k
T H E M O N U M E N T S 87
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏200k
¶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΋ ¤·˘-
Ï‹ Ù˘, ÎÔÓÙ¿ ÛÙÔÓ ·Ï¢ÚfiÌ˘ÏÔ, fiÔ˘ ÛÙÂÁ¿˙ÂÙ·È Û‹ÌÂÚ· Ë ÓÔÌ·Ú-
¯›· £ÂÛÛ·ÏÔӛ΢. ΔÔ ·Ú¯ÔÓÙÈÎfi ·˘Ùfi, Ì ÂÌ‚·‰fiÓ 4.060 ÙÂÙÚ·Áˆ-
ÓÈÎÔ‡˜ ‹¯ÂȘ Î·È 31 ‰ˆÌ¿ÙÈ·, ÎfiÛÙÈÛ ̷˙› Ì ÙË ‰È·ÎfiÛÌËÛË
14.000 ¯Ú˘Û¤˜ ϛژ. ™‡Ìʈӷ Ì ÙËÓ ÙÔÈ΋ ·Ú¿‰ÔÛË, ÛÙÔÓ ÙfiÔ
ÙÔ˘ ·Ú¯ÈÎÔ‡ ÔÈÎÔ¤‰Ô˘ ˘‹Ú¯Â ÂÎÎÏËÛ›· ‹ ÌÔÓ·ÛÙ‹ÚÈ. √È ∞ÏÏ·Ù›ÓË
·„‹ÊËÛ·Ó ÙËÓ ·Ú¿‰ÔÛË Î·È ¤¯ÙÈÛ·Ó ÂΛ ÙÔ ·Ú¯ÔÓÙÈÎfi ÙÔ˘˜, fiÔ˘
¤˙ËÛ·Ó ˆ˜ ÙÔ 1908. ΔÔ ÎÙ›ÚÈÔ ¤ÁÈÓ ·ÁÎÔÛÌ›ˆ˜ ÁÓˆÛÙfi, ‰ÈfiÙÈ ÂΛ
‰È¤ÌÂÈÓÂ Ô ¤ÎÙˆÙÔ˜ ÛÔ˘ÏÙ¿ÓÔ˜ ∞ÌÙÔ‡Ï Ã·Ì›Ó٠ηٿ ÙËÓ ÂÎÙfiÈÛ‹
ÙÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, ÌÂÙ¿ ÙÔ Î›ÓËÌ· ÙˆÓ ¡ÂfiÙÔ˘ÚÎˆÓ (1909-
1912). ™ÙÔ ¯ÒÚÔ ·˘Ùfi, Ô˘ ÂÚÈ‹Ïı ÛÙÔ ÂÏÏËÓÈÎfi ‰ËÌfiÛÈÔ, ÂÁηٷ-
ÛÙ¿ıËΠηٿ ÙÔ ÚÒÙÔ ¤ÙÔ˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ
£ÂÛÛ·ÏÔӛ΢ (1926). ∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ‰ËÌÔÛÈ¢Ù› Û ¤ÓÙ˘·
ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ Ó· Â›Ó·È ÙÔ˘ 1925.
√ÈΛ· ∞ÏÏ·Ù›ÓË, Ó˘Ó ¡ÔÌ·Ú¯›·£ÂÛÛ·ÏÔӛ΢, 1925
ÕÙÈÙÏË
At about 1890, the Allatini family abandoned its residence at the
contemporary Sigrou Street and moved to its summer mansion,
close to the flourmill, where nowadays the Prefecture is
housed. This mansion, of total surface area 4.060 square alls
and 31 rooms, cost along with its decoration 14.000 gold liras.
According to the local folklore, on the site of the plot there had
previously been a church or a monastery. The Allatini family
disregarded the tradition and built there their mansion, which
they inhabited until 1908. The building became famous
worldwide, as the fallen Sultan Abdul Hamid resided there
during his suspension in Thessaloniki – after the Neoturks’
movement (1909 – 1912). In this place, which came to the Greek
government, the University of Thessaloniki had been
established during its first year of operation (1926). This
photograph has been published in 1926. The shot must have
been taken in 1925.
The Allatini residence, currentlythe Prefecture of Thessaloniki,1925
Without Title
ª ¡ ∏ ª ∂ π ∞88
T H E S S A L O N I K I 201k
T H E M O N U M E N T S 88
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏202k
°‡Úˆ ÛÙÔ ¤ÙÔ˜ 1890 –ÔˆÛ‰‹ÔÙ ÚÈÓ ·fi ÙÔ 1898, ÔfiÙ ÛËÌÂÈ-
ÒÓÂÙ·È Û ¯¿ÚÙË- ÔÈÎÔ‰ÔÌ‹ıËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÔıˆÌ·ÓÈ΋˜ ̤Û˘
‰ÈÔÈÎËÙÈ΋˜ Û¯ÔÏ‹˜, Ô˘ ÔÓÔÌ·˙fiÙ·Ó «πÓÙ·ÓÙÈÁȤ». ΔÔ ÎÙ›ÚÈÔ ·˘Ùfi
¯ÚËÛÈÌÔÔÈ‹ıËΠηٿ ÙÔ˘˜ ‚·ÏηÓÈÎÔ‡˜ ÔϤÌÔ˘˜ Î·È Î·Ù¿ ÙÔÓ
ÚÒÙÔ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ ˆ˜ ÓÔÛÔÎÔÌ›Ô. ∞Ô‰fiıËΠÛÙÔ ¶·ÓÂÈ-
ÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢ ÙÔ 1927, ‰ÈfiÙÈ Ë ‚›Ï· ∞ÏÏ·Ù›ÓË ‚ÚÈÛÎfiÙ·Ó, ÌÂ
Ù· ̤ÙÚ· Ù˘ ÂÔ¯‹˜, Ì·ÎÚÈ¿ ·fi ÙËÓ fiÏË. ŒÎÙÔÙÂ, ·Ú¿ ÙË ÌÂÙ·-
ÔÏÂÌÈ΋ ÎÙÈÚȷ΋ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘, ÙÔ ·Ï·Èfi
·˘Ùfi ÎÙ›ÚÈÔ ÂÍ·ÎÔÏÔ˘ı› Ó· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ·fi ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ.
™¯ÔÏ‹ πÓÙ·ÓÙÈÁȤ - ¶·ÓÂÈÛÙ‹ÌÈÔ£ÂÛÛ·ÏÔӛ΢ (ÚÔÔÏÂÌÈ΋ϋ„Ë)
ÕÙÈÙÏË
At about 1890 – surely before 1898, when it has been noted on
a map – the building of the ottoman secondary school of
administration – called Idadye was constructed. This building
had been used during the Balkan wars and the First World War
as a hospital. It came to the University of Thessaloniki in 1927,
since the Allatini mansion was located – at that period – far
from the city. Ever since, despite the post-war building
expansion of the university campus, this old building continues
to be used by the University.
Idadye School - University ofThessaloniki (a pre-war shot)
Without Title
ª ¡ ∏ ª ∂ π ∞89
T H E S S A L O N I K I 203k
T H E M O N U M E N T S 89
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏204k
∂ÈÎÔÓ›˙ÂÙ·È Ë ÚÔ˜ ÙË ı¿Ï·ÛÛ· fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘. ∫Ù›ÛıËΠÙÔ 1906
ˆ˜ ηÙÔÈΛ· ÙÔ˘ ÙÚ·Â˙›ÙË π·ÎÒ‚ ªÔ‰È¿ÓÔ, Ì ۯ¤‰È· ÙÔ˘ ÁÈÔ˘ ÙÔ˘
∂Ï› ªÔ‰È¿ÓÔ. ΔËÓ ÂÔ¯‹ ÂΛÓË –Î·È Ì¤¯ÚÈ ÙËÓ ¤ÌÏËÛË Ù˘ ı¿Ï·Û-
Û·˜ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ù˘ ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘- ÙÔ
ÔÈÎfiÂ‰Ô ‹Ù·Ó ·Ú·ı·Ï¿ÛÛÈÔ. ™ÙËÓ ÂÚ›Ô‰Ô Ù˘ ¶ÚÔÛˆÚÈÓ‹˜
∫˘‚¤ÚÓËÛ˘ £ÂÛÛ·ÏÔӛ΢ (ΔÚÈ·Ó‰Ú›·) ÙÔ ÎÙ›ÚÈÔ ¯ÚËÛÈÌÔÔÈ‹ıËÎÂ
ˆ˜ ¤‰Ú· ÙˆÓ ÙÚÈÒÓ ÌÂÏÒÓ Ù˘. ΔÔÓ πÔ‡ÏÈÔ ÙÔ˘ 1917 ÙÔ ‰ËÌÔÙÈÎfi
Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ÙË Û‡Ó·„Ë ‰·Ó›Ԣ ÁÈ· ÙËÓ ·ÁÔÚ¿ ÙÔ˘ ÎÙÈÚ›-
Ô˘, ÛÙÔ ÔÔ›Ô «ÛÊ˘ÚËÏ·Ù‹ıËÎÂ Ë ·ÔηٿÛÙ·ÛȘ Î·È ÛˆÙËÚ›· Ù˘
∂ÏÏËÓÈ΋˜ ¶·ÙÚ›‰Ô˜» Î·È Î·Ù¤ÛÙË, ¤ÙÛÈ, «ÂıÓÈÎfiÓ ÎÂÈÌ‹ÏÈÔÓ». ∏ ·fi-
Ê·ÛË ‰ÂÓ ÂÎÙÂϤÛÙËΠÏfiÁˆ ÙˆÓ ÂÚÈÛÙ¿ÛˆÓ. ΔÔ 1921 ¿ÏÏÔ ‰ËÌÔ-
ÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ Û˘Ó¿„ÂÈ ÂÈÎÔÛ·ÂÙ¤˜ ‰¿ÓÂÈÔ ÁÈ· ÙËÓ
·ÁÔÚ¿ Ù˘ ÔÈΛ·˜ ÚÔÎÂÈ̤ÓÔ˘ –ϤÔÓ- Ó· ¯ÚËÛÈ̤„ÂÈ ˆ˜ ·Ó¿ÎÙÔ-
ÚÔ ÙÔ˘ ‚·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∞ã. ΔÔ ÂfiÌÂÓÔ ‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ
(1922-1923) ·Ó·Î¿ÏÂÛ ÙË ‰ˆÚ¿, ‰Â‰Ô̤ÓÔ˘ fiÙÈ Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜
›¯Â ÂΉȈ¯ı› ·fi ÙËÓ ∂ÏÏ¿‰·. ΔÔ 1936, Û ¤Ó‰ÂÈÍË «·ÊÔÛÈÒÛˆ˜
Ù˘ fiψ˜» ÚÔ˜ ÙÔ «ÚfiÛˆÔ Ù˘ ∞.ª. ÙÔ˘ ‚·ÛÈϤˆ˜», ¿ÏÏÔ
‰ËÌÔÙÈÎfi Û˘Ì‚Ô‡ÏÈÔ ·ÔÊ¿ÛÈÛ ӷ ‰ˆÚ›ÛÂÈ ÙÔ ÎÙ›ÚÈÔ ÛÙÔÓ °ÂÒÚÁÈÔ
μã. ΔÔ 1948 ÛÙÂÁ¿ÛÙËΠÛÙÔ ÎÙ›ÚÈÔ ÛÙÚ·ÙȈÙÈ΋ È·ÙÚÈ΋ Û¯ÔÏ‹ ηÈ
·ÚÁfiÙÂÚ· ÈÂÚ·ÙÈ΋ Û¯ÔÏ‹. ΔÔ 1970 ÙÔ ÎÙ›ÚÈÔ ·Ú·¯ˆÚ‹ıËΠÛÙÔ
∂ıÓÔÏÔÁÈÎfi §·ÔÁÚ·ÊÈÎfi ªÔ˘Û›Ô, ÙÔ˘ ÔÔ›Ô˘ ·ÔÙÂÏ› ¤ÎÙÔÙ ÙËÓ
¤‰Ú·.
§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ (Ï‹„Ë ‰ÂηÂÙ›·˜ 1970)
ÕÙÈÙÏÔ
The facet of the building looking at the sea is presented. It was
built in 1906 as the residence of the banker Mr. Jacob Modiano,
on the blueprints made by his son, Eli Modiano. At that time –
and until the alluviation of the sea, in order Megalou Alexandrou
Avenue to be constructed – the plot was by the sea. During the
Temporary Government of Thessaloniki ("Triandria", i.e. Troika),
the building had been used as the headquarters of the three
members of the troika. In June 1917, the city council decided to
get a loan in order to buy the building, in which "the restoration
and redemption of the Greek Homeland had been hammered"
and thus it became a "national jewel". The decision was not
performed due to the conditions that arouse. In 1921, another
city council decided to get a twenty-year long loan in order to
buy this building, so as to be used as the palace of king
Konstantinos the 1st. The following city council (1922 – 1923)
revoked the donation, since Konstantinos had been expelled
from Greece. In 1936, as a movement of "the city’s devotion" to
"His Majesty the king", another city council decided to donate
the building to King George the 2nd. In 1948, the military school
of medicine and later on the hieratic school were housed in this
building. In 1970, the building came to the Folklore Ethnologic
Museum, where it has been housed ever since.
Folklore Ethnologic Museum of Macedonia (shot in 1970s)
Without Title
ª ¡ ∏ ª ∂ π ∞90
T H E S S A L O N I K I 205k
T H E M O N U M E N T S 90
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏206k
ΔÔ ÎÙ›ÚÈÔ Ù˘ Ã∞¡£ ·ÓÂÁ¤ÚıËΠÙÔ 1925 ÚÔÎÂÈ̤ÓÔ˘ Ó· ÊÈÏÔÍÂ-
Ó‹ÛÂÈ –ÛÙȘ ·ÓÔȯ٤˜ Î·È ÎÏÂÈÛÙ¤˜ ·ıÏËÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ ÙÔ˘- ÙȘ
‰Ú·ÛÙËÚÈfiÙËÙ˜ Ù˘ ÓÂÔÏ·›·˜ Ù˘ fiÏ˘. °È· ÙËÓ ·Ó¤ÁÂÚÛ‹ ÙÔ˘
ÂӉȷʤÚıËΠÚÔÛˆÈο Ô ÌËÙÚÔÔÏ›Ù˘ °ÂÓÓ¿‰ÈÔ˜ ∞ÏÂÍÈ¿‰Ë˜, Ô
ÔÔ›Ô˜ ÚˆÙÔÛÙ¿ÙËÛ ÛÙÔ˘˜ Û¯ÂÙÈÎÔ‡˜ ÂÚ¿ÓÔ˘˜.
ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£ (‰ÂηÂÙ›· 1950)
ΔÔ Ì¤Á·ÚÔ Ù˘ Ã∞¡£
The building of YMCA of Thessaloniki was built in 1925, in order
to house – in both its open and roofed sport facilities – the
activities of the city’s youths. The Metropolitan Gennadios
Alexiadis – who played the leading part in the fund rising held –
minded its construction personally.
The building of YMCA of Thessaloniki (1950s)
The building of YMCA of Thessaloniki
ª ¡ ∏ ª ∂ π ∞91
T H E S S A L O N I K I 207k
T H E M O N U M E N T S 91
kkk
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞T H E I N N E R F E A T U R E S
√È ·ÂÈÎÔÓ›ÛÂȘ Ù˘ £ÂÛÛ·ÏÔӛ΢, ·fi ÙÔ 1880 ̤¯ÚÈ Û‹ÌÂÚ·, ‰›ÓÔ˘Ó
Û˘Ó‹ıˆ˜ ¤ÌÊ·ÛË ÛÙ· ÌÓËÌ›· Ù˘, ÛÙËÓ ÚÔÎ˘Ì·›· Ù˘ ‹ (ÔÈ ÓÂfiÙÂ-
Ú˜) ÛÙÔÓ ¿ÍÔÓ· ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È Ù˘ ¢ÈÂ-
ıÓÔ‡˜ ŒÎıÂÛ˘. À‹ÚÍ·Ó ˆÛÙfiÛÔ Î·È Ï‹„ÂȘ Ù˘ «·ÛÙÈ΋˜ ÂÓ‰Ô¯Ò-
Ú·˜» Ù˘ fiÏ˘ Ô˘ ÔÊ›ÏÔÓÙ·È Â›Ù ÛÙËÓ ÚÔÛ¿ıÂÈ· ÙÔ˘ ʈÙÔÁÚ¿-
ÊÔ˘ Ó· ·ÂÈÎÔÓ›ÛÂÈ ÌÈ· ÙÔÈ΋ ȉȷÈÙÂÚfiÙËÙ· ›Ù ÛÙËÓ ·Ó¿ÁÎË ÙÔ˘ Ó·
·Ô‰ÒÛÂÈ ¤Ó·Ó ÓˆÙÂÚÈÛÌfi. ŒÙÛÈ, ÙÔ ˘ÏÈÎfi Ô˘ ·ÔÙÂÏ› ÙËÓ ÂÓfiÙËÙ·
·˘Ù‹, Ï‹„ÂȘ ·fi 1910 ˆ˜ ÙÔ 1960 ÂÚ›Ô˘, Â›Ó·È ·ÓÔÌÔÈÔÁÂÓ¤˜ ˆ˜
ÚÔ˜ ÙË Û‡ÓıÂÛ‹ ÙÔ˘, ·ÏÏ¿ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÁÈ· ÙÔÓ ÙÚfiÔ ÌÂ ÙÔÓ
ÔÔ›Ô ‰È·ÌÔÚÊÒıËÎ·Ó Ù· ÂÓ‰fiÙÂÚ· ÙÔ˘ ·Ï·ÈÔ‡ ·Ú·ı·Ï¿ÛÛÈÔ˘ ÙÌ‹-
Ì·ÙÔ˜ Ù˘ fiÏ˘.
The representations of Thessaloniki, from 1880 up to nowadays,
usually emphasize its monuments, its quay or (the more recent
ones) the axis of the White Tower, the University and the
International Trade Fair of Thessaloniki. However, there have also
been some shots of the "urban inland" of the city, attributed
either to the photographer’s efforts to represent the local
character or his need to capture an innovation. Thus, the material
included in this unit – shots taken from 1910 to about 1960 – is
uneven as far as its themes are concerned – yet it is
representative of the way in which the inner part of the old city
by the sea was landscaped.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏210k
∏ ¯ÚÔÓÔÏfiÁËÛË Ô˘ ÛËÌÂÈÒÓÂÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›· ÂȂ‚·ÈÒÓÂÙ·È
·fi Ù· ÂÛˆÙÂÚÈο Â˘Ú‹Ì·Ù· Ù˘ ʈÙÔÁÚ·Ê›·˜, ‰ËÏ·‰‹ ÙËÓ ·Ó·ÁÚ·-
Ê‹ Ù˘ ÂˆÓ˘Ì›·˜ ÙÔ˘ ηٷÛÙ‹Ì·ÙÔ˜ ÛÙËÓ ÂÏÏËÓÈ΋ Î·È ÙËÓ Â‚Ú·˚-
΋, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙË ¯Ú‹ÛË ÊÂÛÈÒÓ, ÛÙÔȯ›· Ô˘ ‰Â›¯ÓÔ˘Ó fiÙÈ Ë
Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ Ôχ ÎÔÓÙ¿ Û ·˘Ù‹Ó. ™ÙÔ
ΤÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ (¿Óˆ ·fi ÙȘ ηÌÈÓ¿‰Â˜) ÂÈÎÔÓ›˙ÂÙ·È ÙÔ
·ÓÒÙÂÚÔ ÙÌ‹Ì· ÌÈÓ·Ú¤. ΔÔ ÛËÌÂ›Ô Ô˘ ÌÂÁÈÛÙÔÔÈÂ›Ù·È Ë Èı·ÓfiÙËÙ·
Û˘Ó‡·Ú͢ ÙÂ̤ÓÔ˘˜ Î·È Û·ÚˆıÚÔÔÈ›Ԣ Â›Ó·È Ù· ÔÈÎÔ‰ÔÌÈο
ÙÂÙÚ¿ÁˆÓ· 42, 43 Î·È 45, ÓÔÙ›ˆ˜ Ù˘ ·Ï·È¿˜ Ô‰Ô‡ ∞Ï¢ÚÔ¿˙·-
ÚÔ˘ (√˘Ó ∫··Ó›), Ë ÔÔ›· ·ÓÙÈÛÙÔȯԇÛ ÛÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™Ôψ-
ÌÔ‡ Î·È ‹Ù·Ó οıÂÙÔ˜ ÚÔ˜ ÙË μÂÓÈ˙¤ÏÔ˘. ΔÔ Ù¤ÌÂÓÔ˜ ÌÔÚÔ‡Û ӷ
‹Ù·Ó ÙÔ ™Ô˘ÏÂ˚Ì¿Ó ‹ ÙÔ Ã¿Ì˙· ª¤Ë, ·ÌÊfiÙÂÚ· ÛÙËÓ ∂ÁÓ·Ù›·.
∫·¿ÓÈ, 1914
1914 ÂÏÏËÓÈÎfi ·˙¿ÚÈ
The date inscribed on the photograph is verified by its inner
features, i.e. the inscription of the shop in both Greek and
Hebrew language, in combination to the fezzes worn; Features
that show that the shot was taken soon after the liberation of
the city. In the middle of the photograph (over the chimneys) the
upper part of a minaret appears. The most possible spot for a
mosque to be present along with a besom maker’s are blocks
no. 42, 43 and 45, at the old Alevropazarou Street (Oun Kapani),
which was the current Solomou Street intersecting Venizelou
Street. This could be the Suleiman or the Hamza Bey Mosque,
both on Egnatia Street.
Kapani, 1914
1914 Greek bazaar
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞92
T H E S S A L O N I K I 211k
T H E I N N E R F E A T U R E S 92
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏212k
Δ· ·ÏˆÌ¤Ó· ÚÔ‡¯·, Ô˘ ·Ú¤Û˘Ú·Ó ÙÔÓ Û˘ÓÙ¿ÎÙË ÙÔ˘ Û¯ÔÏ›Ô˘,
·Ó‹ÎÔ˘Ó ÛÙÔ Û›ÙÈ Ô˘ ‚Ú›ÛÎÂÙ·È ¿Óˆ ·fi ÙÔ Î·Ù¿ÛÙËÌ·. √ Ù‡Ô˜
·˘Ùfi˜–ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ· Î·È ·ÓÒÁÂÈ· ηÙÔÈΛ·- ‹Ù·Ó ‰È·‰Ô̤ÓÔ˜
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ÂÔ¯‹˜ Ô˘ Ï‹ÊıËÎÂ Ë ÊˆÙÔÁÚ·Ê›· (12% ÙˆÓ
ÎÙÈÛÌ¿ÙˆÓ ÛÙÔ Î¤ÓÙÚÔ Ù˘ fiÏ˘, ÌÂٷ͇ μÂÓÈ˙¤ÏÔ˘ Î·È ∂ÁÓ·Ù›·˜).
ΔÔ Î·Ù¿ÛÙËÌ· οو ·fi ÙÔ Û›ÙÈ Î·È ÂΛÓÔ ·¤Ó·ÓÙÈ ·fi ÙÔ ÊˆÙÔ-
ÁÚ¿ÊÔ Ê·›ÓÔÓÙ·È Ó· Ô˘Ï¿Ó ͇Ϸ. √ Â͈ÙÂÚÈÎfi˜ ¯ÒÚÔ˜ ‰ÂÓ Â›Ó·È
‰ÚfiÌÔ˜, ·ÏÏ¿ ·˘Ï‹. Δ· ÛÙÔȯ›· ·˘Ù¿, ÛÙÔ Û‡ÓÔÏfi ÙÔ˘˜, «ÂÓÔ¯ÔÔÈ-
Ô‡Ó» ‰‡Ô ÔÈÎÔ‰ÔÌÈο ÙÂÙÚ¿ÁˆÓ· (˘’ ·ÚÈıÌ. 199 Î·È 203), Ô˘ ‰È¤-
ıÂÙ·Ó «Í˘ÏԈϛ·», ÂÛˆÙÂÚÈΤ˜ ·˘Ï¤˜ Î·È ÙÔÓ ÔÈÎÔ‰ÔÌÈÎfi Ù‡Ô
ÈÛfiÁÂÈÔ Î·Ù¿ÛÙËÌ·-·ÓÒÁÂÈ· ηÙÔÈΛ·. Δ· ÙÂÙÚ¿ÁˆÓ· ·˘Ù¿ ‹Ù·Ó ÁÂÈ-
ÙÔÓÈο Î·È ‚Ú›ÛÎÔÓÙ·Ó Â› Ù˘ ‚fiÚÂÈ·˜ ÏÂ˘Ú¿˜ Ù˘ ∂ÁÓ·Ù›·˜, ·Ó¿-
ÌÂÛ· ÛÙÔ ª¤Ë Ã·Ì¿Ì Î·È ÛÙËÓ ¶·Ó·Á›· ÷ÏΤˆÓ, ‰ËÏ·‰‹ Û ÌÈÎÚ‹
·fiÛÙ·ÛË ·fi ÙÔ ÛËÌÂ›Ô Ô˘ Ï‹ÊıËÎÂ Ë ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›·.
§fiÁˆ Î·È Ù˘ ÔÌÔÈfiÙËÙ·˜ Ù˘ ʈÙÔÁÚ·ÊÈ΋˜ Ì·ÙÈ¿˜, ‡ÏÔÁ· ÌÔ-
Úԇ̠ӷ ˘Ôı¤ÛÔ˘Ì fiÙÈ ÔÈ ‰‡Ô Ï‹„ÂȘ ¤ÁÈÓ·Ó ·fi ÙÔ ›‰ÈÔ ÚfiÛˆ-
Ô, ÙËÓ ›‰È· ̤ڷ, ÛÙËÓ ›‰È· Û˘ÓÔÈΛ· (∫·¿ÓÈ).
∫·¿ÓÈ, 1914
1915, ·ÏÈ·Ù˙›‰Èη
The laundry laid – which misled the commentator – belongs to
the house over the shop. This kind of buildings – the shop on the
ground floor and the house on the upper floor – was common in
Thessaloniki during the period when the photograph was taken
(12% of the buildings in the city centre, between Venizelou and
Egnatia streets). The shop under the house, as well as the one
opposite the photographer, seems to sell lumber. The outer
space is not a street but a yard. These features, as a whole,
"implicate: two building blocks (no. 199 and 203), which included
"lumber shops", courtyards and the ground floor shop – upper
floor house combination. These neighbouring blocks were on the
northern side of Egnatia Street, between Bey Hamam and
Panagia Chalkeon, i.e. very close to the spot the previous shot
was taken. Because of the similar photographic aspect, one
could suppose that both these shots ware taken by the same
person, on the same day, and at the same quarter (Kapani).
Kapani, 1914
1915, antique shops
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞93
T H E S S A L O N I K I 213k
T H E I N N E R F E A T U R E S 93
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏214k
ΔÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ ·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ η̤Ó˘ fiÏ˘ ‚Ú›ÛÎÂÙ·È ÛÂ
ÌÂÁ·Ï‡ÙÂÚÔ ˘„fiÌÂÙÚÔ ·fi ÙÔ ‰ÂÍÈfi. ™˘ÓÂÒ˜, Ô ÊˆÙÔÁÚ¿ÊÔ˜ ›¯Â
ÙË ı¿Ï·ÛÛ· ÛÙ· ‰ÂÍÈ¿ ÙÔ˘, ÙËÓ ¿Óˆ fiÏË ÛÙ· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Î·È ‚ÚÈ-
ÛÎfiÙ·Ó ÂÚ›Ô˘ ÛÙË Ì¤ÛË Ù˘ fiÏ˘, ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi Ô˘
·ÓËÊfiÚÈ˙ ÚÔ˜ ÙÔ ˘„ËÏfiÙÂÚÔ ÙÌ‹Ì·. ™ÙÔ Î·Ì¤ÓÔ ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ
Û ÚÒÙÔ Ï¿ÓÔ ·Ó·ÁÚ¿ÊÂÙ·È ÙÔ fiÓÔÌ· ÙÔ˘ Ô‰ÔÓÙÈ¿ÙÚÔ˘ μÈÙ¿ÏË. ΔÔ
1915 Ô Ô‰ÔÓÙ›·ÙÚÔ˜ ¶ÂÛ¿¯ μÈÙ¿ÏÈ –Ù˘¯ÈÔ‡¯Ô˜ ·ÌÂÚÈηÓÈÎÔ‡ ·ÓÂ-
ÈÛÙËÌ›Ô˘- ›¯Â ÙÔ È·ÙÚÂ›Ô ÙÔ˘ ÛÙËÓ Ô‰fi ∂ÁÓ·Ù›· 165, ‰ËÏ·‰‹ ÎÔÓÙ¿
ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi μÂÓÈ˙¤ÏÔ˘. ¢Â‰Ô̤ÓÔ˘ fiÙÈ ‰ÂÓ ·Ó·Ê¤-
ÚÂÙ·È ¿ÏÏÔ˜ Ô‰ÔÓÙ›·ÙÚÔ˜ Ì ÙÔ ›‰ÈÔ Â›ıÂÙÔ Î·È fiÙÈ Ë ı¤ÛË ÙÔ˘
È·ÙÚ›Ԣ Ù·ÈÚÈ¿˙ÂÈ Ì ÙËÓ ÂÈÎÔÓÈ˙fiÌÂÓË, ÌÔÚԇ̠ӷ Û˘ÌÂÚ¿ÓÔ˘ÌÂ
fiÙÈ Ô ÊˆÙÔÁÚ¿ÊÔ˜ ¤Ï·‚ ı¤ÛË ÛÙË ‰È·ÛÙ·‡ÚˆÛË ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ-
˙¤ÏÔ˘, Èı·ÓÒ˜ ¿Óˆ ÛÙË ÛÙ¤ÁË ÙÔ˘ ÙÂ̤ÓÔ˘˜ ÿÌ˙· ª¤Ë.
™˘Ì‚ÔÏ‹ ∂ÁÓ·Ù›·˜ Î·È μÂÓÈ˙¤ÏÔ˘, 1917
5.8.1917 ˘ÚηÁÈ¿
The represented left part of the burnt city is found on a higher
level than the right part. Thus, the photographer had the sea on
his right, the old (upper) city on his left and he was standing in
the middle of the city, on the corner of the street going up
towards the upper part of the city. On the burnt three-storey
building in the foreground, the name of the dentist Mr. Vetali is
inscribed. In 1915, the dentist Pesah Vetali – graduate of an
American university – had his surgery at 165 Egnatia Street, i.e.
close to the crossroads of Venizelou Street. Given the fact that
no other dentist is referred with the same surname and that the
location of the surgery fits the represented one, it can be
assumed that the photographer was set on the crossroads of
Egnatia and Venizelou streets, possibly on the roof of the
Hamza Bey Mosque.
Crossroads of Egnatia and Venizelou streets, 1917
5.8.1917, the fire
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞94
T H E S S A L O N I K I 215k
T H E I N N E R F E A T U R E S 94
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏216k
√ ‰ÚfiÌÔ˜ Â›Ó·È ÂÓÙÂÏÒ˜ Ó¤Ô˜. ¢ËÌÈÔ˘ÚÁ‹ıËΠ̠ÙÔ Ó¤Ô Û¯¤‰ÈÔ,
Ú·ÎÙÈο ÌÂÙ¿ ÙÔ 1923. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ·fi Ô‰fi ∞Á›·˜
™ÔÊ›·˜ ÚÔ˜ ÙËÓ Ô‰fi ∫·ÚfiÏÔ˘ ¡ÙËÏ. ∞ÚÈÛÙÂÚ¿, ›Ûˆ ·fi ÙÔ ÂÚ›-
ÙÂÚÔ, ÙÔ Î·ÊÂÓÂ›Ô «∞ÛÙfiÚÈ·», fiÔ˘ Û‡¯Ó·˙·Ó ÔÈ ÏÔÁÔÙ¤¯Ó˜ Ù˘
£ÂÛÛ·ÏÔӛ΢. ™ÙÔ ÛΤ·ÛÙÚÔ ÙÔ˘ ηÊÂÓ›Ԣ ¤Ó· ·Ófi ·Ó·ÎÔÈÓÒ-
ÓÂÈ fiÙÈ «·fi Ù˘ ÚÔÛ¯ԇ˜ ∫˘Úȷ΋˜ Ù· ‘ª·Î‰ÔÓÈο ¡¤·’ ı· ›ӷÈ
Ï‹Úˆ˜ ·Ó·Óˆ̤ӷ». ∏ ÂÊËÌÂÚ›‰· «ª·Î‰ÔÓÈο ¡¤·», Ì ÂΉfiÙË
ÙÔ ‰ËÌÔÛÈÔÁÚ¿ÊÔ ¶¤ÙÚÔ §Ô‡‚·ÚË, ÂΉȉfiÙ·Ó ·fi ÙȘ ·Ú¯¤˜ ÙÔ˘
1924 ̤¯ÚÈ ÙÔ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 1934. ∏ ÂÈÁÚ·Ê‹ «™Δ∞™π™ 15», Ô˘
‰È·ÎÚ›ÓÂÙ·È ‰ÂÍÈ¿ ·fi ÙÔ ·Ófi, ·Ó·Ê¤ÚÂÙ·È ÛÙÔ ÙÚ·Ì. ∏ ‰È¤Ï¢ÛË ÙÔ˘
ÙÚ·Ì ¯ÚÔÓÔÏÔÁ› ÙË Ï‹„Ë ÌÂÙ¿ ÙÔ 1927. ŒÙÛÈ, Ë ÊˆÙÔÁÚ·Ê›· ÔÚÈÔ-
ıÂÙÂ›Ù·È ¯ÚÔÓÈο ÌÂٷ͇ ÙˆÓ ÂÙÒÓ 1927 Î·È 1934. ∏ Û¯ÂÙÈ΋ ÏËÚfi-
ÙËÙ· ÛÙËÓ ÔÈÎÔ‰fiÌËÛË ˘Ô‰ËÏÒÓÂÈ ¯ÚfiÓÔ ÌÂÙ¿ ÙÔ 1930.
√‰fi˜ ΔÛÈÌÈÛ΋, Á‡Úˆ ÛÙ· 1930
√‰fi˜ ΔÛÈÌÈÛ΋
The street is completely new. It has been constructed
according to the new street layout, after 1923. The part of
Aghias Sophias Street towards Karolou Dil Street is
represented. On the left, behind the newsstand, there is the
"Astoria" café, where the intellects of Thessaloniki gathered. On
the shade of the café, a banner informs that "from next Sunday
on, Makedonika Nea will be fully renovated". "Makedonika Nea"
newspaper, published by the journalist Mr. Petros Louvaris, had
been published from early 1924 to February 1934. The sign
"™Δ∞™π™ 15" ("STASIS", i.e. bus stop 15), on the left of the banner,
refers to the tram. The tram dates the shot after 1927. Thus,
the photography must have been taken between the years
1927 and 1934. The relevant density of construction suggests
that it was taken after 1930.
Tsimiski Street, about 1930
Tsimiski Street
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞95
T H E S S A L O N I K I 217k
T H E I N N E R F E A T U R E S 95
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏218k
∏ Ô‰fi˜ ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ·Ï·Èfi˜ ‰ÚfiÌÔ˜, ·ÏÏ¿ ‰È·ÓÔ›¯ÙËΠηÈ
¢ı˘ÁÚ·ÌÌ›ÛÙËΠ̠ÙËÓ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘.
√ ʈÙÔÁÚ¿ÊÔ˜, ‰ËÏ·‰‹, ·ÂÈÎfiÓÈ˙ ÌÈ· ·ÛÙÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·
Ï›ÁˆÓ ÂÙÒÓ. ∞ÂÈÎÔÓ›˙ÂÙ·È ÙÔ ÙÌ‹Ì· ÙÔ˘ ‰ÚfiÌÔ˘ ·fi ÙË ‰È·ÛÙ·‡Úˆ-
ÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ ÚÔ˜ ÙËÓ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜. ™Ù· ·ÚÈÛÙÂ-
Ú¿, ÙÔ ÎÙ›ÚÈÔ «·ÈÁ˘ÙÈ·ÎÔ‡» Ú˘ıÌÔ‡ Â›Ó·È Ô ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˜ «¢ÈÔÓ‡-
ÛÈ·», ¿Óˆ ·fi ÙÔÓ ÔÔ›Ô ÛÙÂÁ·˙fiÙ·Ó Ë ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ. Δ·
«¢ÈÔÓ‡ÛÈ·» ÂÁηÈÓÈ¿ÛÙËÎ·Ó ÙÔ ¡Ô¤Ì‚ÚÈÔ ÙÔ˘ 1926. ∏ Ï‹„Ë Ú¤ÂÈ
Ó· ¤ÁÈÓ Á‡Úˆ ÛÙ· 1930.
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Street was an old street, widened and aligned
after the application of the new urban plan. Thus, the
photographer presented a contemporary urban reality: the part
of the street from the crossroads of Tsimiski Street towards
Aghias Sophias Square. On the left, the "Egyptian" style building
is the cinema "Dionysia", over which the Editors’ Association
was accommodated. "Dionysia" opened in November 1926. The
shot must have been taken in about 1930.
Aghias Sophias Street, about 1930
Aghias Sophias Street
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞96
T H E S S A L O N I K I 219k
T H E I N N E R F E A T U R E S 96
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏220k
∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢ı¤ÚˆÛË, ·ÏÏ¿ ÚÈÓ ·fi ÙËÓ ˘ÚηÁÈ¿
ÙÔ˘ 1917, Ë ÔÔ›· ¤Î·„ ٷ Á‡Úˆ ÎÙ›ÚÈ· Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ÛÙË ÊˆÙÔ-
ÁÚ·Ê›· ·˘Ù‹. √ ʈÙÔÁÚ¿ÊÔ˜ ›¯Â ÛÙ· ‰ÂÍÈ¿ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ ÛÙÔ ÔÔ›Ô
ÛÙÂÁ¿ÛÙËΠÙÔ ÂÏÏËÓÈÎfi ÚÔÍÂÓÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢ (‰È·ÎÚ›ÓÂÙ·È
ÛÙ· ‰ÂÍÈ¿: ¡˘Ó ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·). ™ÙÔ ÎÙ›ÚÈÔ ·˘Ùfi ÛÙÂ-
Á¿ÛÙËΠÙÔ 1915 Ë °ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜ Î·È ÙÔ 1917
Û˘ÛÙÂÁ¿ÛÙËΠÁÈ· ÌÂÚÈÎÔ‡˜ Ì‹Ó˜ Ë ∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜,
fiÙ·Ó Î¿ËÎ·Ó ÔÈ ÂÁηٷÛÙ¿ÛÂȘ Ù˘ ÛÙËÓ Ô‰fi ∞Á›Ô˘ ªËÓ¿. ¢›Ï· ÛÙÔ
ÎÙ›ÚÈÔ Â›Ó·È ÙÔ ÚÔ·‡ÏÈÔ ÙÔ˘ ÌËÙÚÔÔÏÈÙÈÎÔ‡ Ó·Ô‡ ÙÔ˘ ∞Á›Ô˘ °ÚËÁÔ-
Ú›Ô˘ ¶·Ï·Ì¿. ∞¤Ó·ÓÙÈ ‚Ú›ÛÎÂÙ·È ·Î¿Ï˘ÙÔ ÂÚÈÊÚ·Á̤ÓÔ ÔÈÎfi‰Ô,
Ô˘ ÙËÓ ÂÔ¯‹ Ù˘ Ï‹„˘ ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜ Ì·ÚÌ·ÚÔÁÏ˘Ê›Ô. (ª¤¯ÚÈ
ÙÔ 1890 ÛÙÔÓ ÙfiÔ ÂΛÓÔ ‚ÚÈÛÎfiÙ·Ó ÙÔ ÌËÙÚÔÔÏÈÙÈÎfi ̤Á·ÚÔ Ù˘
£ÂÛÛ·ÏÔӛ΢). ΔÔ ÔÈÎfiÂ‰Ô ¯Ù›ÛÙËΠÌfiÏȘ ÙÔ 1938, fiÙ·Ó Î·Ù·-
Û΢¿ÛÙËΠÙÔ ÎÙ›ÚÈÔ Ù˘ ÌËÙÚfiÔÏ˘, Ô˘ ÊÈÏÔͤÓËÛ › ¯ÚfiÓÈ· ÙË
™¯ÔÏ‹ μ·Ï·ÁÈ¿ÓÓË Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙËÓ ∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯Ô-
Ï‹.
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜, 1913-1917
√‰fi˜ ∞Á›·˜ ™ÔÊ›·˜
The shot have been taken after the liberation, but before the
fire of 1917, which burnt down the nearby buildings represented
in this photo. The photographer had on his right the building
where the Greek Consulate of Thessaloniki was based (shown
on the right: currently the Macedonian Struggle Museum). In this
building the Agricultural Bank of Macedonia was housed in 1915,
while in 1917 the National Bank of Greece was co-
accommodated for a few months time, when its facilities on
Aghiou Mina Street were burnt. By the building, there is the yard
of the Cathedral of Aghios Grigorios Palamas. Opposite, there is
an unbuilt fenced plot – a marble workshop at the time the shot
was taken. (Until 1890, on that site stood the metropolitan
edifice of Thessaloniki). The plot was built in 1938, when the
building of the Cathedral was constructed – which housed for
years the Valagianni School and then the Higher School of
Industry.
Aghias Sophias Street, 1913-1917
Aghias Sophias Street
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞97
T H E S S A L O N I K I 221k
T H E I N N E R F E A T U R E S 97
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏222k
∏ Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜ ‹Ù·Ó ¤Ó· ·fi Ù· ÂӉȷʤÚÔÓÙ· ÛËÌ›· Ù˘
Ó¤·˜ ÔÏÂÔ‰ÔÌÈ΋˜ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ Ù˘ ÌÂÛÔÔÏÂÌÈ΋˜ £ÂÛÛ·ÏÔ-
ӛ΢. ∏ ·Ó¿‰ÂÈÍË Ù˘ ∞Á›·˜ ™ÔÊ›·˜ Î·È Ë ¿ÌÂÛË ÔÙÈ΋ ·ʋ Ì ÙËÓ
ÕÓˆ ¶fiÏË ÚÔοÏÂÛ·Ó ÙÔ ÂӉȷʤÚÔÓ ÙˆÓ ÊˆÙÔÁÚ¿ÊˆÓ ÙÔ˘ ÌÂÛÔ-
ÔϤÌÔ˘, Ô˘ ÂÓ¤Ù·Í·Ó ÙËÓ Ï·Ù›· ÛÙË ıÂÌ·ÙÈ΋ ÙˆÓ Î·ÚÙÔÛÙ¿Ï
Ô˘ Âͤ‰ˆÛ·Ó. ∏ Û˘ÁÎÂÎÚÈ̤ÓË ÊˆÙÔÁÚ·Ê›· ÂΉfiıËΠˆ˜ ηÚÙÔ-
ÛÙ¿Ï Ù˘ «¢¤ÏÙ·», ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930. ∏ Ï‹„Ë Ú¤-
ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ·fi fiÚÔÊÔ ÎÙÈÚ›Ô˘. ™ÎÔfi˜ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ‰ÂÓ
‹Ù·Ó Ó· Û˘ÏÏ¿‚ÂÈ ÙËÓ Ï·Ù›· (Û’ ·˘Ù‹Ó ÙËÓ ÂÚ›ÙˆÛË ı· ¤‰ÈÓ ÙËÓ
¤ÌÊ·ÛË ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿, ÚÔ˜ ÙËÓ Ô‰fi ∂ÚÌÔ‡), Ô‡Ù ÙËÓ
ÂÎÎÏËÛ›· Ù˘ ∞Á›·˜ ™ÔÊ›·˜ (Ô˘ ‚Ú›ÛÎÂÙ·È ÚÔ˜ Ù· ‰ÂÍÈ¿), ·ÏÏ¿ ÙÔ
¿Óˆ ̤ÚÔ˜ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜ Î·È ÙË ı¤· Ù˘ ÕÓˆ ¶fiÏ˘. ¶¿Óˆ
·fi ÙËÓ ∂ÁÓ·Ù›· Ê·›ÓÂÙ·È Ë Ï·Ù›· ª·Î‰ÔÓÔÌ¿¯ˆÓ. ΔÔ Ô›ÎËÌ·
Ô˘ ‰ÂÛfi˙ÂÈ ·ÌÊÈı·ÙÚÈο Û’ ·˘Ù‹Ó Ú¤ÂÈ Ó· ‹Ù·Ó Ë ÔÈΛ· ª·Ï-
Ù·‰ÒÚÔ˘. ™Ù· ‰ÂÍÈ¿, ÙÔ Ï¢Îfi Ô›ÎËÌ· ÛÙË ÁˆÓ›· Ì ÙËÓ ∂ÁÓ·Ù›· ‹Ù·Ó
Ë ÎÏÈÓÈ΋ ªÈÛÈÚÏfiÁÏÔ˘.
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, Á‡Úˆ ÛÙ· 1930
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
Aghias Sophias Square has been one of the most significant
monuments of the new urban reality in interwar Thessaloniki.
The marking out of Aghia Sophia and its direct visual contact
with Ano Poli attracted the interwar photographers’ interest;
thus, they included the square among the themes of the
postcards published. The specific photograph was published as
a postcard by "Delta", in early 1930s. The shot must have been
taken from the floor of a building. The photographer’s aim was
to capture neither the square (in such a case he would focus on
the left side, towards Ermou Street), nor the temple of Aghia
Sophia (on the right), but rather the upper part of Aghias
Sophias Street and the view of Ano Poli. Over Egnatia Street,
Makedonomachon Square is also shown. The building
amphitheatrically dominating this square must have been the
Baltadorou residence. On the right, the white building on the
corner of Egnatia Street was Misirloglou Clinic.
Aghias Sophias Square, about 1930
Aghias Sophias Square
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞98
T H E S S A L O N I K I 223k
T H E I N N E R F E A T U R E S 98
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏224k
∞ÂÈÎÔÓ›˙ÂÙ·È Ë ·Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ ∞Á›·˜ ™ÔÊ›·˜, ÙÔ ·Ó·-
ÙÔÏÈÎfi ÙÌ‹Ì· Ù˘ Ï·Ù›·˜ Î·È Ë Ô‰fi˜ ∫ÂÚ·ÌÔÔ‡ÏÔ˘ (‚ÔÚ›ˆ˜ ÙÔ˘
Ó·Ô‡ Ù˘ ∞Á›·˜ ™ÔÊ›·˜). ∏ Ï‹„Ë ¤ÁÈÓ ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏
Û‡ÁÎÚÈÛË Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÊˆÙÔÁÚ·Ê›· ‰Â›¯ÓÂÈ fiÙÈ ¤¯Ô˘Ó ·ÓÂ-
ÁÂÚı› Ó¤· ÎÙ›ÛÌ·Ù·, ¤Ó· (ÛÙË ÁˆÓ›·) ¤¯ÂÈ ÂÂÎÙ·ı› ηı’ ‡„Ô˜ ηÈ
¤Ó· ·ÎfiÌË ÙÂÏ› ˘fi ¤ÎÙ·ÛË (Ë ÎÏÈÓÈ΋ ÛÙËÓ Ô‰fi ∫ÂÚ·ÌÔÔ‡ÏÔ˘).
√ ʈÙÔÁÚ¿ÊÔ˜ ·Ó·˙‹ÙËÛ ÙËÓ ·ÙÌfiÛÊ·ÈÚ· Ù˘ Ï·Ù›·˜ –ÚˆÈÓfi
ÌÈ·˜ ·ÚÁ›·˜, ÚÔÊ·ÓÒ˜ ÂıÓÈ΋˜ ÂÔÚÙ‹˜- Î·È fi¯È ÙËÓ Ú˘ÌÔÙÔÌÈ΋ ȉÈ-
·ÈÙÂÚfiÙËÙ¿ Ù˘. ∏ Ï·Ù›· ‰ÂÓ ‹Ù·Ó ϤÔÓ Î·ÈÓÔ‡ÚÁÈ·.
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜, ‰ÂηÂÙ›· 1950
¶Ï·Ù›· ∞Á›·˜ ™ÔÊ›·˜
The eastern part of Aghias Sophias Street is represented, as
well as the eastern part of the square and Keramopoulou Street
(in the north of the temple of Aghia Sophia). The shot has been
taken in the 1950s. Compared to the previous photograph, new
buildings are shown, another one (on the corner) has been made
higher while another was under construction also to be made
higher (the clinic on Keramopoulou Street). The photographer
was interested in the atmosphere of the square – obviously on
a national holiday morning – rather than the character of the
square layout. The square was not new any more.
Aghias Sophias Square, 1950s
Aghias Sophias Square
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞99
T H E S S A L O N I K I 225k
T H E I N N E R F E A T U R E S 99
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏226k
∏ Ô‰fi˜ ∂ÚÌÔ‡ ˘‹ÚÍÂ Î·È ÂΛÓË ÚÔ˚fiÓ ÙÔ˘ Ó¤Ô˘ ÔÏÂÔ‰ÔÌÈÎÔ‡
ۯ‰›Ô˘. ™˘Ó¤‰ÂÛÂ, Û ¢ı›· ÁÚ·ÌÌ‹, ÙËÓ ·ÁÔÚ¿ Ì ÙÔÓ Ó·fi Ù˘
∞Á›·˜ ™ÔÊ›·˜, ÙÔÓ ÔÔ›Ô ·Ó·‰Â›ÎÓ˘Â. ∏ ÚÔÔÙÈ΋ Ù˘ ∞Á›·˜ ™ÔÊ›·˜
ÛÙÔ ‚¿ıÔ˜ ÙÔ˘ ‰ÚfiÌÔ˘ Î·È ÙÔ ÌÂÁ¿ÏÔ –Ì ٷ ‰Â‰Ô̤ӷ Î·È ÙȘ ·Ó¿-
ÁΘ Ù˘ ÂÔ¯‹˜- ‡ÚÔ˜ ÙÔ˘, η٤ÛÙËÛ·Ó ÙËÓ Ô‰fi ∂ÚÌÔ‡ ›˙ËÏÔ
·ÓÙÈΛÌÂÓÔ ÊˆÙÔÁÚ¿ÊËÛ˘ ÛÙÔ ÌÂÛÔfiÏÂÌÔ. ∏ ÌÂϤÙË ÙˆÓ Ù·¯˘-
‰ÚÔÌËÌ¤ÓˆÓ (Î·È ¿Ú· ¯ÚÔÓÔÏÔÁË̤ӈÓ) ηÚÙÔÛÙ¿Ï Ì·˜ ÂÈÙÚ¤ÂÈ
Ó· ÁÓˆÚ›˙Ô˘Ì Ҙ ÂÍÂÏ›¯ÙËÎÂ Ë ‰È·ÌfiÚʈÛË ÙÔ˘ ‰ÚfiÌÔ˘. ∏
Û˘ÁÎÂÎÚÈ̤ÓË Ï‹„Ë ·ÂÈÎÔÓ›˙ÂÈ ÙÔ ‰ÚfiÌÔ ·fi ÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡
∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙËÓ ∞Á›· ™ÔÊ›· Î·È ÙËÓ Î·Ù¿ÛÙ·ÛË fiˆ˜ ›¯Â ‹‰Ë
‰È·ÌÔÚʈı› ÙÔ 1928. ™Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È Ë ·ÁÔÚ¿ ªÔ‰È¿ÓÔ Î·È
Ë ¡¤· ∞ÁÔÚ¿. ∏ ·ÛÊ·ÏÙfiÛÙÚˆÛË Ù˘ Ô‰Ô‡ ∂ÚÌÔ‡ ¤ÁÈÓ ÙÔ 1933.
™ÙË ÊˆÙÔÁÚ·Ê›· Ô ‰ÚfiÌÔ˜ ‰ÂÓ Ê·›ÓÂÙ·È ·ÛÊ·ÏÙÔÛÙڈ̤ÓÔ˜. ™˘ÓÂ-
Ò˜ Ë Ï‹„Ë ¤ÁÈÓ ÛÙËÓ ÂÚ›Ô‰Ô 1928-1933.
√‰fi˜ ∂ÚÌÔ‡, Á‡Úˆ ÛÙ· 1930
√‰fi˜ ∂ÚÌÔ‡
Ermou Street has also been the outcome of the new urban plan.
It connected – by aligning them – the market place with the
temple of Aghia Sophia, which it actually revealed. The view of
Aghia Sophia in the backdrop of the street and its width – for
that period – rendered Ermou Street an desirable photography
theme during the interwar years. The study of the posted (and
thus dated) postcards enables us to know the progress of the
landscaping of the street. The specific shot represents the
street on the level of Komninon Street up to Aghia Sophia, as
well as the condition of the region in 1928. On the right, the
Modiano market place and Nea Agora (i.e. New Market Place)
are shown. The blacktop of Ermou Street was held in 1933. In
the photograph, the street doesn’t seem to be blacktopped.
Thus, the shot was taken between the years 1928 – 1933.
Ermou Street, about 1930
Ermou Street
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞100
T H E S S A L O N I K I 227k
T H E I N N E R F E A T U R E S 100
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏228k
∏ Ô‰fi˜ μÂÓÈ˙¤ÏÔ˘ ‹Ù·Ó ·Ï·Èfi˜ Î·È ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜ Ù˘ £ÂÛÛ·-
ÏÔӛ΢, ·ÏÏ¿ Ì ÙÔ Ó¤Ô Û¯¤‰ÈÔ ‰È·Ï·Ù‡ÓıËÎÂ Î·È Â˘ı˘ÁÚ·ÌÌ›ÛÙË-
ÎÂ. ¢ÂÓ ‰È·ÛÙ·˘ÚˆÓfiÙ·Ó Ï¤ÔÓ Ì ÛÙÂÓÔ‡˜ ‰ÚÔÌ›ÛÎÔ˘˜, ·ÏÏ¿ ÌÂ
Ӥ˜ ¢Ú›˜ Ô‰Ô‡˜, ÁÂÁÔÓfi˜ Ô˘ ¤‰ˆÛ ÛÙÔ ‰ÚfiÌÔ ÂÓÙÂÏÒ˜ Ó¤· fi„Ë.
∫·Ù¿ ÙËÓ ÂÎÔ›ËÛË ÙˆÓ ÔÈÎÔ¤‰ˆÓ ÙÔ˘ Ó¤Ô˘ ۯ‰›Ô˘ ·Ô‰Â›¯ÙËÎÂ
Ô ·ÎÚÈ‚fiÙÂÚÔ˜, Ì ÌÂÁ¿ÏË ‰È·ÊÔÚ¿ ·fi ÙÔ˘˜ ÁÂÈÙÔÓÈÎÔ‡˜. Δ· ÎÙ›ÚÈ·
Ô˘ ÂÈÎÔÓ›˙ÔÓÙ·È ‹Ù·Ó fiÏ· ÂÌÔÚÈο Î·È ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ÂÍ ·Ú¯‹˜
ÁÈ· ÂÌÔÚÈ΋ ¯Ú‹ÛË Î·È ÂÎÌÂÙ¿ÏÏ¢ÛË. ΔÔ ÎÙ›ÚÈÔ Ô˘ ‰ÂÛfi˙ÂÈ ÛÙË
ʈÙÔÁÚ·Ê›· ÔÓÔÌ·˙fiÙ·Ó «Ì¤Á·ÚÔ ™›ÁÁÂÚ», ‰ÈfiÙÈ Û ·˘Ùfi ‹Ù·Ó
ÂÁηÙÂÛÙË̤ÓË (̤¯ÚÈ Ù· 1930 ÂÚ›Ô˘) Ë ÂÙ·ÈÚ›· Burne Company,
Ë ÔÔ›· ÂÌÔÚ¢fiÙ·Ó ÙȘ Ú·ÙÔÌ˯·Ó¤˜ ™›ÁÁÂÚ. ™ÙËÓ ·ÔÁÚ·Ê‹ Ô˘
Ú·ÁÌ·ÙÔÔ›ËÛ ÙÔ ∂ÌÔÚÈÎfi Î·È μÈÔÌ˯·ÓÈÎfi ∂ÈÌÂÏËÙ‹ÚÈÔ £ÂÛÛ·-
ÏÔӛ΢ ÙÔ 1924 Û˘Ó·ÓÙԇ̠‰¤Î· ÂÚ›Ô˘ ÂÌÔÚÈΤ˜ ÂȯÂÈÚ‹ÛÂȘ
Ô˘ ÛÙÂÁ¿˙ÔÓÙ·Ó ÛÙÔ ›‰ÈÔ ÎÙ›ÚÈÔ (‰È‡ı˘ÓÛË: μÂÓÈ˙¤ÏÔ˘ 44 ›ÙÂ
̤Á·ÚÔ ™›ÁÁÂÚ), ÔÈ ÂÚÈÛÛfiÙÂÚ˜ ÙˆÓ ÔÔ›ˆÓ ÂÌÔÚ‡ÔÓÙ·Ó ˘Ê¿-
ÛÌ·Ù·. ∞Ó¿ÏÔÁ˜ ‹Ù·Ó Î·È ÔÈ ¯Ú‹ÛÂȘ ÙˆÓ ‰ÈÏ·ÓÒÓ ÎÙÈÚ›ˆÓ.
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ∂ÚÌÔ‡Î·È μÂÓÈ˙¤ÏÔ˘, Á‡Úˆ ÛÙ· 1930
∂ÚÌÔ‡ Î·È μÂÓÈ˙¤ÏÔ˘
Venizelou Street has been an old commercial street of
Thessaloniki, which after the new urban plan was widened and
aligned. It did not cross anymore with narrow streets but with
new wide streets, something that gave to the street a
completely new character. During the sale of the plots of the
new urban plan, it was proved to be a far most expensive street
than the neighbouring ones. The buildings represented were all
shops, created for commercial usage and operation. The
building dominating the photograph was called "Singer
building", as there was based (until about 1930) the Burne
Company, which traded the Singer sewing machines. In the
census conducted by the Chamber of Commerce and Industry
of Thessaloniki in 1924, about ten commercial companies were
housed in the same building (address: 44 Venizelou Street or
Singer building), most of which traded textiles. Relevant were
also the usages of the nearby buildings as well.
Crossroads of Ermou andVenizelou streets, about 1930
Ermou and Venizelou streets
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞101
T H E S S A L O N I K I 229k
T H E I N N E R F E A T U R E S 101
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏230k
∫·Ù¿ ÙÔ ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ Ë Ó¤· Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ‹Ù·Ó Ë ÛËÌ·-
ÓÙÈÎfiÙÂÚË Ù˘ £ÂÛÛ·ÏÔӛ΢. ™˘Ó¤‰Â ‰‡Ô ÌÂÁ¿Ï˜ Ï·Ù›˜: ΔËÓ
¶Ï·Ù›· ¢ÈηÛÙËÚ›ˆÓ (fiÔ˘ Ë Úfi‚ÏÂ„Ë Ó· ·Ó·ÁÂÚıÔ‡Ó Ù· ‰Èη-
ÛÙ‹ÚÈ· Î·È ÙÔ ‰Ë̷گȷÎfi ̤Á·ÚÔ ‰ÂÓ ÙÂÏÂÛÊfiÚËÛ ‰ÈfiÙÈ ·Ó·Î·Ï‡-
ÊıËÎÂ Ë ·Ú¯·›· ·ÁÔÚ¿) Î·È ÙËÓ ·Ú·ı·Ï¿ÛÛÈ· ¶Ï·Ù›· ∞ÚÈÛÙÔÙ¤-
ÏÔ˘˜, Ô˘ ۯ‰ȿÛÙËΠÁÈ· Ó· Á›ÓÂÈ (Î·È ¤ÁÈÓÂ) ΤÓÙÚÔ ·Ó·„˘¯‹˜. ∂›
ϤÔÓ, Ì ÙÔÓ ¿ÍÔÓ· Ù˘ Ô‰Ô‡ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ı· ·Ó·‰ÂÈÎÓ˘fiÙ·Ó ·fi
ÙË ı¿Ï·ÛÛ· Î·È Ô ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜. °È· Ù· ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ηıÔÚ›-
ÛÙËÎ·Ó ÂȂ‚ÏË̤Ó˜ fi„ÂȘ (ÔÈ Ôԛ˜ ÙËÚ‹ıËηÓ). ΔÔ 1962, Ô˘
¤ÁÈÓÂ Ë Ï‹„Ë, ›¯·Ó ·Ú¯›ÛÂÈ ÔÈ ·Ó·Ûηʤ˜ ÛÙËÓ Ï·Ù›· Ù˘ ·Ú¯·›-
·˜ ·ÁÔÚ¿˜, ·ÏÏ¿ ‰ÂÓ Â›¯·Ó ÚÔ¯ˆÚ‹ÛÂÈ. √ ¯ÒÚÔ˜ ‹Ù·Ó ·ÎfiÌË ÎÂÓfi˜
(ÌÈ· ¯ˆÌ¿ÙÈÓË Î·ÙËÊÔÚÈ΋ ÂÈÊ¿ÓÂÈ·). ∏ ·Ó·ÊÂÚfiÌÂÓË ËÌÂÚÔÌËÓ›·
([™¿‚‚·ÙÔ] 24 ¡ÔÂÌ‚Ú›Ô˘) ‰ÂÓ Â›Ó·È Èı·Ó‹, ·Ó ÎÚ›ÓÔ˘Ì ·fi Ù·
ÎÔÓÙÔÌ¿ÓÈη Ô˘Î¿ÌÈÛ· Ô˘ ÊÔÚÔ‡Ó fiÏÔÈ ÔÈ ÂÈÎÔÓÈ˙fiÌÂÓÔÈ. ∂›Ù Ë
Ï‹„Ë ¤ÁÈÓ Ì ÂÏÈÎfiÙÂÚÔ Â›Ù ·fi ÛηψÛÈ¿, ¤¯ÂÈ ÚÔηϤÛÂÈ ÙÔ
ÂӉȷʤÚÔÓ ÙˆÓ ‰ÈÂÚ¯Ô̤ӈÓ. À¿Ú¯ÂÈ, Ì¿ÏÈÛÙ·, Î·È ÙÔ Ì˘ÛÙ‹ÚÈÔ
Ù˘ ·ÓÔȯً˜ fiÚÙ·˜ ÙÔ˘ ÚÒÙÔ˘ ·˘ÙÔÎÈÓ‹ÙÔ˘ ‰ÂÍÈ¿, ·fi ÙÔ ÔÔ›Ô
ÏÂ›Ô˘Ó ÔÈ ÂÈ‚¿Ù˜.
√‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi ΔÛÈÌÈÛ΋ 1962
∫ÂÓÙÚÈ΋ ψÊfiÚÔ˜ Ù˘ ̷ΉÔÓÈ΋˜ ÚˆÙ¢ԇÛ˘ ¿ÁÔ˘Û· ÚÔ˜ ÙËÓ Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜, 24.11.1962
According to the new urban plan, the new Aristotelous Street
was the most significant street of Thessaloniki. It connected
two big squares: Dikastirion Square (where the suggestion the
courthouse and the city hall to be built was not realized as the
ancient forum was excavated there) and Aristotelous Square,
which was planned to become (and finally became) a recreation
centre. In addition, via Aristotelous Square Aghios Dimitrios
would be visible from the sea. The buildings of this street had
to comply with predetermined facades (which were applied). In
1962, when the shot was taken, the excavations in the ancient
forum square had begun but they were not yet in progress. The
site is still empty (an earthen downhill surface). The date
referred ([Saturday] 24 November) is rather improbable;
judging from the people’s represented short-sleeved shirts.
Regardless whether the shot was taken from a helicopter or a
scaffold, it aroused the interest of the passer-bys.
Furthermore, there is also the mystery of the open door of the
first car on the right, which has no passengers.
Aristotelous Street, a crossroadsof Tsimiski Street 1962
Central road of the Macedonian capitalleading to Aristotelous Street, 24.11.1962
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞102
T H E S S A L O N I K I 231k
T H E I N N E R F E A T U R E S 102
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏232k
™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË, ·ÎÚÈ‚Ò˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË
ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ Î·È ¶·‡ÏÔ˘ ªÂÏ¿ (¢È·ÁˆÓ›Ô˘). ∞Ó Î·È Ë ÔÓÔÌ·-
Û›· ¢È·ÁÒÓÈÔ˜ ·ÊÔÚ¿ ÙËÓ Ô‰fi ¶·‡ÏÔ˘ ªÂÏ¿ (‰È·ÁÒÓÈÔ ˆ˜ ÚÔ˜ ÙÔÓ
ÔÚıÔÁÒÓÈÔ Î¿Ó·‚Ô ÙÔ˘ Ú˘ÌÔÙÔÌÈÎÔ‡ ۯ‰›Ô˘), ¤¯ÂÈ ÂÈÎÚ·Ù‹ÛÂÈ Ó·
ϤÁÂÙ·È ÁÈ· ÙË Û˘ÁÎÂÎÚÈ̤ÓË ‰È·ÛÙ·‡ÚˆÛË. ™ÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ ÙÔ Ì¤Á·-
ÚÔ ªÔÛÎÒÊ. ∏ Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙËÓ Î·Ù¿ÚÁËÛË ÙˆÓ ÙÚ·Ì Ô˘ ÂÊ·Ú-
ÌfiÛÙËΠ·fi Ù· Ù¤ÏË ÙÔ˘ 1955 (ÛÙË ÊˆÙÔÁÚ·Ê›· ‰ÂÓ Ê·›ÓÔÓÙ·È Î·Ó
›¯ÓË ÙˆÓ ÙÚÔ¯ÈÔ‰ÚÔÌÈÎÒÓ ÁÚ·ÌÌÒÓ) Î·È ÙËÓ Î·ıȤڈÛË ÙˆÓ ÏˆÊÔ-
ÚÂÈ·ÎÒÓ Û˘ÁÎÔÈÓˆÓÈÒÓ. ∞fi ÙÔ 1963 ÛÙÔ Ì¤Á·ÚÔ μ·Ï·Ô‡ÚË ‹Ù·Ó
ÂÁηÙÂÛÙË̤ÓË Ë ÓÂÔÏ·›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜ Ù˘ ∂ƒ∂. ∞ÏÏ¿ ÛÙË ÊˆÙÔ-
ÁÚ·Ê›· ‰ÂÓ Ê·›ÓÂÙ·È Î·Ó¤Ó· ›¯ÓÔ˜ Ù˘. ŒÙÛÈ, Ë Ï‹„Ë ÚÔÛ‰ÈÔÚ›˙ÂÙ·È
¯ÚÔÓÈο ÛÙËÓ ÂÚ›Ô‰Ô 1956-1962. ΔfiÙ ı˘ÌÔ‡ÓÙ·È Î·È ÔÈ ·Ï·ÈÔ›
ÂÚ›ÔÈÎÔÈ fiÙÈ ÏÂÈÙÔ˘ÚÁÔ‡ÛÂ ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ ÙÔ ÂÈÎÔÓÈ˙fiÌÂÓÔ
·ÓÙÔˆÏÂ›Ô «∫˘„¤ÏË», ¤Ó· ·fi Ù· ÔÏÏ¿ ·ÓÙԈϛ· Ô˘ ›¯Â
ÙfiÙÂ Ë Ô‰fi˜ ΔÛÈÌÈÛ΋.
™˘Ì‚ÔÏ‹ ÙˆÓ Ô‰ÒÓ ΔÛÈÌÈÛ΋ ηȶ·‡ÏÔ˘ ªÂÏ¿, Á‡Úˆ ÛÙ· 1960
ÕÙÈÙÏË
In the foreground there is the Valaouri building, on the Tsimiski
and Pavlou Mela crossroads (Diagonios). Although the name
"Diagonios" refers to Pavlou Mela Street (a diagonal on the
orthogonal canvas of the street layout), it has come to mean
this specific crossroads. On the left end, there is the Moscov
building. The shot has been taken after the abolition of tram,
which was applied in the city ever since late 1955 (in the photo,
not even traces of the tram ways are evident) and bus
transport was put on the map. Since 1963, the youths of the
National Radical Union (∂ƒ∂) party was housed in the Valaouri
building; yet, in the photograph there is no evidence of it. Thus,
the shot must have been taken between 1956 and 1962. Then,
according to the old neighbours, on the ground floor of the
building the represented grocery "Kipseli" – one of the many
groceries of Tsimiski Street at that time – operated.
Crossroads of Tsimiski andPavlou Mela streets, about 1960
Without Title
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞103
T H E S S A L O N I K I 233k
T H E I N N E R F E A T U R E S 103
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏234k
∏ Ï‹„Ë ¤ÁÈÓ ·fi ÙÔ §Â˘Îfi ¶‡ÚÁÔ, fi¯È fï˜ ÁÈ· Ó· ··ı·Ó·Ù›ÛÂÈ
ÙËÓ ·Ú·Ï›· ‹ Ù· ¤ÚÈÍ ÙÔ˘ ÌÓËÌ›Ԣ, ·ÏÏ¿ ÁÈ· Ó· ‰Â›ÍÂÈ ÙÔ ÂÛˆÙÂ-
ÚÈÎfi Ù˘ fiÏ˘. √ ʈÙÔÁÚ¿ÊÔ˜ ¤ÏÂÍ ˆ˜ ÔÙÈÎfi ¿ÍÔÓ· ÙËÓ Ô‰fi
ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, ¯ˆÚ›˜ ›Ûˆ˜ Ó· ÁÓˆÚ›˙ÂÈ fiÙÈ Î·Ù¿ Ì‹ÎÔ˜ Ù˘ ÂÚ-
ÓÔ‡Û ÙÔ ·Ó·ÙÔÏÈÎfi Ù›¯Ô˜ Ù˘ fiÏ˘. ΔÔ ÎÙ›ÚÈÔ Ô˘ ÊÈÏÔͤÓËÛ ÙÔ
ηÊÂÓÂ›Ô «¡ÙÔÚ¤» (fiÔ˘ Û‡¯Ó·˙·Ó ÔÏÈÙÈÎÔ› Î·È ‰ËÌÔÛÈÔÁÚ¿ÊÔÈ)
‰ÂÓ ¤¯ÂÈ ·ÎfiÌË ÎÙÈÛÙ›. ΔÔ ÔÈÎfi‰fi ÙÔ˘ ·Ó·ÛοÙÂÙ·È. √È ÔÈÎÔÁ¤-
ÓÂȘ Ù˘ ÁˆÓȷ΋˜ ÔÏ˘Î·ÙÔÈΛ·˜ (Ì ÙÔ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ΢ÎÏÈÎfi
Û¯‹Ì·) ÎÚÂÌÔ‡Ó ÙȘ ÌÔ˘Á¿‰Â˜ ÙÔ˘˜ ηٿ Ï¿ÙÔ˜ Ù˘ ºÈÏÈ΋˜ ∂Ù·È-
Ú›·˜. Àfi ·Ó¤ÁÂÚÛË ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÎÙ›ÚÈÔ Ù˘ §¤Û¯Ë˜ ºÚÔ˘Ú¿˜
£ÂÛÛ·ÏÔӛ΢, Ô˘ ÔÏÔÎÏËÚÒıËΠÙÔ 1959. ¶›Ûˆ ÙÔ˘ ‰È·ÎÚ›ÓÔÓÙ·È
Ù· ·Ï·È¿ «ÛÔ˘ÏÙ·ÓÈο» ÎÙ›ÚÈ· Ù˘ Ô‰Ô‡ ∂ıÓÈ΋˜ ∞̇Ó˘. ∏ Ï¢΋
ÔÈÎÔ‰ÔÌ‹, ÛÙÔ ¿ÎÚÔ ‰ÂÍÈ¿ Ù˘ ÂÈÎfiÓ·˜, ‚Ú›ÛÎÂÙ·È ÛÙË Û˘Ì‚ÔÏ‹ ÙˆÓ
Ô‰ÒÓ ∂ıÓÈ΋˜ ∞̇Ó˘ Î·È ΔÛÈÌÈÛ΋. ∞ÚÎÂÙ¤˜ ÔÈÎÔ‰Ô̤˜ ·ÓÂÁ›ÚÔ-
ÓÙ·È ÛÙÔ ÂÛˆÙÂÚÈÎfi Ù˘ fiÏ˘. ™ÙÔ ‚¿ıÔ˜, ÔÈ Û˘ÓÔÈ˘ Ù˘ ÕÓˆ
¶fiÏ˘, Ë ·ÎÚfiÔÏË Î·È ÔÈ ÂÎÙfi˜ ÙˆÓ ÙÂȯÒÓ Û˘ÓÔÈÎÈÛÌÔ› ÙÔ˘ ∞Á›Ô˘
¶·‡ÏÔ˘ Î·È ÙˆÓ ™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ.
√‰fi˜ ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, 1959
ÕÙÈÙÏË
The shot has been taken from the White Tower, yet not in order
to capture the waterfront or the surroundings of the
monument, but rather to reveal the inner part of the city. The
photographer focused on Philikis Eterias Street, probably
without knowing that the eastern walls of the city run along this
axis. The building that housed the "Dore" café (where politicians
and journalists gathered) has not yet been built. The plot is
being dug up. The families living in the block of flats on the
corner (of the distinctive circulate shape) lay their laundry width
wise the Philikis Eterias Street. The building of the Thessaloniki
Garrison Service Club is also under construction; it was finished
in 1959. Behind it, the old "sultan" buildings on Ethnikis Amynis
Street are shown. The white block of flats, on the right end of
the photo, stands on the crossroads of Ethnikis Amynis and
Tsimiski streets. Many blocks of flats are being built in the city.
In the background, the quarters of Ano Poli, the citadel and the
out-of-wall quarters of Aghios Pavlos and Saranta Ekklisies.
Philikis Eterias Street, 1959
Without Title
Δ ∞ ∂ ¡ ¢ √ Δ ∂ ƒ ∞104
T H E S S A L O N I K I 235k
T H E I N N E R F E A T U R E S 104
kkk
Δ ∞ ∂ ƒ ° ∞T H E W O R K S
™ÙËÓ ÂÚ›Ô‰Ô 1955-1965 Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË μfiÚÂÈ· ∂ÏÏ¿‰·
ÛËÌ·ÓÙÈο ‰ËÌfiÛÈ· ¤ÚÁ· ·ÏÏ¿ Î·È È‰ÈˆÙÈΤ˜ ÂÂÓ‰‡ÛÂȘ, Û ‚·ıÌfi Ô˘,
ÁÈ· ÚÒÙË ÊÔÚ¿ ·fi ÙÔ 1912, Ô Ú˘ıÌfi˜ ·‡ÍËÛ˘ ÙÔ˘ ÚÔ˚fiÓÙÔ˜ ÛÙË
Û˘ÁÎÂÎÚÈ̤ÓË ÂÚÈÔ¯‹ ͤڷÛ ÔÔÈ·‰‹ÔÙ ¿ÏÏË. Δ· ÛËÌ·ÓÙÈÎfiÙÂ-
Ú· ·fi Ù· ¤ÚÁ· ·˘Ù¿ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∂ÎÙfi˜
·fi ÙËÓ ·Ó¿Ù˘ÍË Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢ÈÂıÓÔ‡˜ ŒÎıÂ-
Û˘, ÛÙËÓ ÔÔ›· ¤¯Ô˘Ì ·Ó·ÊÂÚı›, ÛËÌ·ÓÙÈÎfi ¤ÚÁÔ ÁÈ· ÙËÓ fiÏË ‹Ù·Ó
Ë Â¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο Î·È Ë ‰ËÌÈÔ˘ÚÁ›· Ù˘
ψÊfiÚÔ˘ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ (ÚÒËÓ ∫¤ÓÂÓÙÈ). ™ÙÔÓ È‰ÈˆÙÈÎfi
ÙÔ̤· ͯˆÚ›˙ÂÈ Ë ‰ËÌÈÔ˘ÚÁ›· ÙÔ˘ ‰È˘ÏÈÛÙËÚ›Ô˘ Ù˘ Esso.
During the years 1955 – 1965, significant public works as well as
private investments were made in Northern Greece, to such an
extend that – in 1912 for the first time – the rate of product
increase in this region overpassed all previous ones. The most
significant of these works were made in Thessaloniki. Apart from
the development of the university campus and the International
Trade Fair of Thessaloniki – to which specific reference has been
made – a significant work for the city was the expansion of the
waterfront eastwards and the opening up of Megalou Alexandrou
Avenue (ex Kennedy). In the private sector, the establishment of
the Esso refinery stands out.
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏238k
∏ ¤ÎÙ·ÛË Ù˘ ·Ú·Ï›·˜ ÚÔ˜ Ù· ·Ó·ÙÔÏÈο ‹Ù·Ó ·Ï·È¿ ·fiÊ·ÛË
Ô˘ ¿Ú¯ÈÛ ӷ ÂÎÙÂÏÂ›Ù·È Î·Ù¿ Ù· ÙÂÏÂ˘Ù·›· ÚÔÔÏÂÌÈο ¯ÚfiÓÈ·.
ªfiÓÔÓ fï˜ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 ¿Ú¯ÈÛÂ Ë ÂÊ·ÚÌÔÁ‹
Ù˘. ∞fi ¿ÏϘ Û˘Ó·Ê›˜ Ï‹„ÂȘ ÚÔ·ÙÂÈ fiÙÈ Ë Û˘ÁÎÂÎÚÈ̤ÓË ·fi
·¤ÚÔ˜ ʈÙÔÁÚ·Ê›· ¯ÚÔÓÔÏÔÁÂ›Ù·È ÙÔ 1962, ¯ÚÔÓÔÏÔÁ›· Ô˘ Û˘Ì-
ʈÓ› Î·È Ì ¿ÏϘ Ï‹„ÂȘ ¿Óˆ ·fi ÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ ¤ÎÙ·ÛË
Ù˘ ·Ú·Ï›·˜ Û˘Óԉ‡ÙËÎÂ Î·È Ì ¤ÌÏËÛË Ù˘ ı¿Ï·ÛÛ·˜, Ì ·Ô-
Ù¤ÏÂÛÌ· Ó· ‰ËÌÈÔ˘ÚÁËıÔ‡Ó Ó¤· ÔÈÎfi‰·. Δ· ÔÈÎfi‰· ·˘Ù¿ ›ӷÈ
ÎÂÓ¿ ÛÙË ÊˆÙÔÁÚ·Ê›·, ‰Â›¯ÓÔÓÙ·˜ ¤ÙÛÈ ¤ÌÌÂÛ· ÙË Ê˘ÛÈ΋ ÎfiψÛË.
ΔÔ ÚÒÙÔ ÎÙ›ÚÈÔ Ô˘ ͯˆÚ›˙ÂÈ Î·È ÂÊ¿ÙÂÙ·È ÛÙË ÏˆÊfiÚÔ, ·Ó‹ÎÂ
ÛÙÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Û¯ÔÏ‹˜ Δ˘ÊÏÒÓ, Ë ÔÔ›· ‚ÚÈÛÎfiÙ·Ó ¿Óˆ ÛÂ
·ÎÚˆÙ‹ÚÈÔ. ΔÔ ›‰ÈÔ Î·È Ë ÔÌ¿‰· ÔÏ˘Î·ÙÔÈÎÈÒÓ Á‡Úˆ ·fi ÙÔ §·Ô-
ÁÚ·ÊÈÎfi ªÔ˘Û›Ô. ™Â ÂΛÓÔ ÙÔ ‡„Ô˜ ›¯·Ó ÊÙ¿ÛÂÈ ÔÈ ÂÚÁ·Û›Â˜ ÙÔ
1962. √È ˘fiÏÔȘ ·ÎÙ¤˜ Ì·˙ÒıËÎ·Ó ÛÙ·‰È·Î¿ Ù· ÂfiÌÂÓ· ¯Úfi-
ÓÈ·.
∏ Ó¤· ·Ú·Ï›·, 1962
ÕÙÈÙÏË
The expansion of the waterfront eastwards had been decided
years before, yet it started being realized during the late post-
war years. In the late 1950s it started being applied, though.
From other relevant shots, it is evident that this specific
photomap dates back in 1962; a date which complies with other
shots over Thessaloniki, as well. The expansion of the
waterfront was accompanied by the alleviation of the sea,
creating thus new plots. These plots are unbuilt in this photo,
revealing this way indirectly the natural formation of the gulf.
The first building on the avenue that distinguishes belonged to
the building complex of the School for the Blind, located on a
cape. The same was the case with the group of blocks of flats
around the Folklore Museum. The works had reached the
specific level in 1962. The rest coasts were gradually filled in
the years to follow.
The new waterfront, 1962
Without Title
Δ ∞ ∂ ƒ ° ∞105
T H E S S A L O N I K I 239k
T H E W O R K S 105
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏240k
∏ ÔÈÎÔÁ¤ÓÂÈ· ∫·ÊÙ·ÓÙ˙fiÁÏÔ˘ ‰È·‰Ú·Ì¿ÙÈÛ ڈÙ‡ÔÓÙ· ÚfiÏÔ ÛÙÔ
¯ÚÈÛÙÈ·ÓÈÎfi ÎfiÛÌÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙÔÓ 18Ô Î·È ÙȘ ·Ú¯¤˜
ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ∂ηÙÚ›ÛÙËΠÛÙË ª·ÛÛ·Ï›· ÙÔ 1822, ÚÔÎÂÈ̤ÓÔ˘
Ó· ÁÏÈÙÒÛÂÈ ÙȘ ÛÊ·Á¤˜ Ô˘ ÂÍ·ÔχıËÎ·Ó Î·Ù¿ ÙˆÓ Â˘fiÚˆÓ £ÂÛ-
Û·ÏÔÓÈΤˆÓ ·fi ÙȘ ÔıˆÌ·ÓÈΤ˜ ·Ú¯¤˜. √È ·fiÁÔÓÔ› Ù˘ ·Ó·‰Â›¯ıË-
Î·Ó ÔÈÎÈÏÔÙÚfiˆ˜ ÛÙÔ ‰ËÌfiÛÈÔ ‚›Ô Î·È –ÙÈÌÒÓÙ·˜ ÙËÓ ·ÒÙÂÚË
ηٷÁˆÁ‹ ÙÔ˘˜- ÎÏËÚÔ‰fiÙËÛ·Ó ÛËÌ·ÓÙÈÎfi ÔÛfi ÁÈ· ÙËÓ Î·Ù·Û΢‹
ËÚÒÔ˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ΔÔ ÔÛfi ·˘Ùfi ¯ÚËÛÈÌÔÔÈ‹ıËΠˆ˜ ‚¿ÛË
ÁÈ· ÙËÓ Î·Ù·Û΢‹ ÂıÓÈÎÔ‡ ÛÙ·‰›Ô˘ ÛÙËÓ fiÏË. ∏ ·fi ·¤ÚÔ˜ ʈÙÔ-
ÁÚ¿ÊËÛ‹ ÙÔ˘, ÙÔ 1962, ·Ú¤¯ÂÈ ÌÔÓ·‰È΋ ÂÈÎfiÓ· Ù˘ Á‡Úˆ ÂÚÈÔ-
¯‹˜: ™ÙÔ ¿Óˆ ·ÚÈÛÙÂÚfi ̤ÚÔ˜, ¿Óˆ ·fi ÙÔ Á‹Â‰Ô, ·ÏÒÓÔÓÙ·È ÔÈ
ÛÙÚ·ÙȈÙÈΤ˜ ÂÁηٷÛÙ¿ÛÂȘ, Á‡Úˆ ·fi ÙÔ °™¡ 424. ™ÙÔ ¿Óˆ ‰ÂÍÈfi
̤ÚÔ˜, Ë Û˘ÓÔÈΛ· Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜ Î·È ›Ûˆ Ù˘ Ë ¢∂£.
∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ, 1962
ΔÔ ∫·˘Ù·ÓÙ˙fiÁÏÂÈÔÓ ™Ù¿‰ÈÔÓ 31.5.1962
Kaftantzoglou family played a very important role in the
Christian world of Thessaloniki during the 18th and the early
19th century. It was expatriated in Marseille in 1822, in order to
avoid the slaughter of the wealthy citizens of Thessaloniki by
the ottoman authorities. Its descendents were made famous in
the public life in several ways and – respecting their ulterior
descent – they left a significant amount of money in order a
hero’s tomb to be constructed in Thessaloniki. This amount was
the basis for the construction of a national stadium in the city.
Its photomap, in 1962, provides a unique representation of the
surrounding area: On the upper left part, above the playground,
the military facilities around the 424 General Military Hospital
stretch. On the upper right part, there lies the Aghia Photini
quarter and behind that the Thessaloniki International Fair.
Kaftatzoglio Stadium, 1962
Kaftatzoglio Stadium 31.5.1962
Δ ∞ ∂ ƒ ° ∞106
T H E S S A L O N I K I 241k
T H E W O R K S 106
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏242k
ΔÔ 1960 ‰ËÌÈÔ˘ÚÁ‹ıËÎÂ Ë ÔÚÁ·ÓˆÌ¤ÓË Ï·˙ Ù˘ ·ÎÙ‹˜ £ÂÚÌ·˚ÎÔ‡,
Ì ÙËÓ ÂÏ›‰· fiÙÈ ı· ÚÔÛ‹Ï΢ ÙÔ˘Ú›ÛÙ˜ Ô˘ ‰ÂÓ ¤‚ÚÈÛÎ·Ó ÔÚÁ·-
ӈ̤ÓÔ ÙfiÔ ÁÈ· ı·Ï¿ÛÛÈ· ÏÔ˘ÙÚ¿ ÎÔÓÙ¿ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ø˜ ȉ·-
ÓÈÎfi˜ ÙfiÔ˜ ÁÈ· ÙËÓ ÂÁηٿÛÙ·Û‹ Ù˘ ÂÈϤ¯ıËΠ¤ÎÙ·ÛË Ô˘ ·Ó‹-
ΠÛÙÔ ‰ËÌfiÛÈÔ, ÎÔÓÙ¿ ÛÙÔ ÚÔÛÊ˘ÁÈÎfi ¯ˆÚÈfi ·ÏȤˆÓ ∞Á›· ΔÚÈ¿‰·,
ÙÔ ÔÔ›Ô ‹‰Ë ·ÔÙÂÏÔ‡Û ı¤ÚÂÙÚÔ ÁÈ· ÙÔ˘˜ £ÂÛÛ·ÏÔÓÈΛ˜.
ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜
ΔÔ˘ÚÈÛÙÈ΋ Ï·˙ ∞Á›·˜ ΔÚÈ¿‰Ô˜ 20.5.1969
In 1960 the organized beach of the Thermaikos coast was
established, with the hope to attract tourists who could not find
an organized place to swim close to Thessaloniki. As the ideal
place for such an establishment a public plot was chosen, close
to the refugees’ fishing village "Aghia Triada", which was
already a holiday resort for the citizens of Thessaloniki.
The tourist beach of Aghia Triada
The tourist beach of Aghia Triada 20.5.1969
Δ ∞ ∂ ƒ ° ∞107
T H E S S A L O N I K I 243k
T H E W O R K S 107
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏244k
∏ ∂ÏÏËÓÈ΋ μÈÔÌ˯·Ó›· ∑¿¯·Ú˘ ∞.∂. ȉڇıËΠÙÔ 1960, Ì ÛÙfi¯Ô
ÙËÓ ·Ú·ÁˆÁ‹ ˙¿¯·Ú˘ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÙËÓ ˘ÔηٿÛÙ·ÛË ÙˆÓ
ÂÈÛ·ÁˆÁÒÓ. ΔÔ 1961 ÏÂÈÙÔ‡ÚÁËÛ ÙÔ ÚÒÙÔ ˙·¯·ÚÔ˘ÚÁÂ›Ô ÛÙË
§¿ÚÈÛ· Î·È ÙÔ 1962 ÙÔ ‰Â‡ÙÂÚÔ ÛÙÔ ¶Ï·Ù‡. °È· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘
ÂÚÁÔÛÙ·Û›Ô˘ ·fi ÙÔÓ ∞ÏÈ¿ÎÌÔÓ· ηٷÛ΢¿ÛÙËΠÂȉÈÎfi ·Ú‰Â˘ÙÈÎfi
‰›ÎÙ˘Ô.
∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· ÁÈ· ÙËÓ ˘‰ÚÔ‰fiÙËÛË ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ Ù˘ ˙¿¯·Ú˘ ÛÙÔ ¶Ï·Ù‡, 1962
£ÂÛÛ·ÏÔÓ›ÎË-¢ÈÒÚ˘Í
The Greek Sugar Industry SA. was established in 1960, in order
sugar to be produced in Greece and imports to be replaced. In
1961, the first sugar plant operated in Larissa and in 1962 the
second one in Platy. A special irrigation network from the
Aliakmonas River was constructed for the water supply of the
plant.
An irrigation canal for the water supply of the sugarhouse at Platy, 1962
Thessaloniki-Canal
Δ ∞ ∂ ƒ ° ∞108
T H E S S A L O N I K I 245k
T H E W O R K S 108
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏246k
ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ·ÂÚÔ‰ÚÔÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢ ηٷÛ΢¿ÛÙËΠÙÔ 1965,
¤ÙÔ˜ ÛÙÔ ÔÔ›Ô ı· Ú¤ÂÈ Ó· ¯ÚÔÓÔÏÔÁËıÔ‡Ó ÔÈ ‰‡Ô ·˘Ù¤˜ Ï‹„ÂȘ.
∞Ó Î·È Î·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ ¤ÚÁÔ˘ Ë ·ÂÚÔÔÚÈ΋ ΛÓËÛË Ù˘ £ÂÛ-
Û·ÏÔӛ΢ ‹Ù·Ó ÂÚÈÔÚÈṲ̂ÓË, ÔÈ ‰È·ÛÙ¿ÛÂȘ ÙÔ˘ ·Ô‰Â›¯ıËηÓ
Û‡ÓÙÔÌ· ÌÈÎÚfiÙÂÚ˜ ·fi ÙȘ ·Ó·Ù˘ÛÛfiÌÂÓ˜ ·Ó¿ÁΘ. ΔÔ 1970
·ÔÊ·Û›ÛÙËÎÂ Ë Â¤ÎÙ·Û‹ ÙÔ˘.
∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢, 1965
∞ÂÚÔÏÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢
The building of the airport of Thessaloniki was constructed in
1965 – the year in which these two shots should be placed.
Although during the planning of the project the air traffic of
Thessaloniki was limited, its size was soon to be proved less
than the ever expanding needs. In 1970 its expansion was
decided.
The Airport of Thessaloniki, 1965
The Airport of Thessaloniki
Δ ∞ ∂ ƒ ° ∞109 & 110
T H E S S A L O N I K I 247k
T H E W O R K S 109 & 110
110
109
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏248k
Ÿˆ˜ ÚԷӷʤÚıËÎÂ, Ô ÛÙ·ıÌfi˜ ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1962. √ Ù‡Ô˜
ÙˆÓ ·˘ÙÔÎÈÓ‹ÙˆÓ, Ù· ‰È·ÊËÌÈ˙fiÌÂÓ· ÚÔ˚fiÓÙ· Î·È ÔÈ ·ÌÊȤÛÂȘ
‰ËÌÈÔ˘ÚÁÔ‡Ó, ¿ÓÙˆ˜, ÙËÓ ˘Ô„›· fiÙÈ Ë Ï‹„Ë Â›Ó·È Ï›ÁÔ ÚÔÁÂÓ¤-
ÛÙÂÚË ·fi ÙÔ 1967.
™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ÛÙ·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢, ÂÚ› ÙÔ 1962
31.12.1967
As mentioned previously, the railway station was inaugurated in
1962. However, the type of the vehicles, the products
advertised and the outfits suggest that the shot has been
taken some time before 1967.
The railway station ofThessaloniki, at about 1962
31.12.1967
Δ ∞ ∂ ƒ ° ∞111
T H E S S A L O N I K I 249k
T H E W O R K S 111
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏250k
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢ ¿Ú¯ÈÛ ӷ ηٷÛ΢¿˙ÂÙ·È ÙÔ 1955
Û ÙÔÔıÂÛ›· ÌÂÁ¿Ï˘ Ê˘ÛÈ΋˜ ˆÚ·ÈfiÙËÙ·˜, ÛÙÔ ∫·Ú·ÌÔ˘ÚÓ¿ÎÈ
(ªÈÎÚfi ŒÌ‚ÔÏÔ), Î·È ÔÏÔÎÏËÚÒıËΠÙÔ 1960.
ΔÔ ·Ó¿ÎÙÔÚÔ Ù˘ £ÂÛÛ·ÏÔӛ΢
∫˘‚ÂÚÓ›ÔÓ 23.12.1967
The palace of Thessaloniki started being built in 1955 on a site
of great natural beauty, at Karabournaki (Small Clot), and
finished in 1960.
The palace of Thessaloniki
Kivernio (i.e. Government House) 23.12.1967
Δ ∞ ∂ ƒ ° ∞112
T H E S S A L O N I K I 251k
T H E W O R K S 112
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏252k
∏ ۇ̂·ÛË Ù˘ ÂÏÏËÓÈ΋˜ ΢‚¤ÚÓËÛ˘ Ì ÙËÓ ÂÙ·ÈÚ›· Esso (ı˘Á·-
ÙÚÈ΋ Ù˘ Exon) Î·È ÙÔÓ ÂȯÂÈÚËÌ·Ù›· ΔÔÌ ¶¿·˜ ÁÈ· ÙË ‰ËÌÈÔ˘Ú-
Á›· ‰È˘ÏÈÛÙËÚ›Ô˘ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË Î·Ù·ÚÙ›ÛÙËΠÙÔÓ √ÎÙÒ‚ÚÈÔ ÙÔ˘
1962. ΔÔ Û˘ÁÎÚfiÙËÌ· ıÂÌÂÏÈÒıËΠÛÙȘ 10 ª·˝Ô˘ 1964, ·ÊÔ‡
ÚÔËÁÔ˘Ì¤Óˆ˜ ÔÈ ÂÂÓ‰˘Ù¤˜ ·ÁfiÚ·Û·Ó 6.000 ÛÙÚ¤ÌÌ·Ù· ·ÁÚÔÙÈ΋˜
Á˘ ÛÙ· ¢È·‚·Ù¿ Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ ÂÙ·ÈÚ›· ÃËÌÈη› μÈÔÌ˯·Ó›·È
μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ Û˘ÛÙ‹ıËΠÙÔ 1962. ΔÔ ÂÚÁÔÛÙ¿ÛÈÔ ‰ËÌÈÔ˘ÚÁ‹-
ıËΠÛÙÔ ¯ˆÚÈfi ¢È·‚·Ù¿ (‹‰Ë Û˘ÓÔÈÎÈÛÌfi Ù˘ £ÂÛÛ·ÏÔӛ΢) ηÈ
¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ 1966.
Esso Pappas, 1965 ‹ 1966
ΔÔ ¢È¸ÏÈÛÙ‹ÚÈÔÓ £ÂÛÛ·ÏÔӛ΢ ˘fi ·Ó¤ÁÂÚÛÈÓ. ŸÈÛıÂÓ ·È ÂÁηٷÛÙ¿ÛÂȘÏÈ·ÛÌ¿ÙˆÓ Ù˘ ∞.∂. ÃËÌÈη› μÈÔÌ˯·Ó›·ÈμÔÚ›Ԣ ∂ÏÏ¿‰Ô˜
The contract of the Greek government with the Esso Company
(a subsidiary of Exon) and the business Tom Pappas for the
establishment of a refinery at Thessaloniki was signed in
October 1962. The foundations of the plant were laid on 10 May
1964, after the investors had bought 6.000.000 m2 of rural
land at Diavata of Thessaloniki. The company Chemical
Industries of Northern Greece was formed in 1962. The plant
was established at the village of Diavata (already a quarter of
Thessaloniki) and started operating in 1966.
Esso Pappas, 1965 ‹ 1966
The Refinery of Thessaloniki underconstruction. Behind it, there is the fertilizersplant of the Chemical Industries of NorthernGreece SA.
Δ ∞ ∂ ƒ ° ∞113
T H E S S A L O N I K I 253k
T H E W O R K S 113
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏254k
ΔÔ ‰È˘ÏÈÛÙ‹ÚÈÔ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ ª¿ÈÔ ÙÔ˘ 1966. ∞̤ۈ˜
ÌÂÙ¿ ÙËÓ ¤Ó·ÚÍË ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘, ÍÂΛÓËÛ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ·Ì̈ӛ·˜
Î·È Ô ·ÙÌÔηٷχÙ˘, Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Û ÙË Ó¿Êı· ·fi ÙÔ ‰È˘ÏÈ-
ÛÙ‹ÚÈÔ ÁÈ· ÙËÓ ·Ú·ÁˆÁ‹ ·Èı˘ÏÂÓ›Ô˘, ÚÔ˚fiÓ ·Ó·Áη›Ô ÁÈ· ÙÔ ÂÚÁÔ-
ÛÙ¿ÛÈÔ Ù˘ «∂ı‡Ï», ÙÔ ÔÔ›Ô ÂÁηÈÓÈ¿ÛÙËΠÙËÓ ÂfiÌÂÓË ¯ÚÔÓÈ¿ ÛÙË
£ÂÛÛ·ÏÔÓ›ÎË.
ΔÔ Û˘ÁÎÚfiÙËÌ· Ù˘ Esso Pappas, 1966
ESSO PAPPAS PETROLEUM REFINERY.This modern petroleum refinery is a basicunit of the Esso Pappas industrial complex in Thessaloniki. With a capacity to process2.5 million tones of crude per year, itproduces regular and premium gasoline,liquefied petroleum-gas (LPG), naphtha,aviation fuels, diesel oil, heating oils andasphalt
The refinery started operating in May 1966. Immediately after
the start of its operation, the ammonia plant started operating
as well as the steam catalyst, which used the naphtha from the
refinery to produce ethylene – a product necessary for the
plant of "Ethyl", which was inaugurated the following year in
Thessaloniki.
The plant of Esso Pappas, 1966
ESSO PAPPAS PETROLEUM REFINERY.This modern petroleum refinery is a basicunit of the Esso Pappas industrial complex in Thessaloniki. With a capacity to process2.5 million tones of crude per year, itproduces regular and premium gasoline,liquefied petroleum-gas (LPG), naphtha,aviation fuels, diesel oil, heating oils andasphalt
Δ ∞ ∂ ƒ ° ∞114
T H E S S A L O N I K I 255k
T H E W O R K S 114
kkk
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™P H O T O M A P S
™ÙË Û‡Á¯ÚÔÓË ÂÚ›Ô‰Ô ÊˆÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ ·fi ·¤ÚÔ˜ Á›ÓÔÓÙ·È
Û˘Ó‹ıˆ˜ ÁÈ· ÙËÓ ·Ó¿‰ÂÈÍË Î·È ÙËÓ ÚÔ‚ÔÏ‹ ÙÔ˘ ·ÂÈÎÔÓÈ˙fiÌÂÓÔ˘
ÙfiÔ˘. ¶·Ï·ÈfiÙÂÚ·, Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·Ó ·ÔÎÏÂÈÛÙÈο ÁÈ· ÂÈÛÙËÌÔ-
ÓÈÎÔ‡˜ Î·È ÛÙÚ·ÙȈÙÈÎÔ‡˜ ÛÎÔÔ‡˜: ÁÈ· ÎÙËÌ·ÙÔÏfiÁÈ· (‡„Ô˜ ˆ˜ 1.000
̤ÙÚ·), ÁÈ· ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù· (‡„Ô˜ 2.000-4.000 ̤ÙÚ·) ηÈ
ÁÈ· ÙÔÔÁÚ·ÊÈÎÔ‡˜ ¯¿ÚÙ˜ (¿Óˆ ÙˆÓ 5.000 ̤ÙÚˆÓ). √È Ï‹„ÂȘ ›ӷÈ
›Ù ηٷÎfiÚ˘Ê˜ ›Ù ÎÂÎÏÈ̤Ó˜ (˘fi ÁˆÓ›·), ÔfiÙ ·ÔηχÙÔ˘Ó
ηχÙÂÚ· ÙË ÌÔÚÊÔÏÔÁ›· ÙÔ˘ ‰¿ÊÔ˘˜.
√È ‰ËÌÔÛÈÂ˘Ì¤Ó˜ ÂÙ¿ ·ÂÚÔʈÙÔÁڷʛ˜ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÂÓÙÔ›-
˙ÔÓÙ·È Î·Ù¿ ÚÔÛ¤ÁÁÈÛË ÛÙËÓ ÂÚ›Ô‰Ô 1947-1970, Ì ¤ÌÊ·ÛË Ù·
¯ÚfiÓÈ· Á‡Úˆ ÛÙ· 1960, fiÙ·Ó Ë fiÏË ÁÓÒÚÈÛ fi¯È ·ÏÒ˜ ÌÂÁ¿Ï˜,
·ÏÏ¿ Î·È Ù·¯‡Ù·Ù˜ ÌÂÙ·‚ÔϤ˜.
°È· ÙËÓ ·ÎÚÈ‚‹ ¯ÚÔÓÔÏfiÁËÛË ÙˆÓ ÂÈÎfiÓˆÓ ÂÓÙÔ›˙Ô˘Ì ·ÏÏ·Á¤˜ Ô˘
·ÊÔÚÔ‡Ó ÎÙ›ÚÈ·, Ó·Ô‡˜, ÏÈÌÂÓÈΤ˜, ÛȉËÚÔ‰ÚÔÌÈΤ˜ Î·È ·ÓÂÈÛÙËÌÈ·-
Τ˜ ÂÁηٷÛÙ¿ÛÂȘ.
Nowadays, the photomaps are usually taken in order to
represent and show the site depicted. Previously, they were
taken exclusively for scientific and military purposes: for
cadastres (up to 1.000 meters altitude), topographic plans (2.000
- 4.000 meters altitude) as well as for topographic maps (over
5.000 meters altitude). These shots are either vertical or oblique
(inclination), in which case they reveal the land morphology even
better.
The seven photomaps of Thessaloniki that are included were
taken during the period 1947 – 1970; with emphasis on the years
around the 1960s, when the city underwent not only great, but
fast changes as well.
In order to exactly date the photographs, changes concerning
buildings, temples, as well as the port, the railway and the
university facilities are traced.
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™1
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏18k
™Ù· ·ÚÈÛÙÂÚ¿: Ô Î‡ÚÈÔ˜ fiÁÎÔ˜ Ù˘ ·Ï·È¿˜ fiÏ˘. ΔÔ ·Ú·ı·Ï¿ÛÛÈÔ
ÙÌ‹Ì· Ù˘ Â›Ó·È ÎÙÈṲ̂ÓÔ Ì ÙÔ Ó¤Ô ÔÏÂÔ‰ÔÌÈÎfi Û¯¤‰ÈÔ. ™Ù· ‰ÂÍÈ¿: Ë
ۯ‰fiÓ ·‰fiÌËÙË ÂÚÈÔ¯‹ Ô˘ ÌÂÛÔÏ·‚Ô‡Û ÌÂٷ͇ Ù˘ ·Ï·È¿˜
fiÏ˘ Î·È ÙˆÓ ·Ó·ÙÔÏÈÎÒÓ Û˘ÓÔÈÎÈÒÓ.
™ÙÔ Î¤ÓÙÚÔ Ù˘ ·Ï·È¿˜ fiÏ˘, Ë Ï·Ù›· ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (ÚÔ˜ ÙÔ
·ÚÈÛÙÂÚfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) ¤¯ÂÈ ·ÎfiÌË ÎÂÓ¿ ÔÈÎfi‰· (fiÔ˘ ÏÂÈ-
ÙÔ˘ÚÁÔ‡Ó ıÂÚÈÓÔ› ÎÈÓËÌ·ÙÔÁÚ¿ÊÔÈ). μÔÚÂÈfiÙÂÚ·, Ë Ï·Ù›· Ù˘
∞Ú¯·›·˜ ∞ÁÔÚ¿˜ ·Ú·Ì¤ÓÂÈ ÎÂÓ‹ Î·È ·‰È·ÚÚ‡ıÌÈÛÙË. ∫ÂÓ‹, ›Û˘,
ÛÙÔ ‡„Ô˜ Ù˘ ÚÔ‚Ï‹Ù·˜ ÙÔ˘ ÏÈÌ·ÓÈÔ‡, Ê·›ÓÂÙ·È Ë Ï·Ù›· ∂Ï¢ıÂ-
Ú›·˜.
¶ÚÔ˜ Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔÓÙ·È ÌfiÓÔ Ù· ÙÚ›· ·ÚÈ· ÎÙ›ÚÈ· Ù˘ ¢ÈÂıÓÔ‡˜
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.
H ·Ú›ıÌËÛË Ì ÌÂÁ¿Ï· ÛÙÔȯ›· ÛÙËÓ ÎÔÚ˘Ê‹ Ù˘ ÛÂÏ›‰·˜ ·ÓÙÈÛÙÔÈ-
¯Â› ÛÙÔÓ ·‡ÍÔÓÙ· ·ÚÈıÌfi οı ʈÙÔÁÚ·Ê›·˜ Ù˘ ·ÚÔ‡Û·˜ ¤Î‰Ô-
Û˘.
ΔÔ Î›ÌÂÓÔ ¿Óˆ ·fi ÙÔÓ Ù›ÙÏÔ Î¿ı ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Ô ·Ú¯ÈÎfi˜
˘ÔÌÓËÌ·ÙÈÛÌfi˜ Ô˘ ˘‹Ú¯Â ÛÙÔ ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜
°Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘.
Δhe pagination by large type at the top of each page
corresponds to the numbering of each photo in this publication.
The text above the title of each photo is the original caption as
it appeared in the Photography Archives of the Secretariat
General of Communication and the Secretariat General of
Information.
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢. ∏ Ï‹„Ë ¤ÁÈÓ ÙÔ 1951
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
On the left: the main tissue of the old city. Its littoral part is built
according to the new urban plan. On the right: the almost
unbuilt area between the old city and the eastern quarters.
In the centre of the old city, there is Aristotelous Square (in the
left part of the photograph) with still open sites (where summer
cinemas function). Northern, the Ancient Forum Square remains
open and un-landscaped. Also open, at the level of the port
wharf, is Eleftherias Square.
To the right, only the three buildings of the Thessaloniki
International Fair are traced, along with the AHEPA hospital (a
combination which allows dating). South of the International Fair
(on the right of the White Tower) the Royal Theatre rises.
Photomap of Thessaloniki.The shot was taken in 1951
P H O T O M A P S 1
T H E S S A L O N I K I 19k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™2
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏20k
™Â ÚÒÙÔ Ï¿ÓÔ, ‰ÂÍÈ¿, Ë ¶˘Ï·›·. ¶›Ûˆ Ù˘ Ë Δԇ̷, ·ÚÈÛÙÂÚ¿ Ô
Û˘ÓÔÈÎÈÛÌfi˜ ÷ÚÈÏ¿Ô˘. ¶ÈÔ ·ÚÈÛÙÂÚ¿, ηٿ Ì‹ÎÔ˜ Ù˘ ·ÎÙ‹˜, ÔÈ
Û˘ÓÔÈ˘ ·fi ÙÔ º¿ÏËÚÔ Ì¤¯ÚÈ ÙÔ μ˘˙¿ÓÙÈÔ. ∏ ¯ÚÔÓÔÏfiÁËÛË Û˘Ó¿-
ÁÂÙ·È ·fi ÙÔ Û¯‹Ì· ÙÔ˘ Î˘Ì·ÙÔıÚ·‡ÛÙË. ™Ù· Ù¤ÏË ÙÔ˘ 1950 ›¯Â
·ÔηٷÛÙ·ı› Ô ·Ï·Èfi˜ Î˘Ì·ÙÔıÚ·‡ÛÙ˘ (Ì‹ÎÔ˘˜ 550 ̤ÙÚˆÓ)
Î·È Â›¯Â ÚÔÛÙÂı› Ó¤Ô ÙÌ‹Ì· (650 ̤ÙÚˆÓ) Û ÁˆÓ›· 120 ÌÔÈÚÒÓ
ÂÚ›Ô˘. ÕÚ· Ë Ï‹„Ë ¤ÁÈÓ ÚÔ ÙÔ˘ 1950.
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ∞Ó·ÙÔÏÈ΋˜ £ÂÛÛ·ÏÔӛ΢,ÚÈÓ ·fi ÙÔ 1950
View of the town of Salonica and its plain
In the foreground, on the right, there stretches Pylaia. Behind
that, there is Toumpa and on the left the Charilaou quarter.
Further on the left, along the coast, there are the quarters
stretching from Faliro to Byzantio. The shape of the breakwater
is the basis for dating. In late 1950s, the old breakwater had
been restored (550 meters long) and a new section was added
(650 meters) in an angle of about 120 degrees. That means that
the shot was taken before 1950.
A photomap of the easternThessaloniki, before 1950
View of the town of Salonica and its plain
P H O T O M A P S 2
T H E S S A L O N I K I 21k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™3
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏22k
™ÙÔ Î¤ÓÙÚÔ Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ £ÂÚ¿ÔÓÙÔ˜ Î·È ÙÔ ‰ËÌÔÙÈÎfi Û¯ÔÏ›Ô.
∏ ÔÈÎÔ‰fiÌËÛË ÙÔ˘ Ó·Ô‡ Û˘Ó¯È˙fiÙ·Ó ÛÙË ‰ÂηÂÙ›· ÙÔ˘ 1950. ∏
¯ÚÔÓÔÏÔÁ›· 1962 ÂȂ‚·ÈÒÓÂÙ·È ÂÌ̤ۈ˜ ·fi ÙÔ ÁÂÁÔÓfi˜ fiÙÈ Ô
Ó·fi˜ Ê·›ÓÂÙ·È Ó· ¤¯ÂÈ ÂÚ·Ùˆı›.
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÚÔÛÊ˘ÁÈÎÔ‡ Û˘ÓÔÈÎÈÛÌÔ‡Ù˘ ∫¿Ùˆ Δԇ̷˜, 1962
¶ÚÔÛÊ˘ÁÈΤ˜ ηÙÔÈ˘, 17.1.62 / 9.4.62
In the centre, there is the temple of Aghios Therapontas and the
elementary school. The construction of the temple continued in
the 1950s. The date 1962 is indirectly confirmed by the fact
that the temple seems finished.
A photomap of the refugees’settlement at Kato Toumpa,1962
Refugees’ dwellings, 17.1.62 / 9.4.62
P H O T O M A P S 3
T H E S S A L O N I K I 23k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™4
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏24k
∏ ηٷÛ΢‹ ÙÔ˘ ÛÙ·ıÌÔ‡ ÍÂΛÓËÛ ÙÔ 1939, ‰È·ÎfiËΠÏfiÁˆ ÙÔ˘
ÔϤÌÔ˘ Î·È Í·Ó¿Ú¯ÈÛ ÙÔ 1949. ΔÔ 1951, ËÌÈÙÂÏ‹˜ ·ÎfiÌË, Ô ÛÙ·ı-
Ìfi˜ ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ›. √È ÂÚÁ·Û›Â˜ Û˘Ó¯›ÛÙËÎ·Ó Î·È ÂÁηÈÓÈ¿-
ÛÙËΠÂÈۋ̈˜ ÛÙȘ 4.2.1962. ™ÙËÓ Ï·Ù›· ÌÚÔÛÙ¿ ÛÙÔ ÛÙ·ıÌfi
‰È·ÎÚ›ÓÂÙ·È ·ÛÙÈÎfi ψÊÔÚ›Ô. ¢ÂÍÈ¿, Ô ÏÔÍfi˜ ‰ÚfiÌÔ˜ Â›Ó·È Ë Ô‰fi˜
∞Ó·ÁÂÓÓ‹Ûˆ˜, Ë ÔÔ›· ‰ÂÓ ¤¯ÂÈ ÛȉËÚÔ‰ÚÔÌÈΤ˜ ÁÚ·Ì̤˜, ¿Ú· Ë
Ï‹„Ë ¤ÁÈÓ ÌÂÙ¿ ÙÔ 1956. ∏ Ô‰fi˜ ªÔÓ·ÛÙËÚ›Ô˘ ‰ÂÓ ¤¯ÂÈ ‰È·Ï·Ù˘Ó-
ı›, ¿Ú· ›̷ÛÙ ÚÈÓ ·fi ÙÔ 1965. ∂›Û˘, ÔÈ ÎÙËÓÈ·ÙÚÈΤ˜ ÎÏÈÓÈΤ˜
(¿ÎÚÔ ‰ÂÍÈ¿) ÂÈÎÔÓ›˙ÔÓÙ·È Û ηٿÛÙ·ÛË Ô˘ Ì·˜ Ô‰ËÁ› ¯ÚÔÓÔÏÔÁÈ-
ο ÚÈÓ ·fi ÙÔ 1964. ªÂ ‚¿ÛË ·˘Ù¿ Ù· ‰Â‰Ô̤ӷ Î·È ÙËÓ ÔÌÔÈfiÙË-
Ù· ÛÙÔ ‡„Ô˜ Ì ÙËÓ ·ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ Δԇ̷˜, Ë Ï‹„Ë Ú¤ÂÈ
Ó· ¤ÁÈÓ ÙÔ 1962.
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ™È‰ËÚÔ‰ÚÔÌÈÎÔ‡ ™Ù·ıÌÔ‡ £ÂÛÛ·ÏÔӛ΢ Î·È Ù˘ ÂÚÈÔ¯‹˜ ÙÔ˘, 1962
ÕÙÈÙÏË
The construction of the railway station started in 1939; it
stopped because of the war and it was resumed in 1949. In
1951, still unfinished, the station started operating. The works
continued and it was officially inaugurated on 4.2.1962. On the
square in front of the station, a town bus appears. On the right,
the swerving street is Anageniseos Street, on which there are
no railways; this means that the shot was taken after 1956.
Monastiriou Street has not yet been widened; thus, it was taken
before the year 1965. In addition, the veterinary clinics (right
end) are presented in such a condition, which leads the dating
to the years before 1964. According to these facts and due to
the similarity – as far as the height is concerned – with the
photomap of Toumpa, this shot should have been taken in 1962.
A photomap of the RailwayStation of Thessaloniki and the surrounding area, 1962
Without Title
P H O T O M A P S 4
T H E S S A L O N I K I 25k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™5
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏26k
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓfi Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ
ΤÓÙÚÔ ÙÔ ÎÙ›ÚÈÔ ÙˆÓ ÙÚ·Â˙ÒÓ ∂ıÓÈ΋˜ Î·È ∂ÏÏ¿‰Ô˜ (Ì ٷ ‰‡Ô
ıÔψٿ ÎÙ›ÛÌ·Ù· ÛÙËÓ ÛÙ¤ÁË). ™Ù· ·ÚÈÛÙÂÚ¿ ÙÔ˘ Ù· ÎÙ›ÚÈ· ÙˆÓ ÚÒ-
ËÓ ÙÚ·Â˙ÒÓ ∞ıËÓÒÓ Î·È μÈÔÌ˯·Ó›·˜ (Ì ÙËÓ Î·ı’ ‡„Ô˜ ¤ÎÙ·ÛË).
ŒÂÙ·È ÙÔ Ì¤Á·ÚÔ ∫fiÊÊ·. ™ÙÔ ·ÚÈÛÙÂÚfi οو ¿ÎÚÔ Ù˘ ʈÙÔÁÚ·-
Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È Ë ÛÙ¤ÁË ÙÔ˘ ÌÂÁ¿ÚÔ˘ «μÈÎÙfiÚÈ·» Î·È ÛÙ· ‰ÂÍÈ¿ ÙÔ˘
ÙÔ Ì¤Á·ÚÔ ¢ÚfiÛÔ˘ (∞ÊÔ› §·ÌÚfiÔ˘ÏÔÈ, ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫ÔÌÓË-
ÓÒÓ). Δ· ÎÙ›ÚÈ· ·˘Ù¿ ÔÚ›˙Ô˘Ó ÙËÓ ÔÚ›· Ù˘ Ô‰Ô‡ ΔÛÈÌÈÛ΋, Ë ÔÔ›·
ÛÙ·Ì·Ù¿ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫·ÙÔ‡ÓË (‰ÂÓ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› ·ÎfiÌË
Ë ÌÂÙ¤ÂÈÙ· Ô‰fi˜ ¶ÔÏ˘Ù¯Ó›Ԣ). ™ÙÔ ·ÚÈÛÙÂÚfi ̤ÛÔ Ù˘ ʈÙÔÁÚ·-
Ê›·˜ Ë ÚÒÙË ÚÔ‚Ï‹Ù· ÙÔ˘ ÏÈÌ·ÓÈÔ‡ Î·È ÛÙÔ Ï¿È Î·È ‰ÂÍÈ¿ Ù˘ Ë
Ï·Ù›· ∂Ï¢ıÂÚ›·˜, Ì ϛÁ· ÛÙ·ıÌÂ˘Ì¤Ó· ·˘ÙÔΛÓËÙ·. ™ÙÔ Ì¤ÛÔ Ù˘
ÂÈÎfiÓ·˜ ÙÔ ÙÂψÓÂ›Ô ÙÔ˘ 1910 (Ó˘Ó ÂÈ‚·ÙÈÎfi˜ ÂÌÔÚÂ˘Ì·ÙÈÎfi˜
ÛÙ·ıÌfi˜). ¢È·ÎÚ›ÓÔÓÙ·È Â›Û˘ Ë ‰Â‡ÙÂÚË Î·È Ë ÙÚ›ÙË ÚÔ‚Ï‹Ù·
(§·ÓÁηۿÈÚ). ™ÙÔ ‰ÂÍÈfi οو ̤ÚÔ˜ Ë ·Ó·ÙÔÏÈ΋ fi„Ë ÙÔ˘ ∞Á›Ô˘
ªËÓ¿.
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi∫ÔÌÓËÓÒÓ Ì¤¯ÚÈ ÙË ÛËÌÂÚÈÓ‹ Ô‰fi ™·Ï·Ì›ÓÔ˜), 1959
°ÂÓÈ΋ ¿Ô„Ë ÙÔ˘ ÏÈÌ·ÓÈÔ‡ ʈÙÔÁÚ·ÊË̤ÓË ·fi ·ÂÚÔÏ¿ÓÔ, 1959
The dating corresponds to the content of the photograph. In the
centre, there is the building of the National Bank of Greece and
the Hellenic Bank (with the two vaulted constructions on the
roof). On its left side, the buildings of the former Bank of Athens
and Industrial Bank (extended in height). Then, there follows the
Koffa edifice. On the lower left corner of the photograph, one
can distinguish the roof of the "Victoria" building, on the right
side of which, there is the Drossos edifice (Lampropouli Bros, at
the level of Komninon Street). These buildings delimit the
course of Tsimiski Street, which stops at the level of Katouni
Street (the later Polytechniou Street has not yet been
constructed). To the left middle of the photograph, there is the
first wharf of the port; while immediately on its right, there is
Eleftherias Square, where a few cars are parked. In the middle
of the photo, there stands the customs of 1910 (the
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.
A photomap of the centralmarket of Thessaloniki (from Komninon Street to the contemporary Salaminos Street), 1959
An overall view of the port taken from an airplane, 1959
P H O T O M A P S 5
T H E S S A L O N I K I 27k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™6
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏28k
∏ ¯ÚÔÓÔÏfiÁËÛË Û˘ÌʈÓ› Ì ÙÔ ÂÚȯfiÌÂÓÔ Ù˘ ʈÙÔÁÚ·Ê›·˜. ™ÙÔ
ÏÈÌ¿ÓÈ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› Î·È Ë Ù¤Ù·ÚÙË ÚÔ‚Ï‹Ù· (Ì ÙÔ ÛÈÏfi: ÛÙÔ
¿Óˆ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· Ù˘ ÂÈÎfiÓ·˜) Î·È ¤¯ÂÈ ·Ú¯›ÛÂÈ Ë Î·Ù·Û΢‹ Ù˘
¤ÌÙ˘. ™Â ÚÒÙÔ Ï¿ÓÔ Ë Ô‰fi˜ ∞ÚÈÛÙÔÙ¤ÏÔ˘˜ (·ÚÈÛÙÂÚ¿ Ë Ù·˘ÙÒ-
Ó˘ÌË Ï·Ù›· Ì ÙÔÓ ıÂÚÈÓfi ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ «∏χÛÈ·»). ΔÔ ÌÂÛ·›Ô
ÙÌ‹Ì· Ù˘ ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Û˘ÁÎÚ›ÛÈÌÔ Ì ÙÔ ÌÂÛ·›Ô ÙÌ‹Ì· Ù˘
ÚÔËÁÔ‡ÌÂÓ˘: Δ· ÂÚÈÛÛfiÙÂÚ· ÎÙ›ÚÈ· ¤¯Ô˘Ó ηÙ‰·ÊÈÛÙ› Î·È ·ÓÔÈ-
ÎÔ‰ÔÌËı› ‹ ÂÂÎÙ¿ıËÎ·Ó Î·ı’ ‡„Ô˜.
∞ÂÚÔʈÙÔÁÚ·Ê›· ÙÔ˘ ÂÌÔÚÈÎÔ‡ ΤÓÙÚÔ˘ Ù˘ £ÂÛÛ·ÏÔӛ΢ (·fi ÙËÓ Ô‰fi∞ÚÈÛÙÔÙ¤ÏÔ˘˜ ̤¯ÚÈ ÙËÓ Ù¤Ù·ÚÙËÏÈÌÂÓÈ΋ ÚÔ‚Ï‹Ù·) 1970
§ÈÌ¿ÓÈ 24.12.1970
The dating corresponds to the content of the photograph. The
fourth wharf has already been constructed in the port (along
with the silo: in the upper middle of the photo); while the
construction of the fifth wharf has already begun. In the
foreground, there is Aristotelous Street (on the left, there is the
homonymous square, along with the summer cinema "Ilysia").
The middle part of the photograph is comparable to the central
part of the previous photo: Most buildings have been
demolished and rebuilt or extended in height.
A photomap of the centralmarket of Thessaloniki (from Aristotelous Street to the fourth wharf) 1970
The port 24.12.1970
P H O T O M A P S 6
T H E S S A L O N I K I 29k
∞ ∂ ƒ √ º ø Δ √ ° ƒ ∞ º π ∂ ™7
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏30k
∏ Ï‹„Ë Î·Ï‡ÙÂÈ ÙÔ ¯ÒÚÔ ·fi ÙËÓ Ô‰fi ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ (οو)
̤¯ÚÈ ÙËÓ ·ÎÙ‹. ™ÙÔ Î¤ÓÙÚÔ Ù˘ ÂÈÎfiÓ·˜ ‰ÂÛfi˙Ô˘Ó Ù· ÎÙ›ÚÈ· ÙˆÓ
Û¯ÔÏÒÓ Ô˘ Û¯ËÌ·Ù›˙Ô˘Ó ÙÂÙÚ¿ÁˆÓÔ (Û ·Ú¤ÓıÂÛË ÙÔ ¤ÙÔ˜ ÏÂÈ-
ÙÔ˘ÚÁ›·˜): ¡√∂ (1967 ÙÔ ‰ÂÍÈfi ÙÌ‹Ì·, 1972 ÙÔ Û‡ÓÔÏÔ), ºÈÏÔÛÔÊÈ-
΋˜ (1973), £ÂÔÏÔÁÈ΋˜ (1971) Î·È ÙÔ ÎÙ›ÚÈÔ ¢ÈÔÈ΋Ûˆ˜ (1969). ™Ù·
·ÚÈÛÙÂÚ¿ Ë ÎÂÓÙÚÈ΋ ·ÓÂÈÛÙËÌȷ΋ ‚È‚ÏÈÔı‹ÎË (1974). ™ÙÔ Ì¤ÛÔ
Ù˘ ÂÈÎfiÓ·˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÁÏ˘Ùfi ÙÔ˘ °. ∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÛÙËÓ
‡ÏË Ù˘ ¢∂£ Ù˘ Ï·Ù›·˜ ™ÈÓÙÚÈ‚·Ó›Ô˘ (ÙÔÔıÂÙ‹ıËΠÙÔ 1966).
∂›Û˘, ¤¯ÂÈ ÔÏÔÎÏËÚˆı› Ë Â¤ÎÙ·ÛË ÙˆÓ ¯ÒÚˆÓ Ù˘ ¢∂£ ÚÔ˜ ÙËÓ
∂ÁÓ·Ù›·, fiˆ˜ Î·È Ë Â¤ÎÙ·ÛË ÙˆÓ ÁÚ·Ê›ˆÓ ‰ÈÔÈ΋Ûˆ˜ (1969).
∞ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ Î·È Ù˘ ¢∂£, 1970
ÕÙÈÙÏË
The shot covers the space from Aghiou Dimitriou Street (its
lower part) to the waterfront. In the middle of the photograph,
the university buildings in a square arrangement predominate
(in a parenthesis the year of operation): School of Law &
Economics (1967 the right part, 1972 the whole campus), School
of Philosophy (1973), School of Theology (1971) and the building
of the Administration Office (1969). On the left, there is the
Central Library of the University (1974). In the middle of the
photograph, one can see Mr. G. Zoggolopoulos’s sculpture at
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).
A photomap of the universitycampus and the ThessalonikiInternational Fair, 1970
Without Title
P H O T O M A P S 7
T H E S S A L O N I K I 31k
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏256k
8, 9, 10, 11, 12, 13, 21, 22, 23, 24, 37, 38, 39, 40, 68,
84, 85, 87, 92, 93, 94, 97.
29, 49, 66, 88, 89, 95, 96, 98, 100, 101.
2, 14, 16, 25, 26, 27, 28, 69, 70, 71, 72, 80.
1, 5, 17, 20, 30, 32, 33, 34, 50, 73, 75, 76, 77, 79, 81,
86, 91, 99, 103, 104.
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.
6, 7, 15, 18, 19, 36, 44, 57, 60, 61, 62, 63, 90.
à ƒ √ ¡ √ § √ ° π ∫ ∏ ∫ ∞ Δ ∞ Δ ∞ • ∏ º ø Δ √ ° ƒ ∞ º π ø ¡
C H R O N O L O G I C A L L I S T I N G O F P H O T O G R A P H S
1890-1917
1918-1939
1940-1949
1950-1959
1960-1969
1970-1980
T H E S S A L O N I K I 257k
;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·ÏÔÓ›-
΢, £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˘: ∏ ʈÙÔ-
ÁÚ·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.
;μÂϤÓ˘ °., Δ· Ù›¯Ë Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË 1998.
;°Ô‡Ó·Ú˘ μ., 1884, ÂÓÙfi˜ ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘. ΔÔ ˙‹ÙËÌ· Ù˘ ÌÂÙÔÓÔ-
Ì·Û›·˜ ÙÔ˘ ¶‡ÚÁÔ˘ ÙÔ˘ ∞›Ì·ÙÔ˜, £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ/°Ú·Ê¤˜ ηÈ
¶ËÁ¤˜ 6000 ¯ÚfiÓˆÓ, Ù¯. 1, £ÂÛÛ·ÏÔÓ›ÎË 1997, 100-105
;¢ËÌËÙÚÈ¿‰Ë˜ μ., ∏ ÙÔÔÁÚ·Ê›· Ù˘ £ÂÛÛ·ÏÔӛ΢ ηٿ ÙËÓ ÂÔ¯‹ Ù˘
ΔÔ˘ÚÎÔÎÚ·Ù›·˜ 1430-1912, £ÂÛÛ·ÏÔÓ›ÎË 1983.
;¢‹ÌÔ˜ £ÂÛÛ·ÏÔӛ΢ & ∂ıÓÈÎfi ∫¤ÓÙÚÔ Ã·ÚÙÒÓ Î·È Ã·ÚÙÔÁÚ·ÊÈ΋˜
∫ÏËÚÔÓÔÌÈ¿˜ – ∂ıÓÈ΋ ÷ÚÙÔı‹ÎË: ÿÚÙ˜ ÔÏ‡Ê˘ÏÏÔÈ Ù˘ £ÂÛÛ·ÏÔÓ›-
΢, ·ÂÈÎÔÓ›ÛÂȘ Ù˘ fiÏ˘ Û ÌÂÁ¿ÏË Îϛ̷η, Ù¤ÏË 19Ô˘ –·Ú¯¤˜ 20Ô‡
·È., £ÂÛÛ·ÏÔÓ›ÎË 2006.
;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏
;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
;Velenis G., The walls of Thessaloniki, Thessaloniki 1998
;Gounaris μ., 1884, in the White Tower. The issue of the Blood Tower
renaming, Thessalonikeon Polis/ Scriptures and Sources 6000
years old, issue 1, Thessaloniki 1997, 100 – 105
;Dimitriadis μ., The topography of Thessaloniki during the ottoman
occupation 1430 – 1912, Thessaloniki 1983
;Municipality of Thessaloniki & National Map & Cartographic
Inheritance Centre – National Map Archive: Multi-leaved maps of
Thessaloniki, large scale representations of the city, late 19th –
early 20th century, Thessaloniki 2006
;National Bank of Greece/ Cultural Centre of Northern Greece,
μ π μ § π √ ° ƒ ∞ º π ∞B I B L I O G R A P H Y
μ π μ § π √ ° ƒ ∞ º π ∞
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏258k
£ÂÛÛ·ÏÔÓ›ÎË ÛÙÔ ÌÂÙ·›¯ÌÈÔ ‰‡Ô ·ÈÒÓˆÓ: ¶ÚÔÛ¤ÁÁÈÛË ÛÙËÓ fiÏË Ì¤Û·
·fi ·ÏȤ˜ ηÚÙÔÛÙ¿Ï (1896-1913) [™˘ÏÏÔÁ‹ μ. ∞. ª·˘ÚÔÌÌ¿ÙË],
£ÂÛÛ·ÏÔÓ›ÎË 1990.
;∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ / ¶ÔÏÈÙÈÛÙÈÎfi ∫¤ÓÙÚÔ μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜, ∏
£ÂÛÛ·ÏÔÓ›ÎË Ì¤Û· ·fi ÙÔ Ê·Îfi ÙÔ˘ ªÂÁ¿ÏÔ˘ ¶ÔϤÌÔ˘: ºˆÙÔÁڷʛ˜
Ù˘ ™ÙÚ·ÙÈ¿˜ Ù˘ ∞Ó·ÙÔÏ‹˜ (1915-1919), £ÂÛÛ·ÏÔÓ›ÎË 1991.
;∂Ï¢ı¤Ú· ∑ÒÓË & §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢, √ §ÈÌ‹Ó £ÂÛÛ·ÏÔӛ΢ 1925-
1960, £ÂÛÛ·ÏÔÓ›ÎË 1960.
;∫·Ú·‰‹ÌÔ˘-°ÂÚfiÏ˘ÌÔ˘ ∞ÏÂÍ¿Ó‰Ú·, ∏ ·ÓÔÈÎÔ‰fiÌËÛË Ù˘ £ÂÛÛ·ÏÔÓ›-
΢ 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·ÏÔÓ›-
΢ 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
πÛÙÔÚÈÎfi ™˘Ó¤‰ÚÈÔ (29-31 ª·˝Ô˘ 1992) ¶Ú·ÎÙÈο, £ÂÛÛ·ÏÔÓ›ÎË 1993.
;ª·ÓÙÔÔ‡ÏÔ˘-¶·Ó·ÁȈÙÔÔ‡ÏÔ˘ £. & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂È-
¯ÂÈÚËÌ·ÙÈÎfiÙËÙ·˜ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. ∏ √ıˆÌ·ÓÈ΋ ¶ÂÚ›Ô‰Ô˜, ∫ÙËÌ·ÙÔ-
ÏÔÁÈΤ˜ ¶ËÁ¤˜. Δ¤ÏË 19Ô˘, ·Ú¯¤˜ 20Ô‡ ·ÈÒÓ·, £ÂÛÛ·ÏÔÓ›ÎË 2004.
;√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.
Thessaloniki on the turn of two centuries: An approach of the city
through old postcards (1896 – 1913) [Mr. V. A. Mavromatis’s
collection], Thessaloniki 1990
;National Bank of Greece/ Cultural Centre of Northern Greece,
Thessaloniki through the camera of the Great War: Photographs of
the Army of the East (1915 – 1919), Thessaloniki 1991
;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
;Nr. F. Makris – Mr. Ch. Papadimitriou, "The Old Government House of
Thessaloniki consecutive phases of ownership (1915 – 1948)", 13th
Pan-Hellenic Conference of History (29 – 31 May 1992)
Proceedings, Thessaloniki 1993
;Mrs. Th. Mantopoulou – Panagiotopoulou & Mr. E. Hekimoglou, The
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Cadastral Sources. Late 19th, early 20th century, Thessaloniki
2004
;Port of Thessaloniki Organization, Bulletin, Thessaloniki 2004
T H E S S A L O N I K I 259k
;¶··‰ËÌËÙÚ›Ô˘ ¢., «ΔÔ ÙÚ·›ÓÔ Ù˘ ª›ÎÚ·˜ ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ªÂÁ¿ÏÔ˘
¶ÔϤÌÔ˘ (1915-1918)», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 13 (π·ÓÔ˘¿ÚÈÔ˜-
ª¿ÚÙÈÔ˜ 2004) 84-95.
;¶··˙ÒÙÔ˜ £., «ΔÔ „ËÊȉˆÙfi ÙˆÓ ÎÙËÙfiÚˆÓ ÙÔ˘ ∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘ £ÂÛ-
Û·ÏÔӛ΢», ª·Î‰ÔÓÈο, ¶·Ú¿ÚÙËÌ· ·Ú. 5, ∞ÊȤڈ̷ ÛÙË ÌÓ‹ÌË ™Ù˘-
ÏÈ·ÓÔ‡ ¶ÂÏÂηӛ‰Ë, £ÂÛÛ·ÏÔÓ›ÎË 1983 365-376.
;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ ¯·Ì¤ÓË Â˘Î·ÈÚ›· ÁÈ· ÔÈÎÔÓÔÌÈ΋
·˘Ù¿ÚÎÂÈ· ÙÔ˘ ·ÓÂÈÛÙËÌ›Ô˘ £ÂÛÛ·ÏÔӛ΢: ∏ ÂÚÈÔ˘Û›· Ù˘ › ÙÔ˘Ú-
ÎÔÎÚ·Ù›·˜ ÂÏÏËÓÈ΋˜ ÎÔÈÓfiÙËÙÔ˜», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 7 (ª¿ÚÙÈÔ˜
2002) 33-46.
;¶··ÛÙ¿ı˘, Ã. & ÃÂΛÌÔÁÏÔ˘ ∂., «∏ £ÂÛÛ·ÏÔÓ›ÎË Ù˘ ˘ÚηÁÈ¿˜ 18-
19 ∞˘ÁÔ‡ÛÙÔ˘ 1917», £ÂÛÛ·ÏÔÓÈΤˆÓ ¶fiÏȘ Ù¯. 11, (™Â٤̂ÚÈÔ˜ 2003)
11-77.
;ƒÔ‡· ∂˘ÊÚÔÛ‡ÓË & ÃÂΛÌÔÁÏÔ˘ ∂., πÛÙÔÚ›· Ù˘ ∂ȯÂÈÚËÌ·ÙÈÎfiÙËÙ·˜
ÛÙË £ÂÛÛ·ÏÔÓ›ÎË, 1900-1940. √È ÌÂÁ¿Ï˜ ÂȯÂÈÚ‹ÛÂȘ Î·È ÔÈ ÂȯÂÈÚË-
Ì·ÙÈΤ˜ ÔÈÎÔÁ¤ÓÂȘ, £ÂÛÛ·ÏÔÓ›ÎË 2004.
;™·‚‚·˝‰Ë˜ ¶. & ª·Ó٤Ϸ˜ ∞., ¶fiÏȘ ¶·ÓÂÈÛÙËÌ›Ô˘ ¶fiÏȘ: ∏ ÈÛÙÔÚ›·
ÙÔ˘ ¯ÒÚÔ˘ Ù˘ ¶·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ ÙÔ˘ ∞¶£ ̤۷ ·fi ¯¿ÚÙ˜ ηÈ
ÙÔÔÁÚ·ÊÈο ‰È·ÁÚ¿ÌÌ·Ù·, £ÂÛÛ·ÏÔÓ›ÎË 2000.
;™‡ÏÏÔÁÔ˜ ∞ÁÚÔÓfiÌˆÓ ΔÔÔÁÚ¿ÊˆÓ ªË¯·ÓÈÎÒÓ μfiÚÂÈ·˜ ∂ÏÏ¿‰·˜, £ÂÛ-
Û·ÏÔÓ›ÎË ÛÙÔ˘˜ ¯¿ÚÙ˜, £ÂÛÛ·ÏÔÓ›ÎË 19085.
;Δ˙ÈÔ‡Ù˙È· ∂ϤÓË, ΔÔ ÙÂÓÂΉ¤ÓÈÔ ™¯ÔÏÂ›Ô Ù˘ £ÂÛÛ·ÏÔӛ΢: ΔÔ Û¯ÔÏ›Ô
ÙˆÓ ÚÔÛʇÁˆÓ, £ÂÛÛ·ÏÔÓ›ÎË 2002.
;ÀÔ˘ÚÁ›ÔÓ ∫ÔÈÓˆÓÈ΋˜ ¶ÚÔÓÔ›·˜ – °ÂÓÈ΋ ¢È‡ı˘ÓÛȘ √ÈÎÈÛÌÔ‡, ÿÚ-
Ù˘ £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˘ ÔϤ-
ÌÔ˘, £ÂÛÛ·ÏÔÓ›ÎË 1989.
;ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡-4Ë ∂ÊÔÚ›· ¡ÂˆÙ¤ÚˆÓ ªÓËÌ›ˆÓ, ¡ÂÒÙÂÚ· ÌÓË-
Ì›· Ù˘ £ÂÛÛ·ÏÔӛ΢, £ÂÛÛ·ÏÔÓ›ÎË, 1985-86.
;ÃÂΛÌÔÁÏÔ˘ ∂. & Danacioglu Esra, ∏ £ÂÛÛ·ÏÔÓ›ÎË ÚÈÓ ·fi 100 ¯Úfi-
;Mr. D. Papadimitriou, "The new passenger railway station of
Thessaloniki", Thessalonikeon Polis, issue 13 (January – March
2004) 128 – 143
;Mr. D. Papadimitriou, "The train of Mikra during the Great War (1915
– 1918)", Thessalonikeon Polis, issue 13 (January – March 2004) 84
– 95
;Mr. Th. Papazotos, "The founders’ mosaic of the temple of Aghios
Dimitrios in Thessaloniki», Makedonika, Annex No. 5; To the memory
of Mr. Stylianos Pelekanidis, Thessaloniki 1983 365 – 376
;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "The lost chance for
financial self-sufficiency of the university of Thessaloniki: The
fortune of the Greek Community during the ottoman occupation",
Thessalonikeon Polis, issue 7 (March 2002) 33 – 46
;Mr. Ch. Papastathis & Mr. E. Hekimoglou, "Thessaloniki during the
fire 18 – 19 August 1917", Thessalonikeon Polis, issue 11,
(September 2003) 11 – 77
;Mrs. Efrosyni Roupa & Mr. E. Hekimoglou, The History of
Entrepreneurship of Thessaloniki, 1900 – 1940. The big enterprises
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
B I B L I O G R A P H Y
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏260k
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 £ÂÛ-
Û·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.
μ π μ § π √ ° ƒ ∞ º π ∞
T H E S S A L O N I K I 261k
(∞ӷʤÚÂÙ·È Ô ·ÚÈıÌfi˜ Ù˘ ʈÙÔÁÚ·Ê›·˜. ¢ÂÓ ·Ô‰ÂÏÙÈÒıËÎ·Ó ÔÈ fiÚÔÈ:
ÚÔÎ˘Ì·›·, ·Ú·Ï›· Î·È «§Â˘Îfi˜ ¶‡ÚÁÔ˜»)
;∞ÁÁÂÏ¿ÎË, Ô‰fi˜ 43, 51, 54, 55, 56, 58
;∞Á›· ™ÔÊ›·, Ó·fi˜ 47, 69, 98, 100
;∞Á›· ΔÚÈ¿‰·, Û˘ÓÔÈÎÈÛÌfi˜ 30, 107
;∞Á›· ºˆÙÂÈÓ‹, Û˘ÓÔÈÎÈÛÌfi˜ 51,65, 106
;∞Á›·˜ ™ÔÊ›·˜, Ô‰fi˜ 95, 96, 97, 99
;∞Á›·˜ ™ÔÊ›·˜, Ï·Ù›· 98, 99
;ÕÁÈÔ˜ ¢ËÌ‹ÙÚÈÔ˜, Ó·fi˜ 79, 80, 81, 102. æËÊȉˆÙfi 82
;ÕÁÈÔ˜ ∂˘ı‡ÌÈÔ˜ 68
;ÕÁÈÔ˜ £ÂÚ¿ˆÓ, Ó·fi˜ 3
;ÕÁÈÔ˜ ªËÓ¿˜, Ó·fi˜ 5
;ÕÁÈÔ˜ ¡¤ÛÙÔÚ·˜, ı¤ÛË Ó·Ô‡ 80
;ÕÁÈÔ˜ ¶·‡ÏÔ˜, Û˘ÓÔÈÎÈÛÌfi˜ 104
;ÕÁÈÔ˜ °ÚËÁfiÚÈÔ˜ ¶·Ï·Ì¿˜, Ó·fi˜ 97
;∞Á›Ô˘ ¢ËÌËÙÚ›Ô˘, Ô‰fi˜ 7, 64, 81, 84
;∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ó·fi˜ 50
;∞Á›Ô˘ ªËÓ¿, Ô‰fi˜ 97
;∞ÂÚÔ‰ÚfiÌÈÔ £ÂÛÛ·ÏÔӛ΢ 109, 110
;∞ÎÚÔfiψ˜, Ô‰fi˜ 66
;∞ÎÚfiÔÏË 104
;∞Ï·Ù˙¿ πÌ·Ú¤Ù 79. ºÈ¿ÏË 80
;∞Ï¢ÚÔ¿˙·ÚÔ˘, Ô‰fi˜ 92
(The number of the photograph is cited. The following terms were not
indexed: quay, waterfront and "White Tower")
;Aggelaki, street 43, 51, 54, 55, 56, 58
;Aghia Photini, quarter 51, 65, 106
;Aghia Sophia, temple 47, 69, 98, 100
;Aghia Sophia, street 95, 96, 97, 99
;Aghia Sophia, square 98, 99
;Aghia Triada, quarter 30, 107
;Aghios Dimitrios, temple 79, 80, 81, 102. Mosaic 82
;Aghios Efthimios 68
;Aghios Grigorios Palamas, temple 97
;Aghios Minas, temple 5
;Aghios Nestoras, site of temple 80
;Aghios Pavlos, quarter 104
;Aghios Therapon, temple 3
;Aghiou Dimitriou, street 7, 64, 81, 84
;Aghiou Konstantinou, temple 50
;Aghiou Mina, street 97
;Agricultural Bank of Macedonia, building 97
;AHEPA, Hospital 1, 65
;Airport of Thessaloniki 109, 110
;Akropoleos, street 66
;Alatza Imaret 79. Bottle 80
∂ À ƒ ∂ Δ ∏ ƒ π √ Δ √ ¶ √ £ ∂ ™ π ø ¡
S I T E I N D E X
E À ƒ ∂ Δ ∏ ƒ π √ Δ √ ¶ √ £ ∂ ™ π ø ¡
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏262k
;∞ÏÏ·Ù›ÓË, ·Ï¢ÚfiÌ˘ÏÔ˜ 87, 88
;∞ÏÏ·Ù›ÓË, ÔÈΛ· 88, 89
;∞Ó·ÁÂÓÓ‹Ûˆ˜, Ô‰fi˜ 4
;∞Ó¿ÎÙÔÚÔ 112
;ÕÓˆ ¶fiÏË 98, 104
;∞ÓÒÙ·ÙË μÈÔÌ˯·ÓÈ΋ ™¯ÔÏ‹ 97
;∞Ô‚¿ıÚ·, §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 37
;∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘ Ô‰fi˜ 73, 74
;∞ډ¢ÙÈ΋ ‰ÈÒÚ˘Á· 108
;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ô‰fi˜ 102
;∞ÚÈÛÙÔÙ¤ÏÔ˘˜, Ï·Ù›· 1, 6, 18, 28, 29, 102
;∞Ú¯·›· ∞ÁÔÚ¿ 1
;∞Ú¯·ÈÔÏÔÁÈÎfi ÌÔ˘ÛÂ›Ô 56, 58
;∞ÛÙÂÚÔÛÎÔÂ›Ô 65
;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô Â› Ô‰Ô‡ ΔÛÈÌÈÛ΋, 95
;∞ÛÙfiÚÈ·, ηÊÂÓÂ›Ô ·Ú·ÏÈ·Îfi 30
;∞Ã∂¶∞, ÓÔÛÔÎÔÌÂ›Ô 1, 65
;μ·Ï·ÁÈ¿ÓÓË, Û¯ÔÏ‹ 97
;μ·Ï·Ô‡ÚË, ̤Á·ÚÔ 103
;μ·ÛÈϤˆ˜ °ÂˆÚÁ›Ô˘ Ô‰fi˜ 41, 42, 43, 44, 49
;μÂÓÈ˙¤ÏÔ˘ Ô‰fi˜ 24, 83, 93, 94, 101
;μÈÎÙfiÚÈ·, ̤Á·ÚÔ 5
;μÏ·Ù¿‰ˆÓ, ÌÔÓ‹ 79
;μÏ¿¯Ô˜, Ù·‚¤ÚÓ· 47
;μ˘˙¿ÓÙÈÔ, Û˘ÓÔÈÎÈÛÌfi˜ 2
;°·ÏÂÚ›Ô˘ ·„›‰· 72, 73, 74, 75. 76
;°ÂÓ› Δ˙·Ì› 56
;°ÂÓ› Ã·Ì¿Ì 79, 80
;°ÂÚÌ·ÓÔ‡ ¡ÈÎÔÏ¿Ô˘, Ô‰fi˜ 58
;°ÂˆÚÁÈ΋ ΔÚ¿Â˙· ª·Î‰ÔÓ›·˜, ÎÙ›ÚÈÔ 97
;°™¡ 106
;Alevropazarou, street 92
;Allatini, flourmill 87, 88
;Allatini, mansion 88, 89
;Anageniseos, street 4
;Ano Poli 98, 104
;Apostolou Pavlou, street 73, 74
;Aristotelous, square 1, 6, 18, 28, 29, 102
;Aristotelous, street 102
;Ancient Forum 1
;Archaeological Museum 56, 58
;Army Corps, 3rd 49
;Astoria, café at the waterfront 30
;Astoria, café on Tsimiski Street, 95
;Baltadorou, residence 98
;Bank of Athens, building 5
;Bank of Industry, building 5
;Bank of Thessaloniki, storehouses 12, 13
;Bey Hamam 78, 93
;Bezesteni 83
;Byzantium, quarter 2
;Chalkeon Mosque 77
;Chalkeon, street 77
;Charilaou, region 2
;Chemical Industry of Northern Greece 113
;Chrysostomou Smyrnis, street 21, 31, 32
;Cinemas: Dionysia 96, Ethnikon 32, 33, Zephyros 28, Ilysia 6, 47,
Kentriko 32, Palace, 34
;Citadel 104
;Commercial Union, building 83
;Conservatory 42, 44
;Consulate of the U.S.A. 31, 32
T H E S S A L O N I K I 263k
;¢∂£ 1, 7, 49, 50, 51, 54, 55,, 56, 58, 59, 60, 61, 62, 63, 65, 106.
∂ÌÔÚÈÎfi ∫¤ÓÙÚÔ 54, 63. §Ô‡Ó· ·ÚÎ 60. ¶ÂÚ›ÙÂÚÔ ∂√∫ 63. ¶ÂÚ›ÙÂ-
ÚÔ ∂ıÓÈ΋˜ ¶·Ú·ÁˆÁ‹˜ 51, 65. ¶‡ÚÁÔ˜ √Δ∂ 60, 61
;¢ÂÛÂÚ¤, Ô‰fi˜ 42, 43, 55, 58
;¢ËÌËÙÚ›Ô˘ °Ô‡Ó·ÚË, Ô‰fi˜ 34
;¢È·‚·Ù¿ 113
;¢È·ÁÒÓÈÔ˜, Ô‰fi˜ 103
;¢ÈηÛÙËÚ›ˆÓ, ¶Ï·Ù›· 78, 102
;¢ÈÔÈÎËÙ‹ÚÈÔ 84, 85, 86
;¢ÚfiÛÔ˘, ̤Á·ÚÔ 5
;∂ÁÓ·Ù›·, Ô‰fi˜ (£ÂÛÛ·ÏÔӛ΢) 7, 6, 72, 73, 77, 92, 93, 94
;∂ıÓÈ΋ ΔÚ¿Â˙·, ÎÂÓÙÚÈÎfi ηٿÛÙËÌ· 5. ÀÔηٿÛÙËÌ· ™ÈÓÙÚÈ‚·Ó›Ô˘ 74.
¶ÚÔÛˆÚÈÓ‹ ÛÙ¤Á·ÛË 97
;∂ıÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 37, 38, 39, 41, 64, 104
;∂ı‡Ï, ‚ÈÔÌ˯·Ó›· 114
;∂Ï¢ıÂÚ›·˜, Ï·Ù›· 1, 5, 24. ΔfiÔ˜ Ì·ÚÙ˘Ú›Ô˘ 25, 26
;∂ÌÔÚÈ΋˜ ∂ÓÒÛˆ˜, ̤Á·ÚÔ 83
;ŒÓˆÛË ™˘ÓÙ·ÎÙÒÓ, ÁÚ·Ê›· 96
;∂ÍÔ¯ÒÓ, ψÊfiÚÔ˜ 39
;∂Ù·‡ÚÁÈÔ 67
;∂ÚÌ›ÔÓ, ÂÛÙÈ·ÙfiÚÈÔ 34, 35
;∂ÚÌ›ÔÓ, ̤Á·ÚÔ 83
;∂ÚÌÔ‡ Ô‰fi˜ 83, 98, 100, 101
;∂˘·ÁÁÂÏ›ÛÙÚÈ·, ÎÔÈÌËÙ‹ÚÈÔ 65
;∑ÔÁÁÔÏfiÔ˘ÏÔ˘, ÁÏ˘Ùfi 7
;∏ÏÂÎÙÚÈ΋ ÂÙ·ÈÚ›·, 29. ¶ÂÚ›ÙÂÚÔ ÛÙÔÓ Î‹Ô ÙÔ˘ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 40
;£¤·ÙÚ·: μ·ÛÈÏÈÎfi 1, 40, 44. ∫Ú·ÙÈÎfi μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 41. ™ÙÚ·ÙȈÙÈÎfi
43
;πÓÙ·ÓÙÈÁȤ, Û¯ÔÏ‹ 89
;π¯ı˘·ÁÔÚ¿ Ó¤·, 23
;∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31
;Despere, street 42, 43, 55, 58
;Diagonios, street 103
;Diavata 113
;Diikitirio (i.e. Residency) 84, 85, 86
;Dikastirion, square 78, 102
;Dimitriou Gounari, street 34
;Dore, cafe 48, 104
;Drossou, building 5
;Editors’ Association, offices 96
;Egnatia, street (in Thessaloniki) 7, 6, 72, 73, 77, 92, 93, 94
;Electric company, 29; Kiosk at the White Tower Garden 40
;Eleftherias, square 1, 5, 24; Torture site 25, 26
;Eptapyrgio 67
;Ermeion, building 83
;Ermeion, restaurant 34, 35
;Ermou, street 83, 98, 100, 101
;Esso Pappas 113
;Ethnikis Amynis, street 37, 38, 39, 41, 64, 104
;Ethyl, Industry 114
;Evaggelistria, cemetery 65
;Exohon, avenue 39
;Fish market, new, 23
;Folklore & Ethnologic Museum of Macedonia 90, 105
;Fountain 50
;Francaise, building 31, 34, 36
;Galerius Arch 72, 73, 74, 75, 76
;General Army Hospital 106
;Germanou Nikolaou, street 58
;Hamidie, street 38
;Hamza Bey 92, 94
;Hellenic Bank, building 5
S I T E I N D E X
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏264k
;∫·Ì‚Ô˘Ó›ˆÓ, Ô‰fi˜ 74
;∫¿Ô˘Ê ÃÔÊ, ηٿÛÙËÌ· 83
;∫·¿ÓÈ (·Ï¢ڷÁÔÚ¿) 92, 93
;∫·Ú·ÌÔ˘ÚÓ¿ÎÈ 112
;∫·ÚfiÏÔ˘ ¡ÙËÏ, Ô‰fi˜ 95
;∫·ÛÛ¿Ó‰ÚÔ˘ Ô‰fi˜ 79, 81
;∫·ÙÔ‡ÓË, Ô‰fi˜ 5
;∫·˘Ù·ÓÙ˙fiÁÏÂÈÔ ™Ù¿‰ÈÔ 106
;∫·ÊÂÓÂ›Ô ÙˆÓ Î˘ÓËÁÒÓ 47
;∫ÂÚ·ÌÔÔ‡ÏÔ˘, Ô‰fi˜ 99
;∫‹Ô˜ §Â˘ÎÔ‡ ¶‡ÚÁÔ˘ 23, 40, 41
;∫ÈÓËÌ·ÙÔÁÚ¿ÊÔÈ: ¢ÈÔÓ‡ÛÈ· 96, ∂ıÓÈÎfiÓ 32, 33, ∑¤Ê˘ÚÔ˜ 28, ∏χÛÈ· 6,
47, ∫ÂÓÙÚÈÎfi 32, ¶·ÏÏ¿˜, 34
;∫ÔÌÓËÓÒÓ, Ô‰fi˜ 5, 100
;∫ÔÓÈfiÚ‰Ô˘, ̤Á·ÚÔ 28
;∫Ô˘ÓÙÔ˘ÚÈÒÙÔ˘, Ô‰fi˜ 39
;∫fiÊÊ·, ̤Á·ÚÔ 5
;∫˘„¤ÏË, ·ÓÙÔˆÏÂ›Ô 103
;§·ÔÁÚ·ÊÈÎfi ∂ıÓÔÏÔÁÈÎfi ªÔ˘ÛÂ›Ô ª·Î‰ÔÓ›·˜ 90, 105
;§¤Û¯Ë ºÚÔ˘Ú¿˜ £ÂÛÛ·ÏÔӛ΢ 41, 104
;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, ∫‹Ô˜ 40
;§Â˘ÎÔ‡ ¶‡ÚÁÔ˘, Ï·Ù›· 39, 41, 44
;§È̤ӷ˜: ∫ÚË›‰ˆÌ· 14, 19, 20. ∫˘Ì·ÙÔıÚ·‡ÛÙ˘ 2, 16. ¡ËÛ›‰· 17.
¶ÚÔ‚Ï‹Ù˜ 5, 6, 9, 15, 16, 17, 18, 19, 20. ΔÂψÓÂ›Ô 5, 14, 19
;§Ô˘ÙÚ¿ ¶·Ú¿‰ÂÈÛÔ˜ 78
;§Ô¯›· ∂ÓÙ¤Ì, Ô‰fi˜ 21
;ª·Î‰ÔÓÈ΋˜ ∞̇Ó˘, Ô‰fi˜ 80
;ª·Î‰ÔÓÔÌ¿¯ˆÓ Ï·Ù›· 98
;ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ ψÊfiÚÔ˜, ‚Ï. ¡¤· ¶·Ú·Ï›·
;ªÂÙˆÚÔÛÎÔÂ›Ô 65
;ªËÙÚÔÔÏ›ÙÔ˘ πˆÛ‹Ê, Ô‰fi˜ 21, 31, 32
;Higher School of Industry 97
;Hospital, Kentriko 65
;Hotels: ∞μC 74, Majestic 28, 30, Macedonia Palace 44,
Mediterranee 23, Bastazini 34, Splendid palace 23, 39
;Hunters’ Café 47
;Idadye, school 89
;International Trade Fair of Thessaloniki 1, 7, 49, 50, 51, 54, 55,, 56,
58, 59, 60, 61, 62, 63, 65, 106; Commercial Centre 54, 63.
Entertainment Park 60; E.E.C. kiosk 63; National Output kiosk 51, 65;
Tower of Telecommunications Company 60, 61
;Irrigation canal 108
;Kaftatzoglio Stadium 106
;Kallari, street 22, 31
;Kamvounion, street 74
;Kapani (flour market) 92, 93
;Karabournaki 112
;Karolou Dil, street 95
;Kassandrou, street 79, 81
;Katouni, street 5
;Kauf Hof, shop 83
;Keramopoulou, street 99
;Kipseli, grocery 103
;Koffa, building 5
;Komninon, street 5, 100
;Koniordou, building 28
;Kountouriotou, street 39
;Lochia Edem, street 21
;Macedonian Struggle Museum, building 97
;Makedonikis Amynis, street 80
;Makedonomachon, square 98
;Mega Lou Alexandria, avenue, see. New Waterfront
E À ƒ ∂ Δ ∏ ƒ π √ Δ √ ¶ √ £ ∂ ™ π ø ¡
T H E S S A L O N I K I 265k
;ª›ÎÚ· 22
;ªÈÛÈÚÏfiÁÏÔ˘, ÎÏÈÓÈ΋ 98
;ªÔ‰È¿ÓÔ π·ÎÒ‚, ηÙÔÈΛ· 90
;ªÔ‰È¿ÓÔ, ·ÁÔÚ¿ 100
;ªÔÓ·ÛÙËÚ›Ô˘, Ô‰fi˜ 4
;ªÔÚÁÎÂÓÙ¿Ô˘ Ô‰fi˜ 31
;ªÔÛÎÒÊ, ̤Á·ÚÔ 103
;ªÔ˘ÛÂ›Ô ª·Î‰ÔÓÈÎÔ‡ ∞ÁÒÓ·, ÎÙ›ÚÈÔ 97
;ª·ÏÙ·‰ÒÚÔ˘, ÔÈΛ· 98
;ªÂ˙ÂÛÙ¤ÓÈ 83
;ª¤Ë Ã·Ì¿Ì 78, 93
;¡¤· ∞ÁÔÚ¿ 100
;¡¤· ¶·Ú·Ï›· ‹ ψÊfiÚÔ˜ ªÂÁ¿ÏÔ˘ ∞ÏÂÍ¿Ó‰ÚÔ˘ 42, 90, 105
;¡¤ÔÈ ∂È‚¿Ù˜ 30
;¡›Î˘, ψÊfiÚÔ˜ 22
;¡ÈÎÔÏ¿Ô˘ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 44
;¡ÔÌ·Ú¯›· £ÂÛÛ·ÏÔӛ΢, ÎÙ›ÚÈÔ 88
;¡ÔÛÔÎÔÌ›Ô, ∫ÂÓÙÚÈÎfi 65
;¡ÔÛÔÎfïÓ, Û¯ÔÏ‹ 65
;¡ÙÔÚ¤ ηÊÂÓÂ›Ô 48, 104
;•ÂÓԉԯ›·: ∞μC 74, ª·˙¤ÛÙÈÎ 28, 30, ª·Î‰ÔÓ›· ¶·ÏÏ¿˜ 44, ªÂÓÙÈ-
ÙÂÚ·Ó¤ 23, ª·ÛÙ·˙›ÓË 34, ™Ï¤ÓÙÈÙ ¶·ÏÏ¿˜ 23, 39
;¶·Ï·ÈÔ‡ ∞ÏÔÁÔ¿˙·ÚÔ˘, Ô‰fi˜ 21
;¶·Ï·ÈÒÓ ¶·ÙÚÒÓ °ÂÚÌ·ÓÔ‡, Ô‰fi˜ 72, 73
;¶·Ï¤ ÓÙ ™ÔÚ 5, 59, 65
;¶·Ó·Á›· ÷ÏΤˆÓ, Ó·fi˜ 77, 78, 93
;¶·Ó·Á›·˜ ¢ÂÍÈ¿˜, Ó·fi˜ 74
;¶·ÓÂÈÛÙËÌȷ΋ μÈ‚ÏÈÔı‹ÎË 7
;¶·ÓÂÈÛÙËÌÈÔ‡ÔÏË 65. °ÂˆÔÓÔ‰·ÛÔÏÔÁÈ΋ Û¯ÔÏ‹ 64, 65. £ÂÔÏÔÁÈ΋
Û¯ÔÏ‹ 65. π·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈ΋ Û¯ÔÏ‹ 64. ∫ÙËÓÈ·ÙÚÈΤ˜ ÎÏÈ-
ÓÈΤ˜ 4. ¡√∂, Û¯ÔÏ‹, ÎÙ›ÚÈÔ 7. ¶ÔÏ˘Ù¯ÓÈ΋ Û¯ÔÏ‹ 65. ºÈÏÔÛÔÊÈ΋ Û¯Ô-
;Meteorological station 65
;Mikra 22
;Ministry of Macedonia – Thrace, building 84
;Misirloglou, clinic 98
;Mitropolitou Iosif, street 21, 31, 32
;Modiano Jacob, residence 90
;Modiano, market place 100
;Monastiriou, street 4
;Morgentau, street 31
;Moscov, building 103
;National Bank, central branch 5; Sintrivaniou Square branch 74;
Temporary settlement 97
;Nea Agora 100
;Nei Epivates 30
;New Waterfront or Megalou Alexandrou, avenue 42, 90, 105
;Nikis, avenue 22
;Nikolaou Germanou, street 44
;Nurses, school of 65
;Observatory 65
;Palace 112
;Palais de Sports 5, 59, 65
;Paleon Patron Germanou, street 72, 73
;Paleou Alogopazarou, street 21
;Panagia Chalkeon, temple 77, 78, 93
;Panagia Dexia, temple 74
;PAOK, playground 65
;Paradisos Bathes 78
;Pavlou Mela, street 41, 47, 48, 103
;Pedio Areos 49, 56, 87
;Peraia 30
;Petit Palais, poolroom 31, 34
S I T E I N D E X
£ ∂ ™ ™ ∞ § √ ¡ π ∫ ∏266k
Ï‹, ÎÙ›ÚÈÔ, 7. º˘ÛÈÎÔÌ·ıËÌ·ÙÈ΋ Û¯ÔÏ‹ 64, 65
;¶∞√∫ Á‹Â‰Ô 65
;¶·‡ÏÔ˘ ªÂÏ¿, Ô‰fi˜ 41, 47, 48, 103
;¶Â‰›Ô ÕÚˆ˜ 49, 56, 87
;¶ÂÚ·›· 30
;¶ÔÏ˘Ù¯Ó›Ԣ, Ô‰fi˜ 5
;¶ÚÔÍÂÓÂ›Ô ∏¶∞ 31, 32
;¶ÚÔÊ‹Ù˘ ∏Ï›·˜, Ó·fi˜ 79
;¶ÙÈ ¶·Ï·›, ÛÊ·ÈÚÈÛÙ‹ÚÈÔ 31, 34
;¶˘Ï·›·, Û˘ÓÔÈÎÈÛÌfi˜ 2
;ƒÔÙfiÓÙ·, ›ÛÔ‰Ô˜ 70, 72. ªÈÓ·Ú¤˜ 66
;™·Ï·Ì›ÓÔ˜, Ô‰fi˜ 5, 10, 11
;™·ÌÚ‹ ¶·Û¿, Ô‰fi˜ 24
;™·Ú¿ÓÙ· ∂ÎÎÏËÛȤ˜, Û˘ÓÔÈÎÈÛÌfi˜ 64, 104
;™·Ú¿ÓÙ· ∂ÎÎÏËÛÈÒÓ, Ô‰fi˜ 64
;™›ÁÁÂÚ Ì¤Á·ÚÔ 83, 101
;™È‰ËÚÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 4, 22, 24
;™È‰ËÚÔ‰ÚÔÌÈÎfi˜ ™Ù·ıÌfi˜ £ÂÛÛ·ÏÔӛ΢ 4, 39, 111
;™ÈÓÙÚÈ‚¿ÓÈ 50
;™ÈÓÙÚÈ‚·Ó›Ô˘ Ï·Ù›· 7, 38, 50, 60, 62, 74
;™Ô˘ÏÂ˚Ì¿Ó, Ù¤ÌÂÓÔ˜ 92
;™ÙÚ·ÙËÁÔ‡ ∫·ÏÏ¿ÚË, Ô‰fi˜ 22, 31, 34, 35, 36
;™ÙÚ·Ù‹˜, ÂÛÙÈ·ÙfiÚÈÔ 28
;™ÙÚ·ÙÔ‡ §ÂˆÊfiÚÔ˜ 49, 50, 58
;™¯ÔÏ‹ Δ˘ÊÏÒÓ, 105
;™ÒÌ· ™ÙÚ·ÙÔ‡ °ã49
;Δ›¯Ë ‚fiÚÂÈ· 66, 67, 71
;Δԇ̷ 2, 3, 4
;ΔÚ¿Â˙· ∞ıËÓÒÓ, ÎÙ›ÚÈÔ 5
;ΔÚ¿Â˙· μÈÔÌ˯·Ó›·˜, ÎÙ›ÚÈÔ 5
;ΔÚ¿Â˙· ∂ÏÏ¿‰Ô˜, ÎÙ›ÚÈÔ 5
;Phaliro, region2
;Philikis Eterias, street 104
;Philippou, old street 70, 71
;Polytechniou, street 5
;Port: Seawall 14, 19, 20, breakwater 2, 16, artificial island 17, wharfs
5, 6, 9, 15, 16, 17, 18, 19, 20, customs 5, 14, 19
;Prefecture of Thessaloniki, building 88
;Prophitis Ilias, temple 79
;Pylaia, quarter 2
;Quay, of White Tower 37
;Railway 4, 22, 24
;Railway Station of Thessaloniki 4, 39, 111
;Rotonda, entrance 70, 72. Minaret 66
;Sabri Pasha, street 24
;Salaminos, street 5, 10, 11
;Saranta Eklissies, quarter 64, 104
;Saranta Eklission, street 64
;School for the Blind, 105
;School of Chemistry 64, 65
;Singer, building 83, 101
;Sintrivaniou, square 7, 38, 50, 60, 62, 74
;Stratigou Kallari, street 22, 31, 34, 35, 36
;Stratis, restaurant 28
;Stratou, avenue 49, 50, 58
;Stream at Aggelaki Street 55
;Student hostels 64
;Suleiman, mosque 92
;Theatres: Royal 1, 40, 44; National of Northern Greece 41; Military
43
;Thessaloniki Garrison Service Club 41, 104
;Toumpa 2, 3, 4
E À ƒ ∂ Δ ∏ ƒ π √ Δ √ ¶ √ £ ∂ ™ π ø ¡
T H E S S A L O N I K I 267k
;ΔÚ¿Â˙· £ÂÛÛ·ÏÔӛ΢, ·Ôı‹Î˜ 12, 13
;ΔÚÈÁÒÓÈÔ 66
;ΔÚÔ¯ÈÔ‰ÚÔÌÈ΋ ÁÚ·ÌÌ‹ 22, 24, 72
;Δ۷ω¿ÚË, Û˘ÓÔÈÎÈÛÌfi˜ 64
;ΔÛÈÌÈÛ΋ Ô‰fi 5, 58, 95, 96, 102, 103, 104
;ΔÛÈÚÔÁÈ¿ÓÓË ÛÙÚ·ÙfiÂ‰Ô 42, 43
;ΔÛÈÚÔÁÈ¿ÓÓË, Ô‰fi˜ 47, 48
;Δ˘ÚÔÏfiË, ̤Á·ÚÔ 28, 30
;ÀÔ˘ÚÁÂ›Ô ª·Î‰ÔÓ›·˜ – £Ú¿Î˘, ÎÙ›ÚÈÔ 84
;º¿ÏËÚÔ, ÂÚÈÔ¯‹ 2
;ºÈÏÈ΋˜ ∂Ù·ÈÚ›·˜, Ô‰fi˜ 104
;ºÈÏ›Ô˘, Ô‰fi˜ ·Ï·È¿ 70, 71
;ºÔÈÙËÙÈΤ˜ ÂÛٛ˜ 64
;ºÚ·ÓÛ¤˙ ̤Á·ÚÔ 31, 34, 36
;÷ÏΤˆÓ Ô‰fi˜ 77
;÷ÏΤˆÓ Δ¤ÌÂÓÔ˜ 77
;ÿÌ˙· ª¤Ë 92, 94
;÷ÌÈÓÙȤ, Ô‰fi˜ 38
;Ã∞¡£, ̤Á·ÚÔ 43, 91
;Ã∞¡£, Ï·Ù›· 50, 58, 62
;÷ÚÈÏ¿Ô˘, ÂÚÈÔ¯‹ 2
;ÃÂÈÌ¿ÚÚÔ˜ Ô‰Ô‡ ∞ÁÁÂÏ¿ÎË, 55
;ÃËÌÂ›Ô 64, 65
;ÃËÌÈη› μÈÔÌ˯·Ó›·È μÔÚ›Ԣ ∂ÏÏ¿‰Ô˜ 113
;ÃÚ˘ÛÔÛÙfiÌÔ˘ ™Ì‡ÚÓ˘, Ô‰fi˜ 21, 31, 32
;ø‰Â›Ô 42, 44
;Esso Pappas 113
;Tramway 22, 24, 72
;Trigonio 66
;Tsaldari, quarters 64
;Tsimiski, street 5, 58, 95, 96, 102, 103, 104
;Tsirogianni, camp 42, 43
;Tsirogianni, street 47, 48
;Tyroloi, building 28, 30
;University campus 65; School of Agronomics & Forestry 64, 65;
School of Theology 65; School of Medicine 64; School of Veterinary
Science 64; Veterinary Clinics 4; School of Law & Economics,
building 7; School of technology 65; School of Philosophy, building,
7; School of Physics & Mathematics 64, 65
;University library 7
;Valagianni, school 97
;Valaouri, building 103
;Vassileos Gheorgiou, street 41, 42, 43, 44, 49
;Venizelou, street 24, 83, 93, 94, 101
;Victoria, building 5
;Vlachos, tavern 47
;Vlatadon, monastery 79
;Walls, northern 66, 67, 71
;White Tower Garden 23, 40, 41
;White Tower, square 39, 41, 44
;Yeni Hamam 79, 80
;Yeni Tzami 56
;YMCA of Thessaloniki, building 43, 91
;YMCA of Thessaloniki, square 50, 58, 62
;Zoggolopoulos, sculpture of 7
S I T E I N D E X